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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

Immerse yourself in the sound of the Javanese gamelan, an ancient, tuned percussion ensemble from Indonesia. Its transcendental tone has inspired composers for centuries: and with twelve unique instruments and a custom ensemble builder, it's now at your fingertips.ConceptGamelan is an ancient artform of Indonesia; it is a musical ensemble most often containing percussive, tuned metallophones with meditative, bell-like tones. The gamelan is among the oldest known instrument ensembles that is still played today, known to be at least 1,200 years old. Each instrument within the ensemble has its own unique design, size, and tuning, resulting in a rich and transcendent sound when played together.The sound of the gamelan was hugely influential on 20th century Western composers like Satie, Cage, Bartk, Messiaen, and Britten, but can also be heard prominently in acclaimed scores like Akira, Battlestar: Galactica, The Girl with a Pearl Earring, and many others.Our sampled Javanese Gamelan (as opposed to Balinese, or Sundanese) consists of twelve instruments made from bronze in Indonesia, carefully played and sampled by composer Gonzalo Varela to capture their full clarity and nuance. We have presented them here as an ensemble with standard Western tuning, along with the option for custom microtuning scales, and authentic Pelog and Slendro scales.Javanese Gamelan lets you customize your own ensemble or play individual instruments in their authentic forms. Whether you're writing for soundtracks, pop music, atmospheric electronica, or New Age, we think you'll find it incredibly inspiring - just as we did.ContentThe library includes twelve individual instruments comprising the ensemble: Bonang, Demung, Gambang, Gender, Gongs, Kempul, Kempyang, Kenong, Kethuk, Peking, Saron, and Slenthem. Each has been sampled with fully-sustaining and dampened notes, in 16 dynamic layers, which allows deep playable and responsiveness.The single instrument patches are presented in two idiomatic tunings - Pelog and Slendro - as well as equal temperament, suitable for traditional Western music. The ensemble builder allows for per-instrument tuning, mixing, effects, and humanization, allowing you to create your own custom blend of tones in whatever note ranges you choose.You can truly shape the sound of the gamelan with our integrated Console mixer & FX rack, pictured below. In the ensemble patch, each instrument gets its own channel, allowing you to add up to 8 modular effects for each. EQs, compression, reverb, modulation, distortion and many more FX units are available, giving you endless tonal possibilities.• 6,750 samples at pristine 24/48 quality• 16 dynamic layers per key• Full & dampened recordings• 12 individual instruments• Bonang, demung, gambang, gender• Gongs, kempul, kempyang, kenong• Kethuk, peking, saron, slenthem

"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

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

The Balinese gamelan, with its shimmering tones, breathless pace, and compelling musical language, has long captivated musicians, composers, artists, and travelers. Here, Michael Tenzer offers a comprehensive and durable study of this sophisticated musical tradition, focusing on the preeminent twentieth-century genre, gamelan gong kebyar. Combining the tools of the anthropologist, composer, music theorist, and performer, Tenzer moves fluidly between ethnography and technical discussions of musical composition and structure. In an approach as intricate as one might expect in studies of Western classical music, Tenzer's rigorous application of music theory and analysis to a non-Western orchestral genre is wholly original. Illustrated throughout, the book also includes nearly 100 pages of musical transcription (in Western notation) that correlate with 55 separate tracks compiled on two accompanying compact discs. The most ambitious work on gamelan since Colin McPhee's classic Music in Bali, this book will interest musicians of all kinds and anyone interested in the art and culture of Southeast Asia, Indonesia, and Bali.

The Balinese gamelan, with its shimmering tones, breathless pace, and compelling musical language, has long captivated musicians, composers, artists, and travelers. Here, Michael Tenzer offers a comprehensive and durable study of this sophisticated musical tradition, focusing on the preeminent twentieth-century genre, gamelan gong kebyar. Combining the tools of the anthropologist, composer, music theorist, and performer, Tenzer moves fluidly between ethnography and technical discussions of musical composition and structure. In an approach as intricate as one might expect in studies of Western classical music, Tenzer's rigorous application of music theory and analysis to a non-Western orchestral genre is wholly original. Illustrated throughout, the book also includes nearly 100 pages of musical transcription (in Western notation) that correlate with 55 separate tracks compiled on two accompanying compact discs. The most ambitious work on gamelan since Colin McPhee's classic Music in Bali, this book will interest musicians of all kinds and anyone interested in the art and culture of Southeast Asia, Indonesia, and Bali.

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.

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.

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

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.

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.

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.

This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In good all round condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,200grams, ISBN:9794202738

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.

254pp b/w illustrations text figures cloth octavo. very good in slightly worn dustwrapper with sun fading to spine

How do musicians know what they know? This study is a new approach to the nature of musical competence. Using the intricate collaborative structure of gamelan—Javanese ensemble music—as a point of departure, Knowing Music, Making Music lays the foundation for a comprehensive theory of musical competence and interaction. Using illustrative examples from a variety of traditions, Benjamin Brinner first examines the elements and characteristics of musical competence, the different kinds of competence in a musical community, the development of multiple competences, and the acquisition and transformation of competence through time. He then shows how these factors come into play in musical interaction, establishing four intersecting theoretical perspectives based on ensemble roles, systems of communication, sound structures, and individual motivations. These perspectives are applied to the dynamics of gamelan performance to explain the social, musical, and contextual factors that affect the negotiation of consensus in musical interaction. The discussion ranges from sociocultural norms of interpersonal conduct to links between music, dance, theater, and ritual, and from issues of authority and deference to musicians' self-perceptions and mutual assessments. Much more than a portrait of artists making music together, this book brings together a variety of cognitive approaches and a wide range of examples from many cultures to suggest ways of integrating our knowledge of music making both in individual cultures and crossculturally.