Music in Bali

Lisa Gold teaches at the University of California at Berkeley where she earned her Ph.D. in Ethnomusicology with a specialization in Balinese and Javanese music in ritual & theater, gamelan gender wayang, and shadow puppetry. Other research interests include transmission and communicability, folklore and folk music of the British Isles, oral performance and improvisation, music and space and place, mediatization, and performance eco-systems. Gold has been a Visiting Professor at a number of institutions including Colorado College. She is an active member of Gamelan Sekar Jaya, Gamelan Sari Raras and ShadowLight. She has performed and conducted extensive research in Bali and the U.S., and is the author of a number of articles, including a chapter in Performing Arts in Postmodern Bali: Changing Interpretations, Founding Traditions. Graz Studies in Ethnomusicology (2013), the Bali article in the New Grove Dictionary of Music and Musicians, and a published paper presented at the International Seminar and Festival of Indonesian Music, Smithsonian Institution, Washington DC (2016).

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: