Related Papers
Nota Bene: Canadian Undergraduate Journal of Musicology
Waringin: Recording a Composition with Gamelan Salukat, a Crossroads of Music and Culture
2020 •
Oscar Smith
As the subject of numerous studies over the last century, Balinese music has been presented in a particular light. In the 21st Century, it has been a priority for Western musicologists to renew our outdated or inaccurate conceptions. This paper joins that discourse by presenting an intercultural project as an opportunity to bring the perspective of Balinese musicians under consideration. Recently, I undertook a recording project in Bali, working on my composition “Waringin,” written for Gamelan Salukat. Gamelan Salukat is a 20-30-person bronze ensemble with a radical tuning system, comprised of young musicians (~18-30 yrs.) from around the Ubud region of Central Bali. The project became a crossroads of musicianship, uncovering many intriguing tensions—notation versus oral learning, counting rhythms versus feeling or embodying rhythms, and composition versus improvisation. The following ethnographic account explores how the young Balinese musicians tackled the problems we faced...
Ethnomusicology
Gamelan Girls: Gender, Childhood, and Politics in Balinese Music Ensembles
Jonathan McIntosh
Musicology Australia
Gamelan Gong Gede: Negotiating Musical Diversity in Bali's Highlands
2010 •
Made Mantle Hood
Meguru Panggul and Meguru Kuping; The Method of Learning and Teaching in Balinese Gamelan Rehearsal
I Wayan Sudirana
Cross-cultural practice in creative perspective: New Zealand compositions for central Javanese gamelan instruments
2015 •
Anton Killin
In July 2013, Wellington-based gamelan group Gamelan Padhang Moncar embarked on a performance/study tour of Java, Indonesia. The group’s tour repertoire comprised conventional music from the central Javanese gamelan tradition as well as new compositions by five members of the group, all emergent composers in their twenties. These new gamelan compositions were also performed to audiences “at home” in Wellington, and were subsequently recorded and released on Rattle Records’ Naga in 2014. Discussing these works provides an excellent opportunity to reflect on current cross-cultural compositional practice in New Zealand, and the creative processes of the composer-members of the group. Because Padhang Moncar performed upon numerous sets of gamelan instruments whilst on tour, each with its own distinct embat (tuning schema), this study also provides an opportunity to elucidate the composers’ perspectives on the fluid nature of the performances of their works, since melodies and harmonies are subtly transformed by the distinct intervallic structures of each set of gamelan instruments—an exciting aspect of composing for gamelan.
Asian Music
Gamelan Performance Outside Indonesia Setting Sail: Babar Layar and Notions of Bi-musicality
2011 •
Maria Mendonça
Southeast Asia Program at Cornell University. …
Classroom Indonesia: Music
1997 •
martin hatch
ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL
UNIQUE EXPERIENCE DURING THE 3RD SEAMEX (SOUTHEAST ASIA MUSIC EDUCATION EXCHANGE
2019 •
Xiang Yin
SEAMEX (Southeast Asia Music Education Exchange) is said to be the 1st dedicated marketplace for music education in Southeast Asia. The 3rd SEAMEX 2019: “Music, Sphere, and Interconnected Generation” was held at Jogja National Museum in Yogyakarta, Indonesia, from 6-8 September, 2019. As a group, Gamelan Shanghai, organized by Gisa Jähnichen from Shanghai Conservatory of Music, was very honored to be invited to participate in this big event. 10 members of the group are from different countries and have different majors such as composition, instrumental performance, music education, and ethnomusicology. But this time, they were all gamelan performers. Some of them studied gamelan over 2 years. This paper will present their unique thoughts and feelings during the event SEAMEX.
The Method of Learning and Teaching in Balinese Gamelan Rehearsal
Wayan Sudirana
“True musical experience is the experience of trust”—trust between the student and teacher. Whatever teaching method a teacher applies, it will not work without any trust. “It is only when we learn to trust one another, to dissolve in the realization of our shared humanity, will the music finally play.” This is an autoethnography. It exhibits the long process of musicianship in a traditional Balinese community. Also, I explore how, as a modern Balinese musician, my musicianship fit in with the new musical setting of a Western community. The paper is divided into three parts: the first part is an exploration of the traditional learning process and Balinese musical pedagogy called meguru panggul. The second is an exploration of my experience in continuing my studies at ISI Denpasar (the Balinese Arts Institute)— how the teacher conducts the learning process in a formal setting, and my own discovery in learning with ear (meguru kuping). And lastly, the third explores the development of my perception and conception of a new learning and teaching style, when I was exposed to the Western way of teaching and learning music at the University of British Columbia, Vancouver, Canada.
Composing Asia in New Zealand: Gamelan and creativity
2008 •
Henry Johnson
This paper is divided into two interrelated parts: ‘Music from Gamelan’ and ‘Music for Gamelan’. These parts are intended to reflect a continuum that places at one end composers writing music that has been influenced by the sounds of gamelan in one way or another, and at the other end composers writing specifically for the instruments. The first part provides a brief outline of some of the influences of gamelan on New Zealand in terms of how and why this Indonesian rooted music has inspired the musical soundscape of some representative New Zealand composers, sometimes working outside the medium of a gamelan ensemble, but necessarily being influenced by the music in their own creative output. The second part has the aim of discussing how and why music has been composed primarily for gamelan in the New Zealand context. Issues of authenticity are raised in the context of music written by New Zealand-based Indonesian composers vis-à-vis music written by non-Indonesian New Zealanders. Do the New Zealand-based composers who have been inspired by gamelan attempt to understand the music, instruments, and performance practice from an Indonesian perspective? Or is there merely a superficial knowledge and adaptation of gamelan in the non-Indonesian New Zealand context? While definitive answers to such questions are beyond the scope of this discussion, an exploration of relevant composers and their musical works helps in providing a discourse that problematises and foregrounds some of the issues that underpin the recent phenomenon of gamelan recontextualisations and inspirations. Both parts of this article consist of a series of case studies that have been researched using a mixture of methods, including ethnographic research, interviews, and a critical literary approach drawing on cultural studies.
