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"This essential work from Judith Becker breaks important new ground in the quest by English-speaking scholars to understand the deeper levels of Central Javanese meaning regarding music and musical exegesis. She approaches her work on gamelan and court dance by examining texts and interviews of a number of older (and since deceased) Central Javanese scholar/musicians. 'While these stories focus on the events of music and dance, those activities also become metaphors for the strongly felt , extra mundane connections between human and cosmos, between the individual and a greater, more enduring, more powerful realm with which he or she is both linked and separated' (p. 1). Becker carefully outlines her claim with strong supporting evidence, building a history of medieval Javanese thought that lays the groundwork for the ways in which Javanese musicians interpret their art today. She also notes some of the ways in which Western scholars have misunderstood Javanese musicians and the literature about Javanese music and dance, and how they have inaccurately analyzed certain characteristics of modern practice." -- The Journal of Asian Studies

"This essential work from Judith Becker breaks important new ground in the quest by English-speaking scholars to understand the deeper levels of Central Javanese meaning regarding music and musical exegesis. She approaches her work on gamelan and court dance by examining texts and interviews of a number of older (and since deceased) Central Javanese scholar/musicians. 'While these stories focus on the events of music and dance, those activities also become metaphors for the strongly felt , extra mundane connections between human and cosmos, between the individual and a greater, more enduring, more powerful realm with which he or she is both linked and separated' (p. 1). Becker carefully outlines her claim with strong supporting evidence, building a history of medieval Javanese thought that lays the groundwork for the ways in which Javanese musicians interpret their art today. She also notes some of the ways in which Western scholars have misunderstood Javanese musicians and the literature about Javanese music and dance, and how they have inaccurately analyzed certain characteristics of modern practice." -- The Journal of Asian Studies

A Gamelan Manual is a comprehensive description of the performance practice of the central Javanese gamelan. It is mainly for the many gamelan players in the West, but also for composers, teachers, and music-lovers seeking a detailed description of one of the most widely heard and widely admired non-Western musical cultures.

A gentle introduction to the familiar music from Southeast Asia's largest country―both as sound and cultural phenomenon.· Maps of Southeast Asia, Java, and Bali· 20+ photographs of musical instruments and other subjects

A Gamelan Manual is a comprehensive description of the performance practice of the central Javanese gamelan. It is mainly for the many gamelan players in the West, but also for composers, teachers, and music-lovers seeking a detailed description of one of the most widely heard and widely admired non-Western musical cultures.

LP version. Includes printed inner sleeve; Includes download card with complete ceremony, extra photographs, and liner note translations (French, Italian, Japanese). A fascinating immersion in the heart of a funeral ceremony live recorded in Bali, where gongs, cymbals, and drums give rhythm to the bewitching atmosphere of this mortuary procession. The international audience's interest into Balinese music and it's gamelan orchestras dates back to the edition of large ethnographic series in the 19

Music for Orchestra Ensemble & Gamelan Gamelan Si Betty - CD 710357257124

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.

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

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.

Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library, so some stamps and wear, but in good overall condition. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions.

Each piece in this book is broken down into clear and simple steps that show you how to build up the music gradually with your class. Combined with the accompanying DVD - which contains 60 short clips of the author and a group of KS3 students demonstrating all of the instruments and patterns to each piece - teaching and learning world music has never been so easy or enjoyable. The six pieces are supplemented with valuable background information about the music and culture, cross-curricular projects, composing ideas, advice on assessment and guidance on teaching whole-class world-music ensembles. The material in this book has been designed primarily for use with KS2 and KS3 classes, but the addition of higher-ability parts for each piece means the book can be tailored easily to KS4 as well. It is not necessary to own authentic instruments to get the most out of this book, as classroom alternatives are suggested and demonstrated.

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.

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.

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.

The gamelan music of Central Java is one of the world's great orchestral traditions. Its rich sonic texture is not based on Western-style harmony or counterpoint, but revolves around a single melody. The nature of that melody, however, is puzzling. In this book, Marc Perlman uses this puzzle as a key to both the art of the gamelan and the nature of musical knowledge in general. Some Javanese musicians have suggested that the gamelan’s central melody is inaudible, an implicit or "inner" melody. Yet even musicians who agree on its existence may disagree about its shape. Drawing on the insights of Java’s most respected musicians, Perlman shows how irregularities in the relationships between the melodic parts have suggested the existence of "unplayed melodies." To clarify the differences between these implicit-melody concepts, Unplayed Melodies tells the stories behind their formulation, identifying each as the creative contribution of an individual musician in a postcolonial context (sometimes in response to Western ethnomusicological theories). But these stories also contain evidence of the general cognitive processes through which musicians find new ways to conceptualize their music. Perlman’s inquiry into these processes illuminates not only the gamelan’s polyphonic art, but also the very sources of creative thinking about music.

The gamelan music of Central Java is one of the world's great orchestral traditions. Its rich sonic texture is not based on Western-style harmony or counterpoint, but revolves around a single melody. The nature of that melody, however, is puzzling. In this book, Marc Perlman uses this puzzle as a key to both the art of the gamelan and the nature of musical knowledge in general. Some Javanese musicians have suggested that the gamelan’s central melody is inaudible, an implicit or "inner" melody. Yet even musicians who agree on its existence may disagree about its shape. Drawing on the insights of Java’s most respected musicians, Perlman shows how irregularities in the relationships between the melodic parts have suggested the existence of "unplayed melodies." To clarify the differences between these implicit-melody concepts, Unplayed Melodies tells the stories behind their formulation, identifying each as the creative contribution of an individual musician in a postcolonial context (sometimes in response to Western ethnomusicological theories). But these stories also contain evidence of the general cognitive processes through which musicians find new ways to conceptualize their music. Perlman’s inquiry into these processes illuminates not only the gamelan’s polyphonic art, but also the very sources of creative thinking about music.

For centuries the gamelan beleganjur percussion orchestra has been an indispensable part of political, social, and spiritual life on the island of Bali. Traditionally associated with warfare and rituals for the dead, the music has recently given rise to an exciting new musical style featured in contests that are attended by thousands. Ethnomusicologist Michael Bakan draws us into these intensely competitive events, in which political corruption, conflicting notions of identity, and irrepressible creativity rupture the smooth surface of cultural order. Building from his own experiences as a beleganjur drummer, Bakan also takes us inside a distant musical world and into the lives of musicians connecting across vast cultural divides. Rich with musical examples, photographs, and an accompanying compact disc, Music of Death and New Creation is an unprecedented exploration of how music embodies and shapes life in contemporary Indonesia and beyond.