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Javanese Gamelan and the West studies the meaning, forms, and traditions of the Javanese performing arts as they developed and changed through their contact with Western culture. Authored by a gamelan performer, teacher, and scholar, the book traces the adaptations in gamelan art as a result of Western colonialism in nineteenth-century Java, showing how Western musical and dramatic practices were domesticated by Javanese performers creating hybrid Javanese-Western art forms, such as with the introduction of brass bands in gendhing mares court music and West Javanese tanjidor/, and Western theatrical idioms in contemporary wayang puppet plays. The book also examines the presentation of Javanese gamelan to the West, detailing performances in World's Fairs and American academia and considering its influence on Western performing arts and musical and performance studies. The end result is a comprehensive treatment of the formation of modern Javanese gamelan and a fascinating look at how an art form dramatizes changes and developments in a culture. Sumarsam is a University Professor of Music at Wesleyan University. He is the author of Gamelan: Cultural Interaction and Musical Development in Central Java (University of Chicago Press, 1995) and numerous articles in English and Indonesian. As a gamelan musician and a keen amateur dhalang/ (puppeteer) of Javanese wayang puppet play, he performs, conducts workshops, and lectures throughout the US, Australia, Europe, and Asia.

Foreign language lessons often provide translations into a foreign language of phrases students would normally use in their native language and cultural setting. Particularly when studying a non-Western language, such direct translation is very misleading. Students must instead learn the conventions that guide human interactions, so they know both what to say and how to say it.In this text, therefore, the sociological context of Javanese is explained as thoroughly as Javanese grammar. The book presents Javanese in its full complexity and range in order to illustrate a cultural appoach to a non-Western language; it will therefore be of interest not only to language learners, but to linguists, sociologists, anthropologists, and many others.

This book is the most comprehensive and ambitious study of the Javanese and their society since Raffles's 1817 The History of Java. It includes detailed accounts of Javanese history, peasant and urban culture, religion, and values and symbols.

Few art forms in the world appear as exotic as Javanese shadow plays, in which flat leather puppets cast shadows upon a screen. The figures are intricately cut and painted, and one puppeteer controls all their movements and enacts all their voices for the night-long performance. The puppeteer is believed to possess great amounts of mystical power, and the art form he transmits enjoys more prestige than many of Java's other performing arts. How can we make any sense of such a strange performing art? Textual evidence suggests that shadow plays have been performed for over 1,000 years in Java. The highly stylized figures, representing heroes, gods, princesses, demons, and servants, do indeed look like images from an altogether distant time and place. Yet, today, shadow plays are still enormously popular and Javanese flock in great numbers to see a famous puppeteer perform. To understand why shadow plays enjoy such great prestige and still provide so much pleasure, it is necessary to consider the stories they relate, their place in Javanese social life, and how Javanese talk about them. In the end, they remain a strikingly unusual art form, but not an inaccessibly exotic one.

Javanese Gamelan and the West studies the meaning, forms, and traditions of the Javanese performing arts as they developed and changed through their contact with Western culture. Authored by a gamelan performer, teacher, and scholar, the book traces the adaptations in gamelan art as a result of Western colonialism in nineteenth-century Java, showing how Western musical and dramatic practices were domesticated by Javanese performers creating hybrid Javanese-Western art forms, such as with the introduction of brass bands in gendhing mares court music and West Javanese tanjidor/, and Western theatrical idioms in contemporary wayang puppet plays. The book also examines the presentation of Javanese gamelan to the West, detailing performances in World's Fairs and American academia and considering its influence on Western performing arts and musical and performance studies. The end result is a comprehensive treatment of the formation of modern Javanese gamelan and a fascinating look at how an art form dramatizes changes and developments in a culture. Sumarsam is a University Professor of Music at Wesleyan University. He is the author of Gamelan: Cultural Interaction and Musical Development in Central Java (University of Chicago Press, 1995) and numerous articles in English and Indonesian. As a gamelan musician and a keen amateur dhalang/ (puppeteer) of Javanese wayang puppet play, he performs, conducts workshops, and lectures throughout the US, Australia, Europe, and Asia.

