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- 1 -

Proje

cts in C

ross-C

ultu

ral M

usic C

om

po

sition

by

An

ton

Killin

A th

esis and p

ortfo

lio

subm

itted to

the N

ew Z

ealand S

choo

l of M

usic

in fu

lfilmen

t of th

e requ

iremen

ts for th

e deg

ree of

Master o

f Music in

Com

positio

n

New

Zealan

d S

cho

ol o

f Music

2012

- 2

-

- 3

-

AB

ST

RA

CT

The creation of m

usic cross-culturally is a rich, cutting-egde field in contemporary m

usic

studies. This thesis exam

ines the practice of cross-cultural music com

position through the lens

of the tradition of Western art m

usic and my ow

n perspective as a composer representing that

tradition. This portfolio com

prises original compositions for various m

usical instrumentations

including Indonesian gamelan and C

hinese yangqin, and which utilise a range of technical and

contextual approaches that are described in the thesis. Reference is m

ade to historic precedents

(mainly tw

entieth-century) including a case study of one composer (L

ou Harrison), in order to

give a context to my ow

n work and m

usical thinking.

- 4

-

TH

ES

IS : T

AB

LE

OF

CO

NT

EN

TS

CH

AP

TE

R O

NE

– In

trod

ucin

g th

e no

n-W

estern

instr

um

en

ts an

d co

ntex

ts

9

I. In

trod

uctio

n

9

II. In

do

nesian

gam

elan in

New

Zealan

d

1

1

III. In

strum

ents o

f the Jav

anese g

am

elan

18

IV.

Instru

men

ts of th

e Balin

ese gam

elan (G

on

g K

ebya

r)

31

V.

Ch

inese ya

ng

qin

36

VI.

Asian

influ

ences in

Weste

rn art m

usic

3

8

CH

AP

TE

R T

WO

– Issu

es faced

by

cro

ss-cultu

ral co

mp

osers

5

3

I. P

articipan

t ob

servatio

n

53

II. T

ow

ards a cro

ss-cultu

ral mu

sic aesth

etic

59

III. C

ross-cu

ltural ap

pro

pria

tion

6

2

IV.

Pra

ctical co

nce

rns

6

8

CH

AP

TE

R T

HR

EE

– C

ollec

ted

exten

ded

pro

gra

mm

e no

tes

75

I. C

ycles, Sh

ad

ow

s

77

II. W

igen

a

85

III. M

elod

y for V

iolin

an

d Y

an

gq

in

9

2

IV.

To

–

96

V.

Th

ree Piec

es for G

am

elan in

Trad

ition

al Cen

tral Javan

ese Sty

le with

Western

Instru

men

ts:

97

Keta

wa

ng

An

gg

un

Slen

dro

Ma

nyu

ra

10

2

La

dra

ng

Sa

nta

i Slen

dro

Sa

ng

a

1

03

Gen

dh

ing

Ta

rikan

Pelo

g N

em

10

4

VI.

Merm

ecolio

n

1

07

VII.

Po

dró

e

11

0

VIII.

Eleg

y

11

4

IX.

Ta

bu

la R

asa

12

3

X.

Prim

es

1

24

XI.

After C

live B

ell

12

7

XII.

Ou

tside m

y fron

t do

or

12

9

- 5

-

CH

AP

TE

R F

OU

R –

Co

nclu

sion

1

34

AP

PE

ND

ICE

S

13

5

I. C

om

po

ser c

ase stud

y: L

ou

Harriso

n

1

35

II. F

olk

and

no

n-W

estern m

usic in

Western

art mu

sic com

po

sition

14

6

III. A

esthetics

15

4

IV.

Co

mp

act d

isc sup

ple

men

t

1

58

RE

FE

RE

NC

ES

1

59

CO

MP

OS

ITIO

N P

OR

TF

OL

IO

17

0

TA

BL

E O

F F

IGU

RE

S

Ch

ap

ter On

e

1.1: Excerpt from

Jack Body: M

elodies for Orchestra (1983)

1.2: Excerpt from

Gareth F

arr: From

the Depths Sound the G

reat Sea Gongs (1996)

1.3: Excerpt from

Gareth F

arr: From

the Depths Sound the G

reat Sea Gongs (1996)

1.4: Excerpt from

Douglas L

ilburn: Gam

elan for Six Hands (1965)

1.5: Colotom

y and Balungan in K

etawang W

igena

1.6: Table of instrum

ents that make up the Javanese gam

elan

1.7: Dem

ung and saron

1.8: Slenthem

1.9: Peking

1.10: Relationship of peking to balungan

1.11: Bonang barung &

bonang panerus

1.12: Relationship of bonang to balungan

1.13: Gender barung &

gender panerus

1.14: Gam

bang

1.15: Rebab

1.16: Siter

1.17: Suling

1.18: Kenong, ketuk and kem

pyang

1.19: Gong ageng, kem

pul and kendhang

1.20: Pitches of the instrum

ents of Gam

elan Padhang M

oncar

- 6

-

1.21: Intervals between the pitches of the instrum

ents of Gam

elan Padhang M

oncar

1.22: Graphic representation of the pitches of the instrum

ents of Gam

elan Padhang M

oncar

1.23: Western approxom

ation of Gam

elan Padhang M

oncar pitches

1.24: Reong, ugal, and pairs of gangsas – pem

ade and kantilan

1.25: Pair of jublag

1.26: Pair of jegogan

1.27: Gongs

1.28: Kem

pli

1.29: Ceng-ceng

1.30: Excerpt from

Pengipuk, from

Puspanjali

1.31: Excerpt from

Pengipuk in staff notation

1.32: Close-up and profile photographs of a C

hinese yangqin

1.33: Range of the yangqin

1.34: Excerpt from

Cao L

ing, arr. Guo M

in Qing: F

estival of the Tianshan M

ountains

1.35: Excerpt from

Claude D

ebussy: Pagodes (1903)

1.36: Excerpt from

Claude D

ebussy: Pagodes (1903)

1.37: Excerpt from

Maurice R

avel: Ma M

ère L’oye (1911)

1.38: Excerpt from

Claude D

ebussy: Le sons et les parfum

s tournent dans l’air du soir (1909-1910)

1.39: Excerpt from

Olivier M

essiaen: Couleurs de la C

ité Céleste (1963)

1.40: Excerpt from

Benjam

in Britten: T

he Prince of the P

agodas (1957)

1.41: Excerpt from

Benjam

in Britten: C

urlew R

iver (1964)

1.42: “Britten in Japan (1956) having a lesson in sh

technique”

1.43: Traditional sh

chords

1.44: Mapping the traditional chords onto B

ritten’s organ part in Curlew

River

1.45: Excerpt from

Olivier M

essiaen: Gagaku from

Sept Haikai (1962),

1.46: Excerpt from

Michael T

ippet: Triple C

oncerto for Violin, V

iola, Cello and O

rchestra (1979)

1.47: Approaches and taxonom

y of my com

positions

1.48: Excerpt from

Zhou L

ong: Song of the Ch’in (1982)

1.49: Excerpt from

Chinary U

ng: Spiral III (1990)

Ch

ap

ter Tw

o

2.1: Excerpt from

I Wayan G

de Yudane: T

he Churning of the Sea (2006)

2.2: Excerpt from

Jack Body: P

olish Dances II. M

edley (2007)

2.3: Lelagon P

rau Pelog N

em w

ith a violin melody

Ch

ap

ter Th

ree

3.1: Excerpt from

Mark L

angford: Mostly in B

flat (1989)

3.2: Excerpt from

Mark L

angford: Mostly in B

flat (1989)

3.3: Excerpt from

Jack Body: E

picycle (1989)

3.4: Structure of C

ycles, Shadows

- 7

-

3.5: Annotated score of C

ycles, Shadows

3.6: Cipher notation for K

etawang W

igena Pelog N

em

3.7: Ketaw

ang Wigena P

elog Nem

in staff notation

3.8: Pelog scale approxim

ations for Wigena

3.9: Annotated score for W

igena

3.10: Annotated score for M

elody for Violin and Y

angqin

3.11: Cipher notation for K

etawang A

nggun Slendro Manyura

3.12: Cipher notation for L

adrang Santai Slendro Sanga

3.13: Cipher notation for G

endhing Tarikan P

elog Nem

3.14: Merm

ecolion

3.15: Annotated score of E

legy

3.16: Excerpts from

Prim

es

3.17: Excerpt from

Prim

es

3.18: Excerpt from

Prim

es

3.19: Excerpt from

After C

live Bell

3.20: Excerpt from

After C

live Bell

Ap

pen

dix

I

I.1: Excerpt from

John Cage and L

ou Harrison: D

ouble Music (1941)

I.2: Excerpt from

Lou H

arrison: Pacifica R

ondo (1963)

I.3: Excerpt from

Lou H

arrison: Pacifica R

ondo (1963)

I.4: Lou H

arrison: Lagu Sociseknum

(1976)

I.5: Supplem

ent: Lou H

arrison: Lagu Sociseknum

(1976)

I.6: Lou H

arrison: Bubaran R

obert (1976 rev. 1981)

I.7: Supplem

ent: Lou H

arrison: Bubaran R

obert (1976 rev. 1981)

I.8: Melodic contour of bonang part in H

arrison’s Bubaran R

obert

I.9: Structure of H

arrison’s Bubaran R

obert

I.10: Excerpt from

Lou H

arrison: Main B

ersama-sam

a (1978)

I.11: Excerpt from

Lou H

arrison: Concerto for P

iano with Javanese G

amelan (1987)

I.12: Excerpt from

Gendhing T

arikan Pelog N

em

I.13: Excerpt from

Lou H

arrison: Concerto in Slendro (1961)

I.14: Excerpt from

Lou H

arrison: Concerto in Slendro (1961)

I.15: Alves’ abstraction of L

ou Harrison’s E

legy, To the M

emory of C

alvin Simm

ons (1982)

I.16: Excerpt from

Wigena

Ap

pen

dix

II

II.1: Excerpt from

Cam

ille Saint-S

aëns: Samson et D

alila (1876)

II.2: Excerpt from

Franz S

chubert: Sonata in C m

ajor “R

eliquie” (1824)

II.3: Excerpt from

Béla B

artók: Mikrokosm

os (1926-1939)

II.4: Excerpt from

Béla B

artók: Fourteen B

agatelles (1908)

- 8

-

II.5: Excerpt from

Igor Stravinsky: T

he Rite of Spring (1913)

II.6: Excerpt from

Igor Stravinksy: T

he Rite of Spring (1913)

II.7: Excerpt from

Steve R

eich: Drum

ming (1971)

- 9 -

CH

AP

TE

R O

NE

INT

RO

DU

CIN

G T

HE

NO

N-W

ES

TE

RN

INS

TR

UM

EN

TS

AN

D C

ON

TE

XT

S

I. In

trod

uctio

n

Th

e p

urp

ose o

f this th

esis is to su

pp

ort th

e new

wo

rks in

my

com

po

sition

po

rtfolio

. Th

e

mo

tivatio

n o

f mu

ch o

f my

com

po

sition

is two

fold

. First, I ex

plo

re the creativ

e po

ssibilities th

at

arise from

com

bin

ing

instru

men

ts of th

e Ind

on

esian g

am

elan1 w

ith in

strum

ents fro

m th

e W

est

(inclu

din

g electro

nic m

edia) in

new

com

po

sition

s. Sec

on

d, I in

corp

orate reco

rdin

gs o

f Western

and

no

n-W

estern in

strum

ents, esp

ecially g

am

elan, in

aco

usm

atic mu

sic. I do

no

t alway

s use

gam

elan in

my

mu

sic h

ow

ever –

my

po

rtfolio

also in

clud

es a clarinet so

lo co

mp

osed

for

An

drzej N

ow

icki, a

sho

rt pian

o p

iece, an

d an

electro

aco

ustic p

iece com

prisin

g en

viro

nm

ental

record

ing

s. Mo

reov

er, I cou

ld n

ot resist su

perv

isor Jac

k B

od

y’s in

vitatio

n to

com

po

se fo

r

yan

gq

in, a C

hin

ese du

lcimer; in

on

e pie

ce I com

bin

e this in

strum

ent w

ith v

iolin

, and

in an

oth

er

I com

bin

e it with

live ele

ctron

ics.

In th

e chap

ter that fo

llow

s, I intro

du

ce the n

on

-Western

instru

men

ts that I h

ave b

een w

ork

ing

with

, and

I also d

iscuss th

e influ

ences o

f Asian

mu

sic in th

e Weste

rn a

rt mu

sic trad

ition

, the

con

text in

wh

ich I a

m situ

ated b

oth

as a com

po

ser an

d a research

er, insp

ired b

y le

adin

g fig

ures

from

the W

estern a

rt mu

sic traditio

n. I d

evelo

p a

taxo

no

my

of w

ays in

wh

ich W

estern

com

po

sers hav

e inco

rpo

rated fo

lk an

d n

on

-Western

mu

sic influ

ences, m

aterials, and

con

cepts in

their o

wn

com

po

sition

s. I con

nect th

is taxo

no

my

with

the co

mp

ositio

ns in

my

po

rtfolio

. In

Ch

apter T

wo

I con

sider th

e issu

es that co

mp

osers fac

e wh

en en

gag

ing

in cro

ss-cultu

ral practice

.

Th

is discu

ssion

is from

my

ow

n p

erspectiv

e as a co

mp

oser. It rep

resents th

e issu

es that I w

as

thin

kin

g ab

ou

t wh

ilst com

po

sing

these w

ork

s, and

ho

w I reso

lved

them

bo

th in

my

min

d an

d in

my

practice. I a

rgu

e in fav

ou

r of p

articip

ant o

bserv

ation

2 as a research

strategy

, I dev

elop

a

cross-cu

ltural a

esthetic, an

d I ex

plain

ho

w m

y ad

op

tion

of m

usical m

aterials and

con

cepts fro

m

oth

er cultu

res is app

roach

ed w

ith sen

sitivity

and

respec

t. In C

hap

ter Th

ree I p

rov

ide ex

tend

ed

pro

gram

me n

otes fo

r the w

ork

s in m

y p

ortfo

lio. In

Ch

ap

ter Fo

ur I su

mm

arise and

con

clud

e.

To

sup

po

rt my

com

po

sition

practice

and

cross-cu

ltural research

, I pro

vid

e sev

eral app

end

ices.

Th

e first ap

pen

dix

is a case-stud

y o

n L

ou

Harriso

n, a

vital fig

ure in

cross-cu

ltural m

usic

com

po

sition

, sho

win

g th

at he h

as taken

several ap

pro

ach

es to cro

ss-cultu

ral com

po

sition

,

dev

elop

ing

the field

and

pav

ing

the w

ay fo

r futu

re W

estern cro

ss-cultu

ral com

po

sers. T

he

1 En

sem

bles o

f pred

om

inan

tly b

ron

ze an

d w

oo

den

percu

ssion

instru

men

ts from

Ind

on

esia. Becau

se of

the w

ord

’s regu

lar usag

e and

En

glish

-lang

uag

e ad

op

tion

I do

no

t italicise it, d

esp

ite italicisin

g o

ther

Ind

on

esian g

amelan

terms.

2 By

wh

ich I m

ean stu

dy

ing

the m

usic

(at le

ast partially

) by

learn

ing

to p

lay it.

- 1

0 -

secon

d ap

pen

dix

surv

eys th

e histo

ry o

f the p

ractice o

f en

corp

oratin

g fo

lk an

d n

on

-Western

mu

sical materials in

the W

estern a

rt mu

sic traditio

n. T

his p

laces my

com

po

sition

and

research

in its h

istoric co

ntex

t. Th

e th

ird ap

pen

dix

is sup

po

rt for m

y d

evelo

pm

ent in

Ch

apter T

wo

of a

plu

ralist aesthetic, th

ou

gh

it is based

on

Western

ideas o

f ph

iloso

ph

y.

It is imp

ortan

t to n

ote

that m

y o

wn

exp

eriences o

f no

n-W

estern m

usic, esp

ecially le

arnin

g to

play

Javan

ese an

d B

alinese

gam

elan, co

mes fro

m stu

dy

ing

at un

iversity

in N

ew

Zealan

d. S

ee

Ch

apter 2

Sectio

n I fo

r a discu

ssion

of m

y o

wn

inv

olv

emen

t in g

am

elan m

usic m

akin

g. M

y

gam

elan teach

ers, Bu

di S

. Pu

tra an

d I W

ayan

Gd

e Yu

dan

e, to w

ho

m I am

gre

atly in

deb

ted, are

ind

igen

ou

s maestro

s of Jav

anese

gam

elan an

d B

alinese

gam

elan, resp

ectiv

ely. I sp

ent th

ree

week

s in In

do

nesia

(mo

stly Y

og

yak

arta, Jakarta, an

d S

olo

) with

my

gam

elan tea

chers (an

d o

ther

fellow

stud

ents) in

20

07

. As a

com

po

ser and

researcher I am

firmly

plac

ed w

ithin

the co

ntex

t

of th

e Western

art mu

sic traditio

n. M

y o

ffering

s in th

is thesis are

thu

s from

the p

erspectiv

e o

f a

com

po

ser situated

with

in th

at traditio

n.

It is also im

po

rtant to

ackn

ow

ledg

e sev

eral com

po

sers wh

ose

cross-cu

ltural m

usic co

mp

ositio

n

has in

form

ed m

y o

wn

. In th

is respect, I a

m m

ost in

deb

ted to

my

prim

ary

sup

erviso

r Jack B

od

y,

my

seco

nd

ary su

perv

isor M

ichael N

orris, an

d to

Dav

id S

and

ers and

Gareth

Farr.

- 1

1 -

II. In

do

nesia

n g

am

elan

in N

ew

Zea

lan

d

Gam

elan first a

rrived

in N

ew

Zealan

d w

hen

, in 1

97

5, e

thn

om

usico

log

ist Allan

Th

om

as

imp

orted

an an

tiqu

e set of in

strum

ents fro

m C

irebo

n, n

orth

ern Jav

a, to

Victo

ria U

niv

ersity o

f

Wellin

gto

n’s m

usic d

epartm

ent, n

ow

the N

ew

Zealan

d S

cho

ol o

f Mu

sic. 3 Th

e gam

elan set w

as

used

to su

pp

ort eth

no

mu

sicolo

gy

cou

rses and

teach

trad

ition

al reperto

ire. A p

erform

ing

ensem

ble

was so

on

form

ed, in

itially d

irected b

y T

ho

mas. N

ew

com

po

sition

s by

som

e N

ew

Zealan

d co

mp

osers w

ho

were in

trigu

ed b

y th

e sou

nd

s of th

e ensem

ble

app

eared

, such

as Dav

id

Farq

uh

ar’s Ostin

ato

for G

am

elan

(19

75

) and

Pa

lind

rom

e fo

r Ga

mela

n (1

97

9). F

arqu

har

enco

urag

ed h

is com

po

sition

stud

ents at th

e un

iversity

to co

nsid

er writin

g fo

r the g

amelan

, a

traditio

n co

ntin

ued

by

Jack B

od

y.

In 1

98

0, th

e In

do

nesian

Em

bassy

mad

e a

central Jav

anese g

am

elan set av

ailable to

Victo

ria

Un

iversity

, on

perm

anen

t loan

. Th

e set con

sisted o

nly

of p

elog

(Javan

ese 7-n

ote sc

ale)

instru

men

ts, so in

the m

id-eig

hties th

e con

structio

n o

f a m

atchin

g slen

dro

(Javan

ese 5

-no

te

scale) set was co

mm

ission

ed to

com

plete th

e en

sem

ble (trad

ition

ally, each

ense

mb

le com

prises

instru

men

ts of b

oth

scales). In th

e mid

-19

80

s, the In

do

nesian

Em

bassy

also su

pp

lied th

e

gro

up

’s first teach

er from

Ind

on

esia, M

idiy

anto

, and

they

con

tinu

e to su

pp

ly teach

ers for th

e

gro

up

– Jo

ko

Su

trisno

betw

een

19

88

and

19

95

, and

pre

sently

, Bu

di S

. Pu

tra fro

m 1

99

6 o

nw

ard

s.

Th

e g

rou

p’s n

am

e, G

am

elan

Pa

dh

an

g M

on

car, w

as giv

en b

y S

utrisn

o, “

Pa

dh

an

g M

on

car can

refer to th

e sun

rise (th

e gro

win

g lig

ht), an

d th

e fact th

at in A

otearo

a w

e are th

e first g

am

elan in

the w

orld

to see

the n

ew

day

. Pa

dh

an

g M

on

car can

also b

e interp

reted as h

armo

ny

and

gro

wth

and

thu

s the n

am

e can

reflect th

e asp

iration

s of th

e g

rou

p.”

4

Afte

r exten

sive to

urin

g aro

un

d N

ew

Zealan

d, in

terest in g

amelan

gre

w an

d n

ow

there a

re

several sets th

rou

gh

ou

t the co

un

try –

Javan

ese g

amelan

sets exist n

ow

at Un

iversity

of O

tago

,

Cly

de Q

uay

Prim

ary S

cho

ol in

Mo

un

t Victo

ria, th

e N

ew

Zealan

d S

cho

ol o

f Mu

sic, and

in

Au

cklan

d, o

wn

ed b

y M

irand

a A

dam

s; Balin

ese gam

elan

sets exist at U

niv

ersity o

f Can

terbu

ry

and

the N

ew

Zealan

d S

cho

ol o

f Mu

sic; and

the C

irebo

n set h

as been

return

ed to

the c

are o

f the

Th

om

as family

, presen

tly h

ou

sed in

the L

on

g H

all, Po

int Jern

ing

ham

in R

osen

eath

, Wellin

gto

n.

Bec

ause B

od

y’s p

ersuasiv

e enth

usiasm

for th

e en

sem

ble sp

read a

mo

ng

st his co

mp

ositio

n

stud

ents, an

d b

ecau

se oth

er com

po

sers were

attracted

to th

e gam

elan fo

r wh

atever re

ason

, man

y

New

Zealan

d co

mp

osers h

ave in

deed

com

po

sed m

usic fo

r gam

elan. N

ew

Zealan

d co

mp

ose

rs

Gareth

Farr, C

hris W

atson

, Jud

ith E

xley

, Jack B

od

y, D

an B

eban

, Mich

ael No

rris, Nao

mi S

ing

er,

3Jack B

od

y, p

ers. com

m., 2

00

9.

4Gam

elan

Pad

han

g M

on

car, <h

ttp://w

ww

.gam

elan

.org

.nz/>

Acc

essed 2

9/0

1/2

01

0.

- 1

2 -

Em

ma C

arlé, S

teve M

acD

on

ald, R

oss C

arey

, Dav

id ‘T

reefrog

’ San

ders, M

egan

Co

llins, an

d

my

self hav

e all had

com

po

sition

s released o

n C

D b

y G

amelan

Pad

han

g M

on

car. B

od

y’s 2

00

9

con

cert series, ‘G

on

g C

razy

’, wh

ich c

elebrated

the en

d o

f his 3

0 y

ears o

f teachin

g at V

ictoria

Un

iversity

of W

elling

ton

/New

Zealan

d S

cho

ol o

f Mu

sic, com

prised

new

wo

rks in

vo

lvin

g

gam

elan b

y H

elen B

ow

ater, Ro

ss Harris, Jo

hn

Psath

as, An

drzej N

ow

icki, Irw

an H

arahap

,

Meg

an C

ollin

s, Gareth

Farr, L

eon

DeL

oren

zo, T

ho

mas L

am

bert, D

avid

‘Tre

efrog

’ San

ders,

Jack B

od

y an

d I W

ayan

Gd

e Yu

dan

e, and

my

self. Gam

elan P

adh

ang

Mo

ncar h

as tou

red

Ind

on

esia three

times w

ith rep

ertoires th

at com

prised

bo

th trad

ition

al gam

elan p

ieces an

d n

ew

wo

rks b

y N

ew

Zealan

d co

mp

osers –

in 2

00

0, 2

00

2, an

d 2

00

7 alo

ng

with

mem

bers o

f Ga

mela

n

Ta

niw

ha

Jaya

(the B

alinese

gam

elan b

ased at th

e New

Zealan

d S

cho

ol o

f Mu

sic, ow

ned

by

Gareth

Farr). T

he B

alinese g

am

elan en

sem

ble’s n

ame w

as cho

sen b

y F

arr, mean

ing

‘Victo

riou

s

Tan

iwh

a’ –

“mo

nstro

us in

so m

any

way

s!” (Farr, p

ers. com

m., 2

01

0) –

allud

ing

to th

e dy

nam

ic

and

rhy

thm

ic co

mp

lexities o

f Balin

ese-style p

layin

g.

Hen

ry Jo

hn

son

(20

08

) repo

rts on

mu

ch o

f the n

ew

mu

sic created

in N

ew

Zealan

d eith

er for

gam

elan, o

r from

(or, in

spired

by

) gam

elan. Jack

Bo

dy

’s Mu

sik Da

ri Jala

n (1

97

5) is an

electroaco

ustic p

iece th

at samp

les Allan

Th

om

as’ field reco

rdin

gs o

f Ind

on

esian m

usician

s and

env

iron

men

ts. Th

e p

iece w

on

first prize at th

e 19

76

Bo

urg

es Intern

ation

al Ele

ctroaco

ustic

Mu

sic festival, an

d in

19

92

was selected

for th

e D

isc d’o

r, alon

gsid

e nin

e oth

er Bo

urg

es prize

win

ners, as o

ne o

f the ten

mo

st hig

hly

acclaim

ed w

inn

ing

pieces o

ver 2

5 y

ears. 5

Fu

rtherm

ore

, Bo

dy

has w

ritten In

do

nesian

-insp

ired w

ork

s, such

as the se

con

d m

ov

emen

t from

Melo

dies fo

r Orch

estra (1

98

3), w

hich

features m

elod

ic material tran

scrib

ed fro

m so

lo sa

lua

ng

(Su

matran

bam

bo

o flu

te) mu

sic:

5 SO

UN

Z T

he C

entre fo

r New

Zealan

d M

usic

, < h

ttp://so

un

z.org

.nz/w

ork

s/sho

w/1

03

99

/> A

ccessed

02

/02

/20

10

.

- 1

3 -

Fig

. 1.1

: Jack B

od

y: M

elo

die

s for O

rchestra

(19

83

), pu

blish

ed b

y W

aiteata

Mu

sic P

ress, NZ

(19

91

) p. 4

1

Mo

reov

er, th

e wo

rk’s first m

ov

em

ent is b

ased o

n a

transcrip

tion

of G

reek

folk

mu

sic, and

the

third

on

a transcrip

tion

of In

dian

street mu

sic. On

his a

pp

roach

, Bo

dy

exp

lains h

is

attemp

t to cap

ture so

meth

ing

of th

e style o

f play

ing

and

timb

re of th

e orig

inal p

erform

ances.

Aro

un

d th

ese mo

re o

r less literal repro

du

ction

s I hav

e ad

ded

an o

rchestral fab

ric w

ho

se

pu

rpo

se is to create co

heren

ce an

d co

ntin

uity

with

in th

e wo

rk …

[M]y

inten

tion

is simp

ly to

try to

con

vey

som

ethin

g o

f the jo

y an

d ex

citemen

t I exp

erienced

wh

en I en

cou

ntered

each

on

e for th

e first time. 6

6 Bo

dy

(19

83

) qu

oted

on

SO

UN

Z T

he C

entre fo

r New

Zealan

d M

usic

,

<h

ttp://so

un

z.o

rg.n

z/wo

rks/sh

ow

/10

41

5/>

Acc

essed 0

3/0

2/2

01

0.

- 1

4 -

I believ

e mu

sical com

po

sition

sho

uld

be th

e exp

loratio

n o

f new

wo

rlds o

f aural sen

sibility

.

Th

is is wh

y I ‘trav

el’ a great d

eal, m

usically

speak

ing

, even

wh

en at h

om

e, by

listenin

g

ob

sessively

to reco

rdin

gs o

f the m

usic

of o

ther cu

ltures. 7

Co

nsid

er several o

f Bo

dy

’s oth

er pie

ces: After B

ach

(20

01

) com

bin

es Javan

ese g

am

elan w

ith

massed

vio

las and

fou

r vio

la solo

ists. Ca

mp

ur S

ari (1

99

6) co

mp

rises new

mu

sic co

mp

osed

for

string

qu

artet and

traditio

nal m

usic p

layed

by

a m

aster Javan

ese mu

sician (g

end

er, kend

ha

ng

and

vo

ice). In P

olish

Fo

lk Da

nces (2

00

7), B

od

y’s tran

scriptio

ns o

f Po

lish fo

lk m

elod

ies are

play

ed b

y a

clarinet, an

d ac

com

pan

ied b

y Jav

anese g

am

elan w

hich

switch

es betw

een p

elog

and

slend

ro scales, h

armo

nisin

g th

e tun

es with

a skew

ed te

mp

eram

ent ap

pro

xim

ating

that o

f the

West. A

Ho

use

in B

ali (2

00

9) tells o

f vario

us a

mu

sing

exp

eriences o

f Balin

ese life, b

y n

arrating

passag

es from

Co

lin M

cPh

ee’s sem

inal tex

t of th

e sam

e nam

e, reflecting

on

his liv

ing

there

in

the 1

93

0s. B

od

y c

arefu

lly o

rnam

ents an

d p

un

ctuates M

cP

hee’s ac

cou

nts b

y in

terweav

ing

new

mu

sic com

po

sed fo

r string

qu

artet and

shen

g (C

hin

ese mo

uth

org

an), w

ith th

e new

mu

sic

com

po

sed fo

r Balin

ese gam

elan b

y th

e w

ork

’s co-au

tho

r (and

Balin

ese gam

elan m

aestro), I

Way

an G

de Y

ud

ane.

An

oth

er pro

min

ent N

ew

Zealan

d co

mp

ose

r wh

o h

as wo

rked

exten

sively

with

gam

elan is G

areth

Farr. Jo

hn

son

(20

08

) no

tes the g

am

elan in

fluen

ce in p

ieces such

as Fro

m th

e Dep

ths S

ou

nd

the

Grea

t Sea

Go

ng

s (19

96

) for o

rchestra, K

em

ba

ng

Su

ling

(19

95

) and

Sep

ulu

h Ja

ri (19

96

) for

pian

o so

lo. 8 W

hile B

od

y o

ften re

con

structs trad

ition

al mu

sics in n

ew

com

po

sition

s, Farr d

oes

no

t attemp

t to a

chiev

e any

kin

d o

f rob

ust au

then

ticity –

he is sim

ply

com

po

sing

new

pieces fo

r

the W

estern art trad

ition

, and

gam

elan h

app

ens to

be a m

ajor in

fluen

ce. Co

nsid

er the o

pen

ing

section

of F

rom

the D

epth

s So

un

d th

e Grea

t Sea

Go

ng

s, with

its pen

taton

ic gam

elan-esq

ue

textu

res evo

kin

g th

e slend

ro sc

ale, and

its virtu

osic p

ercussio

n p

assages, in

a Balin

ese koteka

n

(interlo

ckin

g) sty

le:

7 Jack

Bo

dy

(20

01

) qu

oted

on

SO

UN

Z T

he C

entre

for N

ew

Zea

land

Mu

sic,

<h

ttp://so

un

z.o

rg.n

z/man

ifestatio

ns/sh

ow

/74

24

/> A

ccessed

20

/04

/20

10

. 8 S

ee a

lso F

arr (20

01

), <h

ttp://w

ww

.gareth

farr.com

/dep

ths.h

tml/>

Accessed

08

/02

/20

10

.

- 1

5 -

Fig

. 1.2

: Gare

th F

arr: F

rom

the D

epth

s So

un

d th

e Grea

t Sea

Go

ng

s (19

96

), pu

blish

ed b

y P

rom

ethean

Ed

ition

s, NZ

(19

98

) p. 7

Fig

. 1.3

: Gare

th F

arr: F

rom

the D

epth

s So

un

d th

e Grea

t Sea

Go

ng

s (19

96

), pu

blish

ed b

y P

rom

ethean

Ed

ition

s, NZ

(19

98

) p. 1

6

Farr h

as also w

ritten fo

r bo

th Jav

anese an

d B

alinese g

am

elan, an

d ev

en fo

r bo

th en

semb

les

com

bin

ed. H

is ou

tpu

t inclu

des S

iteran

(19

90

) for Jav

an

ese gam

elan an

d h

arp

solo

,

Ch

èng

chèn

g (1

99

2) fo

r Balin

ese gam

elan, tw

o h

arps, a

nd

percu

ssion

, Reo

ng

an

(19

92

) for

Javan

ese gam

elan, K

ebya

r Mo

nca

r (19

93

) for Jav

anese

gam

elan, T

ab

uh

Pa

cific (19

95

) for

Balin

ese gam

elan an

d sy

mp

ho

ny

orch

estra, Ta

ikoa

n (1

99

4) fo

r Javan

ese g

am

elan an

d T

aiko

- 1

6 -

dru

ms, B

eat! (1

99

9) fo

r Javan

ese gam

elan an

d p

ercussio

n trio

, Uri T

an

iwh

a (2

00

2) fo

r Javan

ese

gam

elan, ta

on

ga

po

ro (M

ori m

usical in

strum

ents), a

nd

sop

rano

solo

, Tw

in o

f Sle

ep (2

00

5) fo

r

Balin

ese gam

elan, ch

oir, an

d ka

ran

ga

(Mo

ri vo

cal style –

a ‘welco

me c

all’), and

Ro

na

e te

Ma

ram

a (2

00

7) fo

r Javan

ese and

Balin

ese gam

elans co

mb

ined

. Farr is v

ery in

terested in

com

bin

ing

gam

elan w

ith W

estern in

strum

ents, an

d ev

en

con

siders it a

“social an

alog

y”

9 – b

y

com

bin

ing

mu

sics of d

ifferen

t cultu

res tog

ether, h

e believ

es he is co

ntrib

utin

g to

the stren

gth

of

tho

se cultu

res. (Th

e to

pic o

f cultu

ral app

rop

riation

is persu

ed in

Ch

apter 2

Sectio

n III.)

Fu

rtherm

ore

, Joh

nso

n (2

00

8) also

no

tes that p

rom

inen

t New

Zealan

d co

mp

oser A

nth

on

y

Ritch

ie sho

ws a

gam

elan in

fluen

ce in

pie

ces such

as Bo

um

(19

93

) for sy

mp

ho

ny

orch

estra, an

d

the n

inth

(‘Slo

w an

d F

loatin

g’) an

d tw

enty

-third

(‘With

urg

ency

’) of h

is 24

Prelu

des (2

00

2) fo

r

pian

o so

lo. R

itchie h

as com

po

sed o

ne w

ork

for g

am

elan

, Ech

oes (2

00

9), fo

r Javan

ese g

am

elan,

in w

hich

melo

dic th

emes are p

resented

and

then

dev

elop

ed th

rou

gh

cano

ns an

d v

ariation

s.

Befo

re gam

elan ev

en arriv

ed in

New

Zealan

d, D

ou

glas L

ilbu

rn, in

spired

by

the so

un

ds o

f

gam

elan, co

mp

osed

Ga

mela

n fo

r Six H

an

ds (1

96

5) fo

r three p

layers at a p

iano

, wh

ich clo

sely

app

roach

es the tex

tures o

f Javan

ese gam

elan, w

ith lo

w n

otes rem

iniscen

t of g

on

gs, an

d a

core

melo

dy

wh

ich is d

ecorated

in a

gam

elan-lik

e fashio

n:

Fig

. 1.4

: Do

ug

las Lilb

urn

: Ga

mela

n fo

r Six H

an

ds (1

96

5), p

ub

lished

in C

rotch

ety a

t 51

by

Waitea

ta M

usic

Press, N

Z

(20

04

) p. 4

2

9 Pilch

er (20

06

), p. 1

3.

- 1

7 -

Oth

er pro

min

ent N

ew

Zealan

d co

mp

osers’ w

ork

s inclu

de M

ichael N

orris’ M

an

da

la (1

99

9) fo

r

Javan

ese gam

elan an

d Z

on

am

So

lvere (2

00

2) fo

r chro

matic g

amelan

and

saxo

ph

on

e qu

artet,

Mark

Lan

gfo

rd’s T

he S

yca

mo

re Tree

(19

81

) for Jav

anese g

am

elan an

d p

ercussio

n an

d …

Bu

t It

On

ly M

akes a

Sm

all S

ha

do

w (1

98

7) fo

r cho

irs, syn

thesizer, p

ercussio

n an

d g

am

elan, P

hil

Dad

son

’s Pa

go

da

da

ga

p (1

98

7) fo

r Javan

ese gam

elan, C

hris W

atson

’s Jan

gera

n (2

00

5) fo

r

Balin

ese gam

elan an

d W

estern o

rchestra, A

nd

ra P

atterson

’s Mem

biski (1

98

6) fo

r Javan

ese

gam

elan an

d M

aju

Teru

s (19

87

) for ch

oir, Jav

anese g

am

elan an

d W

estern o

rchestra

, and

Helen

Bo

water’s T

em

ba

ng

ma

tjap

at (1

99

9) fo

r gam

elan, strin

g o

rchestra

, marim

ba, ta

m-ta

m an

d

vo

ices and

Su

n W

u K

on

g “

Mo

nkey

” (2

00

9) fo

r gam

elan

, Ch

inese

shen

g (m

ou

th o

rgan

) and

string

qu

artet. Mo

reov

er, com

po

ser Nig

el Keay

em

bra

ces the in

fluen

ce of g

am

elan in

man

y o

f

his w

ork

s, such

as Sym

ph

on

y fo

r Strin

gs –

Th

ree Im

ag

es o

f Java

(19

89

) for strin

g o

rchestra an

d

Sym

ph

on

ic P

oem

: Ritu

al D

an

ce o

f the U

na

pp

easa

ble S

ha

do

w (1

99

4) fo

r sym

ph

on

y o

rchestra.

Gam

elan m

usic h

as play

ed a

sub

stantial ro

le in th

e influ

ences an

d m

usic

al directio

ns o

f man

y o

f

New

Zealan

d’s m

ost p

rom

inen

t Western

art mu

sic com

po

sers. My

wo

rks fo

llow

in th

eir

foo

tsteps.

- 1

8 -

III. Instru

men

ts of th

e Ja

va

nese g

am

elan

10

Gam

elan m

usic is a

stratified, m

ulti-lev

el po

lyp

ho

ny

. Th

e “

ba

lun

ga

n”

instru

men

ts play

a lin

e

wh

ich acts as th

e back

-bo

ne o

f the p

iece, w

hich

the ela

bo

rating

instru

men

ts orn

am

ent in

specific

way

s. Stru

ctural in

strum

ents m

ark th

e colo

tom

ic stru

cture

11 o

f the p

iece’s fo

rm, an

d th

e dru

ms

(kend

ha

ng

) set the te

mp

o, g

uid

e tem

po

chan

ges, an

d g

ive stru

ctural cu

es. Often

, gam

elan

accom

pan

ies a fem

ale sing

er (pesin

dh

en) o

r a m

ale cho

rus (g

eron

g).

Trad

ition

ally, th

e ba

lun

ga

n is learn

ed au

rally an

d m

emo

rised. T

ho

se p

layin

g m

ore ad

van

ced

instru

men

ts mu

st hav

e also

mem

orised

the ap

pro

priate

elabo

ration

s or stru

ctural p

atterns

relevan

t to th

eir instru

men

t. Ev

en n

ow

mo

st pro

fession

al gam

elan en

semb

les still mem

orise

their m

usic fo

r perfo

rman

ces, b

ut u

se ciph

er n

otatio

n1

2 as an aid

in teach

ing

and

rehearsals (see

Su

marsam

, 20

02

). Fo

r exam

ple

, here

is the first lin

e of K

etaw

an

g W

igen

a [la

ras] p

elog

[pa

thet]

nem

, as it is perfo

rmed

by

Gam

elan P

adh

ang

Mo

ncar (so

metim

es min

or reg

ion

al differen

ces

occu

r in Jav

anese

reperto

ire, especially

betw

een S

olo

an

d Y

og

yak

arta), in cip

her n

otatio

n:

o +

o

o + o

o +

o V o +

o

1

2 1

6

2 1

6 5

1

2 1

6

2 1

6 (5

)

Th

e b

alu

ng

an

instru

men

ts play

the n

otes o

f the n

um

bers, th

e elabo

rating

instru

men

ts orn

amen

t

this m

elod

y ac

cord

ing

to th

e con

ven

tion

al techn

iqu

es for th

at instru

men

t, and

the in

strum

ents

that m

ark th

e colo

tmic stru

cture p

lay o

n th

e no

tes that co

rrespo

nd

with

their sy

mb

ol: +

for ketu

k,

o for k

em

pya

ng

, fo

r ken

on

g, V

for ke

mp

ul, an

d ( ) fo

r go

ng

ag

eng

.

Th

us, th

e abo

ve cip

her n

otatio

n can

be rein

terpreted

into

Western

no

tation

(sho

win

g th

e p

itches

of th

e ba

lun

ga

n an

d th

e p

lacem

ent o

f the in

strum

ents o

utlin

ing

the co

loto

mic stru

cture):

Fig

. 1.5

: Co

loto

my

and

Ba

lun

ga

n in

Keta

wa

ng

Wig

ena

Th

e co

loto

mic stru

cture rep

eats un

chan

gin

g th

rou

gh

ou

t the p

iece, as th

e b

alu

ng

an

mo

ves o

n to

sub

sequ

ent lin

es.

10 A

ll ph

oto

s of g

amelan

instru

men

ts herein

taken

by

my

self. T

hey

are part o

f Gam

elan

Pad

han

g M

on

car.

11 T

he stru

cture

of a

con

ven

tion

al Jav

anese

gam

elan

pie

ce is d

efined

by

the rh

yth

mic

org

anisatio

n o

f

spec

ific instru

men

ts wh

ose

fun

ction

is to m

ark sp

ecific tim

e interv

als in re

latio

n to

the p

iece’s b

alu

ng

an

. 1

2 A n

otatio

n sy

stem

com

prisin

g n

um

bers (rep

resentin

g p

itches) an

d sy

mb

ols.

