PL 7-2 Java, The Jasmine Isle, Tjatrik (Gamelan)
West Javanese Degung
Example of “Sekar Alit” (small piece) 16 beat cycle that repeats (cyclic form) Symbolizes Birth life death reincarnation and do it again Stratified polyphony Duple meter
PL 7-3 Enip Sukanda, Ujung Laut
West Javanese Degung
Example of “Sekar Agung” (Modern Large Piece) Complex cyclic form, ABC sections repeated 2-3 times Heterophonic Means by the sea, the melody reflects this by having waves
PL 7-10 Nonesuch Explorer Series, Ketawang Puspawarna
Central Javanese court Gamelan
Larger ensemble than degung: idiophones, membranophones, aerophones, rebab chordophone Attributed to Javanese prince Cyclic form, duple meter
PL 7-11 Singapadu Gianyar Bali, Taruna Jaya Dance
Balinese Gamelan Gong Kebyar
Title celebrates Indonesia independence, “Victorious Youth” Very fast tempo, interlocking parts generate melodies Utilized idiophones, brightly colors to reflect Balinese Hindu culture
PL 7-16, Kecak Ganda Sari, Forest Scene
Beleganjur
Using interlocking rhythms known as kitlitan Telu Dance drama, about rama rescuing cita with help of a monkey army The chaks are vocables an ostinato, same pattern at different points
PL 7-17 Michael Bakan, Ketut Sukarata, Gamelan Beleganjur – Cremation Procession*
Gamelan Music, Balinese Beleganjur
Freeing soul from the middle world, protecting it from harmful spirits as it ascends Kilitan Telu (ceng ceng) The reyong players are missing in the piece In duple meter Gilak pattern (cycle of 8 beats)
PL 7-22 Michael Bakan, Ketut Sukarata, Kreasi Beleganjur – Wira Ghorava Cakti ‘95
Lomba competition Beleganjur, Dance competition
(interlocking rhythms on the symbols
Gerak (performance) Gilak pattern (cycle of 8 beats) It is flashy and complex, but still connects to the history Utilizes idiophones and membranophones
PL 7-33 Balawan, Country Beleganjur
Utilizing the interlocking methods on the strings with finger taps
Using his left hand as one instrument and right hand as another Combines these with American country components Utilizes chordophones, and aerophones (vocals)
PL 8-19 Ali Akbar Khan, Yaman Kalyan
Utilizes the Sarod
A Hindustani Rag performance Chordophone with sympathetic stings bottom covered with animal hide rather than wood The person uses their fingernail to play the song Solo against drone texture
PL 8-20 N. Rajam, Tumri in Deepchandi Taal
South Indian concert song
This song used a violin (brought by british), but held upright Solo against drone texture Voice like tone quality
PL 8-21 Pandit Raghunath Seth, Rag Shuddh Sarang
Uses a bansuri, a flute (aerophone)
Used by Krishna to flirt with women The bansuri has a vocal like timbre Solo against drone Hindistani song
PL 8-22 Bismillih Khan, Raga Purbi
This song utilizes the oboe like aerophone, shahnai
Solo against drone texture The song is hindustani
PL 8-23 Ustad Sultan Khan, Bhairavi – Dadra
Sarangi Almost like a banjo, bowed chordophone
It has animal hide Dont want to touch that from Muslim stand pont Typically played by Hindustani member
PL 8-29 Ravi Shankar, Rag Sindhi Bhairavi*
Morning rag
First section is Alap, slow free rhythm Uses the sitar and tambura Slow improvisation, free rhythm Introduces notes of the rag and personality of hte soloist Not metrical Jor Transition section Introduces steady pulse More rhythmically active without the set tala or drumming Gat Tabla playing in tintal 3 claps, 16 beat cycle Sets up rhytmic framework Alternation of composed chalan and improvised toda Gradually speeding up Two drums play (daya and baya) Jhala Increase in tempo Virtuosic past of perofmrance Uses daya and baya Ravi shankar, influential
Debapriya Adhikary, O Miyan Vey Jaanewale
Much faster at the end of the rag
Lyrics are very erotic and sexual showcases surmandal instrument (chordophone)
Girija Devi, O Miyan Vey Jaanwale*
Playful longing mood
Has rapid zig zag taana (zamzama) sounds flirtatious Showcases woman’s difference in the vocals Uses a sitarkanhi taal (16 beat cycle) that swings
Shashwati Mandal, Tappa in Raag Shohini
slower compared to the other taapa
Using continuous zigzag (zamzama) pensive and dignified Has couresan tradition (the people were not married but chose who they partnered with)
