Another native composer of contemporary Balinese gamelan music is I Wayan Gde Yudane. I am under the impression that his compositions for gamelans are influenced by Western contemporary music. Without performing an in-depth analysis of this piece, I can point to cluster chords, a scale system that does not remind us of traditional gamelan scales, and the abstract use of kotekan elements.
Question: How is the gamelan tradition taken care of in your research?
Answer: I will start by saying that this is an artistic research project in which my inspiration from gamelan is based on my studies with Tjokorda Raka and these studies form, in a fundamental way, my understanding of gamelan music and performance practice on these instruments.
Working within a non-native culture raises several questions and dilemmas regarding ethics. The introductory question, “How is the gamelan tradition taken care of in your research?” leads to the following subquestion:
- Is there a right and wrong way for a Westerner to work within a non-Western culture—in my case, gamelan music? If so, what is right and wrong?
To answer this question thoroughly, I have examined different ways of Western association with the non-Western. The Western world has a long history of exploiting the non-Western, and an important task for me, as an artist and artistic researcher, is to investigate today’s situation in dialogue with history. Based on Edvard Said’s influential thinking about orientalism (1978), Locke’s work on exoticism in music (2007) and the newer term of cultural appropriation (definition according to Cambridge dictionary*), I will in the following explain how these ethical issues have affected my reflection and reinforced my way of working with the gamelan culture, showing respect to tradition and handling ethical dilemmas in a respectful way in my musical practice and artistic research. (All of these terms are further discussed in Chapter 3.2.)
Both Orientalism and cultural appropriation concern the Western presentation of a non-Western culture, in which both alter the perception of this culture. While orientalism focuses on the other culture as naive, deviant, and strange, where “we” see “them” as outsiders (still through our presentation of “them”), cultural appropriation emphasizes the inclusion of non-Western culture into Western culture, still with a focus on strangeness, often with a comical, sometimes absurd view, totally taken out of context. For me, a behavior associated with orientalism or cultural appropriation points to a disrespectful and dishonest way of presenting a non-native culture and often serves to gather attraction or commercial interest.
As a Westerner musician/composer working within a non-Western culture, the most important word for me is respect. Through a respectful presentation of non-Western culture, the results of my artistic products might be progressive in the form of an increased interest in this culture. Consequently, instead of pulling something down to highlight myself as an artist, I highlight this “something” and make a respectful symbiosis of new artistic expressions.
Concerning showing respect, I would like to point to my thorough studies of gamelan through observations and gamelan performance practice as a peer to Tjokorda Raka during my stay in Bali in the spring of 2012.
Parallel to my musical experience and development, I also developed insight into the work behind these instruments, how the local contexts value them and treat them, and the impact these instruments have on everyday life. Therefore, I learned to respect the instruments highly. For instance, one important thing is literally not to step over the instruments. This may seem trivial, but for the Balinese, this is blasphemy. To step over the instruments is the same as to step over something divine. In my musical practice, I have learned the performance techniques, compositional elements, and context of the instruments. I also have experienced several of the musical traditions and situations in which these instruments are used. In many of these performance situations, experimentation with gamelan instruments is a common element. Raka introduced me to Dewa Alit, a native Balinese contemporary composer known for his experimental gamelan style. Thereby, I experienced that experimentation and the integration of gamelan and non-gamelan elements is also a part of an artistic practice within the gamelan culture itself.
Another aspect of showing respect for gamelan instruments and traditions is striving to avoid altering perceptions of what gamelan is. To alter something often implies doing something out of context. Since I am working in a contemporary gamelan context, already established by both Western composers working with gamelan and gamelan composers working with contemporary music (with/without gamelan), the artistic ethical foundation for my research is well supported by existing artistic practice. My artistic research interacts with other Western composers who have found inspiration in gamelan music, such as Claude Debussy, Benjamin Britten, Lou Harrison, and John Cage. These four represent composers who have been inspired by gamelans but in different ways. Debussy used moods and impressions, while Britten composed more traditional gamelan-style pieces for symphony orchestras. Harrison made his own Javanese gamelan instrumentarium, which he composed for as an independent unit or in interaction with Western instruments extensively inspired by Javanese gamelan, while Cage composed exclusively for gamelan instruments independent of the performance techniques and tradition they originated. (Cage also cooperated with Harrison in their joint composition "Double Music.")