- 1

9 -

Th

e p

iece’s fu

ll title, Keta

wa

ng

Wig

ena

[lara

s] pelo

g [p

ath

et] nem

, as well as co

ntain

ing

its

ind

ivid

ual title, W

igen

a (sad

, sorro

wfu

l), 13 g

ives its fo

rm/co

loto

mic stru

cture (b

entu

k – w

hich

in

this case is k

etaw

an

g –

ind

icating

wh

ere th

e structu

re-m

arkin

g in

strum

ents n

eed to

play

in

relation

to th

e ba

lun

ga

n, an

d in

dicatin

g to

the k

end

ha

ng

play

er wh

ich sty

le to d

rum

in), its scale

(lara

s – w

hich

in th

is case is p

elog

), and

its mo

de (p

ath

et – w

hich

in th

is case is n

em

). Bo

th

scales, slend

ro an

d p

elog

, are con

ven

tion

ally o

rgan

ised in

to th

ree pa

thet each

, wh

ich h

ave

differen

t ‘caden

tial’ pattern

s, rang

es, and

also th

ey ten

d to

em

ph

asise and

avo

id ce

rtain p

itches,

relevan

t to th

at pa

thet (see

Sp

iller, 20

08

). Play

ers sit cro

ss-legg

ed an

d fo

r this re

ason

, perfo

rm

with

ou

t wea

ring

sho

es. It is also cu

stom

ary n

ever to

step o

ver th

e instru

men

ts, bu

t rather to

walk

arou

nd

them

– a sig

n o

f respect fo

r the g

amelan

. Th

ese tw

o cu

stom

s are still up

held

tod

ay.

In th

e past, th

e perfo

rmers w

ho

play

instru

men

ts that re

qu

ire just a sin

gle b

eater (ta

bu

h) h

old

it

in th

eir righ

t han

d –

even

tod

ay, In

do

nesian

s are d

iscon

certed b

y seein

g p

erfo

rmers p

lay

gam

elan left-h

and

ed (B

od

y, p

ers. com

m., 2

01

0).

Th

e in

strum

ents o

f the Jav

anese g

amelan

span

several o

ctaves:

Fig

. 1.6

: Tab

le of in

strum

ents th

at mak

e up

the Jav

anese g

amelan

, from

Pick

van

ce (2

00

5) p

p. 1

04

-10

5.

In th

e follo

win

g d

iscussio

n o

f Javan

ese gam

elan in

strum

ents, th

e ran

ges g

iven

are

specific

to

the in

strum

ents o

f Gam

elan P

adh

ang

Mo

ncar. N

ot all o

f the in

strum

ents listed

in th

e tab

le

abo

ve ap

pear in

this set an

d v

ariatio

ns reg

ardin

g th

e ex

act registers m

ay ex

ist. Cu

riou

s readers

may

see Ap

pen

dix

IV fo

r record

ing

s of trad

ition

al reperto

ire.

13 R

ob

son

, Stu

art and

Sin

gg

ih W

ibiso

no

(20

02

), p. 8

10

.

- 2

0 -

Ba

lun

ga

n in

strum

ents

Dem

un

g14

Sa

ron

Fig

. 1.7

: Dem

un

g an

d sa

ron

Dem

un

g (fo

regro

un

d: fro

nt –

pelo

g; rig

ht –

slend

ro),

Sa

ron

(back

gro

un

d: fro

nt –

pelo

g; rig

ht –

slend

ro)

Th

e d

em

un

g an

d sa

ron

play

a trad

ition

al piece

’s ba

lun

ga

n lin

e, and

are stru

ck w

ith a w

oo

den

beater. A

s the p

erfo

rmer strik

es a n

ote, h

e/she d

am

pen

s the p

revio

us n

ote w

ith h

is/her o

ther

han

d. T

he b

ron

ze k

eys are su

spen

ded

ov

er a wo

od

en b

od

y w

ith a

ho

llow

ed cav

ity. F

or so

me

pieces, th

e sa

ron

and

dem

un

g p

lay im

ba

l-imb

ala

n in

terlock

ing

pattern

s (sho

rt iterated scalar

mo

tifs that are d

ivid

ed u

p b

etween

two

play

ers – lik

e a h

ock

et). Th

ere are u

sually

mu

ltiple

dem

un

g an

d sa

ron

in a

set of g

am

elan in

strum

ents.

Fig

. 1.8

: Slen

them

(fron

t – p

elog

; righ

t – slen

dro

)

14 T

he p

itches g

iven

in th

is thesis are a

repre

senta

tion

of a W

estern ap

pro

xim

atio

n (se

e furth

er belo

w fo

r

an ex

plan

atio

n). D

ots ab

ov

e/belo

w a n

um

ber d

eno

te p

itches o

f hig

her/lo

wer o

ctaves.

- 2

1 -

Lik

e the d

em

un

g an

d sa

ron

, the slen

them

play

s the b

alu

ng

an

. It is struck

with

a w

oo

den

beater

that h

as been

pad

ded

with

mate

rial to so

ften th

e sou

nd

, and

is dam

pen

ed in

the sa

me w

ay as th

e

oth

er ba

lun

ga

n in

strum

ents. T

he b

ron

ze k

eys are su

spen

ded

ov

er reson

ating

tub

es fitted in

to a

wo

od

en fra

me. In

som

e g

amelan

pie

ces the slen

them

play

s a syn

cop

ated tech

niq

ue, p

inja

lan

,

play

ing

on

e no

te hig

her th

an th

e ba

lun

ga

n, o

n th

e off-b

eat, resultin

g in

an in

terlock

ing

resultan

t

melo

dy

.

Ela

bo

ratin

g in

stru

men

ts

Fig

. 1.9

: Pekin

g (also

kn

ow

n a

s saro

n p

an

erus) (fro

nt –

pelo

g; rig

ht –

slend

ro)

Th

ep

eking

, wh

ich lo

ok

s like a

small sa

ron

or an

even

smaller d

em

un

g, is o

ne o

ctave h

igh

er

than

the sa

ron

, and

is struck

with

a b

eater m

ade fro

m b

uffalo

ho

rn. D

epen

din

g o

n a p

iece’s

temp

o (ira

ma

), the p

eking

play

s either

(a) the b

alu

ng

an

,

(b) th

e ba

lun

ga

n d

ou

bled

(i.e. reiterates the n

ote o

n its

off-b

eat),

(c) repeated

pairs o

f no

tes, based

on

the b

alu

ng

an

, or

(d) ex

tend

ed rep

itition

s of p

airs of n

otes, b

ased o

n th

e ba

lun

ga

n:

Fig

. 1.1

0: R

elation

ship

of p

ekin

g to

ba

lun

ga

n

(anticip

ating

)

(anticip

ating

)

- 2

2 -

Th

us th

e slo

wer th

e b

alu

ng

an

play

s, the faster th

e pekin

gp

lays –

and

the sa

me g

oes fo

r the

oth

er elabo

rating

instru

men

ts.

Bo

na

ng

ba

run

g

(bo

nan

g p

an

eru

s is on

e o

cta

ve h

igher)

Fig

. 1.1

1: B

on

an

g b

aru

ng

(often

just c

alled b

on

an

g) (fro

nt –

pelo

g; le

ft – slen

dro

) & b

on

an

g p

an

erus (rig

ht –

pelo

g;

rear –

slend

ro)

A b

on

an

g in

strum

ent co

nsists

of tw

o ro

ws o

f bro

nze

po

ts. Th

e arran

gem

ent

of

the p

ots d

epen

ds

on

the p

ath

et of th

e p

iece. T

he p

erform

er play

s with

two

wo

od

en b

eaters, w

ou

nd

with

cord

to

sligh

tly so

ften th

e ton

e. Dep

end

ing

on

the fo

rm/co

loto

mic stru

cture

and

the te

mp

o, th

e b

on

an

g

and

bo

na

ng

pa

neru

s mig

ht p

lay o

ne o

f three

diffe

rent e

labo

ration

techn

iqu

es, either

(a) gem

bya

ng

an

(syn

cop

ation

again

st the b

alu

ng

an

usin

g th

e last no

te of th

e ga

tra

(‘bar’ o

r gro

up

ing

of p

itches),

(b) m

ipil (d

ou

blin

g, altern

ately, th

e nex

t two

no

tes of th

e ba

lun

ga

n), o

r

(c) imb

al-im

ba

lan

interlo

ckin

g p

atterns

(sho

rt iterated scalar m

otifs th

at are d

ivid

ed u

p

betw

een

bo

na

ng

ba

run

g an

d b

on

an

g p

an

erus –

also lik

e a h

ock

et):

Fig

1.1

2: R

elatio

nsh

ip o

f bo

na

ng

to b

alu

ng

an

(anticip

ating

) (an

ticipatin

g)

(anticip

ating

)

- 2

3 -

Th

e b

on

an

g in

strum

ents ex

emp

lify th

e en

d-w

eigh

ted sc

hem

a o

f Javan

ese m

usic; th

e last n

ote o

f

a ga

tra is co

nsid

ered th

e stron

g n

ote, n

ot th

e first, and

these p

atterns an

ticipate th

at stress.

Gen

der

(gen

der p

an

eru

s is on

e o

cta

ve h

igh

er)

Fig

. 1.1

3: G

end

er b

aru

ng

(often

just ca

lled g

end

er) (fron

t thre

e) and

gen

der p

an

erus (re

ar th

ree)

Lik

e slenth

em

, the b

ron

ze k

eys o

f the g

end

er are su

spen

ded

ov

er reson

ating

tub

es fitted in

to a

wo

od

en fra

me. T

he ran

ge o

f the g

end

er match

es that o

f the slen

them

and

dem

un

g, an

d th

e

rang

e of th

e gen

der p

an

erus is o

ne o

ctave h

igh

er, matc

hin

g th

at of th

e dem

un

g an

d sa

ron

. Th

ey

are play

ed w

ith tw

o sm

all wo

od

en b

eaters pad

ded

with

material to

soften

the so

un

d’s attack

,

and

as bo

th h

and

s are req

uired

to p

lay th

e instru

men

t, the p

erform

er mu

st hav

e m

astered a

difficu

lt dam

pen

ing

tech

niq

ue –

dam

pen

ing

the p

revio

usly

play

ed n

otes w

ith th

e side o

f on

e’s

wrist o

r the h

eel o

f on

e’s palm

. Th

e lon

g reso

nan

ce o

f the in

strum

ent m

akes m

asterin

g th

e

dam

pen

ing

techn

iqu

e ev

en m

ore im

po

rtant. E

ach g

am

elan

set has o

ne slen

dro

and

two

pelo

g

versio

ns o

f gen

der an

d g

end

er pa

neru

s – o

ne p

elog

versio

n h

as 1s (an

d n

o 7

s), and

the o

ther h

as

7s (an

d n

o 1

s). Neith

er hav

e 4

s. Wh

ich p

elog

versio

n is u

sed in

a p

iece d

epen

ds o

n its p

ath

et.

Th

e m

elod

ies of th

e g

end

er instru

men

ts are com

plex

– a p

erform

er mu

st learn

man

y trad

ition

al

melo

dic p

atterns (g

ara

p), an

d k

no

w w

hich

pattern

s to p

ull o

ut o

f this ‘p

oo

l’ for an

y g

iven

traditio

nal p

iece. Ex

perien

ced m

usician

s also cre

ate their o

wn

ga

rap

. So

me w

ill teach th

em to

their stu

den

ts, con

tribu

ting

them

to th

e p

oo

l, and

partly

for th

is reaso

n th

ere are reg

ion

al

differen

ces in

the g

ara

p p

ercieved

to b

e ap

pro

priate fo

r any

giv

en trad

ition

al gam

elan p

iece.

- 2

4 -

Fig

1.1

4: G

am

ba

ng

(slend

ro; p

elo

g v

ersion

no

t pic

tured

)

Th

e g

am

ba

ng

con

sists of w

oo

den

key

s, span

nin

g fo

ur o

ctaves, p

laced

ov

er a ho

llow

wo

od

en

bo

dy

, struck

with

two

wo

od

en b

eaters. L

ike g

end

er, each

gam

elan set h

as on

e slen

dro

and

two

pelo

g v

ersion

s of g

am

ba

ng

– o

ne p

elog

versio

n h

as 1s (an

d n

o 7

s), and

the o

ther h

as 7s (an

d n

o

1s). N

either h

ave 4

s. So

me g

am

elan sets, h

ow

ever, h

av

e just o

ne p

elog

versio

n, an

d ex

tra k

eys,

so th

at the k

eys o

f the 1

s and

7s can

be in

terchan

ged

acco

rdin

g to

the p

ath

et of th

e piec

e. Th

e

ga

mb

an

g p

lays elab

orate

melo

dies w

hich

, like th

e gen

der, co

me fro

m a p

oo

l of g

ara

p. M

ost

ga

mb

an

g p

atterns en

d w

ith a

deco

ration

of, an

d em

ph

asis o

n, th

e final n

ote

(the stro

ng

no

te) of

each g

atra

(bar) o

r go

ng

ga

n (g

on

g n

ote

at the en

d o

f a lin

e or cy

cle).

Fig

. 1.1

5: R

eba

b

Th

e reb

ab

(a bo

wed

two

-string

, vertical fid

dle), is o

ften co

nsid

ered th

e m

elod

ic leader o

f the

ensem

ble; it p

lays a d

eco

rated b

alu

ng

an

with

figu

res loo

sely co

mp

arab

le to stan

dard

Western

orn

amen

tation

s (such

as anticip

ation

no

tes, accen

ted an

d u

nacc

ented

passin

g n

otes). T

he sty

le

and

intricacies o

f the d

ecoratio

n is u

niq

ue to

the p

erfo

rmer.

- 2

5 -

Fig

. 1.1

7: S

ulin

g

Lik

e the

reba

b,

gen

der

and

ga

mb

an

g,

the siter

and

sulin

gin

strum

ents

are play

edb

ym

usician

s

exten

sively

trained

in trad

ition

al pra

ctice. Th

e siter is p

luck

ed b

y th

e perfo

rmer’s th

um

bn

ails,

and

a sing

le instru

men

t has b

oth

scales o

n it –

the p

erfo

rmer flip

sits leg

s aro

un

d an

d tu

rns it

up

side d

ow

n fo

r the o

ther scale.

Th

e sulin

g p

lays in

termitten

tly, at th

e discretio

n o

f the

perfo

rmer, u

sually

in its h

igh

er octav

e, in free

time, w

hich

is un

iqu

e am

on

gst g

amelan

instru

men

ts. Th

e slen

dro

sulin

g h

as fou

r fing

er ho

les an

d th

e pelo

g su

ling

five fin

ger h

oles (to

inclu

de 7

bu

tn

ot

4).

As

with

the o

ther

ga

rap

-play

ing

instru

men

ts,m

elod

iescan

be

pu

lledo

ut

of a co

nv

entio

nal p

oo

l, wh

ile master m

usician

s may

cre

ate their o

wn

as well.

Fig

. 1.1

6: S

iter

- 2

6 -

Str

uctu

ral in

strum

ents a

nd

dru

ms

Fig

. 1.1

8: K

eno

ng

(large p

ots; to

p h

alf of p

ho

to –

pelo

g; b

otto

m h

alf – slen

dro

); ketu

k (small p

ot, h

as a flat to

p) an

d

kemp

yan

g (sm

all p

ot, h

as a rou

nd

ed to

p). [T

he p

elog

pair o

f ketu

k/kem

pya

ng

is in th

e mid

dle-le

ft of th

e ph

oto

, the

slend

ro p

air is d

iago

nally

acro

ss, som

ewh

at ob

scured

]

Ken

on

g a

re a set of p

ots, sim

ilar in sh

ape to

bo

na

ng

po

ts, bu

t larger. T

hey

are susp

end

ed b

y

cord

ov

er a h

ollo

w w

oo

den

bo

dy

, and

are stru

ck b

y a w

oo

den

beater w

ou

nd

with

cord

to

sligh

tly so

ften th

e ton

e – lik

e a b

on

an

g b

eater, b

ut larg

er. Also

, like b

on

an

g, th

e perfo

rmer

strikes th

e small b

oss o

n th

e top

of th

e po

t. Th

ere is a ken

on

g fo

r each n

ote o

f the tw

o scales,

and

the p

erfo

rmer strik

es the o

ne th

at match

es the ap

pro

priate b

alu

ng

an

pitch

at specific

structu

ral po

ints acco

rdin

g to

the p

iece’s fo

rm. T

he reg

ister of th

e keno

ng

is a sing

le octav

e,

wh

ich cro

sses the h

igh

er half o

f the d

em

un

g reg

ister and

the lo

wer h

alf of th

e saro

n reg

ister.

Th

e ketu

k an

d ke

mp

yan

g are o

ften, b

ut n

ot alw

ays, p

layed

by

the ken

on

g p

layer. T

hey

too

mark

specific stru

ctural p

oin

ts acco

rdin

g to

the p

iece’s fo

rm. A

pelo

g p

air of ketu

k an

d ke

mp

yan

g

com

prise th

e n

otes 6

, two

octav

es apart –

the ketu

k at th

e register o

f the slen

them

and

the

kem

pya

ng

at the reg

ister of th

e saro

n. A

slend

ro p

air co

mp

rise a 2

(ketuk) at th

e reg

ister of th

e

dem

un

g, an

d a 1

(kem

pya

ng

) at the reg

ister of th

e pekin

g. T

hese a

re stru

ck b

y th

e sa

me b

eaters

as keno

ng

.

- 2

7 -

(on

e octa

ve low

er than

written

)

Fig

. 1.1

9: G

on

g a

gen

g (o

ften ju

st called

go

ng

), kem

pu

l, ken

dh

an

g

Th

e g

on

g is th

e larg

e, black

go

ng

on

the far sid

e of th

e go

ng

fram

e, and

the k

em

pu

l are the o

ther

smaller g

on

gs. T

he g

on

g is stru

ck w

ith a h

eav

y, ro

un

d, w

ell-pad

ded

beater w

hich

pro

du

ces a

very

low

, deep

ly reso

nan

t 6, at th

e reg

ister on

e octav

e low

er th

an th

e slen

them

’s low

6.

Co

nv

entio

nally

, the g

on

g m

arks th

e en

ds o

f sign

ificant lin

es or cy

cles.

Th

e n

ext lo

west, th

e low

-han

gin

g k

em

pu

l on

the o

ther sid

e of th

e fra

me to

the g

on

g, is also

often

called g

on

g su

wu

kan

, and

is used

structu

ally in

som

e traditio

nal fo

rms, esp

ecially in

wa

yan

g ku

lit (shad

ow

-pu

pp

et) perfo

rman

ces. Th

e oth

er ke

mp

ul, lik

e ken

on

g, m

ark

specific

structu

ral po

ints acco

rdin

g to

the p

iece’s fo

rm. K

em

pu

l are stru

ck w

ith ro

un

d b

eaters th

at are

well-p

add

ed, th

ou

gh

ligh

ter and

smaller in

size to

the b

eater specifically

for th

e g

on

g.

Th

e ken

dh

an

g are

the d

ifferent sh

aped

han

d-d

rum

s, pla

ced o

n stan

ds aro

un

d th

e p

erform

er.

Th

ey are p

layed

at bo

th en

ds w

ith th

e perfo

rmer’s p

alms an

d fin

gers, an

d are asy

mm

etrical (the

end

s pro

du

ce d

ifferent relativ

e to

nes). T

he ken

dh

an

g a

gen

g is th

e largest o

ne, th

e ken

dh

an

g

wa

yan

ga

n is th

e nex

t largest (facin

g fo

rward

in th

e p

ho

to), th

e kend

ha

ng

ciblo

n is th

e smaller

on

e (on

the rig

ht h

and

side o

f the p

ho

to), an

d th

e ken

dh

an

g ketip

un

g is ev

en sm

aller, and

sits on

the flo

or in

fron

t of o

ne o

f the o

ther d

rum

s (it is ob

scured

in th

e ph

oto

). Th

e differen

t dru

ms are

emp

loy

ed b

y th

e p

erform

er to ev

ok

e d

ifferent m

oo

ds, to

cue te

mp

i and

structu

ral chan

ges, an

d

so o

n. T

he k

end

ha

ng

play

er is con

sidered

the ‘co

nd

ucto

r’ of th

e ense

mb

le, to w

ho

m all th

e

oth

er play

ers mu

st listen in

ord

er to

be in

time w

ith ea

ch

oth

er and

to h

ear im

po

rtant so

nic cu

es.

Ev

ery

gam

elan-m

aker tu

nes th

e no

tes of th

eir instru

men

ts differen

tly, i.e. d

ifferen

t sets of

instru

men

ts pro

du

ce differen

t pitch

es wh

en lik

e no

tes (for in

stance

, pelo

g 1

s) are com

pared

.

Gen

erally, th

ese pitch

es are ro

ug

hly

arou

nd

the sa

me p

itch are

a. With

in a

gam

elan set, u

sually

the p

elog

4 an

d th

e slend

ro 5

are th

e sam

e as ea

ch o

ther, as are

the p

elog

and

slend

ro 6

s.

- 2

8 -

Ho

wev

er, regio

nal d

ifferences o

ccur an

din

som

e cases th

e scales will sh

are similar 2

s as well;

or sim

ilar 5s in

stead o

f similar 6

s, with

similar p

elog

7s to

slend

ro 6

s. 15 G

enerally

speak

ing

,

betw

een

adja

cent p

itches, slen

dro

con

tains w

ide ‘seco

nd

s’ and

narro

w ‘th

irds’ w

hile p

elog

com

prises n

arrow

‘secon

ds’ an

d w

ide ‘th

irds’ (M

cD

ermo

tt, 19

86

), com

pared

to W

estern eq

ual

temp

eratmen

t. To

giv

e an id

ea, th

e pitch

es of th

e in

strum

ents o

f Gam

elan P

adh

ang

Mo

ncar are

(measu

red w

ith electro

nic tu

ner):

1

2

3

4

5

6

7

Pelo

gD

-15

cE

b+

20

cF

-50

cG

+3

5c

A-3

5c

Bb

-20

cB

+3

5c

Slen

dro

C

+2

5c

D+

50

c F

-10

c

G+

35

c B

b-2

0c

Fig

. 1.2

0: P

itches o

f the in

strum

ents o

f Gam

elan

Pad

han

g M

on

car

Th

esizes

betw

een ad

jacent in

tervals is th

us:

1 - 2

2

- 3

3 - 4

4

- 5

5 - 6

6

- 7

7 - 1

(nex

t octav

e)

Pelo

g

13

5c

13

0c

28

5c

13

0c

11

5c

15

5c

25

0c

Slen

dro

2

25

c 2

40

c 2

45

c 2

45

c 2

45

c

Fig

. 1.2

1: In

terv

als b

etw

een

the p

itches o

f the in

strum

ents

of G

amelan

Pad

han

g M

on

car

Th

is can

be o

bserv

ed b

y th

e pla

cem

ent o

f pitch

es in relatio

n to

an eq

ual tem

pered

chro

matic

scale:

Fig

1.2

2: G

raph

ic repre

sentatio

n o

f the p

itches o

f the in

strum

ents o

f Gam

elan P

adh

ang

Mo

ncar

Th

us, I u

sually

represen

t them

on

the sta

ff as follo

ws (th

e sam

e as I hav

e rep

resented

them

in

my

instru

men

t pro

files abo

ve), av

oid

ing

un

necessarily

com

plex

micro

ton

es. Bec

ause d

ifferent

15 S

um

arsam (2

00

2), p

. 5. C

on

sequ

ently

, a sing

le traditio

nal g

amelan

piec

e can

therefo

re sou

nd

similar,

sub

tly d

ifferent, o

r qu

ite differen

t on

differen

t gam

elan

sets, an

d th

is has b

eco

me

a sign

ificant asp

ect o

f

the ae

sthetics o

f gam

elan

mu

sic.

C C

# D

Eb

E

F F

# G

Ab

A B

b B

C C

# D

1 2

3 5

6 1

1 2

3 4

5 6

7 1

CC

C#

DE

bE

FF

#G

Ab

AB

bB

C

C

#D

12

35

61

12

34

56

71

E

qu

al Tem

p.

Ch

rom

aic

scale

Slen

dro

scale

Pelo

g sc

ale

- 2

9 -

pitch

es are p

rod

uced

on

diffe

rent sets o

f instru

men

ts, I feel it is mo

re ap

pro

priate

to

app

rox

imate th

e p

itches fo

r straigh

t-forw

ard n

ote

read

ing

and

analy

sis, and

plac

e the cip

her

nu

mb

ers un

dern

eath th

e sco

red p

itches fo

r the p

erform

ers to fo

llow

:

1

2

3

4

5

6

7

Pelo

g

D

Eb

F

G

#

A

Bb

C

Slen

dro

D

b

Eb

F

Ab

B

b

Fig

1.2

3: W

estern

app

rox

om

ation

of G

amelan

Pad

han

g M

on

car p

itch

es

An

excep

tion

is wh

en I em

plo

y b

oth

scales in a sin

gle p

iece – I n

otate

pelo

g 2

as an E

(natu

ral)

to d

ifferentiate b

etween

pelo

g an

d slen

dro

2s, an

d slen

dro

3 as a

Gb

to d

ifferentiate b

etween

pelo

g an

d slen

dro

3s. A

no

ther ex

ceptio

n is sp

ecific to

my

piec

e Wig

ena

, and

I giv

e m

y re

ason

s

for th

is in th

e piec

e’s exten

ded

pro

gram

me n

ote (see C

hap

ter 3 S

ection

II).

It is imp

ortan

t to co

nsid

er the so

cial and

cultu

ral con

text o

f a Jav

anese

gam

elan p

erform

ance:

Besid

es its ind

epen

den

t fun

ction

(i.e. klen

eng

an

, a perfo

rman

ce to

be h

eld fo

r its ow

n

sake), g

amelan

is an essen

tial accom

pan

imen

t for d

ram

atic form

s, such

as dan

ce, d

ance

dram

a, an

d w

aya

ng

perfo

rman

ce. W

heth

er acco

mp

any

ing

a theatric

al form

or n

ot,

gam

elan is p

erform

ed in

Java in

man

y d

ifferent co

ntex

ts. Th

e m

ost co

mm

on

inv

olv

e

gam

elan in

ritual c

elebratio

ns (e

.g. w

edd

ing

receptio

ns, circu

mcisio

ns, v

illage

cerem

on

ies, etc.). As h

istory

has ev

olv

ed an

d tech

no

log

y ad

van

ced, o

ther co

ntex

ts hav

e

been

created

, such

as perfo

rman

ces fo

r [Ind

on

esian In

dep

end

ence

Day

], bro

adcasts

from

radio

or telev

ision

station

s, etc…

At an

y rate, th

e con

cept o

f a “mu

sic co

ncert” in

wh

ich th

e m

usic is listen

ed to

attentiv

ely…

is still alien in

gam

elan p

erfo

rman

ce. 1

6

Ho

wev

er, new

con

texts are b

eing

dev

elop

ed an

d co

ncerts o

f con

tem

po

rary m

usic

for g

amelan

are rapid

ly b

ecom

ing

mo

re frequ

ent. T

he late

Sap

to R

ah

arjo w

as instru

men

tal in th

is

dev

elop

men

t – h

e dev

oted

his life to

pro

mo

ting

con

tem

po

rary co

mp

ositio

n fo

r gam

elan. H

e

was th

e initiato

r and

directo

r of th

e Yo

gy

akarta

Intern

ation

al Gam

elan F

estival, at w

hich

gam

elan en

sem

bles fro

m all o

ver th

e wo

rld are

inv

ited to

perfo

rm. F

urth

ermo

re, th

rou

gh

Ind

on

esia’s arts academ

ies such

as ST

SI (S

ekola

h T

ing

gi S

eni In

do

nesia

), con

texts fo

r kreasi

ba

ru (n

ew

creatio

ns) are

bein

g g

enerated

. Ind

on

esian c

om

po

sers are

enco

urg

ared

to cre

ate new

app

roach

es to g

am

elan co

mp

ositio

n, o

ften d

isregard

ing

traditio

nal id

iom

s.

Wh

en ask

ed in

an in

tervie

w o

n R

adio

New

Zealan

d w

heth

er or n

ot g

am

elan h

ad

to b

e play

ed

traditio

nally

, Gam

elan P

adh

ang

Mo

nca

r’s dire

ctor an

d teach

er, Bu

di S

. Pu

tra, respo

nd

ed, “

Bu

t

no

w y

ou

can d

o a

nyth

ing

to th

e gam

elan, y

ou

can p

ut W

estern in

strum

ents, y

ou

can

pu

t oth

er

16 S

um

arsam (2

00

2), p

. 23

.

- 3

0 -

instru

men

ts in g

amelan

. Bu

t twen

ty y

ears ag

o, th

at’s still differen

t – th

ey h

ad to

play

in

traditio

n.”

17

Fo

r futh

er in

form

ation

on

Javan

ese gam

elan, cu

riou

s read

ers can

find

exten

sive g

uid

es and

textb

oo

ks, su

ch as P

ickv

ance (2

00

5) an

d S

piller (2

00

8), an

d also

old

er pu

blicatio

ns su

ch as

Su

marsam

(20

02

), Lin

dsay

(19

92

), So

rrell (19

90

).

17 Y

ee (2

01

0), R

adio

New

Zea

land

Asian

Rep

ort o

n 6

Ap

ril 20

10

- 3

1 -

IV.

Instru

men

ts of th

e Ba

linese g

am

elan

(Go

ng

Keb

yar)

18

Th

e u

se of B

alinese g

am

elan in

my

com

po

sition

po

rtfolio

occu

rs on

ly in

two

electroaco

ustic

pieces, M

ermeco

lion

and

Po

dró

e, and

in n

on

e o

f the sco

red in

strum

ental/v

ocal co

mp

ositio

ns.

Fo

r this re

ason

, I on

ly g

ive a v

ery

brie

f intro

du

ction

to th

e instru

men

ts and

traditio

nal m

usic,

by

passin

g su

ch co

mp

lex to

pics as fo

rm an

d te

chn

iqu

e (see Ten

zer, 20

00

for a

com

preh

ensiv

e

stud

y; an

d also

Sp

iller, 20

08

) and

I do

no

t pro

vid

e analy

ses of tu

nin

gs an

d sc

ales.

Fig

. 1.2

4: R

eon

g (left sid

e), ug

al (ta

ller instru

men

t in b

ack

gro

un

d), an

d p

airs of g

an

gsa

s – p

ema

de (fo

regro

un

d) an

d

kan

tilan

(mid

dle ro

w)

Fig

1.2

5: P

air o

f Jub

lag

18 A

ll ph

oto

s taken

by

my

self. T

hese

instru

men

ts are part o

f Gam

elan

Tan

iwh

a Jay

a and

are ow

ned

by

com

po

ser Gare

th F

arr.

- 3

2 -

Fig

. 1.2

6: P

air of J

ego

ga

n

Fig

. 1.2

7: G

on

gs (G

on

g g

ede –

big

go

ng

on

the rig

ht, ke

mp

ur –

med

ium

sized

go

ng

on

the left, klen

ton

g (also

kn

ow

n

as kem

on

g) –

small g

on

g o

n th

e righ

t)

Fig

. 1.2

8: K

emp

li

Fig

. 1.2

9: C

eng

-cen

g

- 3

3 -

Go

ng

kebya

r instru

men

ts com

prise a 5

-no

te scale, p

elog

selisir – 1

, 2, 3

, 5, an

d 6

. Ty

pically

,

the tw

o-o

ctave ran

ged

ug

al p

lays th

e main

melo

dic lin

e o

f the p

iece, w

hich

is the b

asis for th

e

ensem

ble’s m

ulti-tem

po

stratification

. Th

e ug

al is stru

ck w

ith a h

ard w

oo

den

mallet, an

d, lik

e

ba

lun

ga

n in

strum

ents in

Javan

ese gam

elan, th

e p

revio

us n

ote is d

am

pen

ed as th

e n

ext n

ote is

struck

. All o

f the o

ther m

etallop

ho

nes are p

aired, an

d ‘g

end

ered’, fo

r the p

urp

oses o

f tun

ing

.

Th

e ‘m

ale’ jub

lag

, jego

ga

n, an

d g

an

gsa

(pem

ad

e and

ka

ntila

n) in

strum

ents o

f each

pair are

tun

ed to

geth

er, and

their ‘fe

male

’ cou

nterp

arts are tu

ned

tog

ether, w

ith a sm

all diffe

rence in

pitch

betw

een th

e tw

o ‘g

end

ers’ (the fem

ale instru

men

ts are tu

ned

a little lo

wer), th

us w

hen

the

ensem

ble

strikes a lik

e n

ote, th

e tw

o v

ery

close

pitch

es cause a b

eatin

g. T

his ex

plain

s the

ensem

ble’s sh

imm

ering

son

ic effect. (T

he u

ga

l is usu

ally

tun

ed to

the fe

male

pitch

.) Lik

e

Javan

ese gam

elan, th

ere is n

o u

niv

ersally a

ccepted

mo

del o

f tun

ing

; gam

elan-m

akers tu

ne th

eir

instru

men

ts to th

eir ow

n sets o

f pitch

es. Fu

rtherm

ore

, the rate

of b

eating

is no

t arbitra

ry, b

ut

cou

nted

by

the g

am

elan-m

aker to

pro

du

ce a

beatin

g eith

er specific

to th

at mak

er, o

r for th

at

specific set o

f instru

men

ts.

Th

e o

ne-o

ctave ran

ged

jub

lag

play

a redu

ction

of th

e u

ga

l melo

dy

, often

in a

kin

d o

f con

trary

mo

tion

as the in

strum

ent h

as to co

mp

ensate fo

r hav

ing

the ran

ge o

f on

ly o

ne o

ctave. It is stru

ck

with

a h

ard, th

ou

gh

pad

ded

mallet, an

d its n

otes are d

am

pen

ed as its n

ext n

ote

is struck

. Th

e

on

e-octav

e rang

ed jeg

og

an

play

s an ev

en fu

rther red

uced

, skeleto

n v

ersion

of th

e u

ga

l melo

dy

,

and

is struck

with

soft, h

eavily

pad

ded

beate

rs. Th

e ju

bla

g is th

e same ran

ge as th

e up

per

octav

e of th

e ug

al, an

d th

e jeg

og

an

is the sa

me ran

ge as th

e low

er octav

e.

Th

e tw

o-o

ctave ran

ged

ga

ng

sa in

strum

ents (p

em

ad

e – o

ne o

ctave ab

ov

e u

ga

l, and

kan

tilan

–

two

octav

es abo

ve u

ga

l), deco

rate the u

ga

l part w

ith th

eir ow

n resu

ltant m

elod

y o

f interlo

ckin

g

rhy

thm

s (kote

kan

), created b

y sp

litting

parts b

etween

two

po

sition

s, san

gsih

and

po

los (th

us

requ

iring

fou

r instru

men

ts - a m

ale and

fem

ale p

air play

ing

san

gsih

and

a male an

d fem

ail pair

play

ing

po

los). T

hey

are stru

ck w

ith h

ard

beaters an

d d

amp

ened

qu

icker th

an th

e o

ther

instru

men

ts, to allo

w fo

r crisp

er articulatio

n o

f the faste

r, hig

her p

arts. Also

deco

rating

the u

ga

l

melo

dy

is the reo

ng

, a line o

f 12

po

ts play

ed b

y fo

ur p

layers, w

ho

se parts also

interlo

ck. T

hese

are struck

by

ligh

tly p

add

ed w

oo

den

beate

rs, and

altho

ug

h th

e perfo

rman

ce tech

niq

ue is q

uite

differen

t, they

are sim

ilar to Jav

a’s bo

na

ng

.

Th

e ke

mp

li is struck

with

a w

oo

den

beater th

at has b

een

ligh

tly p

add

ed, an

d h

eld, m

uted

, by

the

perfo

rmer’s o

ther h

and

. It mark

s the d

ow

nb

eat, lik

e a metro

no

me, k

eepin

g ev

ery p

layer in

syn

c.

Th

e cen

g-cen

g are

small cy

mb

als wh

ich are

clashed

tog

ether in

som

e pie

ces for en

ergetic

percu

ssive effect. A

s with

Javan

ese gam

elan, th

e ken

dh

an

g d

irects the te

mp

o an

d g

ives

- 3

4 -

structu

ral cues, an

d th

e g

on

gs m

ark th

e co

loto

mic

structu

re of th

e p

iece’s fo

rm. H

ere is an

exam

ple

of a trad

ition

al, stand

ard

reperto

ire p

iece, in

ciph

er no

tation

:

Ga

ng

sas

5-3

2

-2-2

-2

-2

-2-2

-6-3

-2

-5

-1-3

-6

-2

5-3

2

1-1

- 1

-1-

1-1

-

1-5

- 5

-3-

3-2

- 2

-1-

Ug

al

5

2

1

2

1

5

3

2

Jub

lag

5

1

1

3

Jego

ga

n

5

1

Kem

pli

+

+

+

+

+

+

+

+

Go

ng

s

G (g

on

g g

ede)

==

Ga

ng

sa

-56

- 5

6-5

-6

5-

65

6-

5

-3-

23

-2

-32

- 3

23

-

1-2

3

-23

- 3

2-3

2

-23

5-6

1

-61

- 1

6-1

6

-61

Ug

al

1

5

3

6

5

2

1

3

Jub

lag

1

3

5

1

Jego

ga

n

1

5

Kem

pli

+

+

+

+

+

+

+

+

Go

ng

s

P (ke

mp

ur)

Fig

. 1.3

0: E

xcerp

t from

Pen

gip

uk, fro

m P

usp

an

jali (T

rad.), a

s perfo

rmed

by

Gam

elan T

aniw

ha Jay

a1

9

Th

e ab

ov

e cip

her n

otatio

n can

be rein

terpreted

into

Western

no

tation

, sho

win

g th

e p

itches o

f the

gam

elan in

strum

ents (acco

rdin

g to

a Western

app

rox

imatio

n o

f Gam

elan T

aniw

ha Jay

a’s

instru

men

ts, measu

red w

ith an

electron

ic tu

ner) an

d th

e p

lacem

ent o

f the in

strum

ents o

utlin

ing

the co

loto

mic stru

cture:

19 S

ee A

pp

end

ix IV

for a re

cord

ing

of P

eng

ipu

k.

- 3

5 -

Fig

. 1.3

1: E

xcerp

t from

Pen

gip

uk in

staff no

tatio

n

- 3

6 -

V.

Ch

inese

yan

gq

in2

0

Fig

. 1.3

2: C

lose-u

p an

d p

rofile

ph

oto

grap

hs o

f a Ch

inese ya

ng

qin

Th

e C

hin

ese ya

ng

qin

(

), wh

ich ap

pears in

two

pie

ces in m

y co

mp

ositio

n p

ortfo

lio, is a

trapezo

id-sh

aped

du

lcimer in

strum

ent th

at susp

end

s string

s ov

er brid

ges o

n a reso

natin

g

wo

od

en b

od

y, an

d is stru

ck b

y tw

o th

in h

amm

ers p

add

ed

by

rub

ber o

n o

ne sid

e – o

ne h

am

mer

for e

ach h

and

. Trad

ition

ally, th

e pad

ded

side strik

es the strin

gs (fo

r a softer so

un

d), th

ou

gh

in

less con

ven

tion

al stand

ard rep

ertoire

, the o

ther sid

e is used

for a h

arsher so

un

d (Y

ang

, 19

93

).

Th

e w

oo

den

bo

ard

s on

the tw

o o

uter sid

es of th

e in

strum

ent m

ay also

be stru

ck fo

r percu

ssive

effect. T

his can

be fo

un

d in

stand

ard rep

erto

ire such

as Clim

bin

g M

ou

nta

in to

Kill th

e Tig

er

(Wan

g H

ui, p

ers. com

m., 2

01

0; see

Ap

pen

dix

IV). In

the ab

ov

e p

ictures, th

ese wo

od

en b

oard

s

are op

en, rev

ealin

g th

e pin

s for th

e string

s (left han

d sid

e of p

layer), an

d th

e tun

ing

peg

s (righ

t

han

d sid

e of p

layer) –

these

bo

ards are

con

ven

tion

ally c

losed

for p

erfo

rman

ces.

Th

ere is a little co

ntro

versy

ov

er the o

rigin

s of th

e ya

ng

qin

, tho

ug

h it is w

idely

held

that a

du

lcimer in

strum

ent w

as orig

inally

intro

du

ced in

to C

hin

a from

the M

idd

le E

ast du

ring

the M

ing

dy

nasty

, as early

as the 1

5th

cen

tury

or as late

as the 1

7th

centu

ry, an

d th

e yan

gq

in th

us ev

olv

ed

from

this co

mm

on

ancesto

r of Iran

’s san

tur (L

iang

, 19

70

; Mo

ule, 1

98

9). A

ltho

ug

h sm

aller

yan

gq

in d

o ex

ist with

a narro

wer ran

ge (Y

ang

, 19

93

), a m

od

ern

-day

yan

gq

in sp

ans

chro

matic

ally2

1 ov

er fou

r octav

es, typ

ically th

us:

20 Y

an

gq

in p

ho

tos b

y T

ho

mas L

amb

ert and

repro

du

ced

here w

ith h

is perm

ission

. 2

1 Th

is is un

usa

l amo

ng

st Ch

inese in

strum

ents. M

ost o

thers are m

ore co

mfo

rtable

in a p

entato

nic sca

le

(Bo

dy

, pers. co

mm

., 20

10

).

- 3

7 -

Fig

1.3

3: R

ang

e of th

e ya

ng

qin

Th

e in

strum

ent is p

erfo

rmed

mo

stly w

ith lu

n, a

trem

olo

techn

iqu

e, rapid

ly altern

ating

betw

een

pitch

es by

strikin

g w

ith th

e ham

mers w

ith b

oth

han

ds. D

un

yin (stacc

ato effect) can

be

emp

loy

ed b

y d

amp

enin

g a stru

ck strin

g w

ith th

e perfo

rmer’s h

and

, altho

ug

h so

me reso

nan

ce

will re

main

(Yan

g, 1

99

3). In

deed

, its reson

ance an

d lo

ng

decay

(like a

harp

) con

tribu

tes to its

chara

cteristic sou

nd

. Alth

ou

gh

it is a solo

instru

men

t, with

a larg

e trad

ition

al solo

reperto

ire,

the ya

ng

qin

also p

lays an

acco

mp

any

ing

role in

pie

ces that sh

ow

case o

ther trad

ition

al

instru

men

ts, fulfillin

g a sim

ilar role to

that o

f the p

iano

in th

e West. Y

an

gq

in h

as also b

een

accom

pan

yin

g W

estern so

lo in

strum

ents, lik

e v

iolin

or g

uitar, fo

r ov

er a centu

ry (M

ou

le, 1

98

9).