Javanese Gamelan and the West studies the meaning, forms, and traditions of the Javanese performing arts as they developed and changed through their contact with Western culture. Authored by a gamelan performer, teacher, and scholar, the book traces the adaptations in gamelan art as a result of Western colonialism in nineteenth-century Java, showing how Western musical and dramatic practices were domesticated by Javanese performers creating hybrid Javanese-Western art forms, such as with the introduction of brass bands in gendhing mares court music and West Javanese tanjidor/, and Western theatrical idioms in contemporary wayang puppet plays. The book also examines the presentation of Javanese gamelan to the West, detailing performances in World's Fairs and American academia and considering its influence on Western performing arts and musical and performance studies. The end result is a comprehensive treatment of the formation of modern Javanese gamelan and a fascinating look at how an art form dramatizes changes and developments in a culture. Sumarsam is a University Professor of Music at Wesleyan University. He is the author of Gamelan: Cultural Interaction and Musical Development in Central Java (University of Chicago Press, 1995) and numerous articles in English and Indonesian. As a gamelan musician and a keen amateur dhalang/ (puppeteer) of Javanese wayang puppet play, he performs, conducts workshops, and lectures throughout the US, Australia, Europe, and Asia.

During the dramatic economic and social transformation of late twentieth-century Indonesia, theatre in Central Java featured a familiar cast of rulers, nobles, clown servants and ordinary people. However these performances were not a repetition of age-old cultural "traditions." Instead, by stretching the framework of Javanese theatre convention, theatre troupes challenged dominant cultural and political values. As political pressures intensified in the final months of the New Order regime, these witty, critical performances drew enthusiastic, oppositionist crowds.The dismantling of repressive state control after the fall of Suharto in 1998 diminished interest in political critiques from the stage, and growing economic weakness caused patronage and sponsorship to dry up. By 2003–2004, however, a revival was underway as performers engaged with the politics of regional autonomy and democratization, and actors responded to the devastating Yogyakarta earthquake of 2006 by staging shows in the worst-affected areas to help sustain community spirit and pride in local culture.Barbara Hatley’s account of more than thirty years of theatre activities and social change shows how performers and audiences have adapted, resisted, incorporated and survived. As Indonesian society evolves, Javanese performances continue to engage with ever-changing social contexts, expressing the dynamic resilience and sense of identity of those who stage and watch them.

Never heard outside of the country until seventy years ago, the gamelan music of Central Java is now being widely taught in America, the Netherlands, and Australia, and interest in other countries is increasing all the time. More and more non-Southeast Asians are coming into contact with gamelan music through travel or through recordings or performances in their home countries. Yet, while valuable research material on gamelan music is available, this is the only short book available for non-Southeast Asians coming into contact with gamelan for the first time. The book outlines some of the basic concepts of Javanese gamelan, and provides a listening framework so that the exotic sounds can be given musical and cultural sense. Included in the text is an explanation of the historical background, the instruments and their making, tuning and notation, the structure of the music, and the place of gamelan music in Javanese society. For those who are traveling in Java, there is a list of places to go to hear gamelan music, and for those who are interested in further study, there is a list of suggested reading and recordings. This new edition contains newly taken, much improved photographs as well as the line drawings from the first.

As with many performing arts in Asia, neither the highly stylized images of the Javanese shadow play nor its musical complexity detracts from its wide popularity. By a context-sensitive analysis of shadow-play performances, Ward Keeler shows that they fascinate so many people in Java because they dramatize consistent Javanese concerns about potency, status, and speech.Originally published in 1987.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Javanese Gamelan and the West studies the meaning, forms, and traditions of the Javanese performing arts as they developed and changed through their contact with Western culture. Authored by a gamelan performer, teacher, and scholar, the book traces the adaptations in gamelan art as a result of Western colonialism in nineteenth-century Java, showing how Western musical and dramatic practices were domesticated by Javanese performers creating hybrid Javanese-Western art forms, such as with the introduction of brass bands in gendhing mares court music and West Javanese tanjidor/, and Western theatrical idioms in contemporary wayang puppet plays. The book also examines the presentation of Javanese gamelan to the West, detailing performances in World's Fairs and American academia and considering its influence on Western performing arts and musical and performance studies. The end result is a comprehensive treatment of the formation of modern Javanese gamelan and a fascinating look at how an art form dramatizes changes and developments in a culture. Sumarsam is a University Professor of Music at Wesleyan University. He is the author of Gamelan: Cultural Interaction and Musical Development in Central Java (University of Chicago Press, 1995) and numerous articles in English and Indonesian. As a gamelan musician and a keen amateur dhalang/ (puppeteer) of Javanese wayang puppet play, he performs, conducts workshops, and lectures throughout the US, Australia, Europe, and Asia.

