Foreword
Preface
CD Track List
1. The Balinese Ceremonial Soundscape: Simultaneity of Soundings
Place, Time, and Circumstance
The Act of Offering
Odalan (Temple Ceremonies) and Ramé (Full, Boisterous, Active)
Spatial Orientation
Cycles of Time
Large-Scale Time: Stories and History
Cultural Tourism
Thinking in Threes: Historical Periods, Degrees of Sacredness, and Spatial Orientation of the Performing Arts
The All-Encompassing Adat (Tradition)
In the Sacred Space of the Inner Courtyard (Jeroan): Old-Period Genres as Offerings
In the Ceremonial Space of the Middle Courtyard (Jaba Tengah): Middle-Period Genres
The More Secular Space of the Outer Courtyard (Jaba): New Creations and Entertainment
Conclusion
2. Instruments: Materials, Tuning, and Timbre
The Power of Bronze
Tuning and Timbre
The Waves of Paired Tuning: A Gamelan's Breath of Life
Tuning Systems, Scales, and Notation
Gamelan Gong Kebyar: The Explosive Twentieth-Century Style
Instrument Families in Gamelan Music
The Gongs
Cycles of Time in Music: Gongs that Mark Colotomic Meters
Keyed Instruments (Metallophones)
Gender-Type Metallophones
The Low Metallophone Instruments
The Gangsa Family
Gong-Chimes
Reyong
Trompong
Other Layers of Melody
Drums: Aural Conductor of the Ensemble
Cymbals (Ceng-Ceng)
Conclusion
3. Interlocking and Layering: Musical Roles in the Ensemble
The Musical Community of a Gamelan Sekaha
The Stratified Texture of Gamelan: Simultaneous Melodies
The Pokok (Basic Melody)
Communal Elaboration: Interlocking Parts (Kotekan)
Gangsa Kotekan: Polos and Sangsih
Single-Note Kotekan
Syncopated Patterning Kotekan
Expansion and Contraction of a Kotekan Pattern
Reyong Figuration: Melodic Interlocking and Percussive Accentuation
Comparison of Reyong and Trompong
Leadership, Cueing, and Ensemble Interaction
Gaya (Charismatic Gesture)
Conclusion: Putting the Layers Together
4. The World of Stories: Integration of Music, Dance, and Drama in Traditional Balinese Theater
Playing the Past in the Present
Genres in the Old Category: Sacred Ensembles
Genres in the Middle Category: The Hindu Javanese Legacy
Genres in the New Category: Drawing from Middle and Old and Breaking Free
The Idea of Completeness: Revisiting Ramé
Assumptions and Conventions in Traditional Balinese Theater
The Concept of a "Story:" Orality and Literacy in Performance
The Panji Cycle
Levels of Abstraction and Accessibility
The Role of Interpreters
Genres of Theater
Wayang Kilut (Shadow Puppet Theater)
The Dalang
The Progression of a Performance
Taksu: Divine Inspiration and "Shifting Focal Points"
Conclusion
5. Characterization, Movement, and Gong Structures That Enliven Balinese Theater
Aesthetics and Character Types: Halus (Refined) and Keras (Strong)
Male, Female, and Androgynous Dance Styles
Topeng (Masked Dance Drama)
The Characters
Progression of a Topeng Play
Free Choreography
Legong
Free versus Fixed Choreography
Elements of Dance and Music in Topeng and Legong
Vocabulary of Movements
Agem
Angsel: Dance and Music Articulation
Colotomic Meters, Delineating Theatrical Situation and Mood
Batel
Omang
Bapang
Gabor Longgor
Gilak
Gamelan Balaganjur
Listening to Two Topeng Pieces
Kecak
Conclusion
6. Large-Scale Form in Gong Kebyar and Its Antecedents
"Classical" Tripartite Form
Three Contrasting Movements
Gineman: Metrically Free Preludes
Listening to an Entire Piece: The Tripartite Form in "Sinom Ladrang"
Innovations in Form and Texture in Kebyar Kreasi Baru (New Creations)
Form in Kebyar: Cyclicity and Linearity
New Textures
Kebyar Passages: A Display of Gaya
Kebyar-style Gineman: Gegenderan
"Jaya Semara" ("Victorious Divine Love/Love Deity")
Transformation of Form and Other Innovations
Gong Kebyar Competitions at the Bali Arts Festival
Kreasi Baru Trends at the Dawn of the Twenty-first Century
Kontemporer
Conclusion: Traditional Arts in a Rapidly Changing World
Arts Workshop/Studio Collectives (Sanggar)
7. Conclusion: Three Themes Revisited at a Cremation Ceremony
Glossary
References
Resources
Index