Co

nv

entio

nally

, yan

gq

in m

usic is n

otated

in cip

her n

otatio

n sim

ilar to th

at for g

am

elan b

ut m

ore

com

plex

(see belo

w), th

ou

gh

no

w, it c

an also

be n

otate

d in

Western

staff no

tation

, as man

y

yan

gq

in p

layers are co

nserv

atory

trained

. Th

e ya

ng

qin

also h

as a rep

erto

ire of ad

apted

wo

rks

from

oth

er instru

men

ts – trad

ition

al and

Western

. Th

e follo

win

g ex

cerp

t is from

Gu

o M

in

Qin

g’s arran

gem

ent fo

r yan

gq

in o

f com

po

ser Cao

Lin

g’s

(Festiva

l of th

e Tia

nsh

an

Mo

un

tain

s). Th

e key

of th

e piec

e is exp

lained

by

the ‘1

=D

’ (i.e. D

majo

r).

Fig

1.3

4: E

xcerp

t from

Cao

Lin

g, arr. G

uo

Min

Qin

g: F

estival o

f the T

ian

sha

n M

ou

nta

ins, R

epu

blic

of C

hin

a: Zh

ao

Yan

Fan

g, X

iamen

Un

iversity

(c.2

00

0)

See

Ap

pen

dix

IV fo

r record

ing

s of ya

ng

qin

stand

ard re

perto

ire, inclu

din

g a

perfo

rman

ce o

f the

piece n

otated

abo

ve, in

Wan

g H

ui’s o

wn

style.

- 3

8 -

VI.

Asia

n in

fluen

ces in

Weste

rn a

rt mu

sic

Th

e p

urp

ose o

f this sectio

n is to

ou

tline th

e con

text in

wh

ich m

y cro

ss-cultu

ral com

po

sition

s are

received

, and

to p

ut fo

rward

a taxo

no

my

of ap

pro

ach

es to cro

ss-cultu

ral com

po

sition

. Mu

ch o

f

my

mu

sic is influ

enced

and

info

rmed

by

Asian

mu

sic an

d A

sian m

usical in

strum

ents, an

d it is

this in

fluen

ce on

Western

art m

usic

that I fo

cus o

n h

ere –

see A

pp

end

ix II fo

r a rev

iew

of th

e

influ

ence o

f folk

and

no

n-W

estern m

usic

in W

estern art m

usic sin

ce th

e Classical era

.

Sp

ecifically

, I will co

nsid

er sem

inal tw

entieth

cen

tury

co

mp

osers C

laud

e Deb

ussy

, Mau

rice

Rav

el, Oliv

ier Messiaen

, Ben

jam

in B

ritten an

d S

teve R

eich –

all a

re W

estern a

rt mu

sic

com

po

sers train

ed in

Western

com

po

sition

pra

ctice. Th

ese com

po

sers were

influ

enced

by

the

sou

nd

s of A

sian m

usic

, and

to v

aryin

g d

egrees allo

wed

this in

fluen

ce to m

anifest in

their o

wn

Western

art m

usic. F

urth

erm

ore, see

Ap

pen

dix

I for a sp

ecific case stu

dy

on

Lo

u H

arrison

, a

sign

ificant fig

ure in

cro

ss-cultu

ral com

po

sition

in th

e twen

tieth cen

tury

. Harriso

n w

as a majo

r

catalyst in

this d

om

ain b

ecau

se m

any

of h

is com

po

sition

s used

traditio

nal A

sian in

strum

ents

with

or w

itho

ut W

estern in

strum

ents.

Fren

ch co

mp

osers D

ebu

ssy an

d R

avel “

were p

rofo

un

dly

imp

ressed in

their y

ou

th b

y th

e

perfo

rman

ce o

f orien

tal and

no

rth A

frican m

usic at th

e Paris W

orld

Ex

hib

ition

of 1

88

9,”

22

inclu

din

g h

earing

the so

un

ds o

f Javan

ese g

am

elan. D

eb

ussy

23 esp

ecially

was ex

cited b

y th

e

gam

elan’s ex

otic, n

on

-Western

sou

nd

s, claimin

g th

at it “con

tained

all grad

ation

s, even

som

e

that w

e no

lon

ger k

no

w h

ow

to n

am

e, so th

at ton

ic and

do

min

ant w

ere no

thin

g m

ore th

an em

pty

ph

anto

ms o

f use

to clev

er little child

ren.”

24 H

is Pa

go

des fro

m E

stam

pes p

ou

r pia

no

(19

03

), for

instan

ce, em

plo

ys p

entato

nic sy

stems an

d stratified

temp

i 25 th

at evo

ke th

e so

un

ds o

f the

gam

elan:

22 S

tuck

ensch

mid

t (19

69

), p. 1

65

. 2

3 Deb

ussy

also sh

ow

s influ

ence

of E

uro

pean

folk

mu

sic – m

ost p

rofo

un

dly

in h

is piece

s La

So

iree d

an

s

Gren

ad

e (from

Esta

mp

es, 19

13

) and

Iberia

for o

rchestra (1

90

5-1

90

8) –

bo

th p

ieces h

ave a S

pan

ish

chara

cter; and

also in

La

petite

berg

ère fro

m L

a b

ôite à

jou

jou

x (19

13

) and

Ro

nd

es de P

rintem

ps (1

90

5-9

)

– b

oth

piec

es hav

e a Fren

ch ch

aracter. In

deed

, Ro

nd

es de P

rinte

mp

s com

prises tw

o F

rench

folk

tun

es,

No

us n

’iron

s plu

s au

bo

is and

Do

, do

l’enfa

nt d

o (B

row

n, 1

99

3).

24 D

ebu

ssy q

uo

ted in

Ro

ss (20

09

), p. 4

4.

25 T

he h

igh

er the p

itch, th

e faster the v

oic

e. Th

e low

er the p

itch

, the slo

wer th

e v

oic

e.

- 3

9 -

Fig

. 1.3

5: C

laud

e D

ebu

ssy (first h

alf of first p

age): P

ag

od

es mo

vem

ent fro

m E

stam

pes (1

90

3), p

ub

lished

by

Du

rand

& C

o., P

aris, Fran

ce (1

90

3) p

. 1

Fig

. 1.3

6: C

laud

e D

ebu

ssy (first h

alf of sev

enth

pag

e): Pa

go

des m

ov

emen

t from

Esta

mp

es (1

90

3), p

ub

lished

by

Du

rand

& C

o., P

aris, Fran

ce (1

90

3) p

. 7

Th

is effe

ct is also ev

ok

ed in

mo

men

ts in R

avel’s o

rchestral w

ork

Ma

Mère

L’o

ye (19

11

), wh

ich

also em

plo

ys p

entato

nic scales an

d stratified

tem

pi:

- 4

0 -

Fig

. 1.3

7: M

auric

e Rav

el (ten

th p

age): L

aid

eron

nette, Im

péra

trice d

es Pa

go

des m

ov

em

ent fro

m M

a M

ère

L’o

ye

(19

11

), pu

blish

ed b

y D

uran

d &

Co

., Paris, F

rance (1

91

2) p

. 19

Mo

reov

er, th

rou

gh

ou

t this m

ov

emen

t, Rav

el’s “com

bin

ation

of x

ylo

ph

on

e, glo

cken

spiel an

d

celeste, vario

usly

sup

po

rted b

y cy

mb

al, harp

and

string

pizzicato

figu

ration

s, so u

ncan

nily

- 4

1 -

sug

gests a g

amelan

orch

estra,”

26 th

ou

gh

no

traditio

nal In

do

nesian

techn

iqu

es or m

usical

materials are

exp

lored

in th

e piec

e.

Th

e p

iano

piec

es in D

ebu

ssy’s C

hild

rens C

orn

er (19

06

-8) a

mo

ng

st oth

ers com

prise

melo

dies

bu

ilt from

pen

taton

ic scales, influ

enced

by

the so

un

ds o

f orien

tal mu

sic. Stu

cken

schm

idt (1

96

9)

pro

po

ses that th

ey a

re “ration

alised o

r stylised

versio

ns o

f orien

tal scales su

ch as th

e Javan

ese

slend

ro an

d p

elog

.”2

7 Fu

rtherm

ore

, mo

men

ts in D

ebu

ssy’s P

relud

es (19

09

-19

13

) evo

ke th

e

sou

nd

s of th

e gam

elan. I feel th

at the lo

w o

ctave n

otes ev

ok

e the so

un

ds o

f the g

on

gs, th

e

semiq

uav

er melo

dy

-in-o

ctaves are

rem

iniscen

t of g

am

ba

ng

perfo

rman

ce te

chn

iqu

e, and

the

parallel o

ctaves are rem

iniscen

t of b

alu

ng

an

melo

dies p

erform

ed in

three o

ctaves b

y slen

them

,

dem

un

g an

d sa

ron

on

each d

ow

nb

eat:

Fig

. 1.3

8: C

laud

e D

ebu

ssy (b

b. 4

3-4

4): L

e so

ns e

t les p

arfu

ms to

urn

ent d

an

s l’air d

u so

ir from

Pre

lud

es (B

oo

k 1

)

(19

09

-19

10

), pu

blish

ed b

y U

nited

Mu

sic P

ub

lishers L

td., U

K (1

91

0) p

. 15

Messiaen

first hea

rd a

gam

elan p

erform

in 1

93

1 (H

ill & S

imeo

ne, 2

00

5) an

d, lik

e oth

er

com

po

sers such

as Ben

jam

in B

ritten an

d L

ou

Harriso

n, h

e was in

spired

by

the so

un

ds o

f

gam

elan to

inco

rpo

rate ro

bu

st, do

min

ant en

sem

bles o

f key

ed an

d m

allet percu

ssion

insid

e larger

ensem

bles –

like a

‘gam

elan sectio

n’ o

f an o

rchestra

. Co

nsid

er Messiaen

’s Tu

ran

ga

lila-

Sym

ph

on

ie (1

94

6-8

), Rév

eil des O

iseau

x (1

95

3), O

iseau

x Exo

tiqu

es (19

56

) and

Co

uleu

rs de la

Cité C

éleste (19

63

) – M

essiaen ev

en w

ent as fa

r as to n

ame th

is section

the ‘g

amelan

g’ se

ction

in T

ura

ng

alila

-Sym

ph

on

ie (So

rrell, 19

92

). Each

mak

e ex

tensiv

e use o

f their co

mp

rehen

sive

percu

ssion

section

s:

26 C

oo

ke (1

99

8), p

. 9.

27 S

tuck

ensch

mid

t (19

69

), p. 1

65

.

- 4

2 -

Fig

. 1.3

9: O

livier M

essiaen

(first half o

f third

pag

e): C

ou

leurs d

e la C

ité Céle

ste (19

63

), pu

blish

ed b

y A

lph

on

se

Led

uc &

Co

., Fran

ce (1

96

6) p

. 3

Britten

’s imitatio

n o

f the so

un

ds o

f gam

elan in

his b

allet T

he P

rince o

f Pa

go

da

s (19

57

) – w

ith a

percu

ssion

section

of v

ibrap

ho

ne, celeste

, pian

o, h

arp, x

ylo

ph

on

e, bells, to

mto

ms an

d g

on

gs –

is

well-k

no

wn

, and

is based

on

traditio

nal B

alinese

material (B

ritten &

Cran

ko

, 19

57

; So

rrell,

19

92

):

- 4

3 -

Fig

. 1.4

0: B

enjam

in B

ritten (p

ercussio

n se

ction

): Th

e Prin

ce o

f the P

ag

od

as (1

95

7), p

ub

lished

by

Bo

osey

& H

aw

kes,

UK

(19

89

) p. 2

53

Britten

’s Cu

rlew

Riv

er (19

64

) is info

rmed

and

influ

enced

by

his ex

po

sure

to trad

ition

al

Japan

ese art from

s such

as n th

eatre and

ga

ga

ku (Jap

an

ese cou

rt mu

sic) wh

ile visitin

g Jap

an in

19

56

(Co

ok

e, 19

88

). Fascin

ated b

y th

e mu

sic of th

e sh, a

traditio

nal Jap

anese

mo

uth

org

an

capab

le of p

erfo

rmin

g ch

ord

s of fiv

e o

r six n

otes, B

ritten stu

died

the p

erform

ance

techn

iqu

es of

the in

strum

ent 2

8 and

inco

rpo

rated th

is techn

iqu

e into

the ch

amb

er o

rgan

part o

f Cu

rlew R

iver:

Fig

. 1.4

1: B

enjam

in B

ritten (o

rgan

part): C

urlew

Riv

er (1

96

4), p

ub

lished

in C

oo

ke (1

98

8), p

. 23

3

28 A

succe

ssion

of ch

ord

s con

stantly

evo

lvin

g, in

wh

ich th

e b

eg

inn

ing

s and

end

ing

s of th

e cho

rds are

blu

rred b

y slip

pin

g o

ne’s fin

gers aw

ay fro

m th

e fing

erho

les e

mp

loy

ed an

d slip

pin

g th

em

on

to th

e nex

t.

- 4

4 -

Fig

. 1.4

2: “

Britten

in Ja

pa

n (1

95

6) h

avin

g a

lesso

n in

sh te

chn

iqu

e” fro

m C

oo

ke, 1

98

8 p

. 23

2

Britten

was faith

ful to

the in

strum

ent’s co

nv

entio

nal h

arm

on

ic lang

uag

e and

attem

pted

a d

egre

e

of au

then

ticity in

his sy

nth

esis of cro

ss-cultu

ral mu

sical influ

ence. In

his article

, Co

ok

e (19

98

)

map

s the v

ariou

s traditio

nal sh

cho

rds o

nto

Britten

’s ch

amb

er org

an p

art and

the tran

spo

sition

s

of th

ose ch

ord

s in B

ritten’s m

usic:

Fig

. 1.4

3: T

raditio

nal sh

cho

rds fro

m C

oo

ke, 1

98

8 p

. 23

3

Fig

. 1.4

4: M

app

ing

the trad

ition

al cho

rds o

nto

Britten

’s org

an p

art in C

urlew

Riv

er from

Co

ok

e, 19

88

p. 2

33

- 4

5 -

Messiaen

’s Sep

t Ha

ikai (1

96

2) w

as also in

spired

by

the Jap

anese

mu

sic th

e com

po

ser hea

rd

wh

en in

Japan

in th

e early

19

60

s. Th

e eigh

t-part v

iolin

writin

g, esp

ecially in

its fou

rth

mo

vem

ent, G

ag

aku

, evo

kes th

e so

un

d o

f the sh

thro

ug

h su

stained

cho

rds, 2

9 and

the m

usical

material in

the tru

mp

et evo

kes th

e sou

nd

of th

e hich

iriki, a Jap

anese

do

ub

le-reed

win

d

instru

men

t. Ag

ain, th

e co

mp

oser’s selectio

n o

f percu

ssion

– b

ells, go

ng

s, xy

lop

ho

ne an

d

marim

ba –

evo

kes th

e tim

bres o

f gam

elan:

Fig

. 1.4

5: O

livier M

essiaen

(seco

nd

pag

e): G

ag

aku

from

Sep

t Ha

ika

i (19

62

), pu

blish

ed b

y A

lph

on

se Led

uc &

Co

.,

Fran

ce (1

96

6) p

. 47

Prio

r to th

e 1

97

0s, A

meric

an m

inialist co

mp

oser S

teve R

eich h

ad read

Mu

sic In

Ba

li – C

olin

McP

hee’s se

min

al descrip

tion

of B

alinese

gam

alen –

an

d h

ad listen

ed en

thu

siastically to

record

ing

s of B

alinese

gam

elan. A

fter return

ing

to A

merica fro

m W

est Afric

a (see Ap

pen

dix

II), Reich

stud

ied g

am

elan in

the su

mm

er o

f 19

73

at the U

niv

ersity o

f Wash

ing

ton

at Seattle,

29 T

his tech

niq

ue is a

lso u

sed b

y E

dg

ard V

arèse

in N

octu

rna

l (19

61

) (see Griffith

s, 19

71

).

- 4

6 -

and

in th

e sum

mer o

f 19

74

at the C

enter fo

r Wo

rld M

usic in

Berk

eley (S

chw

arz, 2

00

8).

Sch

warz id

entifies th

e in

fluen

ce o

f gam

elan tex

tures in

Reich

’s Mu

sic for M

allet In

strum

ents,

Vo

ice a

nd

Org

an

(19

73

), desp

ite the fact it w

as com

po

sed b

efore R

eich b

egan

his g

amelan

stud

ies, and

that th

is influ

ence

con

tinu

ed to

presen

t itself in p

ieces such

as Reich

’s Mu

sic fo

r 18

Mu

sician

s (19

74

-6). In

his o

wn

wo

rds, “I stu

died

Balin

ese and

Afric

an m

usic b

ecau

se I lov

e

them

, and

also b

ecause

I believ

e that n

on

-Western

mu

sic is presen

tly th

e sing

le mo

st imp

ortan

t

sou

rce of n

ew

ideas fo

r Western

com

po

sers and

mu

sicians.”

30 R

eich’s tim

e stud

yin

g g

amelan

con

tinu

ed to

influ

ence an

d in

form

his co

mp

ositio

ns. T

ake, fo

r instan

ce, h

is pie

ce T

ehillim

(19

81

), in w

hich

fou

r Psalm

s are set in H

ebre

w, R

eich h

imself id

entifies “tw

o fo

rces at w

ork

:

the lo

ng

cycles o

f [Balin

ese gam

elan] an

d m

y stu

dy

of can

tillation

.”3

1

Mich

ael Tip

pett’s T

riple C

on

certo fo

r Vio

lin, V

iola

, Cello

an

d O

rchestra

(19

79

) com

bin

es

elemen

ts of b

oth

Balin

ese and

Javan

ese gam

elan (se

e Clark

e, 20

00

). Wh

ile the first an

d fin

al

section

s of th

e wo

rk are rem

iniscen

t of B

alinese g

on

g k

ebya

r, the “

Very

slow

, calmer still”

section

evo

kes th

e sou

nd

s of Jav

anese g

am

elan w

ith its ap

pro

xim

ation

of p

elog

scale, an

d its

mo

vem

ent o

f the th

ree so

lo in

strum

ents in

parallel o

ctav

es, like a b

alu

ng

an

. Fu

rtherm

ore,

mo

men

ts of p

izzicato strin

gs are rem

iniscen

t of B

alinese ko

tekan

or Jav

anese

imb

al-im

ba

lan

techn

iqu

es:

Fig

. 1.4

6: M

ichael T

ipp

et (string

sectio

n o

nly

): Trip

le Co

nce

rto fo

r Vio

lin, V

iola

, Cello

an

d O

rchestra

(19

79

),

pu

blish

ed b

y S

cho

tt & C

o., U

K (1

98

1) p

. 87

30 R

eich (2

00

2), p

. 69

. 3

1 Reich

qu

oted

in S

chw

arz (20

08

), p. 8

8.

- 4

7 -

Th

ese co

mp

osers h

ave b

een in

fluen

ced

by

Asian

mu

sic to

vary

ing

deg

rees. Fo

r som

e, A

sian

mu

sical influ

ences in

spired

a sp

ecific ch

oice

of in

strum

ents (fo

r instan

ce, a la

rge k

eyed

and

mallet p

ercussio

n sectio

n in

side a la

rger en

sem

ble). F

or o

ther co

mp

osers, A

sian m

usical

materials m

ade th

eir way

into

larger m

usical stru

ctures. F

or o

ther co

mp

osers still, stu

dy

ing

the

traditio

nal m

usic itself an

d its th

eory

gen

erated m

usical m

aterial for n

ew

com

po

sition

. Th

ese

com

po

sers did

no

t com

po

se fo

r traditio

nal m

usician

s an

d th

eir instru

men

ts – th

ou

gh

this is n

ow

a dev

elop

ing

trend

, since

such

wo

rks b

y p

rom

inen

t Western

art mu

sic com

po

ser as Neil

So

rrell’s Gen

dh

ing

Ken

can

a3

2 (19

83

) for g

amelan

and

Mich

ael Ny

man

’s Tim

es Up

(19

83

) for

gam

elan, an

d sin

ce the m

usic

of L

ou

Harriso

n (see

Ap

pen

dix

I).

A tax

on

om

y can

be ex

trapo

lated fro

m th

e vario

us ap

pro

aches o

f com

po

sers:

1.

En

corp

oratin

g fo

lk tu

nes (o

r melo

dies b

ased o

n fo

lk tu

nes) in

a W

estern art

mu

sic piec

e (e.g. S

travin

sky

’s Rite o

f Sp

ring

, Sch

ub

ert’s So

na

ta in

C m

ajo

r

“R

eliqu

ie” –

see Ap

pen

dix

II)

2.

Imitatin

g th

e timb

res of n

on

-Western

mu

sic th

rou

gh

cho

ice of in

strum

ents in

a

Western

art m

usic p

iece (e.g

. Messiaen

’s ‘gam

elan sectio

ns’ o

f the o

rchestra)

3.

Imitatin

g th

e sou

nd

s of n

on

-Western

mu

sic thro

ug

h ad

op

ting

their m

od

es,

scales, rhy

thm

ic ideas, an

d so

on

, in a

Weste

rn a

rt piec

e (e.g

. Deb

ussy

’s

Pa

go

des)

4.

Ap

pro

priatin

g n

on

-Western

mate

rial for a

Western

art mu

sic piec

e thro

ug

h

transcrip

tion

techn

iqu

es (e.g

. Bo

dy

’s Melo

dies fo

r Orc

hestra

– see S

ectio

n I

(this C

hap

ter), or stu

dy

ing

the m

usic an

d co

mp

osin

g u

sing

traditio

nal

techn

iqu

es (e.g. sh

tech

niq

ue in

Messiaen

and

Britten

; com

po

sing

‘ou

t from

’ a

ba

lun

ga

n in

my

ow

n p

iece W

igen

a).

32 S

ekar P

eth

ak (1

98

6), A

Ra

g B

ag

of E

ng

lish P

iece

s (US

A: A

merican

Gam

elan

Institu

te). Th

is is an

interestin

g w

ork

in w

hich

pelo

g an

d slen

dro

are co

mb

ined

into

a co

mp

osite sc

ale, like in

Bo

dy

’s Po

lish

Da

nces (see

Ch

apter 2

Sectio

n I) an

d m

y w

ork

Eleg

y. Th

is allo

ws fo

r a g

reater h

armo

nic v

ocab

ulary

becau

se there are m

ore p

itches to

com

po

se with

– th

is is especially

pertin

ent in

the m

idd

le se

ction

of

So

rrell’s piec

e, wh

ich co

mp

rises con

trasting

cho

rds. T

he su

ling

in h

is pie

ce, th

rou

gh

its slow

, brea

thy

,

‘med

itativ

e’, glissan

di to

nes, is m

uch

mo

re re

min

iscen

t of Ja

pan

ese sh

aku

ha

chi th

an Jav

anese

sulin

g, an

d

the cy

clic m

ateria

l that th

e pie

ce co

mp

rises ow

es a

s mu

ch to

gro

un

d b

ass and

oth

er Western

art mu

sic

meth

od

s as it do

es to

traditio

nal Jav

anese g

am

elan

con

ven

tion

s.

- 4

8 -

5.

Inclu

din

g reco

rdin

gs o

f no

n-W

estern m

usic

in an

instru

men

tal Western

art

mu

sic piec

e (e.g. B

od

y’s A

rum

Ma

nis –

see Ch

apter 2

Sectio

n III) o

r in an

electroaco

ustic co

mp

ositio

n (m

y o

wn

piec

es Merm

ecolio

n an

d P

odróe)

6.

Co

mp

osin

g fo

r the n

on

-Western

instru

men

t(s), often

in co

mb

inatio

n w

ith

Western

instru

men

ts, tho

ug

h in

a W

estern art m

usic co

ntex

t, that is, as a

wo

rk

of ch

am

ber m

usic (e

.g. Jack

Bo

dy

’s Ca

mp

ur S

ari –

see S

ection

I (this C

hap

ter);

my

ow

n p

ieces M

elod

y for V

iolin

an

d Y

an

gq

in, T

ab

ula

Ra

sa an

d C

ycles,

Sh

ad

ow

s)

7.

Co

mp

osin

g fo

r the n

on

-Western

instru

men

t(s), perh

aps in

com

bin

ation

with

Western

instru

men

ts, in th

e con

text o

f the trad

ition

al mu

sic, or h

eavily

insp

ired

by

auth

entic trad

ition

al perfo

rman

ces and

con

ceiv

ed as in

tha

t style, even

tho

ug

h it m

ay d

evelo

p th

at style (e

.g. L

ou

Harriso

n’s B

ub

ara

n R

ob

ert, see

Ap

pen

dix

I; my

ow

n p

ieces K

etaw

an

g A

ng

gu

n S

lend

ro M

an

yura

, La

dra

ng

Sa

nta

i Slen

dro

Sa

ng

a an

d G

end

hin

g T

arika

n P

elog

Nem

) – o

r, in u

nfo

rtun

ate

cases, exp

ose th

e co

mp

oser’s n

aïveté.

Each

po

sition

in th

e list abo

ve essen

tially o

utlin

es a differen

t level o

f aw

aren

ess of th

e ‘oth

er’

mu

sic, or en

gag

emen

t with

the ‘o

ther’ m

usic. E

ach p

ositio

n m

ay resu

lt in a su

ccessfu

l

com

po

sition

, and

thro

ug

h e

ach o

ne, co

mp

ose

rs exp

lore

differen

t po

ssibilities an

d h

ave d

ifferent

mu

sical go

als. 33

Belo

w I o

ffer a chart th

at attemp

ts to g

eneralise m

y ap

pro

aches to

the co

mp

ositio

n o

f the w

ork

s

in m

y p

ortfo

lio an

d th

e exten

t to w

hich

they

are cro

ss-cu

ltural o

r influ

enced

by

the m

usic

ou

tside o

f the W

estern a

rt mu

sic trad

ition

(for ex

am

ple fo

lk m

usic o

r no

n-W

estern

mu

sic).

Piec

e

Instru

men

tatio

n

Cro

ss-cultu

ral

Ap

pro

ach

(see P

refa

ce to

Co

mp

ositio

n

Po

rtfolio

an

d C

ha

pte

r 3)

Ta

xo

no

my

of C

ross-

Cu

ltura

l mu

sic

com

po

sition

Cycles, S

ha

do

ws

Clarin

et, basso

on

,

vio

la, Jav

anese

gen

der

Assim

ilate

the n

on

-Western

instru

men

t into

a W

estern

cham

ber m

usic

con

text

6

Co

mp

osin

g fo

r no

n-W

estern

instru

men

ts usin

g W

estern

com

po

sition

al tech

niq

ues

33 S

ee A

pp

end

ix IV

for a tab

le of h

ow

my

com

po

sition

s and

their ap

pro

aches fit in

to th

is taxo

no

my

.

- 4

9 -

Wig

ena

S

tring

qu

aret,

Javan

ese g

on

g,

kemp

ul, ken

on

g an

d

reba

b so

lo

Assim

ilate

the n

on

-Western

instru

men

t into

a W

estern

cham

ber m

usic

con

text

4

Co

mp

osin

g v

ia ex

trapo

lating

ou

t from

a ba

lun

ga

n

Melo

dy fo

r Vio

lin a

nd

Ya

ng

qin

Vio

lin an

d C

hin

ese

yan

gq

in

Assim

ilate

the n

on

-Western

instru

men

t into

a W

estern

cham

ber m

usic

con

text

6

Co

mp

osin

g fo

r no

n-W

estern

instru

men

ts usin

g W

estern

com

po

sition

al tech

niq

ues

To

–

Javan

ese g

amelan

play

er (male

vo

ice

and

gen

der)

Insp

ired b

y Jav

anese m

usic

and

com

po

sed in

a sty

le

that is sim

ilar, tho

ug

h m

y

ow

n

6 - 7

Co

mp

osin

g fo

r no

n-W

estern

instru

men

ts usin

g n

on

-

Western

insp

ired tech

niq

ues

Keta

wa

ng

An

gg

un

Slen

dro

Ma

nyu

ra

Javan

ese g

amelan

with

vio

la solo

Assim

ilate

the W

estern

instru

men

ts into

a Javan

ese

gam

elan

con

text

7

Co

mp

osin

g fo

r no

n-W

estern

instru

men

ts usin

g n

on

-

Western

tech

niq

ues

La

dra

ng

Sa

nta

i Slen

dro

Sa

ng

a

Javan

ese g

amelan

with

gero

ng

and

gu

itar solo

Assim

ilate

the W

estern

instru

men

ts into

a Javan

ese

gam

elan

con

text

7

Co

mp

osin

g fo

r no

n-W

estern

instru

men

ts usin

g n

on

-

Western

tech

niq

ues

Gen

dh

ing

Ta

rikan

Pelo

g N

em

Javan

ese g

amelan

with

acco

rdio

n so

lo

and

clarin

et solo

Assim

ilate

the W

estern

instru

men

ts into

a Javan

ese

gam

elan

con

text

7

Co

mp

osin

g fo

r no

n-W

estern

instru

men

ts usin

g n

on

-

Western

tech

niq

ues

Merm

ecolio

n

Elec

troaco

ustic

Inv

olv

e reco

rdin

gs o

f no

n-

Western

instru

men

ts,

essentially

as sou

nd

sou

rces, in e

lectro

nic m

usic

5

Co

mp

osin

g w

ith re

cord

ing

s

of n

on

-Western

instru

men

ts

Po

dró

e E

lectro

acou

stic In

vo

lve re

cord

ing

s of n

on

-

Western

instru

men

ts,

essentially

as sou

nd

sou

rces, in e

lectro

nic m

usic

5

Co

mp

osin

g w

ith re

cord

ing

s

of n

on

-Western

instru

men

ts

Eleg

y P

iano

and

Javan

ese

gam

elan

Cre

ate a meta

instru

men

t by

com

bin

ing

tog

eth

er no

n-

Western

and

Western

instru

men

ts

6

Co

mp

osin

g fo

r no

n-W

estern

instru

men

ts usin

g W

estern

com

po

sition

al tech

niq

ues

Ta

bu

la R

asa

C

hin

ese ya

ng

qin

and

live e

lectro

nics

Cre

ate a meta

instru

men

t by

com

bin

ing

tog

eth

er no

n-

Western

instru

men

ts and

Western

electro

nic

med

ia

6

Co

mp

osin

g fo

r no

n-W

estern

instru

men

ts usin

g W

estern

com

po

sition

al tech

niq

ues

- 5

0 -

Prim

es C

larinet so

lo

Partly

insp

ired b

y

(Eu

rop

ean) fo

lk m

usic

1

En

corp

oratin

g id

eas from

folk

mu

sic

After C

live B

ell

Pian

o so

lo

Insp

ired b

y cy

clic, n

on

-

climac

tic mu

sic such

as

Javan

ese g

amelan

3

Imitatin

g th

e sou

nd

s of n

on

-

Western

mu

sic thro

ug

h

rhy

thm

ic id

eas, cycles, la

ck

of clim

ax, stasis

Ou

tside m

y fron

t do

or

Elec

troaco

ustic

N/A

N

/A

No

t draw

ing

up

on

cross-

cultu

ral prac

tice

Fig

. 1.4

7: A

pp

roach

es and

taxo

no

my

of m

y co

mp

ositio

ns

Fu

rtherm

ore

, the accu

lturatio

n o

f no

n-W

estern co

un

tries to

Western

art mu

sic and

its reperto

ire

has b

een sw

ift and

pro

lific, an

d m

any

well reciev

ed ‘W

estern art’ p

ieces h

ave b

een co

mp

osed

by

com

po

sers of n

on

-Western

orig

ins –

con

sider su

ch c

om

po

sers such

as Tan

Du

n, T

ru

Tak

emistu

, Ch

ou

Wen

-Ch

un

g an

d th

e C

hin

a-bo

rn, N

ew

Zealan

d-b

ased G

ao P

ing

. A recen

t

con

cert of n

ew

mu

sic fro

m th

e N

ew

Zealan

d S

tring

Qu

artet 34 fe

atured

com

po

sers C

hin

ary

Un

g

(of C

amb

od

ian d

escent) an

d h

is wo

rk S

pira

l III (19

90

), and

Zh

ou

Lo

ng

(of C

hin

ese descen

t)

and

his w

ork

So

ng

of th

e C

h’in

(19

82

), bo

th fo

r con

ven

tion

al Weste

rn strin

g q

uartet. W

estern

com

po

sers are fa

r from

ho

ldin

g a m

on

op

oly

on

cross-c

ultu

ral com

po

sition

.

Zh

ou

’s So

ng

of th

e C

h’in

recasts th

e sou

nd

s of th

e ch’in

(also sp

elled g

uq

in, g

uch

in), C

hin

a’s

ancien

t seven

-sting

zither, acro

ss the fo

ur in

strum

ents o

f the strin

g q

uartet. C

haracte

ristic

sou

nd

s like fin

gern

ail plu

ckin

g, ex

tensiv

e use

of g

lissand

i, tapp

ing

the in

strum

ent, an

d sev

eral

styles o

f pizzicato

evo

ke th

e so

un

d o

f the in

strum

ent th

at insp

ired th

e wo

rk. 3

5

34 N

ew Z

ealan

d S

tring

Qu

artet, Frid

ay 2

8 M

ay 2

01

0, A

dam

Co

ncert R

oo

m, N

ew Z

ealan

d S

cho

ol o

f

Mu

sic (K

elb

urn

Cam

pu

s), Wellin

gto

n.

35 T

his is a d

evelo

pm

ent o

f a sty

le ex

emp

lified in

Ch

ou

Wen

-Ch

un

g’s Y

ü K

o (1

96

5) –

a co

mp

ositio

n fo

r

cham

ber en

semb

le w

hich

is an ad

apta

tion

of a

solo

ch’in

pie

ce of th

e sam

e n

am

e by

Mao

Min

-chu

ng

(c.

12

80

).

- 5

1 -

Fig

. 1.4

8: Z

ho

u L

on

g (b

b. 5

2-6

3): S

on

g o

f the C

h’in

(19

82

), pu

blish

ed b

y O

xfo

rd U

niv

ersity P

ress, U

SA

(20

02

)

Un

g’s S

pira

l III is on

e o

f a series o

f pieces fo

r a variety

of W

estern ch

amb

er ense

mb

les, in

wh

ich tex

tures an

d tim

bres p

lay c

entral ro

les; the m

elod

ic and

rhy

thm

ic material ‘sp

iral’ in an

d

ou

t of sev

eral distin

ct timb

res. Un

g stu

died

the trad

ition

al mu

sic of h

is ow

n cu

lture as w

ell as

Western

art m

usic, an

d th

is kn

ow

ledg

e of b

oth

man

ifests in h

is orig

inal co

mp

ositio

ns. In

Sp

iral

III the m

usic

ph

ases in an

d o

ut o

f ord

inary

(via su

l po

nt an

d su

l tasto

) timb

ral po

sition

s with

in

rob

ust, in

ternal m

usical stru

ctures, an

d th

e textu

res he e

mp

loy

s evo

kes th

e so

un

ds o

f traditio

nal

So

uth

east Asian

mu

sic:

- 5

2 -

Fig

. 1.4

9: C

hin

ary U

ng

(first pag

e): S

pira

l III (19

90

), pu

blish

ed b

y C

. F. P

eters Co

rpo

ratio

n, U

SA

(19

92

)

Oth

er no

n-W

estern

com

po

sers are co

mb

inin

g trad

ition

al instru

men

ts and

Western

art

instru

men

ts in n

ew

‘Western

art’ com

po

sition

s. Aris D

aryo

no

is a p

rom

inen

t Ind

on

esian-b

orn

com

po

ser livin

g in

the U

nited

Kin

gd

om

– h

is wo

rks in

clu

de S

idh

em, B

rem

ara

Ka

sireb (2

00

5)

for a

mp

lified Jav

anese g

amelan

and

full W

estern o

rchestra; M

ichael A

smara

is a p

rom

inen

t

Ind

on

esian-b

orn

com

po

ser, livin

g in

bo

th In

do

nesia an

d Jap

an –

his w

ork

s inclu

de S

ym

ph

on

y

No

. 1 (1

99

2) fo

r Javan

ese g

am

elan an

d o

rchestra, M

usic fo

r Strin

g Q

ua

rtet, Reb

ab

an

d

Wo

od

win

d T

rio (2

00

2), w

hich

also req

uires th

e perfo

rmers to

take o

ff their clo

thes an

d ru

n

arou

nd

the co

nce

rt hall scre

amin

g, an

d M

an

tra fo

r the O

pen

ing

(20

03

) for m

ixed

cho

rus, g

ender,

dem

un

g, v

ibrap

ho

nes, x

ylo

ph

on

es and

marim

bas.

Mu

sic is a co

nstan

tly ch

ang

ing

artfo

rm, an

d as g

lob

alisation

and

cross-cu

ltural en

cou

nters

con

tinu

e, man

y m

ore

no

n-W

estern an

d fo

lk in

fluen

ces w

ill sho

w in

the co

mp

ositio

ns o

f futu

re

com

po

sers. Co

mp

osers w

ill con

tinu

e to d

evelo

p th

e c

on

texts in

wh

ich th

ey are co

mp

osin

g,

exten

din

g th

eir reperto

ire of co

mp

ositio

nal tech

niq

ues to

inclu

de n

on

-Western

techn

iqu

es, and

for so

me, in

clud

ing

no

n-W

estern in

strum

ents in

their w

ork

s. I em

brace

this d

evelo

pm

ent.

- 5

3 -

CH

AP

TE

R T

WO

ISS

UE

S F

AC

ED

BY

CR

OS

S-C

UL

TU

RA

L C

OM

PO

SE

RS

I. P

articip

an

t ob

serv

atio

n1

Th

e im

po

rtant G

erman

ph

iloso

ph

er Fried

rich N

ietzsche first in

vited

his read

ers to refle

ct on

wh

ether o

r no

t mu

sic ca

n tru

ly be fa

tho

med

in a

n a

cad

emic fa

shio

n2 in

his 1

87

2 treatise, T

he

Birth

of T

rag

edy. 3 In

stud

yin

g th

e mu

sic o

f ano

ther cu

lture, N

ietzsche’s o

pen

qu

estion

is even

mo

re sig

nifican

t. Th

e ethn

om

usico

log

ist and

anth

rop

olo

gist Jo

hn

Miller C

hern

off ask

s, “H

ow

can w

e b

ring

som

ethin

g o

f a differen

t ord

er into

ou

r ow

n w

orld

of u

nd

erstan

din

g an

d at th

e

same tim

e reco

gn

ize an

d ap

pre

ciate it on

its ow

n term

s?”4 C

hern

off p

rop

oses th

at pa

rticipa

tion

in th

e mu

sic of an

oth

er cu

lture

is ho

w th

is can b

e ov

erco

me. In

his b

oo

k A

frican

Rh

ythm

an

d

Africa

n S

ensib

ility (19

79

), he w

rites, “M

y m

etho

d o

f stud

yin

g th

e mu

sic was to

learn

to p

lay it

my

self,”5 b

ecom

ing

on

e o

f the first acad

em

ics (Man

tle Ho

od

was an

oth

er) activ

ely in

vo

lved

in

the learn

ing

of a trad

ition

al mu

sic, “bey

on

d th

e lim

ited p

articipatio

n p

racticed in

mo

st

ethn

og

raph

ic research

orien

tation

s … a

particip

ant-o

bserv

er often

ob

tains a

better sen

se of h

ow

the elem

ents o

f a giv

en co

ntex

t blen

d to

geth

er into

a larg

er con

figu

ration

.”6 T

he im

po

rtance

of

particip

ant o

bserv

ation

is also stressed

by

So

lís (20

04

), Joh

nso

n (2

00

8), an

d S

piller (2

00

8).

Man

tle Ho

od

, wh

o “ad

vo

cated

‘bim

usic

ality’ (th

e mu

sical equ

ivalen

t of ‘b

iling

ualism

’) as an

app

roach

to cro

ss-cultu

ral un

derstan

din

g th

rou

gh

mu

sic,”

7 acqu

ired a g

amelan

set for th

e

1 A ‘p

articipan

t ob

server’ in

eth

no

mu

sicolo

gic

al terms refers to

on

e wh

o stu

die

s the m

usic b

y learn

ing

to

pla

y it – u

sually

by

learnin

g to

play

it from

a m

aster m

usicia

n tra

ined

in trad

ition

al prac

tice o

f the m

usic

2 Acco

rdin

g to

Nietzch

e, “mu

sic is b

eyo

nd

ratio

nal u

nd

erstand

ing

: it is too

clo

se to th

e b

asic m

ysteries

and

con

tradictio

ns o

f existen

ce; it to

uch

es and

con

vey

s realities fo

r wh

ich w

ord

s or lo

gic are in

adeq

uate;

it is, in N

ietz

che’s o

wn

wo

rds, ‘a re

alm

of w

isdo

m…

from

wh

ich lo

gic

ians are ex

clu

ded

’” (Ch

erno

ff,

qu

otin

g N

ietzche, 1

97

9, p

. 2).

3 At th

at tim

e N

ietzsch

e was in

fluen

ced

by

Arth

ur S

cho

pen

hau

er’s metap

hy

sical v

iew (alo

ng

with

,

interestin

gly

, the co

mp

oser R

ichard

Wag

ner) th

at th

e cosm

os d

oes n

ot a

llow

for h

um

an in

div

idu

als to

retain

hap

pin

ess for an

y ex

tend

ed p

eriod

of tim

e. In

stead fru

stratio

ns p

revail so

on

e m

ust settle fo

r the

repriev

e ex

clusiv

ely

gen

erated

by

aesth

etic e

xperien

ce, an

d a

bso

lute

mu

sic –

an essen

tially n

on

-

represen

tatio

na

l art form

– c

an g

ive o

ne b

oth

the c

losest ac

cess to

reality

ach

ievab

le and

a cessatio

n o

f

daily

frustra

tion

s thro

ug

h th

e exp

erience o

f sub

lime aw

e, wh

ile disso

cia

ting

on

eself fro

m th

at wh

ich h

old

s

the illu

sion

of rea

lity to

geth

er (i.e. wh

at w

e oth

erwise

perc

eive is m

erely

a represen

tatio

n) –

the co

smic

metap

hy

sical fo

rce th

at S

cho

pen

hau

er calls ‘th

e Will’. S

ee N

ietzsch

e (1

99

9) P

reface b

y R

aym

on

d G

euss,

p. v

ii; also B

errios &

Rid

ley (2

00

5) an

d H

amilto

n (2

00

7). O

bv

iou

sly th

is is no

t a no

n-co

ntro

versial v

iew

,

tho

ug

h an

swerin

g to

it is bey

on

d th

e sco

pe o

f this th

esis. 4 C

hern

off (1

97

9), p

. 3.

5 Ch

erno

ff (19

79

), p. 2

0.

6 Ch

erno

ff (19

79

), p. 8

. 7 S

piller (2

00

8), p

.10

3.

- 5

4 -

Un

iversity

of C

aliforn

ia, L

os A

ng

eles in 1

95

8. H

e believ

ed th

at his stu

den

ts sho

uld

learn to

play

the m

usic

that th

ey are

research

ing

– an

un

con

ven

tion

al no

tion

at that tim

e. 8 Ho

od

defen

ds

his v

iew in

his sem

inal article T

he C

ha

lleng

e of ‘B

i-Mu

sicality’ (1

96

0).

I hav

e ex

perien

ced b

eing

a p

articipan

t ob

server. I h

ave learn

t the m

usic

of In

do

nesian

gam

elan

by

rehea

rsing

and

perfo

rmin

g w

ith Jav

anese an

d B

alinese g

am

elan en

semb

les, particip

ating

in

wo

rksh

op

s, and

un

dertak

ing

ethn

om

usico

log

y p

erform

ance stu

dy

at un

iversity

. I believ

e th

at

Ch

erno

ff is righ

t. Mu

ch o

f wh

at I kn

ow

abo

ut g

am

elan h

as com

e fro

m p

layin

g th

e in

strum

ents

in en

semb

les and

on

e-on

-on

e with

a tea

cher fro

m th

e trad

ition

– an

d th

at I wo

uld

no

t hav

e th

e

un

derstan

din

g o

f the m

usic th

at I no

w h

ave if I w

ere no

t a particip

ant o

bse

rver. A

nd

to

Nietzsch

e – it is th

rou

gh

my

ow

n p

articipatio

n, p

ractical ex

perien

ce an

d u

nd

erstand

ing

that I

can fath

om

the m

usic

in an

acad

emic

fashio

n.

Co

mp

oser an

d w

orld

mu

sic en

thu

siast Stev

e R

eich say

s,

Alth

ou

gh

earlier g

eneratio

ns o

f Western

mu

sicians liste

ned

to m

any

no

n-W

estern

mu

sics, live o

r in reco

rdin

gs, it is n

ow

beco

min

g in

creasin

gly

po

ssible to

learn h

ow

to

pla

y African

, Balin

ese, Javan

ese, Ind

ian, K

ore

an, an

d Jap

anese m

usic, a

mo

ng

oth

ers,

directly

from

first-rate nativ

e teach

ers, here

in A

meric

a o

r abro

ad. A

Western

mu

sician

can th

us b

egin

to ap

pro

ach n

on

-Western

mu

sic as h

e wo

uld

his o

wn

; he learn

s to p

lay it

thro

ug

h stu

dy

with

a q

ualified

teach

er, and

in th

at pro

cess can

also an

alyze th

e m

usic

he

is play

ing

in d

etail to u

nd

erstand

ho

w it is p

ut to

geth

er. Du

ring

the p

rocess o

f

perfo

rman

ce an

d an

alysis, h

e w

ill find

basically

differe

nt sy

stems o

f rhy

thm

ic structu

re,

scale con

structio

n, tu

nin

g, an

d in

strum

ental tech

niq

ue. K

no

wled

ge o

f these d

ifferent

system

s also sh

eds lig

ht o

n o

ur o

wn

Weste

rn sy

stem, sh

ow

ing

it to b

e o

ne am

on

g

man

y. 9

It was as a

particip

ant o

bserv

er that I w

as able

to p

ursu

e com

po

sition

via p

rescriptive

tran

scriptio

n, a tech

niq

ue req

uirin

g th

e learn

ing

of th

e mu

sic. Rath

er than

creating

a d

escriptiv

e

transcrip

tion

by

no

tating

wh

at my

ears hea

r, I create a

transcrip

tion

by

no

tating

wh

at an

app

rop

riate part w

ou

ld b

e fo

r a traditio

nal m

usician

pla

yin

g th

at instru

men

t, giv

en th

e

con

ven

tion

s of th

at instru

men

t. In m

y p

iece W

igen

a (fo

r string

qu

artet, reba

b so

lo an

d Jav

anese

gam

elan in

strum

ents), I u

se the b

alu

ng

an

line o

f a trad

ition

al Cen

tral Javan

ese gam

elan p

iece,

Keta

wa

ng

Wig

ena

Pelo

g N

em

, to ex

trapo

late the p

arts for th

e string

qu

artet, wh

o p

lay v

ersion

s

of th

e dem

un

g (v

iola), p

eking

(secon

d v

iolin

), bo

na

ng

ba

run

g (cello

) and

bo

na

ng

pa

neru

s (first

vio

lin). S

imilarly

, in m

y th

ree p

ieces fo

r gam

elan an

d W

estern in

strum

ents in

traditio

nal

Cen

tral Javan

ese sty

le – K

etaw

an

g A

ng

gu

n S

lend

ro M

an

yura

, La

dra

ng

Sa

nta

i Slen

dro

Sa

ng

a

and

Gen

dh

ing

Ta

rikan

Pelo

g N

em

– I n

otate

the p

arts o

f the g

am

elan ‘sh

ort sco

re’ in th

e sam

e

man

ner, th

ou

gh

I allow

for train

ed g

am

elan m

usician

s to p

lay ac

cord

ing

to a

style co

ng

ruen

t

8 Ho

od

spen

t severa

l years stu

dy

ing

Ind

on

esian m

usic

un

der Jaap

Ku

nst in

Am

sterdam

, wh

o n

ever le

arnt

to p

lay an

y o

f the m

usic

– see

Sp

iller (20

08

), p. 1

03

. 9 R

eich (2

00

2), p

. 69

.

- 5

5 -

with

traditio

nal p

ractice b

y read

ing

instead

from

the b

alu

ng

an

line an

d creatin

g th

eir part as

app

rop

riate for th

eir instru

men

t. Th

is app

roach

allow

s freedo

m fo

r the p

layers o

f som

e gam

elan

instru

men

ts, bu

t no

t for th

e play

ers o

f Western

instru

men

ts (i.e. th

e string

qu

artet m

ust p

lay

wh

at is w

ritten o

n th

e sco

re).

My

ow

n in

vo

lvem

en

t an

d p

articip

an

t ob

serva

tion

in n

on

-Weste

rn m

usic

In F

ebru

ary 2

00

5, w

hen

I beg

an as an

un

derg

radu

ate mu

sic stud

ent at V

ictoria U

niv

ersity o

f

Wellin

gto

n (th

e ‘New

Zealan

d S

cho

ol o

f Mu

sic’ merg

e w

ith M

assey U

niv

ersity h

ad n

ot y

et

occu

rred), I jo

ined

Gam

elan P

adh

ang

Mo

ncar, th

e Javan

ese gam

elan affiliated

with

the

un

iversity

, and

beg

an reh

earsing

and

perfo

rmin

g co

nce

rts with

the g

rou

p. I p

layed

pred

om

inan

tly b

alu

ng

an

instru

men

ts as I learn

t the m

usic, its stru

ctures an

d rep

ertoire.

Six

mo

nth

s later, Slen

dro

Ca

no

n, m

y first co

mp

ositio

n fo

r Javan

ese gam

elan (em

plo

yin

g o

nly

a

small en

sem

ble featu

ring

dem

un

g, slen

them

, and

pekin

g) w

as perfo

rmed

by

Gam

elan P

adh

ang

Mo

nca

r at a con

cert of n

ew

com

po

sition

s for g

am

elan a

nd

traditio

nal Jav

anese p

ieces at S

t

An

dre

ws o

n T

he T

errace. S

ho

rtly after th

is con

cert I jo

ined

Gam

elan T

aniw

ha Jay

a, th

e

Balin

ese gam

elan o

wn

ed b

y G

areth

Farr an

d affiliated

, at that tim

e, w

ith M

assey U

niv

ersity

.

In 2

00

6 I b

egan

on

e-o

n-o

ne lesso

ns w

ith B

ud

i S. P

utra fo

r Eth

no

mu

sicolo

gy

Perfo

rman

ce at

un

iversity

. Th

ese lesso

ns co

ntin

ued

for th

e n

ext th

ree years, u

p to

and

inclu

din

g H

on

ou

rs level.

I learnt to

play

several o

f the elab

oratin

g in

strum

ents th

at requ

ire sp

ecialisation

– b

on

an

g

ba

run

g, b

on

an

g p

an

erus an

d g

am

ba

ng

. I also lea

rnt b

asic tech

niq

ues o

n su

ling

and

gen

der.

Kn

ow

ledg

e I acq

uired

inclu

ded

the fo

rmal stru

ctures o

f traditio

nal p

ieces and

the six

stand

ard

pa

thet (m

od

es), as well as rep

ertoire an

d p

erform

ance

techn

iqu

es. An

enrich

enin

g ev

ent th

at

year w

as the p

erform

ance o

f bo

th g

am

elan en

sem

bles a

t the N

elson

Arts F

estival, fo

r wh

ich I

play

ed g

on

g an

d ke

mp

ul. In

the p

rog

ramm

e, trad

ition

al pieces w

ere co

mb

ined

with

new

com

po

sition

s, and

a p

articularly

strikin

g n

ew

wo

rk w

as I Way

an G

de Y

ud

ane’s T

he C

hu

rnin

g

of th

e Sea

(20

06

) for b

ariton

e saxo

ph

on

e an

d Jav

anese

gam

elan. In

this p

iece, Y

ud

ane tran

sfers

the B

alinese

gam

elan te

chn

iqu

e kote

kan

(interlo

ckin

g rh

yth

ms, lik

e a h

ock

et, that co

mp

rise a

resultan

t melo

dy

) to th

e instru

men

ts of th

e Javan

ese g

am

elan, an

d d

irects an im

pro

vised

fiery

barito

ne sax

op

ho

ne so

lo th

at roars o

ver th

e top

.

- 5

6 -

Fig

. 2.1

: I Way

an G

de Y

ud

ane: T

he C

hu

rnin

g o

f the S

ea (2

00

6), first h

alf of first p

age, u

np

ub

lished

score fro

m m

y

priv

ate colle

ction

Th

is piec

e do

es no

t con

form

to Jav

anese

gam

elan co

nv

entio

ns. F

or in

stance, th

e stron

g b

eats

occu

r with

the g

on

gs (th

ird lin

e of ea

ch sy

stem in

the cip

her n

otatio

n) o

n th

e first b

eat of each

ga

tra, rath

er than

on

the last b

eat wh

ich is th

e stron

g b

eat in

Javan

ese g

am

elan. M

oreo

ver, th

e

orn

amen

tation

of th

is go

ng

-play

ed ‘b

alu

ng

an

’ (the g

on

g, k

em

pu

l and

slenth

em

) is mo

re similar

to th

e way

ga

ng

sa o

rnam

ent an

ug

al m

elod

y in

Balin

ese gam

elan. 1

0 Co

nv

entio

nal Jav

anese

colo

tom

ic structu

res are d

isregard

ed. T

his cro

ss-cultu

ral wo

rks co

mb

ines th

e in

strum

ents fro

m

on

e cultu

re (Java) w

ith p

erform

ance

techn

iqu

es from

an

oth

er (Bali), an

d co

ord

inatin

g an

imp

rov

ising

saxo

ph

on

e solo

– a m

usically

and

intellectu

ally ex

citing

exam

ple

of co

mb

inin

g

mu

sic from

differen

t cultu

ral back

gro

un

ds.

I com

po

sed tw

o p

ieces fo

r gam

elan en

sem

ble in

20

07

, Ulla

lim an

d M

elod

y for G

am

elan

Ba

li.

Ulla

lim, fo

r Javan

ese gam

elan an

d reco

rded

vo

ice, w

as insp

ired b

y m

y tran

scribin

g o

f Ben

icio

So

kk

on

g’s sin

gin

g o

f a fragm

ent o

f the “

Ullalim

” ep

ic of th

e Kalin

ga p

eop

le, from

no

rthern

Ph

illipin

es. Mu

ch o

f the tran

scrip

tion

fou

nd

its way

into

the m

usic

either literally

, or ch

ang

ed

thro

ug

h v

ariou

s com

po

sition

al pro

cesses; this p

iece w

as released

on

Gam

elan P

adh

ang

Mo

ncar

and

Gam

elan T

aniw

ha Jay

a’s 20

08

albu

m, N

ow

I Kn

ow

. 11

10 T

his p

iece ex

emp

lifies an

app

roach

also

in so

me o

f the co

mp

ositio

ns o

f Gare

th F

arr for Jav

anese

gam

elan

, for ex

amp

le Reo

ng

an

(19

92

) – ad

op

ting

idio

ms fro

m B

alin

ese g

amelan

as a com

po

sition

al

dev

ice w

hen

writin

g fo

r Javan

ese gam

elan

; an ad

jun

ct to th

e com

po

sition

. 1

1 See S

OU

NZ

Th

e Cen

tre fo

r New

Zea

land

Mu

sic, <h

ttp://so

un

z.org

.nz/m

anifesta

tion

s/sho

w/9

29

0/>

Acc

essed 0

6/0

1/2

01

0.

- 5

7 -

Melo

dy fo

r Ga

mela

n B

ali w

as com

po

sed fo

r perfo

rman

ce by

Gam

elan T

aniw

ha Jay

a at th

e

20

07

Intern

ation

al Gam

elan F

estival in

Yo

gy

akarta, Ja

va. It is a

simp

le, trad

ition

al-style

melo

dy

, tho

ug

h p

un

ctuated

by

a 3

-time co

loto

mic

go

ng

structu

re rather th

an a

con

ven

tion

al 4-

time co

loto

mic

structu

re. To

urin

g In

do

nesia w

as an in

delib

le exp

erience, see S

tröm

(20

09

) for

an ac

cou

nt o

f the to

ur.

An

oth

er piece

from

the to

ur’s rep

ertoire

is Jack B

od

y’s P

olish

Da

nces fo

r two

clarin

ets,

saxo

ph

on

e, and

Javan

ese g

am

elan. T

he first clarin

et carries th

e melo

dies o

f Jack’s

transcrip

tion

s of P

olish

folk

mu

sic, wh

ile th

e gam

elan su

gg

ests a ‘skew

ed’ v

ersio

n o

f Western

harm

on

y, sw

itchin

g b

etween

the p

elog

and

slend

ro scales. T

he se

con

d cla

rinet an

d sax

op

ho

ne

sup

po

rt the first clarin

et, app

earin

g o

nly

in th

e seco

nd

mo

vem

ent. Jack

’s meth

od

of n

otatio

n

here (u

sing

the W

estern

staff with

ciph

er no

tation

clearly m

ark

ed u

nd

ern

eath) ap

pea

red to

me to

be a

successfu

l solu

tion

to co

mb

inin

g ele

men

ts of cip

her an

d sta

ff no

tation

al system

s. Th

e

perfo

rmer fo

llow

s the rh

yth

ms an

d p

itches as in

dicated

by

the cip

her n

otatio

n, w

hich

is

un

dern

eath a

staff wh

ich assists b

y rep

resentin

g co

nto

urs an

d (ap

pro

xim

ate) p

itches m

ore

effectiv

ely th

an cip

her n

otatio

n o

n its o

wn

. Th

is meth

od

has also

been

used

by

I Way

an G

de

Yu

dan

e and

Jack B

od

y (H

ou

se in B

ali, 2

00

9), H

elen B

ow

ater (S

un

Wu

Ko

ng

“M

on

key”

, 20

09

),

amo

ng

st oth

ers – in

clud

ing

my

self in co

mp

ositio

ns fo

r gam

elan fro

m 2

00

8 o

nw

ards.

Fig

. 2.2

: Jack B

od

y: P

olish

Da

nces II. M

edle

y (20

07

), first half o

f first pag

e of th

e Jav

anese g

amelan

part,

un

pu

blish

ed sco

re from

my

priv

ate colle

ction

- 5

8 -

In 2

00

8 I co

mp

osed

two

new

gam

elan p

ieces, S

on

net S

uite fo

r Javan

ese gam

elan an

d …

tor/tu

e,

a du

o fo

r gu

itar and

gam

elan p

erform

er (keno

ng

and

saro

n in

strum

ents). S

on

net S

uite

com

prises fo

ur m

iniatu

res, in w

hich

I exp

lore

differen

t po

ssibilities fo

r gam

elan co

mp

ositio

n in

separate

, sho

rt, self-con

tained

mo

vem

ents. …

tor/tu

e was d

evelo

ped

ou

t of o

ne o

f tho

se

min

iatures, an

d in

it, for th

e first tim

e, I exp

lored

and

man

ipu

lated th

e way

tensio

n can

be b

uilt

and

released

by

exp

loitin

g m

icroto

nal in

tervals g

enerated

thro

ug

h co

mb

inin

g p

elog

, slend

ro,

and

equ

al tem

pera

men

t Western

tun

ing

s tog

ether. 1

2 Th

at the p

iece w

ou

ld so

un

d q

uite d

ifferent

(du

e to p

itch d

iscrepan

cies and

beatin

gs) w

hen

perfo

rmed

on

differen

t sets of in

strum

ents is

som

ethin

g I e

mb

race.

Ho

wev

er, I was u

nfam

iliar with

Ch

inese

yan

gq

in (d

ulcim

er) befo

re bein

g in

vited

to co

mp

ose

for it, fo

r yo

un

g m

usician

Wan

g H

ui. 1

3 Hu

i offered

the c

om

po

sers inv

olv

ed in

her co

ncert a

prelim

inary

wo

rksh

op

. Sh

e p

layed

som

e traditio

nal p

ieces and

a con

temp

orary

pie

ce written

by

a friend

and

colleag

ue o

f hers at X

iam

en U

niv

ersity, an

d th

en in

vited

us to

try p

layin

g th

e

instru

men

t ou

rselves, w

ith h

er gu

idan

ce. 1

4 Hu

i enco

urag

ed u

s to w

ork

closely

with

her an

d h

ave

regu

lar rehea

rsals. Ou

r pieces w

ere d

evelo

ped

ov

er time an

d w

ork

sho

pp

ed alo

ng

the w

ay. H

ui

also g

ave u

s scores an

d reco

rdin

gs o

f traditio

nal C

hin

ese pieces fo

r ou

r com

po

sition

al research

.

Mo

reov

er, in

Hu

i’s con

cert, I acco

mp

anied

her o

n d

rum

in tw

o o

f her ya

ng

qin

piec

es,

(Th

e Gen

eral’s O

rder) an

d

(Festiva

l of th

e Tia

nsh

an

Mo

un

tain

s). Alth

ou

gh

I was

imp

rov

ising

, I was g

iven

pattern

s and

verb

al instru

ction

s, and

play

ed u

nd

er Hu

i’s dire

ction

,

listenin

g fo

r son

ic cues su

ch as te

mp

o ch

ang

es. Perfo

rmin

g d

rum

alon

gsid

e Hu

i furth

er

con

tribu

ted to

my

un

derstan

din

g o

f Ch

inese rep

ertoire

, and

exten

sively

rehearsin

g th

ese p

ieces

with

her w

as an en

richin

g, in

form

ative ex

perien

ce. Fo

r a record

ing

of m

y p

erform

ances w

ith

Hu

i, see A

pp

end

ix IV

.

12 A

very

similar ap

pro

ach w

as em

plo

yed

in m

y co

mp

ositio

n E

legy fo

r Javan

ese gam

elan

and

pian

o,

wh

ich is p

art of m

y co

mp

ositio

n p

ortfo

lio.

13 H

ui w

as in W

ellin

gto

n fo

r two

mo

nth

s from

Xiam

en, C

hin

a, Wellin

gto

n’s sister-city

, on

an artist

residen

cy (v

ia the W

ellin

gto

n A

sia Resid

ency

Ex

chan

ge p

rog

ramm

e) sup

po

rted b

y th

e W

elling

ton

City

Co

un

cil. Her resid

ency

culm

inated

in a

con

cert a

t the N

ew Z

ealan

d S

cho

ol o

f Mu

sic of b

oth

yan

gq

in

stand

ard rep

ertoire

, and

wo

rks co

mp

osed

especia

lly fo

r her b

y m

yse

lf, Caro

l Sh

ortis, an

d T

ho

mas

Lam

bert.

14 H

ad m

ore tim

e b

een

mad

e availab

le, I wo

uld

hav

e taken

the o

pp

ortu

nity

to learn

furth

er basic

perfo

rman

ce tech

niq

ues an

d b

egin

ner p

ieces –

this is o

ne th

ing

I hu

mb

ly reg

ret.

- 5

9 -

II. T

ow

ard

s a c

ross-cu

ltura

l mu

sic aesth

etic

In m

y d

iscussio

n o

f app

roach

es regard

ing

aesthetic ap

preciatio

n in

Ap

pen

dix

III, I settle on

a

plu

ralist op

tion

. Th

e p

urp

ose o

f this sectio

n is to

con

sider h

ow

a plu

ralist app

roach

to aesth

etics

mig

ht affect an

aesth

etic app

reciatio

n o

f art from

ano

ther cu

lture

or in

a cross-cu

ltural co

ntex

t.

Th

ere is d

ebate in

the p

hilo

sop

hical literatu

re regard

ing

wh

ether o

r no

t there are

aesthetic

un

iversals acro

ss art (Du

tton

, 20

05

). Fo

r instan

ce, o

ne m

igh

t thin

k th

at pitch

is a un

iversal

pro

perty

of m

usic, b

ut co

un

terexam

ples are ab

un

dan

t. Co

nsid

er the m

usic p

rod

uced

by

un

pitch

ed p

ercussio

n in

strum

ents (fo

un

d n

ot o

nly

in co

ntem

po

rary W

estern m

usic

, bu

t in

Au

stralian A

bo

rigin

al and

African

mu

sic, am

on

gst o

ther w

orld

mu

sics), in so

me ele

ctroaco

ustic

mu

sic, and

wo

rks lik

e C

age’s 4

’33

’’ (19

52

). I argu

e th

at the p

roject o

f the aesth

etic u

niv

ersalist

is no

t a lost cau

se, h

ow

ever. T

his is relev

ant b

ecause

it is thro

ug

h th

e deb

ate on

un

iversals in

mu

sic that co

mm

on

pro

perties ac

ross m

usic

in d

ifferent cu

ltures a

re iden

tified, facilitatin

g an

y

gen

uin

e prim

a fa

cie aesth

etic exp

erien

ces in co

ntex

ts un

familiar w

ith th

ose

exp

eriencin

g th

e

mu

sic. I argu

e th

at mu

sical tensio

n1

5 – in

its man

y g

uise

s – is in

heren

t in all m

usic

.

Walto

n (1

99

9) also

adv

ocates an

app

eal to m

usical ten

sion

, qu

otin

g R

og

er Sessio

ns, “th

e

prin

ciple o

f tensio

n an

d relax

ation

is perh

aps th

e m

ost im

po

rtant sin

gle p

rincip

le … its b

earin

g

on

all qu

estion

s of m

usic

al exp

ression

cann

ot b

e o

verestim

ated.”

16 W

alton

also co

nsid

ers its

emb

od

imen

t, “O

ften, m

y m

uscles actu

ally d

o tig

hten

in resp

on

se to ten

sion

in m

usic an

d th

en

relax w

hen

the m

usic c

alms d

ow

n.”

17 H

e d

iscusses th

e tensio

n p

rod

uced

by

the u

np

redictab

le

rhy

thm

ic jolts in

Strav

insk

y’s R

ite of S

prin

g (1

91

3), th

e d

rivin

g rh

yth

ms o

f Beeth

ov

en’s m

usic,

the risin

g m

otio

n o

f Barto

k’s M

usic fo

r Strin

gs, P

ercussio

n, a

nd

Celeste

(19

36

), and

the stead

y

states of ten

sion

and

relaxatio

n in

traditio

nal Jav

anese g

amelan

, qu

otin

g m

aster Javan

ese

mu

sician, S

um

arsam

, describ

ing

the “in

itial statemen

t, tensio

n, an

d reso

lutio

n” th

at com

prises

and

characterises a g

on

ga

n (p

hrases in

traditio

nal g

amelan

pieces b

etween

(end

ing

with

) the

sou

nd

ing

s of th

e large g

on

g). 1

8

An

tho

ny

J. Palm

er (19

92

), takin

g a

psy

cho

log

ical app

roach

, also ad

vo

cates the sig

nifican

ce o

f

con

siderin

g m

usical ten

sion

. Firstly

, he arg

ues in

favo

ur o

f the u

niv

ersalist’s pro

ject, “w

hile th

e

15 B

y ‘ten

sion

’ I refer no

t on

ly to

Western

con

cep

ts such

as resolu

tion

s of d

isson

ances, an

d tra

jecto

ries

tow

ards clim

actic se

ction

s, bu

t I also refer to

oth

er qu

alities – o

r lack

thereo

f – in

mu

sic th

at ev

ok

e

tensio

n in

oth

er way

s, such

as b

alan

ce, co

nstrictio

n, fo

rce, strain, in

tensity

, repetitio

n, an

d an

ticip

atio

n.

Sim

ilarly, seem

ing

ly ‘ten

sion

lessness’ is a fo

rm o

f tensio

n in

itself; as a

piec

e pro

gresses th

rou

gh

time, it

bu

ilds u

p an

awaren

ess and

antic

ipatio

n in

the listen

er, wh

ich aro

uses ten

sion

, such

as in 4

’33

’’, mu

ch

min

imalist m

usic

, and

mu

ch n

on

-Western

mu

sic. 1

6 Sessio

ns (1

95

1) q

uo

ted in

Walto

n (1

99

9), p

. 40

8.

17 W

alto

n (1

99

9), p

. 41

3.

18 S

um

arsam (1

99

8) q

uo

ted in

Walto

n (1

99

9), p

. 40

9

- 6

0 -

ph

ysical en

viro

nm

ent h

as pro

du

ced slig

ht v

ariation

s in h

um

an p

hy

siog

no

my

, we are

essentially

alike in

ou

r men

tal and

em

otio

nal d

ispo

sition

s. It seem

s reason

able

to assu

me, th

erefore, th

at

we w

ill respo

nd

similarly

, if no

t iden

tically

, to v

ariou

s fun

dam

ental p

rincip

les em

bed

ded

in th

e

stimu

li in m

usical an

d o

ther a

rtistic ph

eno

men

a.”

19 T

his co

ntro

versial claim

was v

ind

icated

seven

yea

rs later by

psy

cho

log

ists Balk

will &

Th

om

pso

n (1

99

9), w

ho

se ex

tensiv

e

exp

erimen

tation

pro

ved

that, v

ery freq

uen

tly, ‘n

aïve’ listen

ers, even in

a cro

ss-cultu

ral co

ntext,

respo

nd

ed sim

ilarly to

‘exp

ert’ listeners o

f that m

usic

system

(in te

rms o

f senso

ry p

erceptio

n,

emo

tion

, and

so o

n).

Seco

nd

ly, P

almer sh

ow

s ho

w, ap

pealin

g to

mu

sical tensio

n, o

ne c

an m

ake sen

se of m

usic c

ross-

cultu

rally. C

on

sider th

e epito

me o

f mu

sical tensio

n in

the W

estern to

nal trad

ition

, “a to

nic is

establish

ed, a m

ov

e a

way

from

it raises exp

ectation

s, it arou

ses tensio

ns u

ntil a retu

rn to

the

ton

ic is effected

as a fin

al com

pletio

n o

r closu

re … T

he an

no

un

cem

ent o

f this retu

rn ev

ent h

as

com

e to

be th

e do

min

ant-sev

enth

cho

rd.”

20 T

he d

om

inan

t-seven

th ch

ord

is so stro

ng

ly

imp

licated in

the W

est, that it b

y itself beg

s resolu

tion

. Co

nsid

er the b

egin

nin

g o

f the fo

urth

mo

vem

ent o

f Beeth

ov

en’s E

roica

(18

04

) – “

With

the te

nsio

n b

uild

up

from

the reiteratio

n o

f the

Bb7

cho

rd, th

e rele

ase can o

nly

be e

ffected

by

offerin

g an

Eb ro

oted

cho

rd, w

hich

do

es occu

r

wh

en th

e them

e is p

resented

.”2

1 Co

ntrast th

is con

structio

n, o

r versio

n o

f tensio

n, w

ith th

at of

Japan

ese ga

ga

ku, o

r Ind

on

esian g

amelan

, or Jo

hn

Cag

e’s 4

’33

’’, or ato

nal w

ork

s. Alth

ou

gh

tensio

n is created

and

con

trolled

very

differen

tly, “is n

ot th

e very

same a

esthetic at w

ork

wh

atever th

e sp

ecific sty

le? Th

e hu

man

psy

che d

eriv

es satisfaction

from

a con

trolled

bu

ild-u

p

of ten

sion

and

its sub

sequ

ent release

.”2

2

I cann

ot im

pro

ve o

n p

hilo

sop

her D

enn

is Du

tton

’s wo

rds,

A b

alanced

vie

w o

f art w

ill take in

to a

ccou

nt th

e vast a

nd

div

erse array

of cu

ltural

elemen

ts that m

ake u

p th

e life o

f artistic cre

ation

and

ap

preciatio

n. A

t the sa

me tim

e

such

a vie

w w

ill ackn

ow

ledg

e th

e un

iversal fe

atures th

e arts ev

eryw

here sh

are, an

d w

ill

recog

nize

that th

e arts travel acro

ss cultu

ral bo

un

daries as w

ell as they

do

becau

se th

ey

are roo

ted in

ou

r com

mo

n h

um

anity

. 23

Desp

ite the v

ery d

ifferen

t way

s mu

sic h

as man

ifested in

differen

t cultu

res, and

the d

ifferent

way

s mu

sic can

be u

nd

ersto

od

in d

ifferent cu

ltures, I b

elieve it is p

rob

able

that th

ere is a

com

mo

n h

istoric lin

k –

mu

sic h

as an o

rigin

in o

ur b

iolo

gical, an

cestral past. 2

4 Mo

reov

er, it can

19 P

alm

er (19

92

), p. 6

8.

20 P

alm

er (19

92

), p. 6

9.

21 P

alm

er (19

92

), p. 6

9.

22 P

alm

er (19

92

), p. 6

9.

23 D

utto

n (2

00

5), p

. 28

9.

24 D

arwin

(in H

amilto

n, 2

00

7) ex

pla

ins th

e ev

olu

tion

of m

usic

in th

e ho

min

in lin

eage b

y ap

pea

ling

to th

e

matin

g-c

alls ou

r ancesto

rs on

ce m

ade; D

utto

n (2

00

9) ex

plain

s it in a sim

ilar vein

, as a co

stly sig

nal fo

r

sexu

al selectio

n (lik

e a peaco

ck’s ta

il); Pin

ker (2

00

6) reg

ards it a

s a by-p

rod

uct o

f evo

lutio

n ra

ther th

an

- 6

1 -

be easy

to im

agin

e h

ow

som

ethin

g else (e.g

. a fo

lk relig

ion

) cou

ld ev

olv

e/dev

elop

in sm

all scale

ho

min

in g

rou

ps to

enab

le co

op

eration

, am

on

gst o

ther th

ing

s (see Wilso

n, 2

00

2), an

d m

usic

–

dem

and

ing

social co

op

eration

and

coo

rdin

ation

– co

uld

emerg

e as an

aspect o

f that so

cial

fram

ew

ork

. On

e cou

ld co

ntin

ue p

ostu

lating

mo

re ideas ab

ou

t ho

w m

usic co

uld

hav

e evo

lved

(as, ind

eed

, man

y sch

olars d

o), b

ut th

at end

eavo

ur w

ou

ld g

o b

eyo

nd

the sco

pe o

f this th

esis. Fo

r

me, it is in

teresting

to re

flect up

on

the n

otio

n th

at, even

tho

ug

h n

ow

mu

sic is an

d is re

ceived so

div

ersely th

rou

gh

ou

t the w

orld

, there w

as pro

bab

ly a c

om

mo

n situ

ation

wh

ere mu

sic’s orig

in,

mean

ing

and

fun

ction

were

rob

ust an

d u

nifo

rm fo

r all.

Ultim

ately, c

ross-cu

ltural co

mp

ositio

n o

ffers the p

ossib

ility o

f an aesth

etic interestin

g to

me –

it

is my

exp

erience

that co

mb

inin

g ele

men

ts of d

ifferent m

usics in

a p

iece resu

lts in an

ou

tcom

e

that far o

utw

eigh

s the su

m o

f its ind

ivid

ual p

arts. In tim

e, as com

po

sers co

ntin

ue d

ow

n th

e

cross-cu

ltural p

ath, it h

is hig

hly

likely

that th

is aesthetic w

ill giv

e rise to n

ew

mo

des o

f listenin

g,

and

new

attitud

es tow

ards art in

gen

eral.

an

adap

tatio

n –

that w

e h

ave ev

olv

ed a cap

acity

for sen

sory

plea

sure an

d th

at mu

sic ‘h

its the rig

ht

bu

tton

s’ in th

e same w

ay th

at strawb

erry ch

eese

cake an

d p

orn

og

raph

y d

oes fo

r som

e p

eop

le.

- 6

2 -

III. Cro

ss-cultu

ral a

pp

rop

riatio

n

[It] is no

lon

ger ap

rop

os to

kn

ow

just th

e mu

sic that y

ou

were

raised in

, bu

t yo

u m

ust k

no

w

on

e oth

er. Oth

erwise

yo

u a

re n

ot a citizen

of th

e twen

tieth cen

tury

wo

rld. 2

5 [T

otal m

usical cu

lture] o

f the p

lanet E

arth is “co

min

g to

geth

er”, so to

speak

. A w

estern

com

po

ser livin

g in

the U

nited

States o

r Eu

rop

e, for ex

am

ple, w

ou

ld n

ow

hav

e a

ccess to

mu

sic of th

e vario

us A

sian cu

ltures, to

the m

usic o

f Africa, an

d to

the m

usic o

f So

uth

Am

erica. N

um

erou

s beau

tiful re

cord

ing

s of n

on

-weste

rn m

usic

are read

ily av

ailable, an

d

on

e frequ

ently

has th

e op

po

rtun

ity to

hea

r excellen

t live p

erform

ances b

y th

e tou

ring

perfo

rmers o

f oth

er cultu

res. Th

e in

fluen

ce w

ou

ld b

e felt o

n d

ifferent lev

els, of co

urse: o

nly

a few

weste

rn co

mp

osers w

ou

ld h

ave a so

ph

isticated te

chn

ical kn

ow

ledg

e of th

e Ind

ian

rag

a-tech

niq

ue, fo

r exam

ple; b

ut in

gen

eral, the so

un

ds, tex

tures, an

d g

estures o

f this m

usic

wo

uld

be w

ell-kn

ow

n. T

his a

waren

ess of m

usic in

its largest sen

se –

as a wo

rld-w

ide

[ph

eno

men

on

] – w

ill, I feel, hav

e en

orm

ou

s con

sequ

ences fo

r the m

usic o

f the fu

ture. 2

6

Th

ere is a v

ast literature o

n cu

ltrual ap

pro

priatio

n. F

or recen

t discu

ssion

s see Z

iff & R

ao (1

99

7)

and

Yo

un

g (2

01

0). M

y d

iscussio

n is fo

cused

on

the ad

op

tion

of m

usical m

aterials an

d co

ncep

ts

from

oth

er cultu

res. I ackn

ow

ledg

e th

at there

is difficu

lt terrain in

the tak

ing

of an

oth

er

cultu

re’s mu

sical id

eas, tho

ug

h I b

elieve th

at my

discu

ssion

belo

w sh

ow

s that m

y ad

op

tion

of

no

n-W

estern m

usical m

aterials and

con

cepts, an

d m

y u

se of g

amelan

instru

men

ts and

yan

gq

in,

is with

sensitiv

ity an

d resp

ect.

I hav

e alre

ady

sho

wn

that m

any

com

po

sers a

re insp

ired b

y th

e sou

nd

s of th

e mu

sic of o

ther

cultu

res (Ch

apter 1

Sectio

n V

and

Ap

pen

dix

II). Fo

r tho

se Western

com

po

sers wh

o w

ork

with

mu

sical materials o

r instru

men

ts of o

ther cu

ltures, o

r wh

o reco

rd o

r transcrib

e m

usic o

f oth

er

cultu

res for u

se in co

mp

ositio

n, o

r wh

o co

mb

ine m

usic

al con

ven

tion

s of d

ifferent cu

ltures

tog

ether, th

ere is the im

po

rtant p

olitical an

d p

hilo

sop

hical m

atter of cu

ltural ap

pro

priatio

n –

“the tak

ing

– fro

m a

cultu

re that is n

ot o

ne’s o

wn

– o

f intellectu

al pro

perty

, cultu

ral exp

ression

s

or artifa

cts [sic], histo

ry an

d w

ays o

f kn

ow

ledg

e.”2

7 It can

be im

mo

ral 28 fo

r a co

mp

ose

r to

25 H

enry

Co

well q

uo

ted in

vo

n G

un

den

(19

95

), p. 1

1.

26 G

eorg

e Cru

mb

qu

oted

in R

yk

er (19

91

), p. 2

3.

27 Z

iff & R

ao (1

99

7), p

. 1.

28 A

pertin

ent d

istinctio

n b

etw

een

eth

icists in th

e con

tem

po

rary p

hilo

sop

hica

l literature

is betw

een m

oral

expressiv

ists and

mo

ral n

atu

ralists (se

e Stereln

y, 2

00

7). E

xp

ressivists b

elieve th

at there are

no

ob

jectiv

e

mo

ral pro

perties –

instead

, wh

at ex

pressiv

ists are d

oin

g w

hen

they

mak

e a mo

ral cla

im is n

ot m

akin

g a

factual c

laim

(a cla

im th

at can

be o

bje

ctively

true o

r false), b

ut m

erely

exp

ressin

g th

eir a

ttitud

es an

d

tastes reflec

ting

their sy

stem

of eth

ical stan

dard

s. Co

nv

ersely, n

atu

ralists believ

e that w

hen

they

mak

e a

mo

ral cla

im, th

ey a

re ma

kin

g a

factu

al c

laim

. I am an

exp

ressiv

ist, so w

hen

I mak

e claims ab

ou

t ethic

al

issues, m

y in

tentio

ns o

f tho

se utteran

ces (w

heth

er verb

al o

r written

) are to

exp

ress my

ow

n fee

ling

s and

- 6

3 -

misap

pro

priate an

d th

e exten

t of th

e d

ebate

gets ex

cruciatin

gly

com

plex

, as is sho

wn

by

Ziff &

Rao

(19

97

). Th

ere are

three

main

areas of co

ncern

relev

ant to

com

po

sers: stew

ard

ship

(the

treatmen

t of th

e in

dig

eno

us reso

urces –

i.e. the m

usical in

strum

ents), d

epriva

tion

(the p

rofitin

g

– w

heth

er finan

cial or rep

utatio

nal –

of co

mp

osers w

ho

se techn

iqu

e exp

loits th

e intellectu

al

pro

perty

of m

usician

s of an

oth

er cultu

re), and

matters o

f au

then

ticity and

deg

rad

atio

n (th

e

misrep

resentatio

n o

f cultu

ral con

ven

tion

s or m

isallocatio

n o

f auth

enticity

that is h

armfu

l to th

e

percep

tion

of th

e traditio

n, an

d th

e deb

ate betw

een p

reservatio

n an

d in

no

vatio

n w

ithin

the

con

ven

tion

s of a n

on

-Western

mu

sic). 29

Th

e ex

tent to

wh

ich o

ne sh

ou

ld o

r sho

uld

no

t con

form

to th

e traditio

nal m

etho

ds o

f treatin

g

cultu

ral artefacts such

as mu

sical instru

men

ts is, I con

sider, an

op

en issu

e. Ho

wev

er, m

isuse o

f

instru

men

ts and

misap

pro

priatio

n o

f mu

sical material c

an lead

a com

po

ser into

a cultu

ral

min

efield. M

y so

lutio

n is sim

ple. I try

to b

e a

ware

of cu

lturally

app

rop

riate uses o

f instru

men

ts

and

mu

sical materials in

my

com

po

sition

s, and

I try n

ot to

break

any

traditio

nal tab

oo

s. Fo

r

instan

ce, the g

amelan

instru

men

ts and

the ya

ng

qin

are play

ed eith

er by

traditio

nal

beaters/m

allets, or b

y th

e han

ds o

f the p

erform

er. Perfo

rman

ces o

f the p

ieces in

vo

lvin

g

gam

elan d

o n

ot ex

plicitly

requ

ire th

e perfo

rmers to

step o

ver th

e in

strum

ents in

stead o

f walk

ing

arou

nd

them

, or in

deed

, do

any

thin

g o

ther th

an p

lay th

em

sitting

cross-leg

ged

on

the flo

or,

with

ou

t sho

es (as is custo

mary

). So

me In

do

nesian

com

po

sers hav

e d

ram

atically ch

alleng

ed

no

rms –

such

as the ex

perim

ental B

alinese

com

po

ser I Way

an S

adra, w

ho

has co

mp

osed

pieces

that in

vo

lve d

ragg

ing

and

scrapin

g th

e go

ng

across th

e stag

e floo

r of th

e perfo

rman

ce v

enu

e (the

go

ng

is traditio

nally

con

sidered

the p

lace w

here th

e ‘sp

irit’ of th

at gam

elan set resid

es) –

ho

wev

er I hav

e d

ecid

ed th

at it is no

t my

plac

e to d

o so

. Th

is do

es no

t mean

that I am

con

finin

g

my

self to a lev

el of lim

ited cre

ativity

, or th

at I am

bein

g u

nn

ecessarily co

nserv

ative o

r

‘po

litically co

rrect’ in m

y co

mp

ositio

ns –

it is a sig

n o

f respect fo

r the m

usic o

f the cu

lture an

d

the p

eop

le of th

e cultu

re. It is m

y feelin

g th

at com

po

sers w

ho

hav

e a

gen

uin

e respect fo

r the

mu

sic and

cultu

re of th

e artefacts th

ey are ap

pro

priatin

g w

ill be u

sing

them

in an

ethical m

ann

er,

even

if they

are rejecting

con

ven

tion

s. Ind

eed

, I reject certain co

nv

entio

ns. F

or ex

amp

le, E

legy,

for p

iano

and

gam

elan, co

mb

ines b

oth

pelo

g an

d slen

dro

instru

men

ts tog

ether, an

d h

as

com

po

sed p

arts for in

strum

ents th

at usu

ally p

lay g

ara

p –

ho

wev

er this ap

pro

ach to

gam

elan

com

po

sition

is neith

er new

no

r pro

fane.

in

tuitio

ns, w

itho

ut ap

pea

ling

to an

ob

jectiv

e stand

ard o

f mo

rality, w

hich

may

or m

ay n

ot ex

ist (a differen

t

inq

uiry

, wh

ich w

e cann

ot en

ter into

here).

