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Other titles in the Chicago Studies in Ethnomusicology series:

Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese Music with CD (Audio) (Chicago Studies in Ethnomusicology)

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Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese Music with CD (Audio) (Chicago Studies in Ethnomusicology) Cover

 

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Publisher Comments:

List of FiguresForeword by Steve ReichAcknowledgmentsNotes on Pronunciation, Orthography, and TranscriptionChapter 1. IntroductionEncountering and Learning KebyarComposition, Theory, and EthnomusicologyOverviewPart One: Approaches to KebyarChapter 2. Kebyar Orchestral ResourcesKebyar Timbre and the "Outside" of the SoundScale (Saih) and Tuning(Laras)Cosmology, Aesthetics, and a Spatial Model for Scale TonesA Three-Dimensional Model of Kebyar Pitch SpaceInstrumentationInstrument Classification and Textural StrataVertical Relationships between and within StrataOrchestration in PracticeChapter 3. The Social Construction of Kebyar Ensemble VirtuosityThe Geocultural Roots of Balinese MusicBalinese Collectivity and the SekahaThe Changing Sekaha I: The Birth of KebyarThe Changing Sekaha II: Kebyar up to IndependenceThe Changing Sekaha III: Kebyar after IndependenceThe Sekaha in the New OrderChanges in the Sekaha Today: One Group's NarrativeMultidimensionality and Collectivity in KebyarChapter 4. Contexts for Kebyar TheoryEarly Balinese Gamelan Scholarship: McPhee's ContributionsBalinese Gamelan Scholarship: 1940 to the PresentThe Recent History of Music Theory in Java and BaliJavanese Counterparts for Balinese Music ConceptsIssues for Kebyar Music TheoryAnalytical Approaches to Kebyar and the Music of the European Classic PeriodElaboration and Style: A Preliminary AnalysisPart Two: Structure in KebyarChapter 5. History, Repertoire, Topic, and StructureHistorical Periods and Gamelan GenresScanning the RepertoireComposition Types and Theatrical FormsTopic ClassesAnalytical Interlude: From Topic Class to Structural ClassStructural ClassesInside MelodiesMelodic Identity and Melodic"Quality"Chapter 6. Melody and FigurationAnalytical Conventions and PreliminariesAnalytical Commentary on 4-, 8-, and 16-beat Melodies/Character Topic SourcesAnalytical Commentary on 32- and 64-beat MelodiesAnalytical Commentary on 128- and 256-beat Melodies/Abstract TopicsUnfixed Pokok Elaboration: PayasanFixed Pokok Elaborations I: Noninterlocking PartsFixed Pokok Elaborations II: Interlocking PartsKotekan Categories and Analytical PreliminariesAnalysis of Symmetrical Kotekan PatternsAsymmetrical Melody and ElaborationKinds of Tua-based Asymmetry in KebyarAsymmetry in Tua CompositionsConclusion: Asymmetry and Vocal TraditionsChapter 7. Meter and DrummingPrelude: Kebyar Drummers as Leaders and StylistsOverviewDrum Pattern and Balinese MeterDrum Styles, the Vocabulary of Drum Strokes, and Their Syntax and StructurePattern Identity and QualityStable and Active Patterns and the Impact of Drumming on FormDrumming and Dance MovementDrum Improvisation and Kendang TunggalConclusionChapter 8. Form and CompositionPrelude: Kebyar ComposersOverviewElements, Contexts, and Element-ProgressionsThe Shape of the Gending: Balinese Categories of Musical FormInside Gending Looking OutConclusion: Form and CompositionPart Three: Kebyar in Bali and AbroadChapter 9. Fantasy on Wilet MayuraBackground and ReceptionThe Text and SingingLocating Innovation and ExpressionBalinese and Western Temporalities in ContextWilet Mayura in Cross-Cultural PerspectivePlaying in All RegistersChapter 10. Epilogue: Kebyar and Ideas of New MusicContents of the CDsSources CitedIndex-Glossary of Indonesian and Balinese TermsGeneral Index

Synopsis:

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.

