Javanese gamelan and the West by Sumarsam

Cover of: Javanese gamelan and the West | Sumarsam

Published .

Written in English

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Subjects:

  • Gamelan music,
  • Music,
  • History and criticism

Edition Notes

Book details

StatementSumarsam
SeriesEastman/Rochester studies in ethnomusicology, Eastman/Rochester studies in ethnomusicology
Classifications
LC ClassificationsML3758.I53 S86 2013
The Physical Object
Paginationxviii, 202 pages
Number of Pages202
ID Numbers
Open LibraryOL27151209M
ISBN 101580464459
ISBN 109781580464451
LC Control Number2013011376
OCLC/WorldCa814271052

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The book also examines the presentation of Javanese gamelan to the West, detailing performances in World's Fairs and American academia and considering its influence on Western performing arts and musical and performance studies.

The end result is a comprehensive treatment of the formation of modern Javanese gamelan and a fascinating look at how Cited by: 4. Javanese Gamelan and the West studies the meaning, forms, and traditions of the Javanese performing arts as they developed and changed through their contact with Western culture.

Authored by a gamelan performer, teacher, and scholar, the book traces the adaptations in gamelan Author: Sumarsam.

Javanese Gamelan and the West studies the meaning, forms, and traditions of the Javanese performing arts as they developed and changed through their contact with Western culture. Authored by a gamelan performer, teacher, and scholar, the book traces the adaptations in gamelan art as a result of Western colonialism in nineteenth-century Java, showing how Western musical and dramatic practices.

The book also examines the presentation of Javanese gamelan to the West, detailing performances in World's Fairs and American academia and considering its influence on Western performing arts and musical and performance studies.5/5(1).

In Javanese Gamelan and the West, gamelan performer and scholar Sumarsam explores the concept of hybridity in performance traditions that have developed in the context of Javanese encounters with the West. The book begins by looking at the "domestication" of Western music in Java during the colonial and postcolonial eras, including brass bands.

This recent monograph from Sumarsam—the distinguished theorist, historian, and performer of Javanese gamelan music who has taught at Wesleyan University for decades—deals primarily with (1) the impact of Western music and aesthetics on Indonesian performing arts (not only Javanese and not only gamelan) and (2) Western understandings of both the music and the phenomenon of gamelan.

Javanese gamelan and the West. Sumarsam. of Rochester Press pages $ Hardcover Eastman/Rochester studies in ethnomusicology ML Sumarsam (music, Wesleyan U.) has been a student, teacher, and performer of gamelan in Indonesia and the US for most of his life.

The book outlines some of the basic Javanese gamelan and the West book of Javanese gamelan, and provides a listening framework so that the exotic sounds can be given musical and cultural sense. Included in the text is an explanation of the historical background, the instruments and their making, tuning and notation, the structure of the music, and the place of gamelan.

How do musicians know what they know. This study is a new approach to the nature of musical competence. Using the intricate collaborative structure of gamelan—Javanese ensemble music—as a point of departure, Knowing Music, Making Music lays the foundation for a comprehensive theory of musical competence and interaction.

Using illustrative examples from a variety of traditions, Benjamin. Deterritorializing and appropriating gamelan -- Cross-cultural perspectives on gamelan theory: metaphorical readings of gamelan -- Conclusion.\/span>\"@ en\/a> ; \u00A0\u00A0\u00A0\n schema:description\/a> \" In \'Javanese Gamelan and the West\', gamelan performer and scholar Sumarsam explores the concept of hybridity in performance traditions.

Javanese Gamelan and the West. [Sumarsam.] and scholar Sumarsam explores the concept of hybridity in performance traditions that have developed in the context of Javanese encounters with the West. The book begins by looking at the ""domestication"" of Western music in Javanese performance traditions during the colonial and postcolonial era.

Gamelan is the first study of the music of Java and the development of the gamelan to take into account extensive historical sources and contemporary cultural theory and criticism. An ensemble dominated by bronze percussion instruments that dates back to the twelfth century in Java, the gamelan as a musical organization and a genre of performance reflects a cultural heritage that is the 5/5(1).

Sumarsam, the University Professor of Music, is the author of Javanese Gamelan and the West, published by the University of Rochester Press on July In Javanese Gamelan, Sumarsam examines the meaning, forms and traditions of the Javanese performing arts as they developed and changed through their contact with Western book traces the adaptations in gamelan art.

Javanese Gamelan book. Read reviews from world’s largest community for readers. Never heard outside of the country until seventy years ago, the gamelan m /5(8).

Find many great new & used options and get the best deals for EVOLUTION OF JAVANESE GAMELAN: BOOK 1: MUSIC OF ROARING By Mantle Hood & Mantle at the best online prices at eBay. Free shipping for many products. Javanese Gamelan and the West, Paperback by Sumarsam, Like New Used, Free shi $ $End date: The Gamelan is the name of the orchestra based on metallic percussion of the islands of Java, Bali and Sunda in the South of Indonesia.

The Gamelan I will speak here about, is the one from Solo (Surakarta) and Jogja (Jogjakarta) of Java and most precisely the "Sekar Wangi". The book also examines the presentation of Javanese gamelan to the West, detailing performances in World's Fairs and American academia and considering its influence on Western performing arts and musical and performance studies.

The end result is a comprehensive treatment of the formation of modern Javanese gamelan and a fascinating look at how. The Javanese gamelan has served as a showcase of the sanctity of power and creation (Becker, ).

Likewise, it has also served to be a reflection of the gender structures enclosed within society together with images of sexuality (Becker, ). It has been a way through which powers are maintained and legitimized in the new world (Spiller, ).

Books shelved as indonesia-java: Power Plays: Wayang Golek Puppet Theater of West Java by Andrew N. Weintraub, Javanese Gamelan and the West by Sumarsam.

By Sumarsam, Published on 01/01/ Recommended Citation. Sumarsam, "Javanese Gamelan and the West" (). Faculty Scholarship. Terminology.

The word gamelan comes from the low Javanese word gamel (ꦒꦩꦼꦭ꧀), which may refer to a type of mallet used to strike instruments or the act of striking with a mallet. The gamelan in the Sundanese is Degung (ᮓᮨᮌᮥᮀ), the word Degung apparently is an old Sundanese term, which refers to gongs and Gong ensembles.

For this reason, the words degung and gong are. This book is a gentle introduction to the familiar music from Southeast Asia's largest countryboth as sound and cultural phenomenon.

Gamelan: The Traditional Sounds of Indonesia provides an introduction to present-day Javanese, Balinese, Cirebonese, and Sundanese gamelan (gong chime orchestra) music through ethnic, social, cultural, and global perspectives.

gamelan styles exists. There are two principal styles: Balinese and Javanese gamelan. But in Java, like in Bali, several regional styles can be identified.

Two of the most noted styles are Sundanese (or West Javanese) and Central Javanese gamelan. It is the latter, especially the Solonese style, with which this booklet is concerned.2 Instrument.

Download Focus Gamelan Music Of Indonesia books, Focus: Gamelan Music of Indonesia is an introduction to the familiar music from Southeast Asia's largest country - both as sound and cultural phenomenon.

An archipelago of o islands, Indonesia is a melting pot of Hindu, Buddhist, Islamic, Portuguese, Dutch, and British influences.

Poulenc’s introduction to the gamelan from Bali (starkly different in temperament and sound from its more placid Javanese cousin) led to such works as the D minor Concerto for two pianos. For McPhee, a Canadian-born American pianist with a penchant for jazz, the exposition provided a second exposure to Balinese gamelan music.

Gamelan: The Traditional Sounds of Indonesia provides an introduction to present-day Javanese, Balinese, Cirebonese, and Sundanese gamelan (gong chime orchestra) music through ethnic, social, cultural, and global perspectives.