29 Jo

hn

Cag

e fam

ou

sly re

mark

ed, “v

alu

e jud

gem

ents…

are d

estructiv

e to

[com

po

sers’] pro

per b

usin

ess,

wh

ich is cu

riosity

and

awaren

ess” (Cag

e qu

oted

in Z

urb

rug

g, 1

99

3, p

. 31

). It is po

ssible to

be cu

riou

s and

aware

, and

mo

reov

er, creativ

e, ev

en w

hen

ob

servin

g sim

ple

mo

ral ideals. F

or m

e, th

e imp

ortan

t issue is

no

t to b

reak an

y tab

oo

s in m

y cro

ss-cultu

ral mu

sic –

simp

ly b

reakin

g ‘co

nv

entio

ns’, I fee

l, is fair g

am

e

- 6

4 -

My

practice

avo

ids th

at wh

ich w

ou

ld p

erman

ently

da

ma

ge th

e instru

men

ts – b

ut th

is is no

t a

con

sideratio

n u

niq

ue to

cross-cu

ltural co

mp

ositio

n: W

estern

mu

sicians are

un

likely

to h

app

ily

end

orse n

ew

wo

rks th

at dam

age th

eir valu

able in

strum

en

ts thro

ug

h h

armfu

l exten

ded

techn

iqu

es,

and

so o

n, u

nless sp

ecial circum

stances p

revail. C

on

sider A

nn

ea L

ock

wo

od

’s Pia

no

Bu

rnin

g

(19

68

), Pia

no

Ga

rden

(19

70

) and

Pia

no

Dro

wn

ing

(19

72

) – h

ow

ever, u

sing

defu

nct p

iano

s is

acceptab

le fo

r perfo

rman

ces of th

ese p

ieces. 30 W

heth

er or n

ot o

ne h

as artistic license

to u

se

cross-cu

ltural in

strum

ents in

this w

ay, I h

ave n

ot d

on

e so.

Dep

rivatio

n is a m

uch

tho

rnier issu

e, especially

for co

mp

osers (an

d eth

no

mu

sicolo

gists w

ho

collect field

record

ing

s too

). Th

is is becau

se o

wn

ership

of trad

ition

al mu

sic in

man

y c

ases is

no

t clear, and

, in a leg

al sense, can

greatly

vary

to h

ow

the W

estern

no

tion

of co

py

righ

t op

erates.

Jack B

od

y’s A

rum

Ma

nis (1

99

1) fo

r string

qu

artet and

tape p

resents a reco

rdin

g o

f an u

nk

no

wn

Ind

on

esian street p

erfo

rmer w

hich

the liv

e perfo

rmers e

ssentially

sup

po

rt – a to

uch

ing

“elevatio

n to

cen

tre stage o

f the u

nn

oticed

, and

the u

nack

no

wled

ged

.”3

1 I hav

e o

ften w

on

dered

wh

at the o

rigin

al mu

sician m

igh

t thin

k if h

e/she d

iscov

ered B

od

y’s p

iece, w

hich

do

es no

t

besto

w au

tho

rship

to an

yo

ne o

ther th

an B

od

y h

imself. T

he m

usician

may

well feel ex

plo

ited,

justifiab

ly so

. I hav

e avo

ided

this situ

ation

– in

two

of m

y ele

ctroaco

ustic w

ork

s, Po

dró

e and

Merm

ecolio

n, reco

rdin

gs o

f perfo

rmin

g m

usician

s are

samp

led, w

ith th

e perm

ission

of th

e

perso

n re

cord

ed o

r the co

py

righ

t ow

ner o

f the sam

pled

piece (in

the c

ase of P

od

róe), o

r they

are my

perso

nal reco

rdin

gs o

f my

ow

n m

usic (M

ermec

olio

n).

An

tho

ny

Seeg

er (1

99

7) reflects o

n th

is issue, w

ith a sp

ecial case

stud

y o

n th

e traditio

nal m

usic

of th

e Su

yá (in

dig

eno

us p

eop

le o

f Am

azo

nian

Brazil). S

eeger h

imself w

as am

on

gst th

e Su

yá

peo

ple in

the e

arly 1

97

0s, co

llecting

and

record

ing

traditio

nal so

ng

s and

learnin

g th

eir cultu

re

and

traditio

ns. H

e pu

blish

ed h

is research

in h

is bo

ok

Wh

y Su

yá S

ing

(19

87

). Acco

rdin

g to

the

custo

ms o

f the p

eop

le, a so

ng

is taug

ht to

the p

erso

n w

ho

se son

g it b

ecom

es,

by

a “perso

n-w

itho

ut-sp

irit” wh

o in

turn

has w

alked

in th

e forest an

d lea

rned

a son

g

from

som

e n

atural b

eing

(plan

ts, fish, an

imals). T

he o

rigin

ato

r of th

e son

g is a sp

ecific

plan

t, fish, o

r anim

al species. T

he co

mm

un

icato

r of th

e so

ng

(the p

erso

n w

ho

mo

st

nearly

fits the W

estern co

ncep

t of “co

mp

ose

r”) is the p

erson

-with

ou

t-spirit. T

he

ow

ner/co

ntro

ller (kan

dé) o

f the so

ng

is the p

erso

n w

ho

learns it an

d sin

gs it alo

ud

for

the first tim

e. 3

2

30 I a

m also

remin

ded

here o

f Karlo

Marg

eti’s D

eux F

an

fares G

ran

des (2

01

0) fo

r solo

ho

rn, w

hich

inv

olv

es po

urin

g h

alf a cu

p o

f water in

to th

e h

orn

and

remo

vin

g o

ne o

f the v

alv

es. Th

e p

iece

startled th

e

aud

ience a

t its prem

iere as perfo

rmer A

lex M

orto

n p

ou

red th

e water in

to th

e instru

men

t, tho

ug

h th

e

com

po

ser later rev

ealed

to m

e that th

e h

orn

that w

as used

was n

ot th

e p

erform

er’s ow

n ex

pen

sive

instru

men

t, bu

t on

e bo

rrow

ed fro

m a

friend

wh

o b

ou

gh

t it very

cheap

on

the p

op

ular au

ction

web

site,

Trad

eM

e <w

ww

.tradem

e.co

.nz>

(Marg

eti

, pers. co

mm

., 20

10

). 3

1 Psa

thas (2

01

0), p

. 44

. 3

2 Seeg

er (19

97

), p. 5

5.

- 6

5 -

Seeg

er h

imself w

as taug

ht a

son

g w

hich

he en

din

g u

p sin

gin

g in

a Su

yá ce

rem

on

y, an

d b

y v

irtue

of th

eir traditio

n, th

at son

g b

ecam

e h

is son

g, “if so

meo

ne [else] san

g it b

adly

, [Seeg

er] cou

ld

com

plain

.”3

3 No

w im

agin

e that S

eeger’s so

ng

was reco

rded

, then

transcrib

ed b

y a

com

po

ser,

and

then

realised in

to a co

mp

ositio

n. If th

is was n

ot w

ith S

eeger’s b

lessing

, he co

uld

com

plain

;

furth

ermo

re, he p

rob

ably

cou

ld claim

cop

yrig

ht in

fring

emen

t or p

lagiarism

; it is theft o

f his

intellectu

al pro

perty

as ow

ner/co

ntro

ller of th

at son

g. O

ur im

agin

ary

com

po

ser’s pro

fit – if

with

ou

t Seeg

er’s blessin

g –

dep

rives Seeg

er of h

is roy

alty

du

es.

Th

e ab

ov

e is ju

st on

e exam

ple

of h

ow

a traditio

nal cu

lture c

an allo

cate cu

ltural in

tellectual

pro

perty

and

ow

nersh

ip –

and

there

are man

y o

ther ex

am

ples in

the literatu

re (see Z

iff & R

ao,

19

97

). My

ow

n eth

ical con

cern is th

at I, as a co

mp

oser, a

m n

ot en

gag

ing

in th

is kin

d o

f cultu

ral

theft. I d

o n

ot b

elieve th

at I am

.

In an

interv

iew

with

Jack B

od

y (2

01

0), co

mp

ose

r and

co

lleagu

e Mich

ael No

rris challen

ges

Bo

dy

to d

efend

his p

rocess o

f transcrip

tion

, to w

hich

Bo

dy

replies:

Histo

rically, o

f cou

rse, bo

rrow

ing

from

oth

er co

mp

osers w

as gen

erally reg

arded

as an

act of h

om

ag

e… In

gen

eral, I try to

ensu

re m

y so

urce

material is ack

no

wled

ged

app

rop

riately…

In fa

ct on

e of m

y h

op

es is that m

y tran

scriptio

ns w

ill stimu

late a cu

riosity

in th

e listener

to search

ou

t and

exp

erience th

e o

rigin

al mu

sic up

on

wh

ich m

y tran

scriptio

n is b

ased.

Th

is was o

ne o

f the reaso

ns b

ehin

d m

y d

ou

ble

CD

Pu

lse, wh

ich en

abled

peo

ple to

hear

the so

urce m

aterial alon

gsid

e my

transcrip

tion

of it…

I hav

e fo

un

d th

at som

e con

temp

orary

Asian

com

po

sers hav

e exp

ressed en

thu

siasm fo

r

my

transc

riptio

ns as su

gg

esting

differen

t persp

ectives o

n h

ow

they

mig

ht relate

to th

eir

ow

n trad

ition

s. Th

e arran

gin

g an

d o

rchestratin

g o

f folk

son

gs is a fe

ature o

f mu

sical

natio

nalism

in m

any

cou

ntries, p

articularly

Ch

ina, an

d co

mp

osers are

often

frustrated

by

the clich

éed co

nv

entio

ns…

and

are lo

ok

ing

for altern

ative ap

pro

aches. 3

4

Th

ese ap

pear to

me to

be v

ery sen

sible resp

on

ses, ultim

ately ad

vo

cating

and

pro

mo

ting

the

div

ersity an

d co

mp

lexity

of th

e mu

sic of n

on

-Weste

rn c

ultu

res to a p

redo

min

antly

Weste

rn

aud

ience. It is also

in lin

e with

my

no

tion

of a p

luralist ap

pro

ach to

mu

sical aesth

etics.

I believ

e my

ow

n ap

pro

aches to

transcrip

tion

-based

com

po

sition

s avo

id th

is min

efield. In

two

com

po

sition

s, To

– an

d W

igen

a, I e

mp

loy

transcrip

tion

techn

iqu

es. Befo

re com

po

sing

To

–, I

perfo

rmed

a series o

f transcrip

tion

s of Jav

anese v

ocal m

usic, w

hich

info

rmed

my

com

po

sition

,

bu

t do

no

t ap

pea

r in an

y k

ind

of ro

bu

st sense

in th

e pie

ce itself. In W

igen

a, I rec

ast mu

sic fo

r

the strin

g q

uartet fro

m th

e ba

lun

ga

n o

f an o

ld, trad

ition

al, pu

blic d

om

ain Jav

anese g

am

elan

piece, K

etaw

an

g W

igen

a P

elog

Nem

, extrap

olatin

g th

e ind

ivid

ual p

arts of th

e piec

e thro

ug

h a

pro

cess of p

rescriptive tran

scrip

tion

– co

mp

osin

g o

ut fro

m th

e ba

lun

ga

n w

ith m

y o

wn

33 S

eeg

er (19

97

), p. 5

5.

34 B

od

y (2

01

0), p

p. 4

1-4

2

- 6

6 -

kn

ow

ledg

e o

f ho

w th

e gam

elan in

strum

ents w

ou

ld g

enerate th

eir parts (rath

er th

an d

escriptive

transcrip

tion

– w

riting

do

wn

wh

at I hea

r traditio

nal p

erform

ers p

lay in

a specific p

erfo

rman

ce).

I feel th

at these

two

app

roach

es are u

ltimately

mo

re satisfy

ing

than

oth

er transcrip

tion

-based

app

roach

es as they

inv

olv

e an elem

ent o

f com

ing

to term

s with

the m

usic

itself; com

po

sition

s in

the p

ast that I h

ave b

ased o

n d

escriptiv

e transcrip

tion

(Bo

dy

’s app

roach

) hav

e no

t, for v

ariou

s

reason

s, I feel, hav

e b

een as su

ccessfu

l as these tw

o p

ieces, w

hich

are com

po

sition

s and

no

t

merely

arra

ng

emen

ts.

Fu

rtherm

ore

, matters o

f bo

th au

then

ticity an

d d

egrad

ation

are im

po

rtant fo

r com

po

sers to

con

sider, as it can

be h

armfu

l to a

cultu

re’s repu

tation

to m

istaken

ly m

isiden

tify co

nv

entio

ns, o

r

misallo

cate auth

enticity

. Th

is can b

e av

oid

ed, I b

elieve, b

y w

ork

ing

with

a master m

usician

from

the relev

ant cu

lture

, and

this is w

hy

I hav

e co

llabo

rated w

ith B

ud

i Pu

tra an

d W

ang

Hu

i

ov

er the co

urse o

f my

com

po

sing

for g

amelan

and

yan

gq

in resp

ectively

. Fu

rtherm

ore, I d

o n

ot

allocate cu

ltural au

then

ticity to

any

of m

y cro

ss-cultu

ral co

mp

ositio

ns –

no

ne o

f them

are, I

believ

e, auth

entically

Ind

on

esian o

r auth

entically

Ch

inese. M

oreo

ver, th

ere is an im

po

rtant

con

sideratio

n reg

ardin

g th

e co

ntin

uu

m b

etween

the p

reserva

tion

of a trad

ition

’s mu

sic cultu

re,

and

inn

ova

tion

– trad

ition

alists-abo

ut-m

usic lik

e to see th

at the m

usic

of th

eir traditio

n is b

eing

preserv

ed an

d w

hen

perfo

rmed

, it is as true as p

ossib

le to th

e histo

ric traditio

n (trad

ition

alists-

abo

ut-m

usic a

re no

t exclu

sively

no

n-W

estern –

con

sider th

e deb

ate amo

ng

st mu

sicolo

gists o

n

perfo

rman

ce p

ractice: wh

ether o

r no

t Baro

qu

e in

strum

en

ts sho

uld

be em

plo

yed

in th

e

perfo

rman

ce o

f a Baro

qu

e piec

e, or w

heth

er or n

ot an

orch

estra perfo

rmin

g B

eetho

ven

sym

ph

on

ies sho

uld

be tu

ned

to 4

40

Hz, an

d so

on

). I sup

po

se that th

e afo

rem

entio

ned

Su

yá

peo

ple are reaso

nab

ly trad

ition

al-abo

ut-m

usic

, acco

rdin

g to

Seeg

er’s acco

un

t. Th

e catch is

wh

ether o

r no

t there

is roo

m in

the trad

ition

for c

reative, ex

perim

ental co

mp

ose

rs to p

resent

som

ethin

g th

at is differen

t. Ind

on

esia and

Ch

ina a

re bo

th co

un

tries that p

ride th

em

selves o

n

their trad

ition

al mu

sic and

they

con

tinu

e to p

reserve it b

y k

eepin

g arch

ives an

d th

rou

gh

institu

tion

al mu

sic stud

y, h

ow

ever, th

ey are also

bo

th c

ou

ntries th

at bo

ast pro

min

ent co

mp

osers

that co

ntin

ue to

exp

and

and

evo

lve th

eir cou

ntry

’s traditio

ns an

d m

usic p

ractice. F

or in

stance,

con

temp

ora

ry “g

amelan

com

po

sition

s from

con

servato

ry-train

ed [In

do

nesian

] com

po

sers often

de-em

ph

asize cyclic u

nd

erly

ing

structu

res… releg

ating

the o

ld-fash

ion

ed Jav

anese

no

tion

s… to

the b

ackg

rou

nd

.”3

5 Ch

ina to

o, h

as had

succ

essful rev

olu

tion

ary co

mp

ositio

ns su

ch as th

e m

od

el

op

eras of th

e Cu

ltural R

evo

lutio

n (T

akin

g T

iger M

ou

nta

in B

y S

trateg

y is an ex

am

ple –

see

Mittler, 2

00

3); an

d co

nte

mp

orary

Ch

inese

com

po

sers such

as Tan

Du

n are

well estab

lished

wo

rldw

ide. In

deed

, dev

elop

men

t and

inn

ov

ation

is crucial in

man

y m

usic trad

ition

s, and

it has

35 S

piller (2

00

8), p

. 88

.

- 6

7 -

been

po

inted

ou

t that th

e n

otio

n th

at an a

rtform

mu

st be p

reserved

, nev

er allow

ed to

chan

ge, is

foreig

n to

man

y trad

ition

al mu

sicians (see

Fan

g, P

ratt, Pro

vin

e & T

hrash

er, 19

81

).

My

ow

n co

mp

ositio

ns can

, I imag

ine, b

e p

laced in

differen

t po

ints alo

ng

a co

ntin

uu

m b

etween

preserv

ation

of m

usical m

aterials and

inn

ov

ation

– K

etaw

an

g A

ng

gu

n S

lend

ro M

an

yura

,

La

dra

ng

Sa

nta

i Slen

dro

Sa

ng

a an

d G

end

hin

g T

arika

n P

elog

Nem

con

tain co

nv

entio

nal fo

rms

and

are com

po

sed in

a traditio

nal sty

le, albeit w

ith W

estern so

lo in

strum

ents; E

legy co

mp

letely

aban

do

ns th

ese form

s and

the g

am

elan in

strum

ents are u

sed to

mic

roto

nally

and

timb

rally

enh

ance

the p

iano

. Th

e im

po

rtant m

atter is, as Sto

ckh

au

sen arg

ues, “n

ot striv

ing

for a

‘syn

thesis’ w

here ev

eryth

ing

is swallo

wed

up

into

a gig

antic m

ishm

ash…

Th

e idea isn

’t to

ob

literate [traditio

nal m

usic] b

ut rath

er to

div

ersify its e

ffectiven

ess.”3

6 I feel my

app

roach

es

con

tribu

te to th

is creation

and

dev

elop

men

t of a n

ew

traditio

n –

cross-cu

ltura

l com

po

sition

–

and

no

t com

pro

misin

g an

y ex

isting

traditio

nal m

usical trad

ition

s.

36 S

tock

hau

sen (1

98

9), p

p. 2

6-2

7.

- 6

8 -

IV. P

ractica

l con

cern

s

Th

e p

urp

ose o

f this sectio

n is to

share a

perso

nal ac

cou

nt o

f several p

ractical co

ncern

s relevan

t

to cro

ss-cultu

ral com

po

sition

– tu

nin

g d

iscrepan

cies betw

een

instru

men

ts, no

tation

al issues,

collab

orativ

e inp

ut fro

m p

erform

ers, and

record

ing

. I will first, h

ow

ever, d

iscuss th

ree a

ctivities

that I en

gag

ed in

du

ring

the ea

rly stag

es of m

y M

aster’s enro

lmen

t, for th

e p

urp

ose o

f beco

min

g

mo

re fa

miliar w

ith th

e p

rocess o

f com

bin

ing

gam

elan w

ith W

estern in

strum

ents (see

Ap

pen

dix

IV fo

r reco

rdin

gs o

f these

).

First, in

collab

oratio

n w

ith Ja

ck B

od

y, I w

rote

a v

iolin

solo

for th

e Javan

ese g

amelan

pie

ce

Lela

go

n P

rau

Pelo

g N

em

, for co

ncert p

erfo

rman

ces at th

e New

Zealan

d S

cho

ol o

f Mu

sic and

St

An

dre

ws O

n T

he T

erra

ce in early

20

09

. Vio

linist T

ristan C

arter imp

rov

ised u

po

n th

is melo

dy

,

usin

g w

hat B

od

y an

d I g

ave h

im as a

starting

po

int. It w

as very

easy to

pu

t the p

iece to

geth

er in

rehearsal, d

ue to

the p

erform

er’s ex

cellent m

usician

ship

, and

becau

se th

e vio

lin’s tu

nin

g is

easily ad

justab

le as it is no

t a fretted o

r key

ed in

strum

en

t. Match

ing

the v

iolin

’s pitch

es with

the p

itches o

f the g

am

elan d

id n

ot cau

se m

uch

fuss, an

d th

e melo

dy

beau

tifully

spo

ke o

ut o

ver

the to

p o

f the g

amelan

’s textu

re.

- 6

9 -

- 7

0 -

Fig

. 2.3

: Lela

go

n P

rau

Pelo

g N

em w

ith a v

iolin

melo

dy

Th

is was a re

ward

ing

pra

ctice exercise

in co

mp

osin

g a W

estern so

lo fo

r gam

elan, in

prep

aration

for co

mp

osin

g m

y o

wn

three

orig

inal g

am

elan p

ieces in trad

ition

al Javan

ese sty

le with

Western

solo

instru

men

ts.

Seco

nd

, insp

ired b

y th

e re

cord

ing

of T

erry R

iley’s fa

mo

us m

inim

alist wo

rk In

C (1

96

4) b

y th

e

Sh

ang

hai F

ilm O

rchestra

, 37 u

sing

traditio

nal C

hin

ese instru

men

ts, I led an

SM

P E

nsem

ble

perfo

rman

ce o

f it with

two

clarinets, tru

mp

et, saxo

ph

on

e, do

ub

le bass an

d fiv

e gam

elan

play

ers. 38 T

he W

estern in

strum

ents w

ere tu

ned

to m

atch th

e gam

elan’s B

-flat (pelo

g/slen

dro

6),

bu

t the p

erform

ers d

id n

ot m

ake an

y o

ther sp

ecial allow

ances fo

r their o

ther p

itches –

so as th

e

piece p

rog

ressed, a n

ew

layer o

f mu

sical in

terest (the in

tervallic/m

icroto

nal d

iscrepan

cies

betw

een

the eq

ual te

mp

ered W

estern in

strum

ents an

d th

e gam

elan) d

evelo

ped

and

evo

lved

thro

ug

ho

ut th

e perfo

rman

ce. A

s the m

usician

s mo

ved

thro

ug

h th

e melo

dic cells o

f the p

iece at

their o

wn

pac

e, the p

iece’s in

ton

ation

and

beatin

g ev

olv

ed an

d ch

ang

ed. T

his to

o w

as a

rew

ardin

g ex

ercise in

wo

rkin

g w

ith th

ese m

icro

ton

al pitch

discrep

ancies, an

d w

as an in

fluen

ce

on

Eleg

y and

Cycles, S

ha

do

ws.

Th

ird, I arran

ged

– as a h

om

ag

e –

Helen

Bo

water’s so

lo v

iolin

piece Z

ing

aro

(19

88

), for

clarinet, b

assoo

n d

ou

blin

g v

iola, Jav

anese

gen

der an

d b

on

an

g. T

his w

as also p

erform

ed b

y

SM

P E

nse

mb

le, and

was a

fruitfu

l exercise

in ‘assim

ilating

’ gam

elan in

strum

ents in

to a

Western

cham

ber en

semb

le. I lik

ed th

e instru

men

tation

, and

used

it in m

y co

mp

ositio

n C

ycles,

Sh

ad

ow

s (tho

ug

h w

itho

ut th

e bo

na

ng

), wh

ich I w

rote fo

r the sa

me p

erform

ers. Hav

ing

perfo

rmed

the Z

ing

aro

arran

gem

ent, th

ey w

ere alre

ady

familiar w

ith w

ork

ing

with

the p

itch

discrep

ancies so

rehearsin

g an

d p

erform

ing

Cycles, S

ha

do

ws w

as easier (the p

arts for th

at piec

e

are virtu

osic en

ou

gh

with

ou

t gettin

g u

sed to

the m

icroto

nal p

itch d

iscrepan

cies that th

e gen

der

intro

du

ces).

37 S

han

gh

ai Film

Orch

estra (19

92

), In C

(Celestial H

armo

nies R

eco

rds).

38 B

ecau

se o

f the lim

ited p

itches o

f the g

amelan

, the p

iece w

as p

erform

ed in

B-flat so

that th

e gam

elan

pitch

es were

clo

ser to th

e W

estern p

itches o

f the m

elod

ies that co

mp

rise R

iley’s sco

re.

- 7

1 -

Un

dertak

ing

these th

ree ex

ercises raised m

y a

waren

ess of th

e practical issu

es in cro

ss-cultu

ral

com

po

sition

. On

e co

ncern

that I h

ave alread

y m

entio

ned

is the p

itch d

iscrepan

cies and

differen

t

tun

ing

system

s betw

een W

estern in

strum

ents an

d Jav

anese g

am

elan. T

his w

as no

t an issu

e for

the ya

ng

qin

, becau

se it is no

w tu

ned

acco

rdin

g to

the W

estern ch

rom

atic scale. F

or m

y p

ieces

that in

vo

lved

gam

elan, I d

ecided

ho

w to

resolv

e the issu

e on

a case-b

y-c

ase basis. I e

mp

loy

three ap

pro

aches:

1.

Ign

orin

g th

e diffe

rences an

d allo

win

g th

e in

strum

ents to

be ‘o

ut o

f tun

e’ with

each o

ther (p

iano

in E

legy; a

ccord

ion

in G

end

hin

g T

arika

n).

2.

Tu

nin

g th

e Western

instru

men

ts/vo

ice to clo

sely m

atch th

e gam

elans p

itches

(vio

la in K

etaw

an

g A

ng

gu

n; strin

g q

uartet in

Wig

ena

; vo

ice in L

ad

ran

g

Sa

nta

i and

To

–).

3.

Tu

nin

g o

ne sp

ecific Western

pitch

to m

atch o

ne sp

ecific gam

elan p

itch, an

d

allow

ing

the rest to

be slig

htly

‘skew

ed’ (clarin

et in G

en

dh

ing

Ta

rikan

;

gu

itar in L

ad

ran

g S

an

tai; clarin

et, vio

la and

basso

on

in C

ycles, Sh

ad

ow

s).

My

decisio

ns d

epen

d u

po

n th

e malle

ability

of th

e tun

ing

of th

e Western

instru

men

t.

Imp

ortan

tly, th

e resu

lts of th

e th

ree ap

pro

aches are

very

differen

t, as they

shap

e d

ifferen

t

structu

res of ten

sion

-release fo

r the listen

er’s aesthetic ex

perien

ce.

Th

e first ap

pro

ach allo

ws m

e to

son

ically ex

plo

it the u

niq

ue, arb

itrary

micro

ton

al sou

nd

wo

rld

that th

e pitch

es of a g

amelan

ense

mb

le, co

mb

ined

with

equ

al temp

eram

ent, p

rod

uce

. In th

e c

ase

of E

legy, I ca

refully

listened

to th

e beatin

gs o

f the so

un

ds an

d co

mp

osed

the rh

yth

ms o

f the

wo

rk in

tuitiv

ely. A

ccord

ion

s are n

ot easily

tun

eable

, so in

Gen

dh

ing

Ta

rikan

it play

s ‘ou

t of

tun

e’ melo

dies in

the first tim

e thro

ug

h th

e keta

wa

ng

sectio

n (see th

e p

iece’s p

rog

ramm

e n

ote)

and

in th

e seco

nd

and

third

time th

rou

gh

, it play

s ga

mb

an

g rep

ertoire

ga

rap

, with

the fin

al no

te

(the stro

ng

beat) re

mo

ved

, so th

e g

am

elan b

alu

ng

an

can

resolv

e the ten

sion

caused

by

the

discrep

encies.

Th

e seco

nd

app

roach

rem

oves an

y p

itch d

iscrepan

cies, firmly

roo

ting

the p

iece in

the g

am

elan’s

wo

rld o

f pitch

.

Fin

ally, th

e third

app

roach

is a cross b

etween

the tw

o. F

or ex

amp

le, in

La

dra

ng

Sa

nta

i, the

gu

itar tun

es each

string

do

wn

on

e sem

iton

e, an

d alig

ns its A

-flat pitch

es with

the slen

dro

5 o

f

the g

amelan

. In C

ycles, Sh

ad

ow

s, the cla

rinet, b

assoo

n, an

d v

iola alig

n th

eir B-flat p

itches w

ith

slend

ro 6

of th

e gen

der. T

hese

‘ho

me’ p

itches alw

ays m

atch u

p d

urin

g th

e perfo

rman

ce, b

ut

oth

er pitch

es dev

iate, c

reating

tensio

n an

d m

usical in

terest in th

e discrep

ancies o

f the p

itches.

- 7

2 -

Each

app

roach

is interestin

g in

and

of itself, an

d I d

o n

ot w

ish to

priv

ilege o

ne o

ver th

e o

thers:

the ch

oice o

f app

roach

for a co

mp

oser sh

ou

ld b

e app

rop

riate to th

e inten

tion

s of th

e

com

po

sition

and

the in

strum

ents th

at he/sh

e is wo

rkin

g w

ith.

An

oth

er practic

al con

cern

for cro

ss-cultu

ral com

po

sers is no

tation

, especially

bec

ause m

any

mu

sicians en

gag

ed in

no

n-W

estern m

usic m

akin

g d

o n

ot read

Western

no

tation

. Th

ank

fully

,

my

yan

gq

in p

layer W

ang

Hu

i cou

ld read

Western

no

tation

, so I w

as able

to co

mp

ose m

y

Melo

dy fo

r Vio

lin a

nd

Ya

ng

qin

in stan

dard

Western

no

tation

. Ho

wev

er, Ta

bu

la R

asa

, my

oth

er

piece fo

r Hu

i, dem

and

s exten

ded

techn

iqu

es and

com

plex

gestu

res, so I d

ecided

to co

mp

ose it

as a grap

hic sco

re, wh

ich w

as well rec

eived

by

the p

erform

er.

Co

nv

ersely, B

ud

i S. P

utra

, directo

r of G

am

elan P

adh

ang

Mo

ncar, d

oes n

ot read

Western

mu

sic

con

fiden

tly, so

I transcrib

ed T

o –

into

ciph

er no

tation

for h

im to

read.

My

scores fo

r Eleg

y, T

o –

, Wig

ena

, and

Cycles, S

ha

do

ws h

ad stav

es specific

to g

am

elan

instru

men

ts, and

the cip

her n

otatio

n is g

iven

un

dern

eath

the staff. T

he p

erform

er fo

llow

s the

pitch

es as ind

icated b

y th

e ciph

er n

otatio

n, an

d th

e staff assists by

defin

ing

the rh

yth

ms, an

d

represen

ting

con

tou

rs and

(app

rox

imate) p

itches m

ore

effectiv

ely th

an cip

her n

otatio

n o

n its

ow

n. M

y sco

res for K

etaw

an

g A

ng

gu

n, L

ad

ran

g S

an

tai an

d G

end

hin

g T

arika

n are a

little

differen

t: the W

estern in

strum

ents e

ach h

ave th

eir ow

n staff an

d th

ere is also

a staff th

at

represen

ts the b

alu

ng

an

, with

ciph

er no

tation

ind

icated u

nd

erneath

. Th

e g

am

elan p

layers m

ay

read fro

m th

is, or fro

m th

e co

nv

entio

nal v

ersion

of th

e ciph

er no

tation

giv

en in

the w

ork

’s

exten

ded

pro

gra

mm

e n

ote. A

gam

elan ‘sh

ort sco

re’ is also g

iven

in th

e thre

e scores, w

hich

represen

ts the slen

them

, saro

n, d

em

un

g, p

eking

, bo

na

ng

ba

run

g an

d b

on

an

g b

aru

ng

. Also

, I

giv

e the g

am

ba

ng

part in

Keta

wa

ng

An

gg

un

, and

the g

on

g an

d k

em

pu

l in G

end

hin

g T

arika

n.

My

ind

ication

s for th

e pekin

g an

d b

on

an

g in

strum

ents rep

resent o

ne p

ossib

le traditio

nal-sty

le

extrap

olatio

n o

f the b

alu

ng

an

for th

ose in

strum

ents. H

ow

ever, th

e ga

mb

an

g p

art in

Keta

wa

ng

An

gg

un

cou

ld b

e perfo

rmed

‘auth

entically

’ in o

ther w

ay

s, bu

t the w

ay it is n

otated

is prefe

rred

as the v

iola so

lo is d

esign

ed to

interw

eave in

and

ou

t of th

e ga

mb

an

g p

art. Th

e oth

er gam

elan

instru

men

ts, such

as sulin

g, g

end

er, and

so o

n, are

no

t no

tated b

ecause

they

will p

erform

ga

rap

based

on

the cip

her n

otatio

n, an

d th

at ga

rap

will b

e re

alised

differen

tly b

y d

ifferent p

erform

ers.

Essen

tially, th

e ‘sho

rt scores’ a

re for th

e p

urp

oses o

f sco

re readin

g an

d d

irecting

an en

sem

ble.

By

org

anisin

g th

e score o

f the g

amelan

in th

is way

, I avo

id u

nn

ecessarily w

riting

ou

t parts o

n

separate

staves fo

r each

ind

ivid

ual g

amelan

instru

men

t (man

y o

f these

wo

uld

be arb

itrary d

ue to

the co

ncep

t of g

ara

p) w

hich

in an

y case

wo

uld

no

t represen

t the p

erfo

rman

ce an

y b

etter, and

wo

uld

con

fuse m

any

perfo

rmers w

ho

cann

ot re

ad fro

m a staff an

yw

ay. E

ssentially

, I feel that

- 7

3 -

this ap

pro

ach is a

cross-cu

ltural an

alog

y to

the B

aroq

ue p

ractices of realisin

g a b

asso co

ntin

uo

part (at p

erform

er’s d

iscretion

), and

the ad

ditio

n o

f characteristic d

eco

ration

/orn

amen

tation

that

a perfo

rmer train

ed in

the id

iom

em

plo

ys w

hen

perfo

rmin

g a p

eriod

pie

ce, in k

eep

ing

with

the

practice o

f the tim

e.

An

oth

er issue fo

r cross-cu

ltural co

mp

ose

rs regard

s the co

llabo

rative in

pu

t from

the p

erform

ers.

Wig

ena

and

To

– b

oth

ben

efited fro

m w

elcom

e in

pu

t from

Greg

Street an

d B

ud

i S. P

utra,

respectiv

ely. Jo

int au

tho

rship

is no

t necessary

, as altho

ug

h th

ey assisted

, the u

ltimate d

ecisio

ns,

as com

po

ser, were m

ine. G

reg’s in

pu

t in W

igen

a h

elped

shap

e the reb

ab

solo

and

info

rm it

with

bo

th au

then

ticity an

d p

erson

al style, an

d B

ud

i’s inp

ut in

To

– cu

lmin

ated in

the in

clusio

n

of th

e gen

der ac

com

pan

imen

t. Mo

reov

er, neith

er piece

requ

ires exp

licit imp

rovisa

tion

from

the

perfo

rmer, so

I am

hap

py

to claim

auth

orsh

ip. H

ow

ever, it m

ust b

e un

dersto

od

that in

oth

er

(hy

po

thetical) cro

ss-cultu

ral collab

oratio

ns (I am

especially

thin

kin

g o

f wo

rks in

vo

lvin

g th

e

imp

rov

ised talen

t of ta

on

ga

po

ro p

erform

ers, wh

o also

hav

e a great d

eal o

f inp

ut in

to ch

oo

sing

wh

ich in

strum

ents are ap

pro

priate fo

r the p

iece), jo

int a

uth

orsh

ip w

ou

ld b

e app

rop

riate in m

any

cases.

Fin

ally, an

oth

er issue is th

e un

dertak

ing

of reco

rdin

gs o

f the p

ieces. R

egard

ing

the w

ork

s in m

y

po

rtfolio

, the electro

acou

stic piec

es aside, P

rimes w

as record

ed in

a record

ing

stud

io, T

ab

ula

Ra

sa an

d C

ycles, Sh

ad

ow

s were

reco

rded

live in

con

cert, an

d T

o –

was reco

rded

live w

hile

wo

rksh

op

pin

g th

e piec

e with

the p

erform

er. Eleg

y was p

ut to

geth

er after I reco

rded

each

part

separately

(I tho

ug

ht th

at wo

uld

be easier an

d m

uch

mo

re time e

fficient th

an reh

earsin

g an

d

record

ing

the p

iece

with

perfo

rmers –

the w

ho

le record

ing

pro

cess in th

e en

d o

nly

too

k m

e

several h

ou

rs). Sim

ilarly, W

igen

a w

as pu

t tog

ether lay

er by

layer –

the strin

g q

uartet p

art was

record

ed first, w

ork

sho

pp

ed liv

e by

the N

ew

Zealan

d S

tring

Qu

artet. I th

en ad

ded

the

colo

tom

ic gam

elan in

strum

ents as a sep

arate track

, and

then

finally

record

ed th

e reb

ab

solo

ov

er

the to

p, in

a re

cord

ing

stud

io. K

etaw

an

g A

ng

gu

n, L

ad

ran

g S

an

tai an

d G

end

hin

g T

arika

n w

ere

record

ed sim

ilarly –

the g

am

elan en

sem

ble w

as reco

rded

first, any

add

ition

al gam

elan

instru

men

ts were

reco

rded

ov

er the to

p, su

ch as su

ling

, reba

b, g

end

er and

ga

mb

an

g, so

that

each o

f these

elabo

rating

instru

men

ts cou

ld b

e easily

mix

ed in

to g

amelan

ense

mb

le with

close-

micro

ph

on

e hig

h fid

elity reco

rdin

gs. T

he W

estern so

lo in

strum

ents to

o, w

ere ad

ded

ov

er the

top

, record

ed in

a record

ing

stud

io.

Reco

rdin

g, h

ow

ever it is d

on

e, c

an b

e p

rob

lematic. P

ieces reco

rded

layer b

y lay

er m

ay lo

se th

e

un

iqu

e un

ity an

d sp

on

taneo

us m

usicality

that d

efin

es a w

ell perfo

rmed

wo

rk. H

ow

ever, it c

an

be p

ossib

le thro

ug

h m

ulti-lay

ering

to p

ut to

geth

er the b

est of th

e record

ing

s of m

ultip

le

ind

ivid

ual p

arts and

this ap

pro

ach is certain

ly m

ore

time efficien

t giv

en th

e n

ature

of th

e p

ieces

- 7

4 -

I em

plo

yed

it in, g

iven

time co

nstrain

ts, perfo

rmer av

ailability

, and

techn

olo

gies av

ailable.

So

me o

f the reco

rdin

gs are m

ore

succ

essful th

an o

thers; all m

ore o

r less cap

ture th

e co

mp

ositio

n

they

represen

t.

- 75

-

CH

AP

TE

R T

HR

EE

CO

LL

EC

TE

D E

XT

EN

DE

D P

RO

GR

AM

ME

NO

TE

S

I. C

ycles, Sh

ad

ow

s

for cla

rinet in

B-flat, v

iola d

ou

blin

g b

assoo

n (o

r vio

la an

d b

assoo

n), Jav

anese

gen

der

II. W

igen

a

for strin

g q

uartet, reb

ab

solo

, and

Javan

ese in

strum

ents

III. M

elod

y for V

iolin

an

d Y

an

gq

in

for v

iolin

and

Ch

inese ya

ng

qin

(du

lcimer)

IV.

To

–

for Jav

anese m

usician

(vo

ice an

d g

end

er)

V.

Th

ree Pie

ces for G

am

elan

in T

rad

ition

al C

entra

l Java

nese S

tyle with

Western

Instru

men

ts1:

Keta

wa

ng

An

gg

un

Slen

dro

Ma

nyu

ra

for Jav

anese g

am

elan an

d v

iola so

lo

L

ad

ran

g S

an

tai S

lend

ro S

an

ga

for Jav

anese g

am

elan, g

eron

g (m

ale un

ison

cho

ir) and

gu

itar solo

Gen

dh

ing

Ta

rikan

Pelo

g N

em

for Jav

anese g

am

elan, acco

rdio

n so

lo an

d cla

rient in

B-flat so

lo

VI.

Merm

ecolio

n

electroaco

ustic

V

II. P

od

róe

electroaco

ustic

1 Desp

ite their co

mb

ined

exten

ded

pro

gram

me n

ote

, these th

ree wo

rks sh

ou

ld b

e co

nsid

ered sep

arate

piec

es, no

t thre

e mo

vem

ents o

f the sam

e pie

ce.

- 7

6 -

VIII.

Eleg

y

for Jav

anese g

am

elan an

d p

iano

IX.

Ta

bu

la R

asa

for C

hin

ese yan

gq

in (d

ulcim

er) and

live ele

ctron

ics

X.

Prim

es

for cla

rinet in

B-flat so

lo

X

I. A

fter Clive B

ell

pian

o so

lo

XII.

Ou

tside m

y fro

nt d

oo

r

electroaco

ustic

- 7

7 -

I. C

ycles, Sh

ad

ow

s

Clarin

et in B

-flat, vio

la do

ub

ling

basso

on

(or v

iola

and

basso

on

), Javan

ese

gen

der

Th

is wo

rk w

as written

for p

erform

ance b

y m

yself an

d tw

o frien

ds: cla

rinet v

irtuo

so an

d w

inn

er

of th

e 20

09

New

Zealan

d S

cho

ol o

f Mu

sic C

on

certo

Co

mp

etition

, An

drzej N

ow

icki, an

d K

ylie

Nesb

it, wh

o is eq

ually

accom

plish

ed o

n b

oth

vio

la and

basso

on

. Th

e ‘cy

cles-with

in-cy

cles’

structu

res and

inten

se perfo

rman

ce req

uire

men

ts of th

e piece p

ay trib

ute to

Jack B

od

y’s

Ep

icycle (1

98

9, r.2

00

4); w

hile th

e rh

yth

ms are

deriv

ed fro

m trad

ition

al Ch

inese erh

u2 m

usic.

Cycles, S

ha

do

ws w

as prem

iered

at the ‘G

on

g C

razy!’