Native Balinese performers and composers also use gamelan instruments as I do. My impression of the gamelan tradition is that tradition-bearing and innovation go hand in hand and their relationship with the West is based on giving and taking. For example, I heard several compositions for gamelan by Balinese composers that contained examples of uneven rhythms and unusual playing and performance techniques, which are not found in traditional gamelans. An example Is Dewa Alit´s composition Siklus.
Question: You talk about this “something” and everything that “is around.” Let's break this down: Can you explain all the components you mention here? What is gamelan music?
Answer: The music-style gamelan originates from the Indonesian islands and is an enormous part of the culture throughout the country. Indonesia is the fourth-largest country in the world, with 260 million inhabitants. Gamelan is a tradition that grew out of the Hindu/Buddhist culture that dominated Indonesia until the 14th century. From the 14th century, Islam rose as the main Indonesian religion, leading the remaining Hindu population to flee to the island of Bali. On Bali, gamelan evolved in a new direction. This evolution led to the two main directions of gamelan we have today: Javanese and Balinese (Tenzer, 2011).
Gamelan music was, and is, an essential part of Balinese Hinduism due to its strong religious and spiritual connection. Accordingly, it has developed to a fast and powerful style. In some ceremonies, it is common for individuals to achieve a trance accompanied by hectic gamelan music. An example of this is the "Barong Dance” below.
Pagodes from Estampes(1903) by Claude Debussy from Daniel Barenboim - Debussy ℗ 2018 Deutsche Grammophon
Études, Book 2(1988–1994): No. 7, Galamb Borong by György Ligeti from Pierre-Laurent Aimard - Ligeti´s works for piano ℗ 1996 Sony Music Entertainment
Pulau Dewata (1977) by Claude Vivier Recording sounce: Youtube
The last direction of Western-composed music with inspiration from gamelan is the music of composers, who take a step away from this obvious way of using inspiration to create compositions for gamelan. This music is primarily based on the composer’s own aesthetics and compositional principles and focuses on the distinctive sound that the gamelan instruments produce.
In summary, I have identified three directions in which gamelans have been a source of inspiration for Western composers.
1. Composers inspired by moods but who did not necessarily transfer gamelan concepts, scales, and compositions. They were not interested in using original instruments. Examples of their music include Debussy’s Pagodes (1903) and Ligeti’s Fem (1988–1994).
2. Composers who transcribe or compose in gamelan style, either for original instruments and/or Western instruments. This music has an aura of gamelan music, with a particular use of scales and rhythmic concepts. Composers in this category are Lou Harrison, “Concerto for Piano and Javanese Gamelan” (1987); Benjamin Britten, “The Prince of the Pagodas” (1957); and others.
3. Composers who experiment with gamelan instruments try to find new ways to use these instruments. Examples of this include Alvin Lucier’s “Music for Gamelan Instruments, Microphones, Amplifiers, and Loudspeakers” (1994) and John Cage’s “Haikai for Gamelan” (1986).
The music and timbre of gamelan seem familiar and well-recognized among musicians in contemporary music. Steve Reich and his way of using vibraphones, bells, marimba, and piano have the distinctive aura of a gamelan orchestra, which is a natural association where, in all its simplicity, a mallet hits a tuned bar of wood or metal. John Cage´s use of the prepared piano and percussion also gives me a sonic association to the gamelan. If I compare gamelan to Western percussion, I would say that the Balinese gamelan has a more distinct and present attack with a full tone. This sonic difference relies mainly on the metal used (in gamelan, bronze vs. in Western melodic percussion instruments, aluminum/stainless steel). The gangsa (metallophone) mallet is also a wood hammer, which produces a full and powerful tone, in contrast to the thinner Western mallets, which are used on xylophone, marimba, vibraphone, and glockenspiel. I believe the reyong, the unique cup-gong instrument in the Balinese gamelan instrumentarium, links the hard sound of the gangsa and the softer sound of the big gongs.
Sonata V from Sonatas and Interludes for Prepared Piano (1946-1948) by John Cage from John Cage: Sonatas and Interludes for Prepared Piano ℗ 2010 Anthology of Recorded Music, Inc. Released: 1951
Question: You briefly mentioned your artistic results as a contribution to the field of artistic research. Can you elaborate on this further?
Answer: I will respond in two ways, approaching the question from two perspectives:
1. My personal development as a musician and composer
I like to think that changing the musical environment also changes the way I perform and the sonical product of my performance. I do not necessarily need to get a new technique or expression, but a new environment colors the musical expression’s many layers. In this research, I challenged myself in different settings in the context of inspiration from gamelan.
It is difficult to be self-aware of how this has affected (and transformed) me. This has many dimensions and includes both self-understanding and musical expressions. Following the reflections in this part of the thesis, I will elaborate on two aspects: 1) awareness of sound and 2) ethical dilemmas in working with artistic products in different cultural contexts. Aspects related to the awareness of sound concern how I, in working on different projects, have become continuously more aware of how diverse instruments blend and have increasingly aimed to make room for each individual instrument and its timbre. I feel this theme connects all parts of my research. In “The Bali Tapes,” there is a mix of the soundscape of gamelan and modal jazz. In “Mantra,” there is an interaction between single sounds from gamelan together with Western instruments. Even though the basis for this interaction was contextualized during different improvisation sessions, Ellen Lindquist’s work on composing the piece was the artwork itself. In “Own Compositions” the blending of the sounds of the vibraphone and marimba was in focus. When composing this piece, even though I had previously played several duets for mallet instruments, I had to reflect thoroughly on how to blend these two instruments in the context of kotekan. Kotekan is, in principle, an extreme blending of two instruments. For the last project, “Espen Aalberg / En En En,” I had to find instrumental combinations that could give me the auditive result I was seeking, even though the music was improvised. Accordingly, my construction of these instrumental setups colored the outcome of the music.
Aspects related to cultural appropriation and Orientalism have made me more conscious and aware of how I introduce and employ expressions from other cultures into my music. My respect for foreign cultures, including their art, music, and everyday life, has increased, and I have continuously questioned and reflected on choices about the use of instruments, co-musicians, and the intentions this project has and does not have.
2. The Eastern Rebellion project’s contribution to the field of artistic research.
When applying for a PhD in artistic research, one of the questions is as follows:
- Does my research bring something new to the field?
It all depends on what is seen or regarded as new. I am not inventing a unique way of playing gamelan or new instruments, as this is not the intention behind the project Eastern Rebellion. Neither is my contribution to adding gamelan music as a tool in the Western musicians’ toolbox, as gamelan music has already influenced and inspired Western composers for decades. Instead, the contributions from the Eastern Rebellion are twofold: 1) the music made in the different projects and the new soundscapes the gamelan instruments provide in interplay with Western instruments and 2) articulated reflections about a Western musician´s way of working with non-Western cultures generally and with Balinese gamelan specifically. These reflections have led to the verbalization of the choices and deselections made concerning intentions that were possible and desirable and those that were not, and the specific implications this gave for whom I collaborated with, what music was made, and how the work progressed. Thus far, I have not found any music or research projects that blend Balinese gamelan and Western music instruments, as done in the project Eastern Rebellion. To blend music from different cultures is an act of both amazement and awe, which requires consciousness and both ethical and artistic awareness and reflections. Anxiety about doing something wrong and harming anyone or anyone’s culture can lead to numbness and reservations. My hope is that new projects in the cross-fields of artistic research and cross-cultural music making might be both respectful and brave, leading to continuous inventions and new soundscapes that move both the world of music and the world of humans in good, differential, and inspiring directions. I hope that my project will be one contribution.
In Java, gamelan remained quieter and more sober than in Bali and lacks the same religious connection to Islam as the Balinese gamelan’s link to Hinduism.
Here is an example of the Javanese gamelan style.
Music and religion are inseparable in most areas of Bali, but in 1925, the Balinese gamelan introduced a new style, gong kebyar. The gong kebyar style has become Bali’s biggest musical export and what we Westerners associate mostly with Balinese gamelan. Gong kebyar is characterized by its rapid changes in tempo and dynamics and its exploration of a rich variety of timbres and register. The style is not directly related to religion, and experimentation and innovation are more common.
This example shows many aspects of the gong kebyar style.
Gamelan music holds a huge variety of styles and traditions. At its core, it is ensemble music comprising several types of percussion instruments developed for the specific ensemble. The main instruments are metallophones, laying or hanging tuned gongs, drums, and smaller percussion instruments. Besides this, there are bamboo flutes and a string instrument called Rebab. The instruments of gamelan are distinctive and are, as far as I know, only made in Indonesia. Gamelan music is rooted in the scales pelog and slendro (explained in part 2.2.). The tuning is based on local tradition and is done by ear by the local blacksmith. Therefore, the fundamental tone has a large variety. Consequently, it is not common to mix instruments from different sets. Balinese gamelan music is, as I would see it, very rhythmic and requires precision and interaction in a way that cannot be compared to the Western orchestral tradition. The preparation of gamelan music is thorough, and the musical parts are learned by heart.
The music is strictly structured and has many parts and long durations. Improvisation is not a big part of gamelan because of its consistently complex structures. The compositions can still be open in length and linked to the performance situation.
The actual sound of the gamelan orchestra depends on the instrumentarium, tradition, and musical context. The gamelan orchestra has a fascinating register of sound colors, from loud and direct sounds to softer and rounder, with register frequencies ranging from extremely low to high. Gamelan music also holds musical concepts, such as the kotekan principle (explained in part 2.3.), that is. an interlocking/connection of two complementary rhythmic figures or melodies. Furthermore, this principle has much in common with Steve Reich’s use of complementary patterns in, for example, "Drumming" (1970–1971).
I find gamelan instruments visually fascinating through their blending of color and gold and remarkably detailed woodcarvings. The Balinese gamelan orchestra also contains a symmetrical system with two of each instrument, where these two instruments are tuned slightly differently.
Symmetry is part of the Balinese concept of duality in which two components are needed to create a whole. In music, this concept is exemplified by the following:
● Equal instruments complement each other, particularly in the use of the kotekan principle.
● Instrument tuning. “One” instrument consists of two instruments slightly out of tune. This tuning produces oscillations between these instruments.
● Musical contrasts: The dynamics are extreme, with rapid tempo changes.
● The music has a strong rhythmic symmetry: Periods of two, four, eight, and 16 beats, with the corresponding subdivision of note values.
The American composer Lou Harrison exclaimed excitedly after meeting gamelan in the 1950s: "I was fascinated" (Miller & Lieberman, 1999, p. 149).To Harrison, gamelan is a symbol of Indonesian artistic traditions, but above all, it functions more broadly as a tool for creating musical compositions of artistic beauty.
After starting my research, I became somewhat more acquainted with Javanese gamelan, a music style that I would describe as the calm twin of Balinese gamelan. Javanese gamelan is built around many of the same principles and instruments, but in general, it is quieter, slower, and more low key. Javanese gamelan also lacks the extensive use of kotekan, which is the Balinese gamelan’s signature.
In the region around Indonesia, there are several music directions in the same family as the gamelan. In Thailand, there is the Piphat ensemble, in the Philippines the kulintang ensemble, and in Cambodia the phleng Khmer ensemble, all traditions that emphasize the extensive use of the gong/metallophone/xylophone/drum instruments. This shows a common core in a percussion-based ensemble sound, without going deeper to define this more. Altogether, there exists a manifold field of percussion-based music and ensembles with diverse similarities to the gamelan. In this project, however, gamelan is my focus.
John Cage had a similar contemporary approach to using gamelan in the preparation for his composition Haikai (1986). Cage was contacted by Canadian composer Jon Siddall, the director of the gamelan ensemble “Evergreen Club Contemporary Gamelan,” with a commission to write a composition for the gamelan instrument of this ensemble, Si Pawit. Cage traveled to Ontario to work with the ensemble instruments, and through experimentation, he found new ways to use them. Among other things, he turned the cupgong instruments upside down, which produced previously unheard sounds from these instruments. It formed the basis of the Haikai composition (Timar, 2012). I believe John Cage was inspired by gamelan early on, especially through his work with the prepared piano (Sonata V, 1946) in Sonatas and Interludes and percussion (First Construction in Metal, 1939), because of the rhythmic and social identity. However, I find no sources or quotes from Cage that this is the case. In this way, one might say that Cage was completely devoid of gamelan inspiration concerning tradition, playing techniques, and social context, and was only concerned with gamelan as a sound source.
Haikai (1986) by John Cage from Amadinda Percussion Group Works for Percussion - Összkiadás - Complete Edition Vol. 6. (1975-1991) ℗ 2011 HUNGAROTON RECORDS LTD.)
As mentioned earlier (part 1.2.), the percussion section in any Western ensemble or orchestra is full of instruments that have their origin in other cultures’ music. However, where is the limit between the “musical spice” of an individual instrument and the integration of an entire sound world, as gamelan is, into musical expression? Especially concerning multicultural music and the fusion of two or more musical expressions from different cultures, these limits are unclear. From my perspective, my use of gamelan music and its sound and principles aims at an inseparable integration into my musical expression. In this way, I strive for artistic results, not "shopping" for musical expressions or sounds. Instead: My integration of gamelan, respectfully and insightfully as possible, has led to four different artistic results:
- “The Bali Tapes”—Where the gamelan sets the framework for jazz compositions, and gamelan instruments interact with traditional Western jazz instruments.
- “Mantra”—A Western classical contemporary composition by Ellen Lindquist where the musical and conceptual goal is a symbiosis of timbre from gamelan and Western instruments.
- “Own Compositions”—A composition for vibraphone and marimba where I explore compositional elements from gamelan and solo gamelan, exploring sonical possibilities in gamelan instruments.
- “Espen Aalberg/En En En”—A free/conceptual improvisation project focusing on timbre textures retrieved from gamelan instruments.
Respecting the gamelan culture was my intention throughout the whole project. Since I had a background in playing gamelan instruments, gamelan composition, and context, my application to do a PhD in artistic research with gamelan as inspiration as a main element had a foundation in personal experience and knowledge. My intention was not to use any kind of gamelan music connected to religion, myths, or legends, since this was beyond my own beliefs and knowledge. Using these aspects of gamelan as part of my artistic research would, for me, not be credible. My theoretical reflections on cultural appropriation and Orientalism have made me more focused on following already established contemporary methods of working with or within the gamelan tradition. In this tradition, sonic elements from gamelan instruments and conceptual compositional techniques are the main elements. Through my research, I have discovered different directions in the use of gamelan instruments, such as Cage’s approach. These discoveries have affected my work. In the "early" period of the project, the focus was finding methods of joining everything. Now, “where everything is around” (Joseph Jarman quote in 1.2), as in “done before,” I do not need to invent a new approach. Instead, I have aimed to concentrate on making music as an improvisator, performer, and composer.
