資料來源: Google Book
Music in Bali :experiencing music, expressing culture
- 作者: Gold, Lisa
- 出版: New York : Oxford University Press 2005.
- 稽核項: xxiii, 178 p. :ill. ;22 cm. + 1 sound disc (digital ; 4 3/4 in.)
- 叢書名: Global music series
- 標題: Sociale aspecten. , Balinais Moeurs et coutumes. , History and criticism. , Balinese (Indonesian people) Social life and customs. , Bali , Volksmuziek. , Volksmusik , Music Indonesia -- Bali Island -- History and criticism. , Moeurs et coutumes. , Ethnic music recordings Indonesia -- Bali Island. , Balinese (Indonesian people) , Social life and customs. , Histoire et critique. , Musique , Music , Musique Indonesie -- Bali ( Ile) -- Histoire et critique. , Musik , Balinais , Ethnic music recordings
- ISBN: 0195141490 , 9780195141498
- 附註: 100年度教育部購置教學研究相關圖書儀器及設備計畫. Includes bibliography (p. 162-166), discography (p. 166-167), videography ( p. 168), and index. The Balinese ceremonial soundscape: simultaneity of soundings -- Instruments: materials, tuning, and timbre -- Interlocking and layering: musical roles in the ensemble -- The world of stories: integration of music, dance, and drama in traditional Balinese theater -- Characterization, movement, and gong structures that enliven Balinese theater -- Large-scale form in Gong Kebyar and its antecedents -- Conclusion: three themes revisited at a cremation ceremony. 1. The Balinese ceremonial soundscape: simultaneity of soundings -- Place, time, and circumstance -- The act of offering -- Thinking in threes: historical periods, degrees of sacredness, and spatial orientation of the performing arts -- 2. Instruments: materials, tuning, and timbre -- The power of bronze -- Tuning and timbre -- The waves of paired tuning: a gamelan's breath of life -- Tuning systems, scales, and notation -- Gamelan Gong Kebyar: the explosive twentieth-century style -- Instrument families in Gamelan music -- 3. Interlocking and layering: musical roles in the ensemble -- The musical community of a Gamelan Sekaha -- The stratified texture of Gamelan: simultaneous melodies -- Leadership, cueing, and ensemble interaction -- 4. The world of stories: integration of music, dance, and drama in traditional Balinese theater -- Playing the past in the present -- Assumptions and conventions in traditional Balinese theater -- Wayang Kulit (Shadow puppet theater) -- 5. Characterization, movement, and gong structures that enliven Balinese theater -- Aesthetics and character types: Halus (refined) and Keras (strong) -- Male, female, and androgynous dance styles -- Topeng (Masked dance drama) -- Legong -- Elements of dance and music in Topeng and Legong -- Listening to two Topeng pieces -- Kecak -- 6. Large-scale form in Gong Kebyar and its antecedents -- "Classical" tripartite form -- Listening to an entire piece: the tripartite form in "Sinom Ladrang" -- Innovations in form and texture in Kebyar Kreasi Baru (new creations) -- 7. Conclusion: three themes revisited at a cremation ceremony. CD Track List -- 1. Night sounds -- 2. Gamelan gong playing a temple piece with priest's and congregation chanting in distance -- 3. Gamelan gong playing the gineman (introductory section) of the lalambatan (slow temple piece) "Jagul" (I Dewa Alit, trompong, Sanggar Cudamani) -- 4. Gamelan gong playing the pangawak (main body) of the lalambatan (temple piece) "Jagul" (I Dewa Alit, trompoing, Sanggar Cudamani) -- 5. Gamenlan gender wayang in wayang lemah (daytime ceremonial shadow play) performance during a ceremony (Gender wayang performers from Kayu Mas, Badung, Denpasar, include I Wayan Konolan and I Wayan Sujana; dalang [shadow master] Ida Bagus Ngurah Buduk) -- 6. "Topeng Keras" (accompanies a strong topeng characer) -- 7. "Topeng Arsa Wijaya" (accompanies a refined character) -- 8. Gamelan gambuh: gineman and dramatic excerpt illustrating stylized speech (Batuan Gambuh ensemble, vital records 501, track 1, "Batel" selisir mode, with permission) -- 9. Gamelan balaganjur playing a processional gilak