3 co

ncert series in

Octo

ber 2

00

9.

Cycles, S

ha

do

ws is co

nstru

cted fro

m a

19

-no

te pitch

cycle –

Ab

, D, B

b, B

, A, D

b, B

, Ab

, D, B

b,

Ab

, A, B

, Bb

, Ab

, B, E

b, A

b, F

– an

d lo

op

ed sh

orter cy

cles from

with

in th

at 19

-no

te cycle

.

Th

is 19

-no

te cycle u

ses eigh

t of th

e no

tes of th

e chro

matic scale

, and

a n

inth

no

te, C, is u

sed

interm

ittently

as a no

n-cy

cle, deco

rative n

ote (fo

r insta

nce, see b

b. 2

1-2

2). T

hu

s three

no

tes do

no

t app

ear, E, G

b an

d G

: an ap

pro

ach fav

ou

red b

y co

mp

oser H

enry

Co

well, w

ho

se ‘serial’

pieces d

id n

ot co

mp

rise all twelv

e chro

matic n

otes, sin

ce “there

are alw

ays th

ose ex

tra n

otes

that y

ou

wish

ed d

idn

’t exist in

the ro

w.”

4

Th

e co

nstru

ction

and

structu

re of C

ycles, Sh

ad

ow

s is insp

ired b

y tw

o w

ork

s in p

articular, M

ark

Lan

gfo

rd’s M

ostly in

B fla

t (19

89

), com

prisin

g cy

cles based

on

a 22

-no

te cycle

(see fig

. 3.1

and

3.2

), and

Jack

Bo

dy

’s Ep

icycle (19

89

, r.20

04

) com

prisin

g cy

cles based

on

a 36

-no

te cy

cle (see

fig. 3

.3). U

nlik

e Cycles, S

ha

do

ws, th

e cycles fro

m w

hich

these tw

o o

ther p

ieces a

re gen

erated

are bo

th ch

rom

atically satu

rated. L

ang

ford

emp

loy

s serial tech

niq

ues in

his p

iece, an

d B

od

y

emp

loy

s min

imalist tech

niq

ues su

ch as lo

op

ing

cycles w

ithin

the larg

er cycle, “v

ariation

with

in

repetitio

n” an

d “

‘ph

asing

’ as the in

strum

ents fo

llow

each

oth

er in clo

se can

on

”5 in

his. In

Cycles, S

ha

do

ws, I co

ntin

uo

usly

loo

p th

e pitch

-cycle (1

-19

) tho

ug

h it o

ften g

ets ‘stuck

’, on

ly

loo

pin

g u

p to

or fro

m a

certain

pitch

, gen

erating

sub

sets. ‘Glitch

es’ are also ad

ded

– o

ut-o

f-

sequ

ence n

otes –

and

a no

n-cy

cle no

te, C

, often

app

ears as a

deco

rative n

ote. T

he o

ctave/u

niso

n

relation

ship

betw

een

the in

strum

ents is d

irectly in

spire

d b

y th

e sou

nd

s of Jav

anese

gam

elan, an

d

Ep

icycle (see fig

. 3.3

).

2 A tw

o-strin

ged

vertica

l fidd

le, o

ne o

f the m

ost p

rom

inen

t instru

men

ts in trad

ition

al Ch

inese

reperto

ire.

3 Th

ese con

certs com

prised

new

wo

rks in

vo

lvin

g g

amelan

, and

celeb

rated

the en

d o

f 30

years o

f Jack

Bo

dy

’s teach

ing

in th

e mu

sic dep

artmen

t at Victo

ria U

niv

ersity o

f Wellin

gto

n/N

ew Z

ealan

d S

cho

ol o

f

Mu

sic.

4 Lo

u H

arrison

(on

Co

well) q

uo

ted in

vo

n G

un

den

(19

95

), p. 1

1.

5 Bo

dy

(20

06

), Ep

icyc

le [sco

re] pro

gram

me n

ote.

- 7

8 -

1 2

3 4

5 6

7 8

9 1

0 1

1 1

2 1

3 1

4 1

5 1

6 1

7 1

8 1

9 2

0 2

1 2

2

Bb

(ch

rom

atic co

un

ter-melo

dy

)

B

1 2

3 4

5 6

7 8

9 1

0 1

1 1

2 1

3 1

4 1

5 1

61

7 1

8 1

92

02

12

2 1

2 3

4 5

6 7

8

C

C#

D

C#

Fig

. 3.1

: Mark

Lan

gfo

rd: M

ostly

in B

flat (1

98

9), b

b. 1

-5, w

ith th

e 2

2-n

ote cy

cle

the p

iece is b

ased

on

ann

ota

ted.

Pu

blish

ed b

y W

aitea

ta M

usic

Press, N

ew

Zealan

d (1

99

0)

inversio

n

cycle

F

#

F

E

(ch

rom

atic co

un

ter-melo

dy

)

Fig

. 3.2

:M

ark

Lan

gfo

rd:

Mo

stly in

B fla

t (19

89

) b. 1

45

, with

the cy

cle and

its inv

ersion

,p

layed

simu

ltaneo

usly

,

ann

otated

. Pu

blish

ed b

y W

aiteata M

usic P

ress, N

ew Z

ealan

d (1

99

0)

- 7

9 -

1 2

3 4

5 6

7 8

9 1

0 1

1 1

2 1

3 1

4 1

5 1

6 1

7 1

8 1

9 2

0 2

1 2

2 2

3 2

4 2

5 2

6 2

7 2

8 2

9 3

0 3

1 3

2 3

3 3

4 3

5 3

6

(1) 2

3 4

5 6

7 8

9 1

0 1

1 1

2 1

3 1

4 1

5 1

6 1

7 1

8 1

9 2

0 2

1 2

2 2

3 2

4 2

5 2

6 2

7 2

8 2

9 3

0 3

1 3

2 3

3

34

35

36

( 1) 2

3 4

5 6

7 8

9 1

0 1

1 1

2 1

3 1

4 1

5 1

6 1

7 1

8 1

9 2

0 2

1 2

2 2

3 2

4 2

5 2

6 2

7 2

8 2

9 3

0 3

1 3

2 3

3 3

4 3

5 3

6 (1

) 2 3

4 5

6 7

8 9

10

11

12

13

14

15

16

17

18

19

20

21

22

23

24

25

26

27

28

29

30

31

32

33

34

35

36

(1) 2

3

Fig

. 3.3

: Jack B

od

y: E

pic

ycle (1

98

9, r.2

00

4), b

b. 1

-13

, with

the 3

6-n

ote cy

cle the p

iece is b

ased o

n, an

no

tated

. Th

e

on

ly p

itch v

ariatio

n so

far is that th

e first 1 is a G

3 , and

sub

sequ

ent an

no

tated (1

)’s are G4

. Pu

blish

ed b

y W

aitea

ta

Mu

sic Pre

ss, New

Zea

land

(20

06

)

- 8

0 -

Cycles, S

ha

do

ws is stru

ctured

thu

s (ple

ase no

te b

1- is a tru

ncatio

n o

f b1

):

Sectio

n

Th

em

es

T

ran

sition

al sectio

ns

A

a

b

c

B

a1

b

c1

T1

C

a1

a2

b

c2

T

2

D

a3

b1

c3

T

3

E

a4

b1

-

c4

T

4

F

a5

b1

-

c5

Fig

. 3.4

: Stru

cture o

f Cyc

les, S

ha

do

ws

With

in th

ese section

s (no

t to b

e co

nfu

sed w

ith th

e reh

ea

rsal m

arks n

oted

on

the sco

re), the p

itch

cycle an

d cy

cles-with

in-th

e-cycle are

ind

icated b

elow

(with

ou

t-of-seq

uen

ce n

otes in

clud

ed, b

ut

no

t the n

on

-cycle

deco

rative g

race-n

ote

C’s, n

or th

e no

n-cy

cle mate

rial play

ed b

y th

e gen

der):

(1 =

Ab

, the first p

itch o

f the 1

9 n

ote cy

cle, 2

= D

, the seco

nd

pitch

, and

so o

n)

A

a 1

-19

, 1-1

9, 1

-19

b

1

9; 1

-19

c

1-1

9, 1

-19

(tho

ug

h sk

ips 1

4-1

6), 1

-7

B

a1

8-1

9, 1

-8

b

1

9; 1

-19

c1

1

-8, 1

-8, 1

-8, 1

-8; ‘ex

tra no

te’ 2; 1

-8, 1

-5

T

1

7-1

9, 7

-19

; ‘extra n

ote’ 4

; 3-8

, 1-8

, 1-8

, 1-1

5 (sk

ips 6

)

C

a1

8-1

9, 1

-8

a2

1

-19

, 1-1

4

b

1

9; 1

-19

c2

1

-8, 1

-7, 1

-13

, 6-8

, 1-8

, 1-5

T

2

7-1

5; 1

8; 1

7; 1

5-1

9, 1

5-1

9, 1

5-1

9, 1

5-1

9, 1

5-1

9, 1

5-1

9, 1

5-1

9, 1

5-1

9, 1

5-1

9;

8; 7

; 7-1

9 (sk

ips 1

6), 1

-19

(skip

s 14

, and

5 is flatten

ed), 1

-10

(5 is flatten

ed)

D

a3

1-1

9 (sk

ips 9

-11

), 1-7

(skip

s 3), 1

-15

(5 is fla

ttened

)

b

1

19

; 1-1

9, 1

-19

, 1-1

9, 1

-19

c3

1

-14

, 1-7

(3 an

d 4

are swap

ped

arou

nd

), 3-8

, 1-5

T

3

6-1

9 (6

is raised

), 6-1

9, 6

-19

, 1

E

a4

1-1

9, 1

-19

b

1-

19

; 1-1

9 (9

is raised

)

c4

1

-19

(6 is ra

ised, sk

ips 9

-11

), 1-1

9, 1

-6

T

4

6-1

9, 1

-19

, 1-1

9, 6

-19

F

a5

1-6

, 1-6

, 1-6

, 1-1

7

b

1-

19

; 1-1

9

c5

8

-13

, 8-1

3, 4

-16

(no

n-cy

cle C

betw

een

10

& 1

1, n

ot as a g

race-n

ote), 1

-19

,

17

-19

, 17

-19

, 17

-19

- 8

1 -

Th

is pitch

structu

re is m

arked

on

the fo

llow

ing

ann

otated

cop

y o

f the sco

re:

- 8

2 -

- 8

3 -

Fig

. 3.5

: An

no

tated sco

re of C

ycle

s, Sh

ad

ow

s

No

practical issu

es arose

in reh

earsal regard

ing

the in

clusio

n o

f the g

am

elan in

strum

ent in

the

ensem

ble

– th

e Western

instru

men

ts were tu

ned

so th

at B-flat m

atched

the g

end

er’s 6, an

d th

en

we sim

ply

rehea

rsed th

e p

iece. T

he g

end

er has tw

o fu

nctio

ns in

the m

usic. T

he first is to

pro

vid

e a tremo

lo d

ron

e un

dern

eath th

e m

elod

ic m

aterial of th

e o

ther in

strum

ents, an

d o

ften

these d

ron

es are p

reced

ed b

y so

lo g

end

er two

-no

te m

otifs (e.g

. b. 1

). Th

e seco

nd

is to p

lay,

interm

ittently

, the cy

clic m

elod

ic material alo

ng

with

the o

ther in

strum

ents (e

.g. b

b. 4

1-4

7).

Ho

wev

er, bec

ause o

f the tu

nin

g o

f the g

end

er, its pitch

es, oth

er than

6, d

id n

ot q

uite m

atch u

p

with

the W

estern in

strum

ents, g

eneratin

g in

teresting

beatin

gs. T

his w

as used

structu

rally in

som

e ‘c’ and

‘T’ se

ction

s. I feel th

at my

app

roach

to c

om

bin

ing

the g

end

er with

Western

instru

men

ts in a ‘W

estern’ ch

am

ber m

usic co

ntex

t in th

is piece w

as fruitfu

l and

succ

essful.

PE

RF

OR

MA

NC

E H

IST

OR

Y (a

s of 1

2 J

uly

20

10

)

3 O

ct 20

09

A

nd

rzej No

wick

i (clarinet), K

ylie N

esbit (v

iola/b

assoo

n), A

nto

n K

illin

(Javan

ese g

end

er), at “G

on

g C

razy

!” at A

dam

Co

ncert R

oo

m, N

ew

Zealan

d

Sch

oo

l of M

usic (K

elbu

rn ca

mp

us), W

elling

ton

- 8

4 -

4 O

ct 20

09

A

nd

rzej No

wick

i (clarinet), K

ylie N

esbit (v

iola/b

assoo

n), A

nto

n K

illin

(Javan

ese g

end

er), at “G

on

g C

razy

!” at A

dam

Co

ncert R

oo

m, N

ew

Zealan

d

Sch

oo

l of M

usic (K

elbu

rn ca

mp

us), W

elling

ton

5 O

ct 20

09

A

nd

rzej No

wick

i (clarinet), K

ylie N

esbit (v

iola/b

assoo

n), A

nto

n K

illin

(Javan

ese g

end

er), at a Co

mp

ose

r Wo

rksh

op

at Ad

am

Co

ncert R

oo

m, N

ew

Zealan

d S

cho

ol o

f Mu

sic (Kelb

urn

cam

pu

s), Wellin

gto

n

25

No

v 2

00

9

An

drzej N

ow

icki (clarin

et), Ky

lie Nesb

it (vio

la/basso

on

), An

ton

Killin

(Javan

ese g

end

er), at the in

aug

ural M

usic

and

Artists’ S

ocial C

lub

Cin

em

a

So

un

dE

X scre

enin

g at H

app

y, W

elling

ton

- 8

5 -

II. W

igen

a6

Strin

g q

uartet, Jav

anese

instru

men

ts, Javan

ese reba

b so

lo

Sev

eral yea

rs ago

, I wro

te a su

ite for strin

g q

uartet an

d o

ne o

f the m

ov

emen

ts was en

tirely

pizzicato

– an

idea

that I h

ave alw

ays in

tented

to rev

isit for an

entire

piec

e. In W

igen

a, I

arrang

e fo

r pizzicato

string

qu

artet an ‘im

agin

ary tran

scrip

tion

’ (a prescrip

tive transcrip

tion

) of

the d

em

un

g, p

eking

, bo

na

ng

ba

run

g an

d b

on

an

g p

an

erus p

arts of W

igen

a, an

d co

mb

ine th

is

with

several in

strum

ents o

f the g

amelan

– reb

ab

(2-strin

ged

solo

up

righ

t fidd

le), and

to o

utlin

e

the co

loto

mic stru

cture

, go

ng

, kem

pu

l and

keno

ng

.

A keta

wa

ng

is a traditio

nal stru

cture, ty

pically

5 lin

es lon

g, w

ith fo

ur fo

ur-n

ote g

atra

to each

line. T

he g

on

g m

arks th

e last n

ote o

f each

line, th

e keno

ng

mark

s the last n

ote

of th

e seco

nd

and

fou

rth g

atra

of ea

ch lin

e, and

the ke

mp

ul m

ark

s the last n

ote o

f the th

ird g

atra

of each

line.

Here is th

e ba

lun

ga

n an

d co

loto

mic

structu

re fo

r Wig

ena

, acco

rdin

g to

ho

w G

am

elan P

adh

ang

Mo

nca

r play

s it (typ

ically, m

ino

r perso

nal an

d reg

ion

al differen

ces occu

r in trad

ition

al pieces,

so th

is may

be ju

st on

e of a

few

auth

entic v

ersion

s of th

e piece

):

Bu

ka (o

pen

ing

): (p

layed

by

solo

bo

na

ng

or reb

ab

)

- - - 2

2 1

6 5

1

6 1

2

1 6

3 (5

) – tu

tti ga

mela

n fr

om

go

ng

no

te

Mero

ng

V

||: 1

2 1

6

2 1

6 5

1

2 1

6

2 1

6 (5

)

V

1 2

1 6

2

1 6

5

1 2

1 6

2

1 6

(5)

Ng

elik

V

3 5

3 5

7

65

4 2

1

5 6

1 –

3

2 6

(5)

V

3 5

3 5

3

5 6

1

3 2

6 5

3

5 2

(3)

V

1 1

– 6

5

6 7

6

5 4

2 4

2

1 6

(5) :||

Fig

. 3.6

: Cip

her n

ota

tion

for K

etaw

an

g W

igen

a P

elo

g N

em

6 Keta

wa

ng

Wig

ena

[lara

s] Pelo

g [p

ath

et] Nem

is a traditio

nal g

amelan

piec

e from

Cen

tral Java. L

ike a

ll

traditio

nal Jav

anese g

am

elan

piece

s, its full n

ame d

escribes th

e piec

e’s ben

tuk (fo

rm an

d co

loto

mic

structu

re) – ke

taw

an

g; la

ras (sca

le) – p

elo

g; an

d p

ath

et (m

od

e) – n

em. It a

lso g

ives its ex

pressiv

e title,

Wig

ena

(sad, so

rrow

ful), w

hich

is the sh

ort, u

niq

ue title

the p

iece is k

no

wn

as. Th

e p

elo

g sc

ale com

prises

seven

no

tes (1, 2

, 3, 4

, 5, 6

, 7), an

d th

e p

ath

et n

em ty

pica

lly p

laces em

ph

asis on

the n

otes 2

and

5, an

d

often

avo

ids 7

s. (Th

ere are two

oth

er pelo

g m

od

es – lim

a, w

hich

typ

ically

pla

ces em

ph

asis on

1 an

d 5

and

, like n

em, av

oid

s 7s; an

d b

ara

ng

, wh

ich ty

pica

lly p

lace

s emp

hasis o

n 6

and

2, an

d av

oid

s 1s,

sub

stitutin

g in

7s). M

oreo

ver, a

com

mo

n ‘c

aden

tial’ pattern

, 2 1

6 5

, often

occu

rs in p

ieces in

nem

– th

is

pattern

app

ears in th

e b

uka

(op

enin

g) o

f Wig

ena

, fou

r times in

the first tw

o lin

es o

f the b

od

y o

f the p

iece,

and

it is also th

e final g

atra

(bar) o

f the p

iece

. Fo

r mo

re on

pa

thet an

d th

eir id

entifiab

le featu

res, see

Ho

od

(19

77

), Pick

van

ce (20

05

), and

Sp

iller (20

08

).

- 8

6 -

Ab

ov

e, V

represen

ts a ke

mp

ul n

ote

, ( ) represen

ts a go

ng

no

te, and

rep

resents a ken

on

g n

ote.

In th

e Western

no

tation

belo

w, I h

ave d

isplac

ed th

e no

tation

of th

e ba

lun

ga

n o

ne b

eat to th

e

righ

t, so th

at the stro

ng

beat (last b

eat of th

e ga

tra) o

ccu

rs on

the first b

eat of th

e bar:

Fig

. 3.7

: Keta

wa

ng

Wig

ena

Pelo

g N

em in

staff no

tation

Wig

ena

is a rem

arkab

le g

am

elan p

iece

bec

ause, u

nu

sually

, it com

prises all sev

en n

otes o

f the

pelo

g scale. 4

is alway

s a disso

nan

t no

te becau

se g

end

er and

ga

mb

an

g d

o n

ot h

ave an

y 4

’s, so

the n

ote clash

es again

st the p

itches o

f these

elabo

rating

instru

men

ts. Th

e con

son

ant n

otes th

at

follo

w (2

in ev

ery

instan

ce in

Wig

ena

), and

the d

escen

din

g m

elod

ic ph

rasing

tow

ard

s the last

no

te of th

e ga

tra (4

-2-1

for th

e first in

stance; 4

-2, 4

-2-1

-6-(5

) for th

e seco

nd

instan

ce) resu

lt in

an effectiv

e release of in

ternal ten

sion

in th

e m

usical fa

bric. L

ikew

ise, 7 is a

disso

nan

t no

te in

nem

bec

ause th

e ap

pro

priate

gen

der an

d g

am

ba

ng

are e

qu

ipp

ed w

ith 1

s instead

of 7

s. Th

e 7s

placem

ent in

the fin

al line o

f the p

iece’s stru

cture facilitates a clim

actic h

igh

po

int stru

cture (it

is the b

alu

ng

an

’s hig

hest p

itch), w

hich

then

descen

ds, 6

-5-4

-2, 4

-2-1

, again

, releasin

g ten

sion

befo

re ap

pro

ach

ing

the fin

al go

ng

no

te o

f the p

iece’s stru

cture.

Usu

ally I ap

pro

xim

ate the p

elog

scale as in th

e first follo

win

g ex

amp

le, b

ut fo

r Wig

ena

I

decid

ed to

em

plo

y a

finer ap

pro

xim

ation

, mu

ch clo

ser to G

amelan

Pad

han

g M

on

car’s tu

nin

g.

Th

is is in o

rder fo

r the strin

g q

uartet p

layers an

d th

e re

ba

b to

be ab

le to

tun

e to each

oth

er and

the g

amelan

’s pitch

5 (A

). As th

e pitch

es of strin

g in

strum

ents are n

ot k

eyed

or fretted

, the

- 8

7 -

piece c

an b

e re

alised w

ith a

mu

ch m

ore accu

rate app

rox

imatio

n o

f the scale

than

wo

uld

be

po

ssible w

ith th

e first giv

en scale:

P

elog

scale app

rox

imatio

n

A

finer p

elog

scale ap

pro

xim

ation

used

for W

igen

a

Fig

. 3.8

: Pelo

g sc

ale

app

rox

imatio

ns fo

r Wig

ena

Th

e strin

g q

uartet p

arts are rep

resentatio

ns o

f the m

aterial that fo

ur o

f the in

strum

ents o

f the

gam

elan co

uld

be p

layin

g in

an au

then

tic realisatio

n o

f the trad

ition

al piece o

n g

am

elan. T

he

ba

lun

ga

n lin

e, play

ed at th

e reg

ister of th

e d

em

un

g, is g

iven

to th

e vio

la. Th

e b

on

an

g b

aru

ng

part, w

hich

alternates an

d d

ou

bles th

e b

alu

ng

an

no

tes, in an

ticipato

ry d

ou

ble tim

e, is g

iven

to

the cello

. Fo

r exam

ple

(here I u

nd

erline th

e b

eats that m

atch u

p to

geth

er):

(T

an

gg

un

g sp

eed)

(Da

di sp

eed

)

bo

na

ng

ba

run

g 1

2 1

2 1

6 1

6

12

1--2

12

16

1--6

16

ba

lun

ga

n

1

2 1

6

1

2 1

6

Th

e b

on

an

g p

an

erus p

art, wh

ich d

ou

bles th

e b

on

an

g b

aru

ng

in an

ticipato

ry d

ou

ble tim

e an

octav

e hig

her, is g

iven

to th

e fist v

iolin

. Fo

r exam

ple :

(T

an

gg

un

g sp

eed)

(D

ad

i speed

)

bo

na

ng

pa

neru

s 1

21

- -21

21

61

--61

6

12

1--2

12

12

1--2

12

16

1--6

16

16

1--6

16

ba

lun

ga

n

1

2 1

6

1

2 1

6

Th

e p

eking

part, w

hich

do

ub

les the b

alu

ng

an

line, tw

o o

ctaves h

igh

er than

the d

em

un

g’s

register, in

do

ub

le tim

e:

(T

an

gg

un

g sp

eed)

(Da

di sp

eed

)

pekin

g

1

1 2

2 1

1 6

6

1

12

21

12

21

16

61

16

6

ba

lun

ga

n

1

2 1

6

1

2 1

6

- 8

8 -

Th

us, W

igen

a w

as con

structed

arou

nd

realising

these p

atterns/p

arts via th

e string

qu

artet, ad

din

g

in th

e colo

tom

ic structu

re mark

ing

s from

the g

on

g, ke

mp

ul, an

d k

eno

ng

, and

wo

rkin

g to

geth

er

with

Greg

Street –

Gam

elan P

adh

ang

Mo

ncar’s reb

ab

play

er for m

any

years –

on

the reb

ab

melo

dy

, wh

ich is a

com

bin

ation

of W

igen

a’s trad

ition

melo

dy

in S

olo

(Su

rakarta

) regio

nal sty

le

(as com

piled

by

Dju

mad

i, 19

86

) and

Greg

’s ow

n p

erso

nal d

ecorativ

e style. T

he o

rnam

entativ

e

relation

ship

betw

een

the reb

ab

and

the b

alu

ng

an

can b

e follo

wed

by

insp

ectin

g th

e follo

win

g

ann

otated

cop

y o

f the sco

re with

the cip

her n

um

bers n

oted

. (No

te that fo

r reba

b n

otatio

n, \

represen

ts a do

wn

-bo

w, an

d / rep

resents an

up

-bo

w.)

- 8

9 -

- 9

0 -

Fig

. 3.9

: An

no

tated sco

re for W

igen

a

Th

e p

ractice o

f transcrip

tion

em

plo

yed

here, p

rescriptive tra

nscrip

tion

, is qu

ite a differen

t

com

po

sition

al dev

ice to o

ther tran

scrip

tion

techn

iqu

es, for ex

amp

le th

e ‘do

ub

le-transcrip

tion

’ of

Jack B

od

y (see

Bo

dy

, 19

91

). Bo

dy

’s tech

niq

ue is an

extern

al tech

niq

ue, tran

scrib

ing

and

then

- 9

1 -

instru

men

tating

the essen

tial mu

sical p

arts (for in

stance, in

his 1

98

3 w

ork

Melo

dies fo

r

Orch

estra), tu

rnin

g h

eard

sou

nd

into

a sy

mb

ol (rep

resen

tation

) and

then

back

into

sou

nd

again

.

Min

e is an in

terna

l techn

iqu

e – p

erform

ing

gam

elan en

abled

me to

create th

e sym

bo

l

(represen

tation

) from

my

ow

n k

no

wled

ge o

f ho

w th

e mu

sic wo

rks (n

ot fro

m listen

ing

to a p

iece

of m

usic) an

d th

en tu

rnin

g th

at back

into

sou

nd

via in

strum

entatio

n. It is th

us a

com

po

sition

,

extrap

olated

from

the b

alu

ng

an

of an

old

traditio

nal Ja

van

ese wo

rk.

Fu

rtherm

ore

, there a

re new

, po

pu

lar mu

sic styles o

f Ind

on

esia, such

as kron

con

g, g

am

elan

textu

res and

parts p

erform

ed b

y en

semb

les com

prisin

g v

iolin

, electron

ic key

bo

ard

s, gu

itars, and

so o

n; an

d ta

rling

, “gam

elan-lik

e p

arts play

ed o

n th

e gu

itars, sup

po

rted b

y g

on

gs an

d d

rum

s,

with

a su

ling

(bam

bo

o flu

te) melo

dy

floatin

g ab

ov

e it.”7 T

his k

ind

of g

amelan

-insp

ired m

usic

with

Western

instru

men

ts has b

een estab

lished

in In

do

nesia sin

ce the 1

98

0s (S

piller, 2

00

8) –

pro

of th

at Western

art m

usic

is certain

ly far fro

m h

avin

g a m

on

op

oly

on

cultu

ral app

rop

riation

.

My

versio

n, g

am

elan-tex

tures p

layed

by

plu

cked

string

s, with

go

ng

s and

a reba

b m

elod

y, is

thu

s no

t with

ou

t prec

eden

ce o

f a similar co

ncep

t. 8

Th

is wo

rk h

as no

t been

perfo

rmed

in co

nce

rt. It was re

cord

ed in

stages –

string

qu

artet first,

then

gam

elan in

strum

ents, an

d th

en reb

ab

– see C

hap

ter 2

Sectio

n IV

.

7 Sp

iller (20

08

), p. 1

05

. 8 N

everth

eless, I fe

el that th

e co

mb

inatio

n o

f textu

res and

timb

res in m

y p

iece

is fresh an

d ex

citing

, and

con

tribu

tes a succ

essful p

iece to

the g

enre o

f cross-cu

ltural m

usic.

- 9

2 -

III. M

elod

y for V

iolin

an

d Y

an

gq

in

Vio

lin an

d C

hin

ese yan

gq

in (d

ulcim

er)

Th

is piec

e was co

mp

osed

for W

ang

Hu

i, a Ch

inese ya

ng

qin

play

er from

Xiam

en, C

hin

a,

visitin

g W

elling

ton

via th

e WA

RE

(Wellin

gto

n A

sia Resid

ency

Ex

chan

ge) p

rog

ramm

e, an

d

Vecto

r Orch

estra v

iolin

ist and

mem

ber o

f the W

elling

ton

Xia

men

Asso

ciation

, Elen

a.

Initially

, I had

amb

itiou

s ideas fo

r this p

iece an

d I sp

ent a lo

ng

time w

ork

ing

on

a hig

hly

abstract, an

gu

lar, system

atic sco

re, w

hich

con

tained

extrem

ely fin

e-grain

ed d

etail. Ultim

ately

tho

ug

h, th

e piece

-in-p

rog

ress was m

usically

un

satisfactory

and

no

t perfo

rmer-frien

dly

, and

I

reflected u

po

n o

n w

heth

er o

r no

t I was tak

ing

the w

ron

g ap

pro

ach. I h

ad recen

tly p

articip

ated in

the ‘M

om

enta

ry P

leasures’ p

roject fo

r the IS

CM

(Intern

ation

al So

ciety fo

r Co

nte

mp

ora

ry

Mu

sic), in w

hich

com

po

sers were in

vited

to su

bm

it a pian

o p

iece th

at they

had

com

po

sed in

on

e

sing

le day

. I decid

ed to

giv

e th

is app

roach

a try fo

r vio

lin an

d ya

ng

qin

– an

d th

e Melo

dy fo

r

Vio

lin a

nd

Ya

ng

qin

is wh

at cam

e o

ut o

f it, rejectin

g all o

f the p

revio

us m

aterial I h

ad co

mp

osed

.

In M

elod

y for V

iolin

an

d Y

an

gq

in, th

e mu

sic mo

ves th

rou

gh

differen

t ton

al/mo

dal areas, o

ften

usin

g ch

rom

atic vo

ice-lead

ing

. Each

of th

e pie

ce’s fou

r section

s com

prises a

five b

ar ph

rase, a

three b

ar p

hrase, an

d th

en a fo

ur b

ar p

hrase (ex

cept th

e v

ery last sectio

n w

ho

se last p

hrase

is

five b

ars). T

he m

usic

al mate

rial is all closely

related –

I hav

e aimed

for an

econ

om

y o

f mate

rial.

In th

e first section

, the m

elod

y is p

resented

by

the v

iolin

and

acco

mp

anied

by

the ya

ng

qin

(and

this sectio

n is rep

eated). In

the seco

nd

section

bo

th in

strum

ents p

lay a v

ariatio

n o

f the m

elod

y

tog

ether. In

the th

ird sectio

n, th

e tex

ture th

ins, an

d th

e tw

o in

strum

ents, in

terlock

ing

, perfo

rm a

stripp

ed-d

ow

n v

ariatio

n. S

o th

at the p

ieces co

mes ‘fu

ll circle, th

e fin

al sectio

n is a v

ersio

n o

f

the first. T

he w

ork

exp

lores so

me in

teresting

mo

du

lation

s and

harm

on

ic relation

ship

s, and

the

harm

on

ic im

plicatio

ns o

f the tw

o in

strum

ents c

an b

e tra

ced b

y seen

in th

e fo

llow

ing

ann

otated

score (fro

m n

ext p

age).

Th

e w

ork

was w

ell receiv

ed in

perfo

rman

ce b

y th

e au

dien

ce and

the p

erform

ers. In

deed

, the

two

perfo

rmers to

ok

the o

pp

urtu

nity

to p

erform

the w

ork

in C

hin

a.

- 9

3 -

C: [V

65 ]

V6

VII

7 i

I [ov

ii43 ]

bii

bII

I5

___

__

___

__

__

___

__

6

[V6

5 ]

i 64

A-flat: iii

64

i

I vi

F: i

oiii

I5

__

__

___

__

___

__

6

I i

d: IV

III

V6

i V6

i II

E: I

V6

I

a: V i

Sectio

n 1

Sectio

n 2

- 9

4 -

oi 6 V

II6

c: V6

I v

i v6 V

6

i ii

F: v

i V6 I I

a: VI V

6

i

[ov

ii]

V

[ov

ii]

F: V

6 I E: V

6 I

a: V i

C: v

i V6

i

V6

I

bv

i v

6 V

6

i

F: V

6 I I

a: VI V

6

Sectio

n 3

- 9

5 -

Fig

. 3.1

0: A

nn

otated

score fo

rM

elo

dy fo

rV

iolin

an

d Y

ang

qin

PE

RF

OR

MA

NC

E H

IST

OR

Y (a

s of 1

2 J

uly

20

10

)

26

March

20

10

Perfo

rmed

by

Elen

a (v

iolin

) and

Wan

g H

ui (ya

ng

qin

) at M

assey U

niv

ersity

Co

ncert H

all,N

ew

Zealan

d S

cho

ol o

f Mu

sic, W

elling

ton

12

Jun

e 20

10

P

erform

ed b

y E

lena (v

iolin

) and

Wan

g H

ui (ya

ng

qin

) at

Little E

gret M

usic H

all,

Xia

men

, Ch

ina

C

: [V6

4 ]

V

VII

7 I I [

ovii 4

3 ]

bii

bII

bV

II v

i [V6

5 ]

i 64

A-flat: iii 6

4

i

I

v

i

F: i

Fig

.3

.10

:A

nn

otated

score

foffr

Me

MMlo

dy

ddfoff

rV

iVV

olin

an

dY

anaag

qin

oiii

I5_

___

__

__

_6 I

i i

a: vi

i

Sectio

n 4

- 9

6 -

IV.

To

–

Javan

ese mu

sician (m

ale vo

ice an

d Jav

anese

gen

der)

To

– is a sh

ort p

iece fo

r a solo

(male) Jav

anese m

usicia

n, fo

r vo

ice and

gen

der, in

pelo

g scale

.

It is insp

ired b

y, th

ou

gh

no

t an im

itation

of, p

ath

etan

po

stlud

es fou

nd

in g

amelan

perfo

rman

ces

and

wa

yan

g ku

lit (shad

ow

-pu

pp

et sho

ws). It w

as also in

spired

by

my

stud

y o

f Javan

ese vo

cal

mu

sic. My

stud

y in

vo

lved

transcrip

tion

s of reco

rdin

gs, b

ut n

on

e of th

at material is d

irectly

refered to

in m

y p

iece

. Ho

wev

er, it do

es con

tain ch

ara

cteristics of th

ose tran

scriptio

ns, su

ch as

very

lon

g m

elismas.

Orig

inally

I con

ceived

this p

iece as a

solo

vo

cal min

iature, p

ossib

ly to

be acco

mp

anied

by

fixed

med

ia. I had

a rehearsal w

ith p

erfo

rmer B

ud

i S. P

utra, d

irector o

f Gam

elan P

adh

ang

Mo

ncar, to

wo

rksh

op

a vo

cal p

art that I h

ad co

mp

osed

, and

I record

ed th

is entire reh

earsal. A

ltho

ug

h B

ud

i

beg

an sin

gin

g so

lo, afte

r a sh

ort w

hile h

e started

do

ub

ling

parts o

f his v

ocal lin

e on

gen

der, to

help

him

get h

is pitch

es. Wh

at he p

rod

uced

qu

ite un

inten

tion

ally reso

nated

with

me, an

d I

decid

ed to

aban

do

n th

e idea o

f fixed

med

ia, an

d in

stead u

se live g

end

er. I then

listened

to th

e

record

ing

of th

is session

. Each

run

-thro

ug

h o

f the p

iece h

ad a d

ifferent g

end

er accom

pan

imen

t,

and

usin

g th

ese I com

po

sed th

is com

po

sition

. Alth

ou

gh

the u

ltimate co

mp

ositio

nal d

ecision

s

were m

ine, th

e wo

rk w

as dev

elop

ed o

ut o

f a session

of co

llabo

ration

and

neg

otiatio

n w

ith th

e

perfo

rmer.

All th

ree g

end

er ba

run

g are req

uired

to p

lay th

is piece, b

ecause th

ey e

ach co

ntain

differen

t sets

of p

itches. T

he slen

dro

instru

men

t is requ

ired fo

r the p

elog

4s (i.e

. slend

ro 5

s), and

bo

th p

elog

instru

men

ts are req

uired

so th

at pelo

g 1

s and

7s are

availab

le.

Th

e ly

ric that is rep

eated

thro

ug

ho

ut th

e piec

e, ‘Sa

ya o

ran

g lew

at’, is in

spired

by

a sh

ort v

erse

of E

dg

ar Allan

Po

e, To

– (1

82

9):

I h

eed n

ot th

at my

earth

ly lo

t / Hath

little of earth

in it –

T

hat y

ears of lo

ve h

ave b

een fo

rgo

t / In th

e hatred

of a

min

ute: –

I m

ou

rn n

ot th

at the d

esolate / A

re hap

pier, sw

eet, than

I,

B

ut th

at you

sorro

w fo

r my fate / W

ho

am

a passe

r by

. 9

Sa

ya o

ran

g lew

at, ‘I’m

a passer b

y’, is m

y o

rigin

al lyric rep

resentin

g th

e mo

urn

ful, y

earn

ing

mo

od

of th

is verse. It w

as translated

into

Ind

on

esian w

ith assistan

ce from

Yo

no

Su

karn

o.

9 Po

e (20

02

), pp

. 79

9-8

00

.

- 9

7 -

V.

Th

ree Pieces fo

r Ga

mela

n in

Tra

ditio

na

l Cen

tral J

ava

nese

Style w

ith W

estern In

strum

en

ts

Keta

wa

ng

An

gg

un

[lara

s] Slen

dro

[pa

thet] M

an

yura

La

dra

ng

Sa

nta

i [lara

s] Slen

dro

[pa

thet] S

an

ga

Gen

dh

ing

Ta

rikan

[lara

s] Pelo

g [p

ath

et]Nem

In k

eepin

g w

ith Jav

anese co

nv

entio

ns, th

e full titles o

f these th

ree p

ieces fo

r gam

elan d

escribe

the p

ieces’ form

(ben

tuk), scale

(lara

s) and

mo

de (p

ath

et). 10 T

he in

div

idu

al titles, An

gg

un

,

Sa

nta

i, and

Ta

rikan

, reflect th

e p

iece’s m

oo

d an

d ex

pre

ssion

– resp

ectively

‘Grac

eful’;

‘Relax

ed’; an

d ‘P

ullin

g’ o

r ‘Attractin

g’. A

ng

gu

n is o

f keta

wa

ng

form

, in th

e slend

ro sc

ale, and

of p

ath

et ma

nyu

ra. S

an

tai is o

f lad

ran

g fo

rm, in

the slen

dro

scale, and

of p

ath

et san

ga

.

Ta

rikan

is in p

elog

scale, of p

ath

et nem

, and

the fo

rm g

end

hin

g can

be a

little amb

igu

ou

s; here

,

Ta

rikan

has an

orig

inal fo

rm at th

e beg

inn

ing

– ko

mp

osisi b

aru

– th

en a tran

sition

into

a

traditio

nal keta

wa

ng

form

. All th

ree inclu

de W

estern

instru

men

t solo

s: An

gg

un

inclu

des v

iola

solo

, Sa

nta

i inclu

des g

uitar so

lo, an

d T

arika

n in

clud

es accord

ion

and

clarinet. M

oreo

ver, S

an

tai

also in

clud

es a gero

ng

(male ch

oir) p

art, sin

gin

g in

En

glish

.

Th

e sco

res are no

tated in

Western

staff no

tation

in m

y co

mp

ositio

n p

ortfo

lio, w

ith th

e cip

her

nu

mb

er un

dern

eath th

e p

itch w

hich

is on

ly an

app

rox

imatio

n. N

o tw

o g

amelan

mak

ers tun

e

their g

amelan

ensem

bles alik

e, so I d

o n

ot fe

el that it is u

seful to

com

plic

ate the sco

re w

ith

ultim

ately u

nn

ecessary m

icro

ton

es:

Pelo

g: 1

(D), 2

(Eb

), 3 (F

), 4 (G

#), 5

(A), 6

(Bb

), 7 C

Slen

dro

: 1 (D

b), 2

(Eb

), 3 (F

), 5 (A

b), 6

(Bb

)

See

Ch

apte

r 1 S

ectio

n III fo

r furth

er discu

ssion

of th

e pitch

es and

tun

ing

s of th

e Javan

ese

gam

elan.

I use g

amelan

terms th

at need

som

e ex

plan

tation

, thu

s a sh

ort g

lossary

follo

ws b

efore retu

rnin

g

to a d

iscussio

n o

f the p

ieces.

Bu

ka:

th

e intro

du

ction

of a p

iece, p

layed

by

on

e instru

men

t, usu

ally th

e bo

na

ng

or th

e

reba

b, b

ut so

metim

es also th

e gen

der. A

ng

gu

n an

d S

an

tai b

oth

hav

e bu

ka, p

layed

by

the

bo

na

ng

ba

run

g.

10 T

he tw

o sc

ales are fu

rther su

bd

ivid

ed in

to th

ree p

ath

et ea

ch, estab

lishin

g a

po

ol o

f pelo

g n

em, lim

a an

d

ba

ran

g; an

d slen

dro

nem

, san

ga

and

ma

nyu

ra –

each

wh

ich h

ave d

ifferent ‘c

aden

tial’ pattern

s, rang

es,

and

also

each

tend

to b

oth

emp

hasise an

d av

oid

certain

pitch

es, relevan

t to th

at pa

thet.

- 9

8 -

Su

wu

k: th

e end

ing

of a g

am

elan p

iece. A

fter a sm

all speed

up

and

drastic slo

w d

ow

n

initiated

by

the ken

dh

an

g p

layer, th

e g

am

elan p

layers w

ithh

old

their last n

ote u

ntil afte

r the fin

al

strok

e from

the g

on

g a

gen

g. T

he term

suw

uk c

an also

refer to a

line o

r ga

tra (b

ar) of m

usic to

sub

stitute in

, sign

alling

the en

d o

f the p

iece w

ith a

diffe

rent set o

f no

tes. In T

arika

n, th

ere

is a

suw

uk lin

e to su

bstitu

te in fo

r the fin

al line o

f the fin

al cycle th

rou

gh

the p

iece.