In Amy Bauer’s article “The Other Side of the Exotic: Balinese Music as a Grammatical Paradigm in Ligeti's ‘Galamb Borong’” from Études for Piano, (Book 2, No. 7), (Bauer, 2008), she discusses Ligeti’s inspiration from the Balinese gong kebyar by linking it to the musical analysis of the Balinese gong kebyar style by Michael Tenzer in his book Gong Kebyar (Tenzer, 2000).
Sonically, it is hard to hear this influence when listening to this etude. The music is complex, with many layers composed in a modern Western style that in many ways eliminates the feeling of gamelan. However, it is a sonic link to Debussy’s music, a more fluid universe, and to me, "Galamb Borong" seems more a tribute to Debussy than to gamelan itself.
Études, Book 2(1988–1994): No. 8, Fem by György Ligeti from Pierre-Laurent Aimard - Ligeti´s works for piano
℗ 1996 Sony Music Entertainment
I find it somewhat underfocused that Ligeti’s etude “Fem” has not been investigated by researchers in musicology because of its obvious rhythmic inspiration from gamelan. My claim is that the gamelan link for "Galamb Borong" is based on the more impressionistic expression this etude has. Since it is an homage to Debussy, it is easy to draw lines from Debussy to gamelan music.
A different approach to using inspiration from gamelans is the composers who transcribe gamelans for Western instruments or who compose music for Western instruments in gamelan style. Examples of composers in this field include Colin McPhee, Lou Harrison, Claude Vivier, and Benjamin Britten.
Question: Are any Indonesians involved in your project?
Answer: Not directly, but my research project Eastern Rebellion would not have been possible without gamelan master Tjokorda Raka and what he taught me during my stay in Bali in 2012. This fundamental learning about gamelan and Balinese culture forms the foundation for my understanding of how I, as a Westerner, ought to treat this culture and its music.
I have been asked, “Why are there no Indonesians involved in your project?” There are many reasons:
Gamelan music is not improvised, and gamelan musicians are raised in ensemble performances with a fixed framework and a strong musical hierarchy. My experience is that gamelan musicians are not trained in the kind of musical interaction I am aiming for in my project, which is based on improvisation and (Western) notated music. It would be impossible for me to carry out my projects as intended without musicians with these skills from Western traditions. I find it interesting to make music with musicians used to performing in improvisational frameworks, even though they are not used to play gamelan music. This contrast has the potential to create fresh and innovative soundscapes.
1. My research does not focus on the meeting of musicians between cultures but on what I, as a Western composer and musician, can do with inspiration from the Balinese gamelan tradition and its instruments. My visions depend on the musicians with whom I collaborate and their understanding of the musical expression for which I am searching, and this expression is not necessarily dependent on the gamelan tradition in performing practice. To reveal the intentions and visions of this project, it is important to have a common understanding of improvisation and/or performing together in a Western context. I am, of course, not saying that the traditional gamelan way of learning music is, by any means, wrong. It is perfect in the original Balinese gamelan culture and provides tremendous knowledge about everyone’s part in the music. However, in the musical performances related to my artistic products, these differences in interpretation and performance cultures would have steered the project in directions that were not intended and added aspects that would have made this into a completely different project.
Question: Do you know what Indonesian people think about your research?
Answer: I have chosen not to involve Indonesian people in my research. As mentioned, my project focuses on performance situations in a Western contemporary and/or improvisational context. To get a constructive conversation with Balinese musician/composers regarding my music, I think this conversation would need to happen in Bali. The direct meeting between musicians of different cultures was not something that I was researching, which points back to my intention.
