Music in Central Java : Experiencing Music, Expressing Culture

Foreword xi Preface xiii CD Track List xvii First Hearings 1(24) Introduction 1(2) What Is a Gamelan? 3(1) Gamelan Performance Contexts in Solo: Life Cycles and Musical Cycles 4(7) Cyclicity and Coincidence 11(2) Music in the Everyday 13(2) Patronage and Sociopolitical Change 15(4) Social Status, Language, and Interaction 16(1) Gamelan at the Radio Station 17(2) Similarities and Differences 19(2) Categories and Cross-Cultural (Mis)Communication 21(1) Conclusion: Three Themes 22(3) Flexibility of Frameworks and Processes 22(1) Appropriateness 23(1) Interconnectedness 23(2) A Sense of Time 25(23) Making and Marking Musical Time: Gongs and Drums 27(6) Cyclicity and Colotomic Function 28(5) Drumming 33(11) Lancaran Drum Patterns 37(7) Gongs, Drums, and the Flexibility of Time 44(4) Gamelan, Tuning, and Instrumental Melody 48(26) Gamelan Tunings 52(1) Tuning Systems: Slendro and Pelog 53(2) Gamelan Instruments 55(4) Instrumental Melody 59(7) Melody and Elaboration 66(8) Balungan, Peking, and Bonang 66(3) ``Ladrang Asmaradana'' 69(5) Songs, Singers, and Gamelan 74(14) Social Aspects of Singing 74(2) Poetry, Song, and Gamelan 76(11) Conclusion 87(1) Melodic Elaboration and Training in the Arts 88(9) Rebab, Gender, and Other Elaborating Instruments 88(5) Cengkok, Variation, and the Transmission of Musical Knowledge 93(4) Shadows and Tales 97(20) Wayang in Pangkah Village 97(5) Javanese Shadow Plays 102(2) The Stories and the Telling: The Main Elements 104(10) Physical Setup 104(3) Plots and Plot Sources 107(1) Characters and Character Types 108(3) Language and Voice 111(1) Movement Patterns 112(1) Dramatic Structure: Schemata of Various Sizes 113(1) Conclusion 114(3) Music for Motion and Emotion---Wayang Kulit 117(27) ``Brajadenta Balela'' 117(7) Wayang Repertoire 124(11) Music for Expressing Emotion: Sulukan 124(2) Music for Accompanying Motion: Gendhing Lampah 126(6) Music for Setting a Scene: Gendhing 132(3) Return to ``Brajadenta Balela'' 135(4) Flexibility and Appropriateness 139(1) Conventions and Innovations 140(4) Java and Beyond 144(13) Pak Cokro 144(4) Interconnectedness: Theater, Dance, and Music 148(3) Educational Institutions 151(1) Regionalism and the Dominance of Solonese Style 152(1) Java and the Rest of Indonesia 153(1) Java and the World 153(2) Conclusion 155(2) Glossary 157(4) References 161(2) Resources 163(4) Index 167