文献类型：西文图书 浏览次数：409
- 题名/责任者:
- Gamelan gong kebyar : the art of twentieth-century Balinese music / Michael Tenzer ; with a foreword by Steve Reich.
- 出版发行项:
- Chicago : University of Chicago Press, 2000.
- ISBN:
- 0226792811 (Cloth : alk. paper)
- 载体形态项:
- xxv, 492 p. : ill., 1 map, music ; 27 cm. + 2 sound discs (digital ; 4 3/4 in.)
- 个人责任者:
- Tenzer, Michael.
- 论题主题:
- Gamelan.
- 论题主题:
- Gamelan music-History and criticism.
- 论题主题:
- Music-Indonesia-Bali Island-20th century-History and criticism.
- 中图法分类号:
- J605.342
- 书目附注:
- Includes bibliographical references (p. 461-469) and index.
- 内容附注:
- 1. Introduction: Encountering Kebyar [Learning Keybyar -- Composition, Theory, and Ethnomusicology -- Overview] -- PART ONE: Approaches to Kebyar -- 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 withing Strata -- Orchestration in Practice] -- 3. The Social Construction of Keybar 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 TodayL One Group's Narrative -- Multidimensionality and Collectivity in Keybar] --
- 内容附注:
- 4. Contexts for Keybar Theory -- [Early Balinese Gamelan Scholarship: McPhee's Contributions -- Balinese Gamelan Scholarship: 1940 to the Pressent -- The Recent History of Music Theory in Java and Bali -- Javanese Counterparts for Balinese Music Concepts -- Issues for Keybar Music Theory -- Analytical Approaches to Kebyar and the Music of the European Classic Period -- Elaboration and Style: A Preliminary Analysis -- PART TWO: Strucutre in Kebyar -- 5. History, Repertoire, Topic, and Strucutre -- [Historical Periods and Gamelan Genres -- Scanning the Repertoire -- Composition Types and Theatrical Forms -- Topic Classes -- Analytical Interlude: From Topic Class to Strucutral Class -- Structural Classes -- Inside Melodies] -- 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 --
- 内容附注:
- Analytical Commentary on 128- and 256-beat Melodies/ Abstract Topics -- unfixed Pokok Elaborations I: Noninterlocking parts -- Fixed Pokok Elaborations II: Interlocking Parts -- Kotekan Categories and Analystical Preliminaries -- Analysis of Symmetrical Kotekan Patterns -- Asymentrical Melody and Elaboration -- Kinds of Tua-based Asymmetry in Kebyar -- Asymmetry in Tua Compostions -- Conclusions: Asymmetry and vocal Traitions] -- 7. Meter and Drumming -- [Prelude: Kebyar Drummers as Leaders and Stylists -- Chapter 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 Inprovisation and Kendang Tunggal -- Conclusion] -- 8. Form and Compositions -- [Prelude: Kebyar Composers -- Chapter Overview -- Elements, Contexts, and Element-Progressions --
- 内容附注:
- The Shape of the Gending: Balinese Categories of Musical form -- Inside Gending Looking Out -- Conclusion: Form and Compositons] -- Part Three: Kebyar in Bali and Abroad -- 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 -- 10. Epilogue: kebyar and ideas of New Music.
- 摘要附注:
- 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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