Keta

wa

ng

: a fo

rm, w

hich

ind

icates to th

e perfo

rmers o

f the p

un

ctuatin

g in

strum

ents (as

no

tated b

y th

e sym

bo

ls abo

ve th

is ba

lun

ga

n ex

am

ple) to

play

this sp

ecific pu

nctu

ating

cycle:

o +

o

o + o

o +

o V o +

o

1

2 1

6

2 1

6 5

1

2 1

6

2 1

6 (5

)

o =

kem

pya

ng

, + =

ketu

k, =

keno

ng

, V =

kem

pu

l and

( ) = g

on

g a

gen

g

Fo

r keta

wa

ng

, fou

r ga

tra co

mp

rise o

ne g

on

ga

n (lin

e b

efo

re a strike o

f the g

on

g a

gen

g), an

d a

ketaw

an

g stru

cture

con

ven

tion

ally co

mp

rises five g

on

ga

n. T

he first tw

o lin

es com

prise

a

mero

ng

section

, and

the n

ext th

ree a n

gelik sectio

n.

La

dra

ng

: a fo

rm, w

hich

ind

icates to th

e perfo

rmers o

f the p

un

ctuatin

g in

strum

ents (as

no

tated b

y th

e sym

bo

ls abo

ve th

is ba

lun

ga

n ex

am

ple) to

play

this sp

ecific pu

nctu

ating

cycle:

o +

o

o + o

o +

o V o +

o

1

2 1

6

2 1

6 5

1

2 1

6

2 1

6 5

o +

o V

o + o

o +

o V o +

o

1

2 1

6

2 1

6 5

1

2 1

6

2 1

6 (5

)

o =

kem

pya

ng

, + =

ketu

k, =

keno

ng

, V =

kem

pu

l and

( ) = g

on

g a

gen

g

Fo

r lad

ran

g, eig

ht g

atra

com

prise o

ne g

on

ga

n (lin

e befo

re a strik

e of th

e go

ng

ag

eng

), and

a

lad

ran

g stru

cture u

sually

com

prises tw

o g

on

ga

n. T

he first g

on

ga

n is a m

eron

g se

ction

, wh

ich

may

be cy

cled sev

eral times b

efo

re m

ov

ing

on

to th

e seco

nd

section

, a ng

elik section

, wh

ich is

play

ed o

nly

on

ce befo

re return

ing

to th

e mero

ng

and

rep

eating

the p

rocess.

Mero

ng

: th

e first part o

f a k

etaw

an

g o

r lad

ran

g, etc

., wh

ich is fo

llow

ed b

y a n

gelik

section

.

Ng

elik: th

e secon

d p

art o

f a ketaw

an

g o

r lad

ran

g, etc

., wh

ich fo

llow

s a mero

ng

section

.

Ety

mo

log

ically, n

gelik m

eans “g

o u

p” o

r “get h

igh

er”; the b

alu

ng

an

gets h

igh

er, and

the

elabo

rating

instru

men

ts rise in

acco

rdan

ce, p

layin

g h

igh

er-pitch

ed p

atterns, o

r melo

dic lin

es that

- 9

9 -

lend

them

selves to

ward

hig

her p

itches. T

he en

d o

f the n

gelik sectio

n req

uires a

return

to a

low

er pitch

base

, for th

e retu

rn to

the m

eron

g sectio

n.

Um

pa

k

Also

spelled

om

pa

k. A

transitio

nary

section

betw

een stru

ctures o

r section

s, for

instan

ce, in T

arika

n it d

eno

tes the tran

sition

betw

een th

e intro

du

ctory

section

, and

the keta

wa

ng

section

. Also

, som

etimes a

mero

ng

section

can b

e called

an u

mp

ak sectio

n, b

ut b

ecause

this is

amb

igu

ou

s (um

pa

k also m

eanin

g tran

sition

) I hav

e avo

ided

that u

se here

.

Iram

a

T

he relatio

nsh

ip b

etween

the sp

eed

of th

e ba

lun

ga

n (co

re melo

dy

, perfo

rmed

by

slenth

em, sa

ron

, dem

un

g) an

d th

e rhy

thm

ic den

sity o

f the o

rnam

entatio

n/d

ecoratio

n o

f the

pekin

g, b

on

an

g an

d th

e instru

men

ts perfo

rmin

g g

ara

p (g

am

ba

ng

, gen

der, reb

ab

, sulin

g). T

he

slow

er the ira

ma

(i.e. the lo

ng

er the sp

ace is b

etween

ad

jacent n

otes o

f the b

alu

ng

an

), the b

usier

the o

ther in

strum

ents. T

he th

ree ira

ma

that I w

ork

with

here

in m

y co

mp

ositio

ns are la

nca

r,

tan

gg

un

g, an

d d

ad

i. It is perh

aps easiest to

see ira

ma

by

con

siderin

g h

ow

often

the p

eking

play

s,

relative to

the b

alu

ng

an

.

Fo

r exam

ple

(here I u

nd

erline th

e beats th

at match

up

tog

ether):

La

nca

r: P

ekin

g:

1

2

1

6

B

alu

ng

an

: 1

2

1

6

Ta

ng

gu

ng

: P

ekin

g:

1 1

2 2

1 1

6 6

Ba

lun

ga

n:

1

2

1

6

Da

di:

P

ekin

g: 1

1 2

2 1

1 2

2 1

1 6

6 1

1 6

6

Ba

lun

ga

n:

1

2

1

6

La

nca

r T

he fastest o

f the th

ree iram

a I w

ork

with

in th

ese com

po

sition

s. Th

e b

uka

for

bo

th A

ng

gu

n an

d S

an

tai starts in

iram

a la

nca

r, and

slow

s do

wn

, gu

ided

by

the k

end

ha

ng

, to

tan

gg

un

g fo

r the first g

on

g a

gen

g n

ote, w

hich

is also e

ntry

po

int o

f all the o

ther g

am

elan

instru

men

ts. Th

e en

tire first se

ction

of T

arika

n is la

nca

r befo

re th

e um

pa

k tran

sition

to

ketaw

an

g an

d ira

ma

tan

gg

un

g.

Ta

ng

gu

ng

T

he ira

ma

that b

oth

An

gg

un

and

Sa

nta

i are in

on

ce the w

ho

le gam

elan jo

ins th

e

piece o

n th

e g

on

g n

ote after th

e bu

ka. T

his d

oes n

ot last lo

ng

ho

wev

er, as bo

th p

ieces slo

w

do

wn

and

transitio

n to

da

di at th

e end

of th

e third

ga

tra. T

his is v

ery ty

pical fo

r traditio

nal

gam

elan m

usic

. Sa

nta

i remain

s in ira

ma

da

di fo

r the rest o

f the p

iece

, tho

ug

h A

ng

gu

n

transitio

ns b

ack to

tan

gg

un

g fo

r the fin

al time th

rou

gh

the cy

cle. T

he keta

wa

ng

section

in

- 1

00

-

Ta

rikan

beg

ins in

tan

gg

un

g an

d th

e first cycle

thro

ug

h stay

s in th

is iram

a, u

ntil th

e end

of th

e

last line w

hen

a tran

sition

to d

ad

i occu

rs, and

the rest o

f the p

iece re

main

s in ira

ma

da

di.

Da

di

T

he slo

west ira

ma

that I u

se for th

ese co

mp

ositio

ns fo

r the b

alu

ng

an

, and

the

bu

siest for th

e elabo

rating

instru

men

ts. Da

di is co

nsid

ered

the h

om

e ira

ma

for keta

wa

ng

and

lad

ran

g stru

ctures; S

an

tai an

d A

ng

gu

n a

re p

redo

min

antly

in th

is iram

a. O

ften, elab

oratin

g

instru

men

ts like reb

ab

and

sulin

g o

nly

play

in ira

ma

da

di sectio

ns o

f a p

iece, d

rop

pin

g o

ut if

the ira

ma

shifts in

to ta

ng

gu

ng

. In th

e record

ing

of A

ng

gu

n, th

e reba

b an

d su

ling

do

exactly

that.

Sa

lisir

Sa

lisir is on

e of th

e several p

oetic

form

s to w

hich

the ly

rics of a g

am

elan p

iece

traditio

nally

con

form

(see Su

marsa

m, 2

00

2). S

alisir h

as a specific m

eter – fo

ur lin

es of tex

t,

eigh

t syllab

les per lin

e, and

a sp

ecific rh

ym

e schem

e –

Th

e first lin

e end

s with

either an

// v

ow

el sou

nd

(e.g

. “d

o” o

r “thro

ug

h”), o

r an /

/

vo

wel so

un

d (e.g

. “bo

ok

”)

Th

e re

main

ing

thre

e lines en

d w

ith an

// v

ow

el sou

nd (e

.g. “g

ui-ta

r”).

Also

, a

salisir

is a

kin

d

of

po

etic rid

dle

(Sp

iller, 2

00

8).

M

y

orig

inal

lyrics

for

Sa

nta

i

dem

on

strate this co

ncep

t:

O

ut in

the sh

ad

e, no

wo

rk to

do

N

ylon

an

d g

lass, th

ere w

e all a

re

U

nd

er a p

oh

utu

kaw

a

S

ing

ing

, drin

king

, pla

ying

gu

itar

In k

eepin

g w

ith Jav

anese

con

ven

tion

, the first tw

o lin

es po

int to

metap

ho

rs and

the th

ird an

d

fou

rth lin

es elucid

ate these

metap

ho

rs, often

describ

ing

the en

viro

nm

ent o

r exp

ressing

a m

oral,

emo

tion

, or iro

ny

. Here

, “ou

t in th

e shad

e” con

nects w

ith “u

nd

er a p

oh

utu

kaw

a”; “ny

lon

and

glass” co

nn

ects with

“drin

kin

g, p

layin

g g

uitar.”

Th

e verse p

aints a p

icture o

f friend

s relaxin

g

tog

ether o

n a w

arm d

ay –

mak

ing

mu

sic and

hav

ing

a few

drin

ks to

geth

er – rela

xing

(Sa

nta

i –

the in

div

idu

al title of th

e piece).

I shall n

ow

con

sider ea

ch o

f the th

ree wo

rks in

div

idu

ally. In

perfo

rman

ce, it is th

e p

referen

ce o

f

Gam

elan P

adh

ang

Mo

nca

r to read

from

ciph

er n

otatio

n, an

d th

is I giv

e belo

w. 1

1 Th

e perfo

rmers

follo

w th

e ken

dh

an

g p

layer w

ho

directs th

e ch

ang

es in tem

po

and

dy

nam

ics (so, fo

r the so

loists’

sake, th

e ken

dh

an

g p

layer n

eeds to

kn

ow

wh

en I h

ave sp

ecified th

ese ch

ang

es in th

e score,

becau

se traditio

nally

this is u

p to

the ken

dh

an

g p

layer). A

s is con

ven

tion

, the b

alu

ng

an

is

11 N

ot all g

amelan

ensem

bles in

the W

est hav

e this p

reference

– E

nse

mb

le Gen

dh

ing

in H

ollan

d o

nly

play

s new

com

po

sition

s in W

estern

no

tation

, usin

g c

iph

er no

tatio

n fo

r traditio

nal g

am

elan

pie

ces (B

od

y,

pers. co

mm

., 20

10

).

- 1

01

-

sufficien

t for all g

am

elan p

layers to

un

derstan

d th

eir parts. 1

2 Ho

wev

er, th

e gero

ng

in S

an

tai w

ill

need

to se

e their p

art (my

vo

cal melo

dy

can

no

t be ex

trap

olated

from

the b

alu

ng

an

line).

Sim

ilarly, fo

r An

gg

un

, the g

am

ba

ng

play

er sho

uld

take n

ote o

f ho

w I n

otate

the in

strum

ent’s

ga

rap

in th

e score

bec

ause it is sp

ecifically d

esign

ed to

interw

eav

e with

the v

iola so

lo.

‘Hig

h’ n

otes an

d ‘lo

w’ n

otes o

utsid

e of th

e on

e-o

ctave ran

ge o

f the b

alu

ng

an

are no

tated w

ith

do

ts abo

ve an

d b

elow

the cip

her n

um

ber, resp

ectively

. Ba

lun

ga

n in

strum

ents w

ill no

t hav

e a

low

5, so

they

play

their ‘n

orm

al’ 5 in

stead (th

e low

5 is sp

ecific to th

e e

mb

ellishin

g

instru

men

ts on

ly). S

imilarly

, the lo

w d

ot o

n a

6 is ig

no

red b

y b

alu

ng

an

instru

men

ts if it is

adjacen

t to a lo

w 5

. Th

is occu

rs in S

an

tai.

Mo

reov

er, d

yn

amic

mark

ing

s are absen

t from

gam

elan cip

her n

otatio

n. D

yn

amics are tied

up

in

perfo

rman

ce p

ractice, con

trolled

by

the k

end

ha

ng

play

er. F

or th

is reason

, I hav

e n

ot in

dicated

dy

nam

ic mark

s for th

e gam

elan p

layers o

n th

e score fo

r Ag

gu

n o

r Sa

nta

i – th

e ken

dh

an

g p

layer

will sig

nal to

the o

ther g

am

elan p

erform

ers to

play

lou

der o

r softer as h

e/she d

eem

s app

rop

riate

and

the W

estern in

strum

ent p

layers m

ust atten

uate

their d

yn

amic

level relativ

e to th

e v

olu

me o

f

the g

amelan

ensem

ble

. Ho

wev

er, fo

r Ta

rikan

, du

e to its u

nu

sual fo

rm, I h

ave in

dicated

on

the

score th

at the in

trod

uctio

n sectio

n sh

ou

ld b

e fortissim

o, an

d th

at wh

en th

e ketaw

an

g sectio

n

starts, it sho

uld

be m

ezzofo

rte. Th

is is essentially

an in

structio

n to

play

very

lou

d at th

e

beg

inn

ing

, and

wh

en th

e keta

wa

ng

starts, to d

rop

to a lo

wer v

olu

me (listen

ing

to th

e ken

dh

an

g

play

er for cu

es).

12 T

hat is, th

e ba

lun

ga

n p

erform

ers play

the b

alu

ng

an

as giv

en in

the c

iph

er no

tation

, the e

mb

ellish

ing

instru

men

t perfo

rmers ex

traplo

ate their o

wn

parts b

ased u

po

n it fro

m trad

ition

al perfo

rman

ce tech

niq

ues

and

specific

ga

rap

; allow

ing

the m

usic

to b

e extrap

ola

ted b

y m

usician

s train

ed in

, or u

nd

er the

sup

ervisio

n o

f mu

sician

s trained

in, trad

ition

al prac

tice. T

he p

erform

ers of th

e colo

tom

ic instru

men

ts

play

acco

rdin

g to

the p

iece’s fo

rm.

- 1

02

-

Keta

wan

g A

nggu

n S

lend

ro M

an

yura

Bu

ka

:

--62 33-6 321(6)

.

Mero

ng

: 3351 66-2 3351 336(3)

.

.

3351 66-2 3351 -66(3)

.

. N

gelik

: 6625 -663 66-2 -66(3)

6625 3363 66-2 335(1)

.

33-6 --62 33-6 321(6)

. . .

.

Fig

. 3.1

1: C

iph

er no

tatio

n fo

r Keta

wa

ng

An

gg

un

Slen

dro

Ma

nyu

ra

Bo

na

ng

play

s the b

uka

and

the o

ther g

am

elan in

strum

en

ts join

in o

n th

e first go

ng

ag

eng

no

te

(last no

te of th

e b

uk

a). Lik

e a trad

ition

al ketaw

an

g, A

ng

gu

n p

lays th

rou

gh

the fiv

e go

ng

an

that

mak

e u

p th

e form

in tu

rn, an

d th

en rep

eat thro

ug

h th

at structu

re. Th

e ken

dh

an

g p

layer n

eed

s to

kn

ow

wh

en to

chan

ge ira

ma

: the b

uka

is iram

a la

nca

r, slow

ing

do

wn

to ta

ng

gu

ng

; the p

iece is

iram

a ta

ng

gu

ng

by

the tim

e the g

amelan

join

s, slow

ing

do

wn

to d

ad

i by

the en

d o

f the th

ird

ga

tra. O

n th

e th

ird tim

e thro

ug

h th

e cycle, th

e ken

dh

an

g p

layer m

ust g

radu

ally sp

eed th

e

ensem

ble

up

, and

then

transitio

n to

iram

a ta

ng

gu

ng

by

the last g

atra

(reba

b an

d su

ling

will d

rop

ou

t wh

en th

e piec

e transitio

ns to

tan

gg

un

g h

ere – th

is is typ

ical). Th

e fou

rth tim

e th

rou

gh

the

cycle th

e p

iece is ta

ng

gu

ng

, slow

ing

do

wn

for a trad

ition

al style su

wu

k at the en

d.

An

gg

un

fits neatly

into

pa

thet m

an

yura

– th

ere are n

o lo

w 5

’s at the en

d o

f any

ga

tra; h

igh

5’s

at the en

d o

f ga

tra o

ccu

r on

ly in

the first h

alf of th

e n

gelik; th

ere are n

o 5

’s on

a go

ng

no

te;

chara

cteristic ‘cad

ential’ fig

ure

for m

an

yura

– 3

21

6 –

is the fin

al ga

tra o

f bo

th th

e bu

ka an

d th

e

piece; th

e mo

de o

ften feels ‘at h

om

e’ on

the n

otes 6

and

2, esp

ecially w

hen

they

app

ear as th

e

last no

te of a

ga

tra. T

hese

are all ty

pical, trad

ition

al characte

ristics of m

an

yura

.

Th

e sco

re co

mp

rises the v

iola p

art and

the b

alu

ng

an

line, w

hich

is acco

mp

anied

by

its ciph

er

no

tation

. Th

e kem

pu

l and

go

ng

ag

eng

colo

tom

y is g

iven

with

the cip

her n

otatio

n; I h

ave n

ot

giv

en th

e oth

er colo

tom

ic ind

ication

s (the p

layers o

f these in

strum

ents alread

y k

no

w w

hen

and

wh

at to p

lay d

ue to

its form

). Th

e g

am

ba

ng

part is also

giv

en, an

d I h

ave laid

ou

t on

sho

rt score

the p

arts for th

e bo

na

ng

pa

neru

s, bo

na

ng

ba

run

g, p

ekin

g, sa

ron

, dem

un

g an

d slen

them

. Th

e

- 1

03

-

giv

en b

on

an

g an

d p

eking

parts a

re essentially

just o

ne rep

resentatio

n o

f a po

ssible ex

trapo

lation

of th

e ba

lun

ga

n m

elod

y o

n th

ose in

strum

ents. I h

ave n

ot n

otated

gen

der, reb

ab

, sulin

g an

d so

on

, bec

ause th

ese p

erform

ers can w

ork

ou

t accep

table

ga

rap

from

the b

alu

ng

an

, and

differen

t

perfo

rmers w

ith d

ifferent m

usical b

ackg

rou

nd

s and

styles fro

m d

ifferent reg

ion

s will ch

oo

se

differen

t, tho

ug

h ap

pro

priate

, material.

La

dra

ng

Sa

nta

i Slen

dro

San

ga

B

uk

a:

-356 3521 3352 -16(5)

. .

M

eron

g:

2156 5535 2532 -165

. .

. .

. .

3356 3521 2216 353(5)

.

.

.

N

gelik

: -55- 6165 6153 2532

.

6165 2156 3352 -16(5)

. .

Fig

. 3.1

2: C

iph

er no

tatio

n fo

r La

dra

ng

Sa

nta

i Slen

dro

Sa

ng

a

As in

An

gg

un

, for S

an

tai th

e bo

na

ng

play

s the b

uka

and

the o

ther g

amelan

instru

men

ts join

in

on

the first g

on

g a

gen

g n

ote (last n

ote

of th

e b

uk

a). Lik

e a trad

ition

al lad

ran

g, th

e mero

ng

is

play

ed th

rou

gh

several tim

es befo

re play

ing

ng

elik on

ce an

d retu

rnin

g to

the m

eron

g, rep

eatin

g

the p

rocess. T

he b

on

an

g cu

es the sw

itch to

ng

elik by

play

ing

a gem

bya

ng

(octav

e) p

attern o

n

the last b

ar of th

e m

eron

g in

stead o

f orn

am

entin

g th

e ba

lun

ga

n in

its usu

al way

(mip

il). On

the

score, I h

ave n

otated

that th

e mero

ng

will h

app

en tw

ice, th

en n

gelik

, thre

e times in

total b

efore

slow

ing

do

wn

for a

traditio

nal sty

le suw

uk. H

ow

ever, in

practice

, it is really u

p to

the b

on

an

g

play

er ho

w m

any

times th

e m

eron

g se

ction

will b

e cycled

thro

ug

h, an

d th

is is fine fo

r Sa

nta

i

becau

se there

is no

gero

ng

or g

uitar so

lo in

the m

eron

g sectio

n, o

nly

gam

elan. L

ike A

ng

gu

n,

the b

uka

is iram

a la

nca

r, slow

ing

do

wn

to ta

ng

gu

ng

; the p

iece is ira

ma

tan

gg

un

g b

y th

e time

the g

amelan

join

s, slow

ing

do

wn

to d

ad

i by

the en

d o

f the th

ird g

atra

. Th

e p

iece re

main

s in

da

di u

ntil th

e end

.

Sa

nta

i fits neatly

into

pa

thet sa

ng

a –

the g

on

g n

otes are

5; a ch

aracteristic ‘caden

tial’ figu

re for

san

ga

– 2

16

5 (th

ou

gh

used

in th

is piece

as 2 –

16

5, as it o

ccurs in

traditio

nal p

ieces such

as

Gen

dh

ing

Ga

mb

ir Sa

wit S

lend

ro S

an

ga

) – is th

e fo

urth

ga

tra o

f the m

eron

g an

d also

the fin

al

- 1

04

-

ga

tra o

f bo

th th

e bu

ka an

d th

e pie

ce; the m

od

e o

ften fe

els ‘at ho

me’ o

n th

e no

tes 5 an

d 1

,

especially

wh

en th

ey ap

pear as th

e last no

te o

f a ga

tra. T

hese

are all typ

ical, traditio

nal

chara

cteristics of sa

ng

a. H

ow

ever, th

e third

and

fou

rth g

atra

of th

e ng

elik sectio

n w

ill pro

bab

ly

requ

ire mo

st ga

rap

perfo

rmers to

‘bo

rrow

’ from

pa

thet m

an

yura

for th

ose tw

o g

atra

, as end

ing

a ga

tra w

ith a 3

(i.e. th

e th

ird g

atra

of n

gelik) is u

nco

mm

on

in p

ath

et san

ga

.

Th

e sco

re co

mp

rises the g

eron

g an

d g

uitar p

arts, and

the b

alu

ng

an

line, w

hich

is accom

pan

ied

by

its ciph

er no

tation

. Lik

e for A

ng

gu

n, th

e ke

mp

ul an

d g

on

g a

gen

g co

loto

my

is giv

en w

ith th

e

ciph

er no

tation

, bu

t no

t the o

ther co

loto

mic

ind

ication

s. I hav

e laid

ou

t on

sho

rt score th

e p

arts

for th

e bo

na

ng

pa

neru

s, bo

na

ng

ba

run

g, p

ekin

g, sa

ron

, dem

un

g an

d slen

them

. Ag

ain, th

e giv

en

bo

na

ng

and

pekin

g p

arts are essen

tially ju

st on

e represe

ntatio

n o

f a po

ssible re

alisation

of th

e

ba

lun

ga

n m

elod

y o

n th

ose in

strum

ents, an

d o

ther trad

ition

al realisation

s are ac

ceptab

le. Fo

r the

same re

ason

s as An

gg

un

, I hav

e no

t no

tated g

end

er, reba

b, su

ling

and

so o

n.

Gen

dh

ing

Tarik

an

Pelo

g N

em

Ov

ersco

red n

um

bers a

re “qu

avers” o

r twice as fast as stan

dard

ba

lun

ga

n n

otes. N

um

bers th

at

are un

dersco

red w

ith a

“x” sh

ou

ld b

e held

, mu

ted w

ith th

e play

ers oth

er han

d w

hilst th

ey are

bein

g stru

ck, fo

r a d

am

pen

ed, m

uted

percu

ssive e

ffect.

Intro

(iram

a la

nca

r) – p

lay th

rou

gh

three

times. N

o co

loto

my

oth

er than

kem

pu

l (V),

go

ng

suw

uk (S

) and

go

ng

ag

eng

. On

third

time th

rou

gh

, after the g

atra

mark

ed w

ith an

*, m

ov

e

on

to th

e um

pa

k. Becau

se the fo

rm is n

ot trad

ition

al un

til the keta

wa

ng

sectio

n, I h

ave in

dicated

wh

ich n

otes th

e kem

pu

l play

er sho

uld

play

(i.e. V6 =

kem

pu

l 6; V

5 =

kem

pu

l 5).

V6 V

6 V

6

(1)2 35 65 32

12 35 65 32

12 35 65 32

V5 V5 S

V6

V5 V5

S

V6

7 5 7 5

65 32 12 35

* 7 5 7 5

35 67 65 32

Um

pa

k –

slow

ing

do

wn

for ta

ng

gu

ng

. Play

on

ly o

nce

.

V5

V5

6 66 7 5

3 33 2 4 6 - (5)

x x x x

- 1

05

-

Keta

wa

ng

– first tim

e thro

ug

h ira

ma

tan

gg

un

g. E

ach

line o

f the en

tire stru

cture is

play

ed th

rou

gh

on

e-by

-on

e. D

urin

g th

e last line, slo

w d

ow

n fo

r da

di, an

d tran

sition

to d

ad

i by

the b

egin

nin

g o

f the rep

eat of th

e stru

cture

. Play

thro

ug

h th

e ketaw

an

g tw

ice m

ore in

iram

a

da

di, an

d o

n fin

al time th

rou

gh

the cy

cle, after th

e g

atra

mark

ed w

ith an

*, m

ov

e on

to th

e

suw

uk se

ction

. (I no

lon

ger m

ark co

loto

my

here b

ecause it is n

ow

a trad

ition

al ketaw

an

g.)

(Mero

ng

)

65 3 2 1

- 2 42 1

- 6 5 3

5 7 6 (5)

65 3 2 1

- 2 42 1

- 6 5 3

5 7 6 (5)

(Ng

elik)

35 32 4 1

- 2 42 1

- 2 3 6

5 2 5 (1)

35 32 4 1

- 5 6 3

5 6 7 6

5 3 2 (1)

- - 1 -

1 1 2 42

* 5 - 6 3

5 - 2 (6)

S

uw

uk

– slo

win

g d

ow

n fo

r traditio

nal sty

le end

ing

4 - 2 6

5 3 2 (6)

Fig

. 3.1

3: C

iph

er no

tatio

n fo

r Gen

dh

ing

Ta

rikan

Pelo

g N

em

Th

is piec

e is un

usu

al in its p

ath

et as well as in

its structu

re. Ta

rikan

do

es no

t neatly

fit into

any

of th

e pa

thet c

atego

ries of la

ras p

elog

. I hav

e giv

en it n

em essen

tially fo

r the e

mb

ellishin

g

instru

men

ts that p

erform

ga

rap

(so th

ey can

use

pattern

s from

that p

ath

et), no

t bec

ause it

exp

resses the m

od

al sou

nd

qu

alities of n

em

. Ho

wev

er, this w

as no

t an a

rbitrary

cho

ice: it cou

ld

no

t hav

e been

pa

thet b

ara

ng

bec

ause o

f the reg

ularity

of 1

s app

earin

g at th

e end

of g

atra

and

the o

verall reg

ularity

of 1

s ov

er 7s. I settled

on

nem

rather th

an lim

a b

ecause

the n

um

bers th

at

app

ear mo

st often

as go

ng

no

tes – 1

and

5 –

are also th

e mo

st often

go

ng

no

tes for trad

ition

al

pieces lik

e Lela

go

n P

rau

La

yar P

elog

Nem

, and

the o

nly g

on

g n

otes fo

r traditio

nal p

ieces like

Keta

wa

ng

Po

cun

g L

ayu

ng

Pelo

g N

em

. Also

, wh

en 4

s occu

r, they

intu

itively

seem to

be an

- 1

06

-

alternativ

e to 5

rather th

an 3

– a featu

re that trad

ition

ally d

isting

uish

es betw

een n

em

and

lima

.

Mo

reov

er, th

e acco

rdio

n p

lays a g

am

ba

ng

style m

elod

y in

the d

ad

i part o

f the keta

wa

ng

section

,

usin

g g

ara

p fro

m p

ath

et nem

. Bec

ause th

is ga

mb

an

g-e

squ

e melo

dy

is from

the eq

ual te

mp

ered

accord

ion

, tensio

n b

uild

s thro

ug

h th

e tun

ing

discrep

ancies as th

e melo

dy

un

fold

s. Fo

r this

reason

, the a

ccord

ion

nev

er play

s on

the d

ow

nb

eat o

f the fo

urth

no

te o

f any

ga

tra (th

e beat felt

as the stro

ng

beat in

Javan

ese gam

elan m

usic), allo

win

g th

e gam

elan in

strum

ents to

resolv

e th

at

tensio

n in

their o

wn

tun

ing

system

.

Th

e sco

re co

mp

rises the clarin

et and

acco

rdio

n p

arts, a

nd

the b

alu

ng

an

line, w

hich

is

accom

pan

ied b

y its cip

her n

otatio

n. L

ike fo

r An

gg

un

, the ke

mp

ul an

d g

on

g a

gen

g co

loto

my

is

giv

en w

ith th

e cip

her n

otatio

n fo

r the sco

re-read

er to fo

llow

and

I hav

e no

t giv

en th

e oth

er

colo

tom

ic ind

ication

s becau

se th

ey d

o n

ot p

lay in

the o

pen

ing

section

(‘intro

’ and

um

pa

k), and

in th

e ketaw

an

g p

art, play

ers of th

ose in

strum

ents alre

ad

y k

no

w w

hen

and

wh

at to p

lay. I h

ave

laid o

ut o

n sh

ort sco

re th

e parts fo

r the b

on

an

g p

an

erus, b

on

an

g b

aru

ng

, pekin

g, sa

ron

, dem

un

g

and

slenth

em

– an

d also

go

ng

ag

eng

, go

ng

suw

uk an

d k

emp

ul fo

r just th

e op

enin

g sectio

n

becau

se their p

art do

es no

t con

form

to th

at of a

traditio

nal fo

rm. A

gain

, the g

iven

bo

na

ng

and

pekin

g p

arts are

essentially

just o

ne rep

resentatio

n o

f a po

ssible realisatio

n o

f the b

alu

ng

an

melo

dy

on

tho

se instru

men

ts, and

oth

er traditio

nal realisatio

ns are a

ccep

table, at least in

terms

of th

e keta

wa

ng

sectio

n. F

or th

e o

pen

ing

sectio

n, b

oth

bo

na

ng

instru

men

ts just p

lay th

e

ba

lun

ga

n m

elod

y. H

ow

ever, th

e slen

them

and

pekin

g p

layers n

eed to

take n

ote o

f wh

at to p

lay

in th

e op

enin

g sectio

n: slen

them

on

ly p

lays th

e d

ow

nb

eats an

d n

ot an

y o

ffbeat ‘q

uav

ers’, pekin

g

play

s ‘qu

avers’, b

ut iteratio

ns o

f the d

ow

nb

eat n

ote, rath

er than

no

te-for-n

ote

ba

lun

ga

n). F

or

the sam

e reason

s as An

gg

un

and

Sa

nta

i, I hav

e n

ot n

ota

ted g

am

ba

ng

, gen

der, reb

ab

, sulin

g an

d

so o

n.

Th

e reb

ab

, sulin

g, g

am

ba

ng

, gen

der (an

d so

on

) play

ers will lik

ely first ap

pear in

the keta

wa

ng

section

near th

e end

of th

e transitio

n fro

m ta

ng

gu

ng

to d

ad

i , for p

erform

ance in

the d

ad

i sectio

n.

- 1

07

-

VI.

Merm

ecolio

n

Electro

acou

stic

Fig

. 3.1

4: M

erm

eco

lion

13

A m

ermeco

lion

is a so

mew

hat o

bscu

re m

yth

ical creature. It is a

hy

brid

, com

bin

ing

the b

od

y o

f a

gian

t ant w

ith th

e head

and

forep

arts of a lio

n. T

he co

mb

inatio

n o

f such

ph

ysically

con

trasting

species is th

e mo

tivatio

n an

d in

spiratio

n b

ehin

d th

is piece, in

wh

ich sev

eral sou

nd

wo

rlds a

re

com

bin

ed to

create a

hy

brid

sou

nd

wo

rld: p

iano

, vio

la an

d flu

tes, Balin

ese gam

elan, an

d

electron

ics. As th

e leg

end

go

es, the creatu

re in

evitab

ly can

nev

er surv

ive –

the lio

n’s h

ead

wish

es to eat o

nly

meat b

ut th

e bo

dy

of th

e ant can

dig

est o

nly

grain

– so

it starves. T

his sh

ort

piece b

riefly

pain

ts an ab

stract son

ic p

icture o

f this co

nstan

t weak

state, in

ner co

nflict, an

d

dem

ise.

Interestin

gly

, the o

rigin

of th

e creatu

re is traced

to an

error in

translatin

g th

e Bib

le from

Heb

rew

to G

reek (A

llan, 2

00

8), sp

ecifically

Job

4:1

1, “th

e lion

perish

es for w

ant o

f prey

.”1

4 A

translato

r attemp

ted to

repro

du

ce the effect o

f the o

rigin

al Heb

rew

lajisch

, an u

nco

mm

on

wo

rd

for lio

n, b

y co

inin

g ‘m

yrm

eco

leon

’ (merm

ecolio

n), p

refix

ing

lion

with

myrm

ex, th

e term th

at

the g

eog

raph

er S

trabo

used

to d

escribe A

rabian

lion

s. Ho

wev

er, myrm

ex hap

pen

s to m

ean ‘an

t’

in G

reek –

and

thu

s the an

t-lion

was cre

ated. A

s pio

us b

elievers w

hittled

aw

ay th

e cold

nig

hts

by

pu

zzling

ov

er the creatu

re, a m

oral fin

ally e

merg

ed: ju

st like th

e inev

itable d

emise

of a

13 S

ou

rce: <

http

://ww

w.b

org

es.pitt.ed

u/v

akalo

/zf/assets/im

ages/0

07

7_

Mirm

igo

leon

.JPG

/> A

ccessed

22

/06

/20

10

. 1

4 Allan

(20

08

), p. 1

79

.

- 1

08

-

merm

eco

lion

, a “man

chro

nically

in tw

o m

ind

s mu

st com

e to n

aug

ht, b

eing

inh

eren

tly u

nstab

le

in all h

is way

s,”1

5 gen

der-ex

clusiv

e lang

uag

e aside.

Th

is piec

e was co

mp

osed

specifically

for su

bm

ission

to th

e Vo

x N

ov

us “6

0x

60

” electroaco

ustic

mu

sic com

po

sition

series, for w

hich

it was acc

epted

for th

e “20

09

Intern

ation

al Mix

” – an

ho

ur-

lon

g co

ncert ex

perien

ce co

mp

rising

sixty

-secon

d a

cou

smatic p

ieces fro

m six

ty co

mp

osers fro

m

all ov

er the g

lob

e.

Th

is piec

e’s electron

ic sou

nd

s were

com

po

sed u

sing

Metasy

nth

, and

interw

ov

en w

ith sh

ort

samp

les from

record

ing

s of p

re-ex

isting

com

po

sition

s of m

ine, M

elod

y for G

am

elan

Ba

li (20

07),

Mu

ch S

usp

icion

(20

07

) for tw

o flu

tes, and

Mu

oversi L

en

to (2

00

8) fo

r vio

la and

pian

o, u

sing

com

po

ser Karlh

einz E

ssl’s electron

ic co

mp

ositio

n p

rog

ramm

e, F

on

tana M

ixer. T

he p

rog

ram

me

created a

lon

g co

llage o

f material u

sing

rand

om

op

eration

s, and

I selected fro

m th

at ou

tpu

t the

min

ute th

at reson

ated w

ith m

e the m

ost. T

he fin

al go

ng

near th

e end

was th

en ad

ded

, as I felt

the w

ork

need

ed a stro

ng

final g

esture.

PE

RF

OR

MA

NC

E H

IST

OR

Y (a

s of 1

2 J

uly

20

10

)

3 O

ct 20

09

P

resented

by

the V

ox

No

vu

s “60

x6

0” p

roject (h

ence

forth

, ‘Vo

x N

ov

us’) at th

e

Wallstreet C

lub

, Co

lum

bu

s, Oh

io, U

SA

14

Oct 2

00

9

Presen

ted b

y V

ox

No

vu

s at the U

niv

ersity

of L

imerick

, Ireland

6 N

ov

20

09

P

resented

by

Vo

x N

ov

us at E

lectron

ic M

usic

Mid

west F

estival, K

ansas C

ity, in

Kan

sas, US

A

8 N

ov

20

09

P

resented

by

Vo

x N

ov

us at N

ew

Mu

sic Circle at M

adA

rt, St L

ou

is, in M

issou

ri,

US

A

13

No

v 2

00

9

Presen

ted b

y V

ox

No

vu

s at Win

ter Gard

en A

trium

, New

Yo

rk C

ity, in

New

Yo

rk, U

SA

13

No

v 2

00

9

Presen

ted b

y V

ox

No

vu

s at New

Mu

sic Juk

e Join

t, in M

ississipp

i, US

A

15 A

llan (2

00

8), p

. 17

9.

- 1

09

-

13

No

v 2

00

9

Presen

ted b

y V

ox

No

vu

s at Cen

tral Mich

igan

Un

iversity

, in M

ichig

an, U

SA

15

No

v 2

00

9

Presen

ted b

y V

ox

No

vu

s at Stim

ultan

ia Art G

allery in

Strasb

ou

rg, F

rance

20

No

v 2

00

9

Presen

ted b

y V

ox

No

vu

s at the U

niv

ersity

of C

incin

nati in

Oh

io, U

SA

3 D

ec 2

00

9

Presen

ted b

y V

ox

No

vu

s at Lu

gg

age S

tore

Gallery

, San

Fran

cisco in

Califo

rnia,

US

A

5 D

ec 2

00

9

Presen

ted b

y V

ox

No

vu

s at Lo

s An

geles H

arbo

r Co

llege, W

ilmin

gto

n, in

Califo

rnia, U

SA

10

Dec

20

09

P

resented

by

Vo

x N

ov

us at C

aliforn

ia State U

niv

ersity

, Lo

ng

Beach

, in

Califo

rnia, U

SA

12

Jan 2

01

0

Presen

ted b

y V

ox

No

vu

s at Westb

roo

k A

ud

itoriu

m, Illin

ois W

esleyan

Un

iversity

, Blo

om

ing

ton

, in Illin

ois, U

SA

26

Feb

20

10

P

resented

by

Vo

x N

ov

us at O

xfo

rd B

roo

kes U

niv

ersity, E

ng

land

16

March

20

10

Presen

ted b

y V

ox

No

vu

s at Atg

eld H

all, So

uth

ern Illin

ois U

niv

ersty

Carb

on

dale

, US

A

19

March

20

10

Presen

ted b

y V

ox

No

vu

s at Man

sfield U

niv

ersity, P

enn

sylv

ania, U

SA

25

March

20

10

Presen

ted b

y V

ox

No

vu

s at Cen

tenn

ial Th

eatre, Ok

laho

ma P

anh

and

le S

tate

Un

iversity

, in O

klah

om

a, U

SA

29

March

20

10

Presen

ted b

y V

ox

No

vu

s at Cat W

inter G

arden

Atriu

m, U

niv

ersity o

f

Wisco

nsin

-Gre

en B

ay, in

Wisco

nsin

, US

A

SC

HE

DU

LE

D F

UT

UR

E P

ER

FO

RM

AN

CE

S

21

July

20

10

P

resented

by

Vo

x N

ov

us at O

utso

un

d N

ew

Mu

sic S

um

mit, S

an F

rancisco

, in

Califo

rnia, U

SA

- 1

10

-

VII.

Po

dró

e

Electro

acou

stic

Po

dró

e is the in

credib

le story

of an

ano

ny

mo

us m

an’s jo

urn

ey as a

child

in W

orld

War II: fro

m

Po

land

to th

e labo

ur c

amp

s in S

iberia

, to Iran

, and

even

tually

to N

ew

Zealan

d as a ‘P

ahiatu

a

child

’. His sto

ry is p

un

ctuated

and

orn

amen

ted w

ith ele

ctroaco

ustic so

un

ds.

Firstly

, I am in

deb

ted to

my

story

teller for h

is kin

d p

atience an

d w

illing

ness to

particip

ate in th

is

pro

ject; and

I mu

st also ack

no

wled

ge th

e follo

win

g p

eop

le wh

o g

enero

usly

con

sented

to m

y

samp

ling

of th

eir material –

Dr A

llan T

ho

mas, D

r Meg

an C

ollin

s, Farh

ad B

ahra

mi, an

d h

azu

re,

lau

rent, lju

dm

an

and

Iron

i Alef fro

m th

e freeso

un

d.o

rg p

roject; th

e follo

win

g b

rilliant m

usician

s

for allo

win

g m

e to reco

rd th

em –

Jon

athan

Berk

ahn

(acco

rdio

n), I W

ayan

Gd

e Y

ud

ane

(percu

ssion

), Joel G

ord

on

(percu

ssion

), Ky

lie Nesb

it (basso

on

), An

drz

ej No

wick

i (clarinet), an

d

Gam

elan T

aniw

ha Jay

a; and

Clare

Tattersall fo

r the b

eau

tiful F

rench

.

Ev

en b

efore e

mb

ark

ing

on

my

Master’s stu

dies I k

new

that I w

ished

to w

rite a rad

iop

ho

nic-sty

le

electroaco

ustic p

iece th

at con

tained

a sin

gle p

erson

’s narratio

n. T

his is k

ind

of electro

aco

ustic

piece is w

ell establish

ed in

the N

ew

Zealan

d rep

ertoire

– co

nsid

er Joh

n C

ou

sins’ S

leep

Exp

osu

re (19

79

) and

Ten

se Test (1

98

6), a

mo

ng

st oth

ers, and

Jack B

od

y’s In

tima

te Histo

ry no

.1:

Yo

no

(20

05

) and

no

.2: sssteve

(20

08

), and

, for p

iano

and

record

ed v

oice

, Th

e Stre

et Wh

ere I

Live (2

00

7). D

avid

San

ders’ C

ho

ice Cu

ts (20

01

) and

Ch

ris Cre

e Bro

wn

’s Pilg

rima

ge to

Ga

llipo

li (20

08

), wh

ich b

oth

interw

eave a

sing

le narrativ

e told

thro

ug

h m

any

diffe

rent p

eop

le,

were also

initial in

fluen

ces on

my

writin

g th

is piece, as w

as the se

min

al New

Zealan

d

radio

ph

on

ic wo

rk, T

he R

eturn

(19

65

), by

Do

ug

las Lilb

urn

.