An Oxford in Asia paperback about the Javanese Gamelan.

Never heard outside of the country until seventy years ago, the gamelan music of Central Java is now being widely taught in America, the Netherlands, and Australia, and interest in other countries is increasing all the time. More and more non-Southeast Asians are coming into contact with gamelan music through travel or through recordings or performances in their home countries. Yet, while valuable research material on gamelan music is available, this is the only short book available for non-Southeast Asians coming into contact with gamelan for the first time. The book outlines some of the basic concepts of Javanese gamelan, and provides a listening framework so that the exotic sounds can be given musical and cultural sense. Included in the text is an explanation of the historical background, the instruments and their making, tuning and notation, the structure of the music, and the place of gamelan music in Javanese society. For those who are traveling in Java, there is a list of places to go to hear gamelan music, and for those who are interested in further study, there is a list of suggested reading and recordings. This new edition contains newly taken, much improved photographs as well as the line drawings from the first.

Foreign language lessons often provide translations into a foreign language of phrases students would normally use in their native language and cultural setting. Particularly when studying a non-Western language, such direct translation is very misleading. Students must instead learn the conventions that guide human interactions, so they know both what to say and how to say it.In this text, therefore, the sociological context of Javanese is explained as thoroughly as Javanese grammar. The book presents Javanese in its full complexity and range in order to illustrate a cultural appoach to a non-Western language; it will therefore be of interest not only to language learners, but to linguists, sociologists, anthropologists, and many others.

This is the third, revised edition of Stuart Robson's highly successful guide to the grammar of the Javanese language, which is spoken by around 80,000,000 speakers on the island of Java. The book progresses from simple to more complex topics, facilitating a steady increase in language proficiency. Fresh examples have been added, as well as a section entitled "How Do You Say It In Javanese?" arranged under 120 headwords and taking the viewpoint of speakers of English wanting an equivalent to an English idiom. There is an introduction and a note on the language levels of Javanese, important for social interaction. The book will be of interest to students of Indonesian studies who want a deeper knowledge of communication on the island of Java, researchers considering fieldwork in Java, linguists making comparative studies of Indonesian languages, and outsiders undertaking employment in Java. [Subject: Language, Linguistics, Indonesian Studies]

Deluxe softcover edition! Filled with step-by-step active action photos and instruction.

Deluxe softcover edition! Filled with step-by-step active action photos and instruction.

New! This book is in the same immaculate condition as when it was published 1.05

One of the most controversial aspects of Javanese gamelan music is its musical mode, pathet. From her experience as a performer of sindhenan, or female singing, Walton analyses the melodies and defines the basic laws of mode for sindhenan. She explains more convincingly than previous authors how two systems of mode operate simultaneously in gamelan music to enhance its aesthetic appeal.

Impact Soundworks Javanese Gamelan Your Digital Software Registration Code and Instructions Will Be Sent to You, Along With an URL Connecting Yo...

Java is famous for its combination of diverse cultural forms and religious beliefs. In this most comprehensive study of Javanese religion since Clifford Geertz's classic study, Andrew Beatty considers Javanese solutions to problems of cultural difference, and how villagers make sense of their complex, multi-layered culture. Pantheist mystics, supernaturalists, orthodox Muslims and Hindu converts at once construct contrasting faiths and create a common ground through syncretist ritual. Vividly evoking the local religious life, this book probes beyond the surface of ritual and cosmology, revealing the compromise inherent in practical religion.