Within gamelan music, there exist multiple ways of working, with relation to the diverse contexts, traditions, instrument makers etc. From what I would describe as traditionalist ensembles/composers/performers of most ceremonial music to modernists, such as Dewa Alit and I Wayan Gdé. In this way, one can get the desired answer based on whom one asks. I can imagine a scenario where a traditional Balinese gamelan player might think it is strange to turn the reyong (the cup-gong instruments) upside down to make a sound that is not common for these instruments, while a musician in Dewa Alit’s ensemble would perhaps be familiar with such an experiment. My teacher Tjokorda Raka, a more traditional performer and ensemble leader, introduced me to Dewa Alit and told me that he had designed his gamelan with a nine-tone system that is not part of the traditional mood system in pelog, namely, the gong kebyar system. Dewa also added several big gongs and omitted instruments that he did not need for his music. This shows that an individual adaptation of instruments and experimentation is already part of the Balinese tradition.
Question: You have mentioned both John Cage and Steve Reich and (some of) their gamelan influenced compositions. Most of us from Western music culture think of Claude Debussy and his inspiration from gamelan. Can you tell me anything more about how we in Western music historically have been inspired by gamelan music?
Answer: Gamelan is an ancient Indonesian style of music that is highly relevant today. For the last 200 years, this music has been of interest and influence to the Western world, departing from Western interest in other cultures’ art and music. Through its percussive timbre and instruments, extreme dynamics, use of patterns, ostinatos, and pentatonic moods, gamelan music has inspired composers such as Steve Reich, John Cage, Olivier Messiaen, Lou Harrison, Per Nørgård, Claude Debussy, and Gyorgy Ligeti. Inspiration from gamelan has also partly led to the development of the minimalist style in the 1960s with a focus on ostinatos and pentatonic scales. Composers of recent times have been influenced by minimalism’s use of ostinato; its developers include John Luther Adams, David Lang, and Rolf Wallin.
The first Western composer associated with gamelan was Claude Debussy. When Debussy heard the Javanese gamelan for the first time at the World Exhibition in Paris in 1889, it massively influenced the composer. Debussy’s friend Robert Godet describes Debussy´s fascination for Indonesia and gamelan music like this.
|
“Many fruitful hours for Debussy were spent in the Javanese kampong of the Dutch sectionlistening to the percussive rhythmic complexities of the gamelan with its inexhaustible combinations of ethereal, flashing timbres, while with the amazing Bedayas [dancers], the music came visually alive. Interpreting some myth or legend, they turned themselves into nymphs, mermaids, fairies, and sorceresses. Waving like the ears of corn in a field, bending like reeds or fluttering like doves, or now rigid and hieratic, they formed a procession of idols or, like intangible phantoms, slipped away on the current of an imaginary wave. Suddenly, they would be brought out of their lethargy by a resounding blow on a gong, and then the music would turn into a kind of metallic gallop with breathless cross-rhythms, ending in a firework display of flying runs.” (Lockspeiser, 1962, p. 113) |
In a letter from 1895 to Pierre Louÿs, Debussy wrote:
|
“Do you remember the Javanese music, able to express every shade of meaning, even unmentionable shades,...which make our tonic and dominant seem like ghosts, for use by naughty little children?” (Lockspeiser, 1962, p. 115) |
This fascination expresses Debussy’s desire to wander away from the Western functional harmonic direction and rules of counterpoint and structure, as well as his fascination for precisely the absence of this in gamelan music. Debussy had found his inspiration, which affected his work throughout his career.
To me, Ligeti’s Etude No. 8 “Fem” stands out even more than a distinctly gamelan-influenced composition. It contains several important concepts found in the Balinese gamelan.
- 1. It has a distinctly syncopated rhythmic concept.
- 2. It has a rhythmic interlocking concept between the right/left hands.
- 3. It has a pentatonic feeling.
The excerpt below shows these concepts.
Music for Gamelan Instruments, Microphones, Amplifiers, and Loudspeaker (1994) by Alvin Lucier from Alvin Lucier - Theme ℗ 1999 Lovely Music, Ltd. – LCD 5011
(I highly recommend to listen to the entire composition on I Wayan´s soundcloud page here.)
(I highly recommend to watch the entire composition on Dewa´s youtube page here.)