Table of Contents

List of Figures

Foreword by Steve Reich

Acknowledgments

Notes on Pronunciation, Orthography, and Transcription

Chapter 1. Introduction

Encountering and Learning Kebyar

Composition, Theory, and Ethnomusicology

Overview

Part One: Approaches to Kebyar

Chapter 2. Kebyar Orchestral Resources

Kebyar Timbre and the "Outside" of the Sound

Scale (Saih) and Tuning(Laras)

Cosmology, Aesthetics, and a Spatial Model for Scale Tones

A Three-Dimensional Model of Kebyar Pitch Space

Instrumentation

Instrument Classification and Textural Strata

Vertical Relationships between and within Strata

Orchestration in Practice

Chapter 3. The Social Construction of Kebyar Ensemble Virtuosity

The Geocultural Roots of Balinese Music

Balinese Collectivity and the Sekaha

The Changing Sekaha I: The Birth of Kebyar

The Changing Sekaha II: Kebyar up to Independence

The Changing Sekaha III: Kebyar after Independence

The Sekaha in the New Order

Changes in the Sekaha Today: One Group's Narrative

Multidimensionality and Collectivity in Kebyar

Chapter 4. Contexts for Kebyar Theory

Early Balinese Gamelan Scholarship: McPhee's Contributions

Balinese Gamelan Scholarship: 1940 to the Present

The Recent History of Music Theory in Java and Bali

Javanese Counterparts for Balinese Music Concepts

Issues for Kebyar Music Theory

Analytical Approaches to Kebyar and the Music of the European Classic Period

Elaboration and Style: A Preliminary Analysis

Part Two: Structure in Kebyar

Chapter 5. History, Repertoire, Topic, and Structure

Historical Periods and Gamelan Genres

Scanning the Repertoire

Composition Types and Theatrical Forms

Topic Classes

Analytical Interlude: From Topic Class to Structural Class

Structural Classes

Inside Melodies

Melodic Identity and Melodic "Quality"

Chapter 6. Melody and Figuration

Analytical Conventions and Preliminaries

Analytical Commentary on 4-, 8-, and 16-beat Melodies/Character Topic Sources

Analytical Commentary on 32- and 64-beat Melodies

Analytical Commentary on 128- and 256-beat Melodies/Abstract Topics

Unfixed Pokok Elaboration: Payasan

Fixed Pokok Elaborations I: Noninterlocking Parts

Fixed Pokok Elaborations II: Interlocking Parts

Kotekan Categories and Analytical Preliminaries

Analysis of Symmetrical Kotekan Patterns

Asymmetrical Melody and Elaboration

Kinds of Tua-based Asymmetry in Kebyar

Asymmetry in Tua Compositions

Conclusion: Asymmetry and Vocal Traditions

Chapter 7. Meter and Drumming

Prelude: Kebyar Drummers as Leaders and Stylists

Overview

Drum Pattern and Balinese Meter

Drum Styles, the Vocabulary of Drum Strokes, and Their Syntax and Structure

Pattern Identity and Quality

Stable and Active Patterns and the Impact of Drumming on Form

Drumming and Dance Movement

Drum Improvisation and Kendang Tunggal

Conclusion

Chapter 8. Form and Composition

Prelude: Kebyar Composers

Overview

Elements, Contexts, and Element-Progressions

The Shape of the Gending: Balinese Categories of Musical Form

Inside Gending Looking Out

Conclusion: Form and Composition

Part Three: Kebyar in Bali and Abroad

Chapter 9. Fantasy on Wilet Mayura

Background and Reception

The Text and Singing

Locating Innovation and Expression

Balinese and Western Temporalities in Context

Wilet Mayura in Cross-Cultural Perspective

Playing in All Registers

Chapter 10. Epilogue: Kebyar and Ideas of New Music

Contents of the CDs

Sources Cited

Index-Glossary of Indonesian and Balinese Terms

General Index

Product Details

ISBN:
9780226792811
Author:
Tenzer, Michael
Publisher:
University of Chicago Press
Subject:
History & Criticism *
Subject:
Ethnomusicology
Subject:
Music
Subject:
Gamelan
Subject:
History & Criticism - General
Subject:
Asia - Southeast Asia
Subject:
Gamelan music -- History and criticism.
Subject:
MUSIC / Ethnomusicology
Edition Description:
1
Series:
Chicago Studies in Ethnomusicology
Publication Date:
20000831
Binding:
HARDCOVER
Grade Level:
Professional and scholarly
Language:
English
Illustrations:
27 halftones, 70 musical examples 26 lin
Pages:
520
Dimensions:
9 x 6 in

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Related Subjects

Arts and Entertainment » Music » Ethnomusicology
Arts and Entertainment » Music » History and Criticism
History and Social Science » World History » Southeast Asia

Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese Music with CD (Audio) (Chicago Studies in Ethnomusicology) New Hardcover
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$149.25 Backorder
Product details 520 pages University of Chicago Press - English 9780226792811 Reviews:
"Synopsis" by ,
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.

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