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Chapter Four (Part II): Gamelan in Bali

Chapter Four (Part II): Gamelan in Bali. Bali. Hindu enclave in Muslim Indonesia Artistic activities part of everyday life aesthetically pleasing things are “offerings” spirits need to be appeased. Gotong-royong. Stratified society Joint responsibility, mutual cooperation

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Chapter Four (Part II): Gamelan in Bali

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  1. Chapter Four (Part II): Gamelan in Bali

  2. Bali • Hindu enclave in Muslim Indonesia • Artistic activities part of everyday life • aesthetically pleasing things are “offerings” • spirits need to be appeased

  3. Gotong-royong • Stratified society • Joint responsibility, mutual cooperation • Musical style models social organization • Interlocking rhythms • Whole is greater than the sum of its parts

  4. Gamelan: Bali vs. Java • Variety of ensembles • Abrupt tempo/dynamics changes • Complex, fast interlocking parts

  5. Threes in Bali • Hindu trinity • Brahma, Vishnu, Shiva • Temples • inner sanctum (sacred; for gods) • inner courtyard (interface; gods and people) • outer courtyard (profane; for people)

  6. Threes in Bali (cont.) • Old” / “Middle” / “New” ensembles • Three-section pieces

  7. Gong Kebyar: Four Functional Layers • Colotomic instruments • Gong / Kempur / Kemong • Kempli (a.k.a. Kajar)

  8. Gong Kebyar: Four Functional Layers (cont.) • Core melody and Elaboration • Ugal (lead instrument) • Kantilan / Pemade (higher-pitched) • Calung / Jegogan (lower-pitched) • Reyong (one-row gong chime, 4 players; elaboration)

  9. Gong Kebyar: Four Functional Layers (cont.) • Drumming • Pair of drums • Time coordination • Dance coordination

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