Deemphasizing potentially intimidating technical discussions of scales and models, this unique work focuses on the approaches to composing and playing gamelan music. Javanese Gamelan and the West studies the meaning, forms, and traditions of the Javanese performing arts as they developed and changed through their contact with Western culture.

Authored by a gamelan performer, teacher, and scholar, the book traces the adaptations in gamelan art as a result of Western colonialism in nineteenth-century Java, showing how Western musical and. Henry Spiller, ethnomusicologist and chair of the UC Davis music department, explores gamelan in his new book, Javaphilia: American Love Affair with Javanese Music and Dance(University of Hawaii Press, $42, pages.).

He examines how Javanese music and dance helped those feeling marginalized by mainstream society express their unique identities, as well as looks at the historical and. Figure 4. Modern Javanese dance class, with gamelan in background.

(In Lindsay Javanese Gamelan, photo 22) Figure 5. Gamelan instruments in the making. (In Lindsay Javanese Gamelan, photos ) Their size, resonance, and means of striking naturally affect their volume and speed of note patterns playable upon them. As Downing shows, girls and young women assert their agency within the gamelan learning process to challenge entrenched notions of performance and gender.

One dramatic result is the creation of new combinations of femininity, musicality, and Balinese identity that resist messages about gendered behavior from the Indonesian nation-state and beyond.

Javanese gamelan is more traditional and suited to palaces and temples, it is a gentler and lower pitched style of gamelan that accommodates vocalists and rhythmic patterns.

"The Balinese gamelan is superficially the same as the Javanese but, in fact, the ensembles are different and the music pronouncedly so.

Javanese Gamelan Music (Main sources: Brinner, & Susilo, ) The word "gamelan" is a Javanese word meaning "orchestra," referring to the instruments that make up the ensemble. Although we find similar types of music and ensemble all around Southeast Asia, as in Thailand and Cambodia, for example, gamelan music as is known today is.

One of the most admired qualities of Claude Debussy's music has been its seemingly effortless evocation and assimilation of exotic musical strains. He was the first great European composer to discern the possibilities inherent in the gamelan, the ensemble consisting mainly of tuned percussion instruments that originated in Java.

Echoes from the East: The Javanese Gamelan and its Influence. His research on the history, theory, and performance practice of gamelan and wayang, and on Indonesia-Western encounter theme has resulted the publication of numerous articles and two books: Gamelan: Cultural Interaction and Musical Development in Central Java () and Javanese Gamelan and the West ().

The Javanese gamelan, an orchestra of tuned percussion instruments, primarily of bronze, usually accompanies a performance, particularly the Wayang Kulit (shadow puppet plays).

It flourishes today in Bali, where it was introduced in the 15th cent. by Hindus escaping from the Muslim invasion of Java. It was in their own house-cum-studio that Rahayu witnessed dozens of gamelan crews being trained by his father, who also coached those interested in the traditional Javanese.

Javanese GamelanJavanese Gamelan is a group in which students and community members learn to perform gamelan music from Indonesia. The gamelan is a traditional large percussion ensemble consisting of a large number of bronze gongs and metallophones (metal xylophones) of different sizes, plus drums, a zither, and flute.

The group also sing, accompanying themselves on the. Book Reviews. Andrew Beatty: Varieties of Javanese Religion An Anthropological Account Judith Becker: Gamelan Stories Tantrism, Islam, and Aesthetics in Central Java Clara Brakel-Papenhuyzen: Classical Javanese Dance The Surakarta tradition and its terminology.

When the prison camp at Tanah Merah, on the Digul river in West Papua, was evacuated by the Dutch inthe prisoners brought with them to Australia a gamelan they had constructed.

In this slim volume Margaret Kartomi tells the stories of that gamelan and of its maker, Javanese musician Pontjopangrawit. The event included a book signing for Professor Sumarsam’s newest work, Javanese Gamelan and the West, hosted by the UConn Co-op Bookstore.

Tags:ethnomusicology sumarsam. Post navigation ← Friends of Davison Art Center Holds Autumn Soirée Fundraiser.

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