piece -- 10. Gamelan balaganjur playing a kreasi (new creation) for procession (Sanggar Cudamani) -- 11. Gamelan gong kebyar "Java Semara" complete version (Sanggar Cudamani) -- 12. Gamelan jegog Werdi Sentana, "Jegog. Bamboo Gamelan of Bali" -- 13. The "wave" of paired tuning -- 14. Three pentatonic scales in the pelog tuning system -- 15. Listening to the gongs -- 16. "Java Semara" demonstration, building up layers; structural framework of gongs; low instruments; ugal; gangsas and reyong -- 17. Drums: syllables spoken by I Dewa Putu Berata, then a pattern played on two interlocking drums -- 18. Gangsa kotekan norot (single-note interlocking) -- 19. Gangsa kotekan nyong-cag (leaping interlocking) -- 20. Pangecet (final) section of the piece "Java Semara," alternating between two types of gangsa interlocking -- 21. Kotekan telu from the piece "Jauk Manis" -- 22. Same kotekan as in track 21, played at a faster tempo -- 23. Same kotekan with full gamelan -- 24. Expansion and contraction of a kotekan empat (4) pattern, from the piece "Teruna Jaya" -- 25. Ocak-ocakan reyong alone ("Teruna Jaya," Sanggar Cudamani) -- 26. Same excerpt with full ensemble ("Teruna Jaya," Vital records, 401 with permission) -- 27. Reyong syncopated interlocking patterns from "Topeng Keras" -- 28. Reyong norot interlocking from pangecet "Jaya Semara" -- 29. Gineman and beginning of "Sekar Sungsang," a "sitting piece" named after a kind of flower, played on gender wayang -- 30. Batel (a colotomic meter used for action scenes) -- 31. Omang Barong (a colotomic meter used in Barong dance drama) -- 32. Bapang (a colotomic meter) -- 33. Gabor Longgor (a colotomic meter, here used in "Jauk Manis") -- 34. Gilak (a colotomic meter used for processions and "Topeng Keras") -- 35. "Topeng Keras," layering demonstration -- 36. Kecak, the "Monkey chant," a sequence of forms and melodies -- 37. Kecak, a 16-beat melody -- 38. "Sinom Ladrang" playing by Sanggar Cudamani -- 39. "Jagra Parwata" (The awakening of the mountain), Kreasi Baru for Gong Kebyar by I Nyoman Windha -- 40. "Pengastukara" [We give blessing], a new composition for gamelan semarandana, composed by I Dewa Ketutu Alit, performed by Sanggar Cudamani -- 41. Gamelan angklung: two excerpts of a field recording from a melaspas cermeony inaugurating a house temple in Pengosekan, Gianyar; kidung chanting is heard in the background.
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- 系統號: 005063501
- 資料類型: 視聽(聲音)
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- 引用網址: 複製連結
Music in Bali is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study. Music in Bali introduces the ensemble tradition of Balinese music, reflecting cooperative aspects of the island's social organization. Drawing on many years of study with Balinese performers in the United States and extensive fieldwork in Bali, author Lisa Gold presents contemporary Balinese performance within its cultural and historical context, linking Bali's rich past to its current role in modern, globalized society. She illustrates how new compositions borrow material from earlier traditions while also allowing for individual expression and innovation in vibrant present-day culture. By describing various performances--from a temple ceremony, to a shadow puppet performance, to a masked dance drama--Music in Bali surveys a wide range of performance contexts, from the highly sacred to the secular. It looks at the interconnected layers of the Balinese musical tradition, showing how the island's music, dance, theater, and ritual are intertwined. Music in Bali is enhanced by eyewitness accounts of local performances, interviews with key performers, and vivid illustrations. Packaged with a 70-minute CD containing examples of the music discussed in the book, it features guided listening and hands-on activities that encourage readers to engage actively and critically with the music.
來源: Google Book
來源: Google Book
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