Initially

, I was ap

pro

ached

by

my

friend

, An

drz

ej No

wick

i wh

o ask

ed m

e if I’d b

e interested

in

writin

g a

piece

for in

clusio

n in

a con

cert series com

mem

oratin

g tw

o im

po

rtant an

niv

ersaries fo

r

New

Zealan

d’s P

olish

com

mu

nity

– th

e 65

th ann

iversary

of th

e arrival in

Wellin

gto

n o

f the

Pah

iatua ch

ildren

(Po

lish ch

ildren

refu

gees –

the first re

fug

ees ever acc

epted

by

New

Zealan

d –

wh

o w

ere g

iven

refug

e at an

old

cam

p in

Pah

iatua, in

Tararu

a) an

d th

e 20

th ann

iversary

of th

e

end

of th

e C

old

War an

d P

olish

Ind

epen

den

ce.

An

drzej to

ld m

e the ep

ic story

of th

e P

olish

child

ren’s jo

urn

ey to

New

Zealan

d –

from

bein

g

taken

ou

t of P

olan

d an

d g

row

ing

up

in th

e h

arsh en

viro

nm

ent o

f the R

ussian

labo

ur ca

mp

s, to

bein

g freed

on

ce R

ussia b

ecam

e an

Ally

, and

mak

ing

their w

ay w

ith th

e Po

lish A

rmy

tow

ard

s

Iran, w

here th

ey w

ere g

iven

tem

po

rary

refug

e. In 1

94

4, N

ew

Zealan

d P

rime M

inister P

eter

- 1

11

-

Frase

r respo

nd

ed to

the p

lea o

f the P

olish

go

vern

men

t-in-ex

ile and

accep

ted o

ver 8

00

refug

ees,

73

3 o

f wh

om

were ch

ildren

. To

uch

ed b

y th

e story

and

the stren

gth

and

persisten

ce of th

e yo

un

g

refug

ees, I asked

An

drz

ej if he k

new

any

of th

e surv

ivo

rs (wh

o are

no

w sen

ior citizen

s) on

a

perso

nal lev

el, and

he p

ut m

e in to

uch

with

the m

an w

ho

se story

I record

ed. T

his m

an

coo

perativ

ely re

collected

, very

op

enly

, abo

ut h

is child

ho

od

exp

eriences an

d h

is jou

rney

to N

ew

Zealan

d, fo

r a little ov

er two

ho

urs. T

hu

s I had

a lot o

f spo

ken

mate

rial to w

ork

with

, and

from

this I ch

ose se

ction

s for th

e retellin

g o

f his sto

ry th

rou

gh

my

pie

ce. S

om

e time b

efo

re th

e

piece’s p

remie

re, I p

layed

the p

iece to

him

and

he w

illing

ly g

ave m

e his ap

pro

val o

f my

selection

s of h

is spo

ken

material, an

d h

ow

the electro

nic so

un

ds cau

gh

t the m

oo

d o

f the tale.

My

friend

and

com

po

sition

colleag

ue C

arol S

ho

rtis, very

interested

in m

y p

roje

ct, mad

e a

transcrip

t of h

is entire

tale, wh

ich in

turn

insp

ired h

er piece T

skno

ta (Y

earn

ing

) (20

09

), and

her

arrang

em

ent o

f Po

lskie Kw

iaty (2

00

9).

Po

dró

e beg

ins w

ith m

y n

arrato

r intro

du

cing

and

sing

ing

a few

lines fro

m an

old

Po

lish fo

lk

son

g, P

olskie

Kw

iaty (P

olish

Flo

wers) th

at for m

any

Po

lish p

eop

le has co

me to

represen

t their

po

st-war d

iaspo

ra, as w

ell as describ

ing

the y

earnin

g o

f som

eon

e “far re

mo

ved

from

their ro

ots”

(0’1

2’’), rem

iniscin

g ab

ou

t their h

om

eland

, lam

entin

g th

eir disp

lacemen

t from

it. Th

e record

ing

of h

is sing

ing

is reiterated later in

the p

iece fro

m 9

’06

’’, ov

er an electro

nic

sou

nd

scape. T

his

occu

rs in-b

etween

his reco

llection

of sch

oo

l life in R

ussia an

d h

is recollectio

n o

f his fa

mily

’s

strug

gle fo

r surv

ival –

catchin

g sp

arrow

s for so

meth

ing

to eat –

thu

s placed

at a mo

men

t wh

ere

the fo

lk m

eanin

g o

f the so

ng

, lon

gin

g fo

r on

e’s ho

me, w

ou

ld h

ave b

een

sign

ificant to

my

narrato

r and

his fam

ily. A

lot o

f the g

enerated

electro

nic m

aterial for th

is piece

was in

spired

by

the m

elod

y o

f the fo

lk so

ng

(in an

abstra

ct way

), bu

t also in

a no

n-ab

stract way

, as my

ow

n tw

o

arrang

em

ents o

f it app

ear n

ear the p

iece’s en

d (se

e belo

w).

Th

e in

termitten

t dro

nes p

ersisting

thro

ug

ho

ut th

e piece sig

nal an

allusio

n to

the n

arrator’s state

of lim

bo

and

ho

melessn

ess thro

ug

ho

ut th

is perio

d o

f his life, w

hile

oth

er record

ed

env

iron

men

tal and

techn

olo

gical so

un

ds (b

irds, train

sou

nd

s, water so

un

ds, ch

ildren

laug

hin

g,

tree felling

, sweet w

rapp

ers) refe

r to sp

ecific p

oin

ts and

anecd

otes in

the n

arratio

n,

accom

pan

yin

g, in

vario

us lev

els of ab

straction

, like an

emb

ellished

reality

or in

termitten

t

emb

ellished

Fo

ley track

.

Fo

r instan

ce, b

ird so

un

ds are

heard

from

9’2

7’’ as m

y n

arrator re

calls his p

arents catch

ing

a

sparro

w fo

r som

ethin

g to

eat, tho

ug

h th

e acco

mp

any

ing

bird

sou

nd

s are o

f New

Zealan

d b

irds,

no

t Ru

ssian b

irds, fo

reshad

ow

ing

my

narrato

r’s arrival in

New

Zealan

d an

d h

is fascinatio

n w

ith

New

Zealan

d g

reenery

and

wild

life, in an

abstract sen

se.

- 1

12

-

So

un

d m

orp

ho

log

y p

lays a ro

le in

foresh

ado

win

g asp

ects o

f the n

arratio

n. F

or in

stance

, at

6’2

0’’, th

e n

arrator m

entio

ns th

e lack

of w

ater and

no

t bein

g ab

le to sh

ow

er, an

d in

stead h

avin

g

to b

athe “in

sno

w.” A

drip

pin

g w

ater sou

nd

accom

pan

ies his m

entio

n o

f sho

wers an

d w

ater, a

man

ipu

lated, so

fter water so

un

d acco

mp

anies h

is men

tion

of sn

ow

, and

then

harsh

er, ice-lik

e

sou

nd

s follo

w.

Mo

derate lev

els of ab

stractio

n b

etween

sou

nd

sou

rces an

d th

e narrativ

e were

achiev

ed b

y th

e

emp

loy

men

t of p

ercu

ssion

instru

men

ts. Th

e sn

are d

rum

rolls (p

un

ctuated

by

go

ng

s) from

8’1

0’’- 9

’25

’’ and

10

’05

’’- 11

’10

’’ evo

ke a

stron

g m

ilitary allu

sion

. Th

ese snare d

rum

rolls are

anticip

atory

son

ic sign

als for th

e fo

rthco

min

g ken

dh

an

g d

rum

min

g ‘b

attle’ (11

’14

’’- 12

’25

’’), a

metap

ho

ric stan

do

ff, represen

ting

the release

of th

e P

olish

priso

ners fro

m th

e cam

ps, to

figh

t on

the sid

e of th

e R

ussian

army

again

st the G

erman

army

, on

ce the G

erman

army

inv

aded

Ru

ssia.

Sim

ilarly, w

hile

my

narrato

r talks ab

ou

t his tem

po

rary refu

ge in

Iran at 1

6’3

0’’, w

e hear th

e

sou

nd

s of an

Iranian

tar (

) lute, p

layed

by

Farh

ad B

ah

rami, ev

ok

ing

the m

usical lan

gu

age o

f

the are

a.

Th

e ta

on

ga

po

ro at 1

7’2

0’’ an

d 1

7’5

3’’, sig

nals th

e welco

me to

and

arrival at P

ahiatu

a of th

e

refug

ees, evo

kin

g th

e m

usical lan

gu

age o

f Ao

tearo

a N

ew

Zealan

d. T

he F

rench

lang

uag

e

spo

ken

ov

er my

narrato

r’s reco

llection

of F

rench

class at hig

h sch

oo

l in N

ew

Zealan

d (at

18

’10

’’), by

add

ing

an ex

tra lay

er of sp

ok

en v

oice, d

isorien

ts and

con

fuses, as th

e listener’s ea

r

is torn

betw

een atten

din

g to

several v

oices sim

ultan

eou

sly, an

d p

urp

osefu

lly h

avin

g to

focu

s on

the n

arrator’s v

oice

to k

eep u

p w

ith th

e tale

. Th

is effect is in

tend

ed to

captu

re th

e d

isorien

tation

,

con

fusio

n an

d fru

stration

my

narrato

r mu

st hav

e exp

erienced

in try

ing

to sit th

rou

gh

classes, in

wh

ich a n

ew

lang

uag

e is b

eing

taug

ht th

rou

gh

ano

ther lan

gu

age th

at he co

uld

no

t yet

com

peten

tly sp

eak!

Th

e ‘m

ulticu

ltural in

terlud

e’ at 18

’56

’’ - 19

’10

’’, wh

ich

follo

ws fro

m th

e narrato

r’s jok

e abo

ut

con

fusin

g ‘b

oo

kk

eepin

g’ class w

ith w

hat it is th

at librarian

s do

, com

bin

es Ch

inese g

on

g so

un

ds,

Balin

ese Gam

elan (G

on

g K

ebya

r), basso

on

and

acco

rdio

n to

geth

er – all in

strum

ents w

ith

differen

t cultu

ral associatio

ns –

represen

ting

the d

iverse m

ulticu

ltural m

akeu

p o

f New

Zealan

d’s

po

pu

lation

, in an

arrang

em

ent o

f the m

elod

y o

f the P

olish

folk

son

g P

olskie K

wia

ty that m

y

narrato

r sang

at the b

egin

nin

g (an

d iterated

rou

gh

ly in

the m

idd

le) of th

e p

iece –

we th

us h

ear

this tu

ne at th

e beg

inn

ing

, mid

dle, an

d en

d o

f Po

dró

e. A se

con

d arran

gem

ent o

f that m

elod

y,

for a

“folk

ban

d” q

uartet o

f acco

rdio

n, b

assoo

n, clarin

et and

tam

bo

urin

e follo

ws (fro

m 1

9’1

0’’),

ov

er wh

ich m

y n

arrator w

raps u

p h

is tale, d

iscussin

g h

is plu

rality o

f iden

tity after liv

ing

in N

ew

Zealan

d fo

r 65

years –

he co

nsid

ers him

self bo

th P

olish

an

d a N

ew

Zealan

der.

- 1

13

-

PE

RF

OR

MA

NC

E H

IST

OR

Y (a

s of 1

2 J

uly

20

10

)

06

No

v 2

00

9

Realised

(by

the co

mp

oser) at “

Po

dró

e – Jo

urn

eys” at A

dam

Co

ncert R

oo

m,

New

Zealan

d S

cho

ol o

f Mu

sic (Kelb

urn

cam

pu

s), Wellin

gto

n

07

No

v 2

00

9

Realised

(by

the co

mp

oser) at “

Po

dró

e – Jo

urn

eys” at S

t. An

dre

w’s O

n T

he

Terra

ce, Wellin

gto

n

CD

RE

LE

AS

E

Th

e S

MP

En

sem

ble (2

01

0), P

od

róe –

Jou

rneys (N

ew

Zealan

d: A

msto

re)

- 1

14

-

VIII.

Eleg

y

Pian

o an

d Jav

anese

gam

elan

In A

ug

ust 2

00

9 I w

as com

pelled

to cre

ate a piec

e for th

e mem

ory

of a clo

se friend

. To

avo

id

sentim

entality

, I structu

red th

e pie

ce’s pitch

material se

rially, fro

m a 1

4-n

ote ro

w b

ased o

n h

er

nam

e th

at I created b

y tran

sferrin

g letters o

f the alp

hab

et to a p

itch at a

certain

octav

e: D2 , E

3 ,

Eb

2 , E1 , E

2 , E1 , A

2 , Eb

3 , D3 , E

1 , Eb

2 , D2 , A

b1 , A

1 . My

row

presen

ts on

ly fiv

e d

ifferen

t pitch

es:

Ab

, A, D

, Eb

, and

E –

pitch

es that create lo

ts of ‘o

pen

’ interv

als (fou

rths an

d fifth

s) with

wh

ich

I cou

ld co

nstru

ct an o

pen

, bare so

un

dw

orld

wh

ich w

ou

ld ‘sh

imm

er’ in v

aryin

g w

ays a

ccord

ing

to th

e mic

roto

nal tu

nin

g o

f the g

am

elan. as e

ach p

iano

no

te is do

ub

led b

y a

gam

elan n

ote

–

break

ing

free of th

e u

biq

uito

us co

nv

entio

n o

f the eq

ual-tem

pered

pian

o –

“twelv

e b

lack an

d

wh

ite bars in

fron

t of m

usical fre

edo

m,”

16 in

a way

repre

sentin

g, fo

r me, h

ow

I was feelin

g

wh

en w

riting

the p

iece.

Bec

ause o

f the tu

nin

g d

iscrepan

cies betw

een th

e W

estern

tun

ing

of a

pian

o, an

d th

e tun

ing

s of

Javan

ese gam

elan, d

ifferen

t un

ison

/octav

e harm

on

ies beat at d

ifferent rates, at d

ifferent reg

isters.

Ex

plo

ring

this co

ncep

t, I thu

s com

po

sed th

e p

iece to

wo

rk th

ou

gh

differen

t tensio

ns an

d releases,

leavin

g a lo

t of sp

ace, silen

ce, an

d e

mp

tiness aro

un

d th

e sou

nd

-even

ts so th

at the b

eating

no

tes

and

reson

ances co

uld

be p

rop

erly

perceiv

ed b

y th

e aud

ience in

the sp

ace o

f the p

erform

ance.

On

differen

t gam

elan sets, th

e beatin

g w

ill be d

ifferent ag

ain –

an ex

citing

pre

mise I en

deav

ou

r

to ex

plo

re if I ever en

d u

p in

a po

sition

to try

the p

iece o

ut o

n d

ifferent sets o

f gam

elan

instru

men

ts.

Th

e p

iano

part w

as com

po

sed first, an

d th

en ev

ery p

iano

no

te do

ub

led b

y at least o

ne g

am

elan

no

te. Th

e first two

realisation

s of th

e ro

w are

do

ub

led o

ne o

ctave h

igh

er by

gam

elan

instru

men

ts (bb

. 1-1

2; 1

2-1

6).

Du

ring

the th

ird tim

e th

rou

gh

the fo

urteen

-no

te row

, som

e of th

e p

iano

no

tes beg

in to

be

disp

laced in

to a d

ifferent reg

ister from

the o

pen

ing

row

, and

the o

ctave at w

hich

they

are

do

ub

led b

y th

e gam

elan in

strum

ents b

egin

to v

ary

:

16 P

artch (1

99

1), p

. 12

.

- 1

15

-

1 (D

2 ) +2

octav

es, do

ub

led at u

niso

n

2 (E

3 )+2

octav

es, do

ub

led at u

niso

n

3 (E

b2 ) +

2 o

ctaves, d

ou

bled

at un

ison

4 (E

1 ) om

itted

5 (E

2 ) +2

octav

es, do

ub

led at u

niso

n

6 (E

1 ) sam

e reg

ister, do

ub

led 1

octav

e

hig

her

7 (A

2 ) +4

octav

es, do

ub

led 1

octav

e low

er

8 (E

b3 ) +

2 o

ctaves, d

ou

bled

at un

ison

9 (D

3 ) +2

octav

es, do

ub

led at u

niso

n

10

(E1 ) sa

me reg

ister, do

ub

led 1

octav

e

hig

her

11

(Eb

2 ) +2

octav

es, do

ub

led at u

niso

n

12

(D2 ) +

3 o

ctaves, d

ou

bled

at un

ison

13

(Ab

1 ) +4

octav

es, do

ub

led at u

niso

n

14

(A1 ) +

2 o

ctaves, d

ou

bled

at un

ison

Th

e fo

urth

and

fifth/six

th tim

es thro

ug

h th

e row

hap

pen

simu

ltaneo

usly

: the ‘fo

urth

’ time is

realised b

y th

e left h

and

of th

e p

iano

writin

g (an

d is essen

tially a literal rep

eat of th

e first

instan

ce of th

e ro

w, ex

cep

t that 2

and

7 are

an o

ctave lo

wer th

is time), an

d th

e

‘fifth/six

th/sev

enth

’ times th

rou

gh

the ro

w are

realised

by

the rig

ht h

and

of th

e pian

o w

riting

(wh

ich are v

ery

‘sketch

y’ realisatio

ns o

f the ro

w –

see b

elow

). Th

e fou

rth tim

e th

rou

gh

is

do

ub

led an

octav

e h

igh

er by

gam

elan in

strum

ents, ex

cep

t for 1

2 an

d 1

4, w

hich

are

do

ub

led at

un

ison

. A u

niso

n d

ron

e fro

m th

e g

am

elan’s slen

them

main

tains itself, th

ou

gh

dy

ing

aw

ay, fro

m

straigh

t after 13

, un

til the p

iece en

ds –

with

a 1

at the o

rigin

al register, d

ou

bled

at un

ison

. Th

e

fifth/six

th/sev

enth

realisation

s of th

e row

are ‘in

com

ple

te’, and

are as follo

ws ((fo

llow

ing

1 &

2

from

the left h

and

’s fou

rth re

alisation

– se

e bb

. 21

-22

) 3, 4

, 7, 8

, 9, 1

1, 1

4; 8

, 9, 1

0, 1

0, 1

3; 8

, 9,

11

, 12

, 13

, 14

):

3 (E

b2 ) sa

me reg

ister, do

ub

led at u

niso

n

4 (E

1 ) +2

octav

es, do

ub

led at u

niso

n

7 (A

2 ) sam

e reg

ister, do

ub

led 1

octav

e

hig

her

8 (E

b3 ) sa

me reg

ister, do

ub

led 1

octav

e

hig

her

9 (D

3 ) sam

e reg

ister, do

ub

led 1

octav

e

hig

her

11

(Eb

2 ) sam

e register, d

ou

bled

2 o

ctaves

hig

her

14

(A1 ) sa

me reg

ister, do

ub

led 1

octav

e

hig

her

8 (E

b3 ) +

1 o

ctave, d

ou

bled

at un

ison

9 (D

3 ) +3

octav

es, do

ub

led 1

octav

e low

er

10

(E1 ) +

3 o

ctaves, d

ou

bled

at un

ison

10

(E1 ) +

3 o

ctaves, d

ou

bled

at un

ison

13

(Ab

1 ) +1

octav

e, do

ub

led at u

niso

n

8 (E

b3 ) +

2 o

ctaves, d

ou

bled

1 o

ctave h

igh

er

9 (D

3 ) +2

octav

es, do

ub

led at u

niso

n

11

(Eb

2 ) +2

octav

es, do

ub

led at u

niso

n

12

(D2 ) +

2 o

ctaves, d

ou

bled

at un

ison

13

(Ab

1 ) +2

octav

es, do

ub

led at u

niso

n

14

(A1 ) +

2 o

ctaves, d

ou

bled

at un

ison

- 11

6 -

All o

f the ab

ov

e can

be fo

llow

ed b

y in

spectin

g th

is ann

otated

cop

y o

f the sco

re, with

the

realisation

s of th

e row

(1 =

first no

te o

f row

, 2 =

seco

nd

no

te of ro

w, an

d so

on

) ann

otated

in th

e

pian

o p

art, alon

g w

ith o

missio

ns, o

ctave tran

spo

sition

s, and

so o

n:

- 1

17

-

- 1

18

-

- 1

19

-

- 1

20

-

- 1

21

-

- 1

22

-

Fig

. 3.1

5: A

nn

otated

score o

f Eleg

y

- 1

23

-

IX.

Ta

bu

la R

asa

Ch

inese ya

ng

qin

(du

lcimer) an

d electro

nics

Ta

bu

la R

asa

is ano

ther p

iece co

mp

osed

for C

hin

ese ya

ng

qin

play

er Wan

g H

ui, th

e o

ther b

eing

Melo

dy fo

r Vio

lin a

nd

Ya

ng

qin

. Sh

e w

as very

excited

wh

en I su

gg

ested a ya

ng

qin

-with

-live-

electron

ics piec

e – sh

e cou

ld th

ink

of n

o o

ther su

ch ex

isting

com

po

sition

, and

was v

ery

enth

usiastic ab

ou

t wo

rkin

g o

n it w

ith m

e.

In T

ab

ula

Ra

sa I ap

pro

ach

the ya

ng

qin

, a new

instru

men

t for m

e, as an artefact rath

er than

an

establish

ed fu

nctio

nal in

strum

ent. T

hin

k o

f the p

iano

, for in

stance. O

ne c

an eith

er com

po

se for

it in th

e latter, con

ven

tion

al sense (an

d w

rite mu

sic to b

e play

ed b

y a p

erform

er’s fin

gers o

n th

e

key

bo

ard), o

r on

e c

an co

mp

ose fo

r it in th

e fo

rmer sen

se, takin

g th

e p

iano

to b

e w

hat it, as an

artefact, p

hy

sically co

mp

rises – a

reson

ating

bo

x w

ith strin

gs an

d o

ther featu

res. Sto

ckh

ausen

exem

plifies th

is app

roach

in M

ikrop

ho

nie I (1

96

4) fo

r tam-ta

m, in

wh

ich h

e com

po

sed a

com

plex

grap

hic sco

re that in

structs p

erfo

rmers to

play

the in

strum

ent w

ith all k

ind

s of d

ifferent

materials an

d in

a n

on

-con

ven

tion

al man

ner. T

ab

ula

Ra

sa’s in

structio

ns en

cou

rage a so

nic

exp

loratio

n o

f the ya

ng

qin

: strikin

g th

e string

s with

the in

strum

ent’s trad

ition

al bam

bo

o m

allets,

fing

er-pick

ing

the strin

gs, strik

ing

the w

oo

db

oard

s with

the m

allets, kn

ock

ing

the w

oo

den

un

derb

elly, strik

ing

the tu

nin

g p

egs an

d th

e strin

gs p

ast the b

ridg

e. An

electro

nic m

anip

ulatio

n

of th

e sou

nd

s also tak

es place

in real-tim

e. H

ow

ever, th

e yan

gq

in is n

ot a

mp

lified –

the

aud

ience h

ears the d

irect acou

stic sou

nd

s of th

e yan

gq

in p

lus th

e man

ipu

lated electro

nic

material co

min

g o

ut o

f lou

dsp

eakers (se

e score fo

r dire

ction

s for th

e live electro

nics).

I am

interested

in ale

atoric m

usic an

d co

ntro

lled im

pro

visatio

n. W

ork

ing

with

a g

raph

ic score

for th

is piece

easily reso

lved

no

tation

issues, an

d fu

rtherm

ore

, the fa

ct that th

e p

iece w

ill be

differen

t in d

ifferent p

erform

ances is so

meth

ing

I em

brace.

PE

RF

OR

MA

NC

E H

IST

OR

Y (a

s of 1

2 J

uly

20

10

)

26

March

20

10

Wan

g H

ui (ya

ng

qin

) and

An

ton

Killin

(electro

nics) at M

assey C

on

cert H

all,

New

Zealan

d S

cho

ol o

f Mu

sic (Mo

un

t Co

ok

cam

pu

s), Wellin

gto

n

- 1

24

-

X.

Prim

es

Clarin

et in B

-flat solo

Math

em

atically in

fluen

ced

and

org

anised

aro

un

d stru

ctures w

ith p

rime n

um

ber relatio

nsh

ips,

Prim

es com

prises th

ree (a

prim

e n

um

ber) fo

rmal se

ction

s – G

rave

(from

b. 1

), Fa

st (from

b. 3

2),

and

Min

i cad

enza

(from

b. 4

8). T

he w

ork

was co

mp

osed

especially

for A

nd

rzej No

wick

i, wh

o

was v

ery ex

cited ab

ou

t my

idea o

f a m

athem

atically in

fluen

ced p

iece.

Th

e G

rave

section

com

prises 5

9 (a

prim

e n

um

ber) n

otes in

total. T

he p

itches w

ere ch

osen

from

the clarin

et’s low

est register, o

ther th

an a

sing

le “hig

her” E

-flat in b

ar 15

(as a m

arker h

alf-way

thro

ug

h th

e section

– as th

e thirtieth

no

te it bo

th fo

llow

s and

pre

cedes 2

9 n

otes, a p

rime n

um

ber,

insertin

g a d

egre

e of sy

mm

etry in

to th

e wo

rk), b

y a ran

do

m n

um

ber g

enerato

r – each

nu

mb

er

assign

ed to

a pitch

on

the cla

rinet.

Pitch

es that o

ccu

r twice

in a

row

are e

mb

ellished

with

a m

ultip

ho

nic p

itch (b

. 4 an

d b

b. 2

4-2

5).

b. 4

b

b. 2

4-2

5

Fig

. 3.1

6: E

xcerp

ts from

Prim

es

Th

e len

gth

of each

no

te and

its dy

nam

ic w

ere gen

erated

by

chan

ce o

peratio

ns (th

ou

gh

mu

ch o

f

wh

at the ch

ance

op

eration

s gen

erated

was rejected

– th

e section

was u

ltimately

thro

ug

h-

com

po

sed u

sing

wh

at ca

me u

p th

at I lik

ed an

d felt h

ad in

teresting

shap

es, vo

ice-leadin

gs an

d

jux

tapo

sition

). With

the ex

ceptio

n o

f gra

ce no

tes, pitch

es are no

t slurred

and

very

little

articulatio

n is sp

ecified o

ther th

an o

ccasio

nal ten

uto

directio

ns an

d ‘v

ibrato

; wid

enin

g v

ibrato

on

lon

ger n

otes’, u

ntil th

e last bar o

f the sectio

n (b

. 31

, a prim

e nu

mb

er), wh

ich co

ntain

s a sh

ort

ph

rase with

articu

lation

s I cho

se (a slu

rred fig

ure fo

llow

ed b

y tw

o ten

uto

pitch

es, follo

wed

by

three stac

cato p

itches, th

e mid

dle o

f wh

ich m

ay b

e play

ed w

ith slap

-ton

gu

e effect (if th

e

perfo

rmer is cap

able o

f perfo

rmin

g th

e effect). T

his fin

al ph

rase, alth

ou

gh

in th

e rang

e o

f the

first section

, anticip

ates the g

eneral v

ibe o

f, and

shifts to

, the m

aterial o

f the seco

nd

section

,

Fa

st:

- 1

25

-

b. 3

1

Fig

. 3.1

7: E

xcerp

t from

Prim

es

Fa

st com

prises 9

7 (a

prim

e n

um

ber) n

otes, p

redo

min

antly

from

the cla

rinet’s m

idd

le reg

ister.

Ag

ain, p

itches an

d rh

yth

ms w

ere g

enerated

by

chan

ce op

eration

s tho

ug

h I e

mp

loy

ed m

uch

mo

re

con

trol as co

mp

oser in

terms o

f dy

nam

ics, articu

lation

s and

ov

erall sh

ape –

any

thin

g g

enerated

by

the ch

ance o

peratio

ns th

at I did

no

t find

attractiv

e was d

ismissed

. Th

e con

trast betw

een

this

and

the first sectio

n is o

bv

iou

s: Fa

st con

tains sh

ort, fast, p

un

chy

, folk

-like p

hrases an

d m

aterial

– a d

irect ju

xtap

ositio

n to

the lo

ng

, smo

oth

, melan

cho

lic, ov

erall q

uieter m

aterial of G

rave

.

Afte

r 97

no

tes, from

b. 4

6 in

to b

. 47

(a p

rime n

um

ber), th

e final p

hrase

from

Gra

ve is re-

presen

ted, a little slo

wer th

an th

e 12

0 M

.M. o

f Fa

st (tho

ug

h m

uch

faster than

the 6

0 M

.M. o

f

Gra

ve), to

re-e

mp

hasise th

at sho

rt ph

rase, and

inse

rt ano

ther d

egre

e of sy

mm

etry in

to th

e wo

rk.

Th

e sectio

n en

ds w

ith an

exten

ded

, ‘tho

ug

htfu

l’ rest/pau

se, inten

ded

to sep

arate th

e third

and

final sectio

n, M

ini ca

den

za, fro

m th

e preced

ing

bo

dy

of th

e piec

e.

bb

. 46

-47

Fig

. 3.1

8: E

xcerp

t from

Prim

es

Min

i cad

enza

com

prises ju

st two

(a p

rime n

um

ber) p

hrases, each

con

tainin

g sev

en (a p

rime

nu

mb

er) pitch

es. On

ly th

e pitch

es are specified

– rh

yth

ms, d

uratio

ns, d

yn

am

ics, articulatio

ns,

exp

ression

, and

so o

n, are

left to th

e perfo

rmer’s d

iscretion

, and

may

be realised

differen

tly in

every

perfo

rman

ce o

f the p

iece. T

he se

ction

, like an

“after-th

ou

gh

t”, wrap

s up

the p

iece in

wh

atever m

ann

er cho

sen b

y th

e p

erform

er. Th

e idea

for th

is was in

spired

by

Fin

nish

clarinet

- 1

26

-

virtu

oso

Kari K

riiku

’s perfo

rman

ce w

ith th

e New

Zeala

nd

Sy

mp

ho

ny

Orch

estra o

f Mag

nu

s

Lin

db

erg’s C

larin

et Co

ncerto

(20

02

). 17 L

ind

berg

left th

e clarinet cad

enzas u

p to

the d

iscretion

of K

riiku

, wh

o co

uld

perfo

rm th

em

differen

tly at d

ifferent p

erform

ances.

PE

RF

OR

MA

NC

E H

IST

OR

Y (a

s of 1

2 J

uly

20

10

)

28

Oct 2

00

9

An

drzej N

ow

icki (clarin

et) at Ad

am C

on

cert R

oo

m, N

ew

Zealan

d S

cho

ol o

f

Mu

sic (Kelb

urn

cam

pu

s), Wellin

gto

n

28

May

20

10

A

nd

rzej No

wick

i (clarinet) at A

dam

Co

ncert R

oo

m, N

ew

Zealan

d S

cho

ol o

f

Mu

sic (Kelb

urn

cam

pu

s), Wellin

gto

n

4 Ju

ne 2

01

0

An

drzej N

ow

icki (clarin

et) at St M

ark’s C

hu

rch, L

ow

er Hu

tt

6 Ju

ne 2

01

0

An

drzej N

ow

icki (clarin

et) at Waik

anae

Mem

orial H

all, Waik

anae

17 N

ew Z

ealan

d S

ym

ph

on

y O

rchestra

(con

du

cted

by

Pietari In

kin

en), S

aturd

ay 1

2 Ju

ne 2

00

9, M

ichael

Fo

wler C

entre

, Wellin

gto

n. T

he p

iece w

as com

po

sed b

y L

ind

berg

especially

for K

riiku

.

- 1

27

-

XI.

After C

live Bell

Pian

o so

lo

After C

live Bell w

as com

po

sed in

respo

nse to

the ‘M

om

entary

Pleasu

res’ call-for-w

ork

s, for th

e

20

10

ISC

M (In

ternatio

nal S

ociety

for C

on

temp

orary

Mu

sic) in S

yd

ney

, Au

stralia. To

con

form

with

the req

uire

men

ts for su

bm

ission

, this p

iece w

as com

po

sed en

tirely in

a sing

le day

. My

wo

rk w

as insp

ired b

y C

live B

ell’s treatise Art (1

91

4), w

ho

se p

hilo

sop

hy

I reject in fav

ou

r of a

plu

ralist app

roach

(see A

pp

end

ix III).

After C

live Bell m

ixes serial an

d aleato

ric tech

niq

ues. T

he len

gth

of each

gestu

re is d

etermin

ed

by

the p

erform

er. Alth

ou

gh

certain

pitch

es do

reoccu

r and

do

min

ate, m

uch

of th

e mu

sical

lang

uag

e inv

olv

es chro

matic satu

ration

and

con

trasting

close-p

ositio

n d

isson

ant ch

ord

s with

op

en-p

ositio

n d

isson

ant ch

ord

s – co

nsid

er the v

ery

op

en

ing

:

Fig

. 3.1

9: E

xcerp

t from

After C

live B

ell

Rath

er than

mo

vin

g to

ward

s a clim

ax, th

e w

ork

mo

ves to

ward

s a mu

sically fro

zen, rep

etitive,

static end

ing

, wh

ich d

e-em

ph

asises con

ven

tion

al ideas o

f Western

ton

ality an

d fo

rm. T

he cy

clic

mu

sic of g

amelan

, the m

usic o

f Japan

ese sha

kuh

ach

i an

d sh

, and

rhy

thm

ic African

and

Ab

orig

inal A

ustralian

mu

sic hav

e all been

mu

sical influ

ences th

at hav

e enco

urag

ed m

e to

emb

race

con

cepts th

at do

no

t con

form

with

Western

mu

sical exp

ectation

s and

con

ven

tion

s.

Fig

. 3.2

0: E

xcerp

t from

After C

live B

ell

- 1

28

-

PE

RF

OR

MA

NC

E H

IST

OR

Y (a

s of 1

2 J

uly

20

10

)

27

Jun

e 20

10

S

am Ju

ry (p

iano

) at Ad

am

Co

ncert R

oo

m, N

ew

Zealan

d S

cho

ol o

f Mu

sic

(Kelb

urn

cam

pu

s), Wellin

gto

n

- 12

9 -

XII.

Ou

tside m

y fron

t do

or

Electro

acou

stic

Ou

tside m

y fro

nt d

oo

r is a ‘sou

nd

scape’ p

iece1 an

d a w

ork

for fix

ed m

edia

thro

ug

h th

e lens o

f

aco

ustic eco

log

y (or e

coaco

ustics), a

mix

ed d

isciplin

e co

ncern

ed w

ith th

e “in

terrelation

ship

betw

een

sou

nd

, natu

re, and

society

.”2 M

y o

ther co

mp

ositio

ns in

vo

lve cro

ss-cultu

ralism an

d

transcrip

tion

, imp

rov

isation

, and

an ‘aesth

etics of im

perfectio

n’ (see H

am

ilton

, 20

07

). Fo

r me,

acou

stic ecolo

gy

was th

e nex

t ob

vio

us ap

pro

ach fo

r bro

aden

ing

my

com

po

sition

al palate an

d fo

r

pro

du

cing

a wo

rk co

mp

rising

record

ed so

un

ds (i.e. a w

ork

of m

usiq

ue co

ncrète) in

wh

ich I

con

struct a listen

ing

exp

erience b

ased o

n a reco

rded

natu

ral reality

that I h

ave su

btly

emb

ellished

.

Mu

siqu

e con

crète com

po

sers, fo

llow

ing

the trad

ition

establish

ed b

y P

ierre Sch

aeffe

r and

oth

ers

in P

aris in 1

94

8, are co

ncern

ed w

ith asse

mb

ling

pieces o

f mu

sic ex

clusiv

ely fro

m reco

rded

sou

nd

s. Th

is con

trasts with

the E

lektro

nisch

e Mu

sik traditio

n estab

lished

sho

rtly after in

Co

log

ne b

y H

erb

ert Eim

ert, Wern

er Mey

er-Ep

pler an

d o

thers. F

am

ou

sly, K

arlh

einz

Sto

ckh

ausen

was a

mo

ng

st the first to

marry

the tw

o sch

oo

ls with

his G

esan

g d

er Jün

glin

ge

(19

56

) (see S

imm

s, 19

86

), com

bin

ing

pre-reco

rded

vo

ice with

electro

nic p

ulses an

d to

nes.

Th

e e

mb

ellished

natu

ral reality o

f Ou

tside m

y fron

t do

or req

uires a c

arefu

lly co

nsid

ered

play

back

vo

lum

e fo

r any

perfo

rman

ce or listen

ing

. It is no

t a lou

d aco

usm

atic piece; it is o

ne in

wh

ich its n

atural an

d m

an-m

ade so

un

ds co

uld

be m

istaken

as occu

ring

‘perh

aps ju

st ou

tside th

e

win

do

w’. T

o th

is end

, the p

iece is m

ixed

at a low

er v

olu

me lev

el than

usu

al.

Aco

ustic eco

log

y’s o

rigin

s can b

e traced to

Can

adian

co

mp

oser R

. Mu

rray S

chafe

r, wh

o w

as

interested

in h

ow

we “h

ear the a

cou

stic env

iron

men

t as a mu

sical com

po

sition

.”3 P

hilo

sop

her

Allen

Carlso

n (1

97

9 &

20

05

) arg

ues fo

r a th

eory

of a

esthetics o

f natu

ral env

iron

men

ts, and

natu

ral sou

nd

scapes fall u

nd

er this categ

ory

. Th

ank

s to C

arlso

n’s w

ork

it is no

w w

idely

accepted

in th

e ph

iloso

ph

ical literature th

at it is po

ssible to

app

reciate n

atural en

viro

nm

ents as

on

e app

reciates an

artwo

rk. T

herefo

re, o

ne c

an ap

preciate a

sou

nd

scape p

iece an

alog

ou

sly w

ith

app

reciating

a p

ho

tog

raph

of a n

atural lan

dscap

e. Bo

th are

artwo

rks created

by

artists – th

e

ph

oto

grap

her tak

es visu

al ‘snap

sho

ts’ of th

e en

viro

nm

en

t wh

ile the co

mp

oser tak

es aural o

nes.

1 Co

nsid

er Lu

c Ferrari’s im

po

rtant a

cou

smatic w

ork

Presq

ue R

ien n

o. 1

“L

e lev

er du

Jou

r au

Bo

rd d

e la

Mer”

(19

70

), wh

ich is a 2

1-m

inu

te au

dio

reco

rdin

g o

f a seaside w

harf a

t sun

srise. 2 W

esterkam

p (2

00

2), p

. 52

. 3 W

righ

tson

(20

00

), p. 1

0.

- 1

30

-

Mo

reov

er, th

e com

po

ser’s con

tribu

tion

to a so

un

dscap

e p

iece is n

ot triv

ial; Ham

ilton

iden

tifies

som

e of th

ese com

po

sition

al decisio

ns, “

wh

en to

start record

ing

, the k

ind

of m

icrop

ho

ne, its

locatio

n an

d d

irection

, and

so o

n.”

4 In o

rder to

mak

e these co

mp

ositio

nal d

ecision

s sign

ificant, I

limited

the d

uratio

n o

f the w

ork

to o

ne m

inu

te. 5 I believ

e that th

e min

iature fo

rm in

electroaco

ustic m

usic cap

tures th

e listen

er’s cog

nitiv

e ‘detectiv

e’ cap

acities, pro

mp

ting

, for

sou

nd

scape p

ieces, such

qu

estion

s as ‘wh

ere w

as this reco

rded

?’, ‘w

hat ex

actly is p

rod

ucin

g

these so

un

ds?’, ‘w

hat so

un

ds, if an

y, h

ave b

een

sup

erimp

osed

?’, and

‘wh

at exactly

abo

ut th

e

mu

sicality o

f these

natu

ral sou

nd

s were

attractive to

the co

mp

ose

r?’.

Co

mp

ositio

nal d

ecision

s of (a) ch

oo

sing

wh

en to

start an

d sto

p reco

rdin

g, (b

) wh

en to

beg

in an

d

end

the p

iece, an

d (c) m

icro

ph

on

e typ

e and

plac

emen

t, play

sign

ifcant ro

les in th

e re

alisation

and

represen

tation

of th

e o

rigin

al sou

nd

scape –

it is ho

w th

e com

po

ser ex

presses h

is/her

attraction

to th

e sou

nd

s, thro

ug

h th

e creativ

e pro

cess of v

alue ch

oic

es, such

as wh

ere the p

iece

sho

uld

start and

wh

at the fid

elity o

f the reco

rdin

gs sh

ou

ld b

e. Th

is exp

ression

will b

e

influ

enced

bo

th b

y th

e co

mp

ose

r’s ow

n re

al-time ex

perien

ce of th

e sou

nd

scape w

hilst

un

dertak

ing

the re

cord

ing

s, and

the co

mp

oser’s in

tend

ed

ecolo

gical state

men

t in co

mp

osin

g th

e

piece (if in

deed

there

is on

e).

Th

is, ho

wev

er, assum

es that th

e co

mp

oser is also

the re

cord

ist. If this is n

ot th

e case, and

the

com

po

ser is assem

blin

g a so

un

dscap

e p

iece w

ith sa

mp

led re

cord

ing

s, the co

mp

ose

r’s no

n-

exp

erience

of th

e aco

ustic eco

log

y w

ill un

do

ub

tedly

lead

to d

ifferent v

alue ch

oices b

eing

mad

e

du

ring

the cre

ative p

rocess o

f com

po

sition

. Th

e decisio

n-m

akin

g w

ou

ld b

e m

ore a

na

log

ou

s on

the co

ntin

uu

m to

‘stand

ard

’ mu

siqu

e con

crète co

mp

ositio

n, rath

er than

the p

resent ‘th

rou

gh

the

lens o

f aco

ustic eco

log

y’ m

usiq

ue co

ncrète

, even

if the co

mp

oser h

as som

e deg

ree o

f an

acou

stic ecolo

gical ap

pro

ach in

min

d.

Fu

rtherm

ore

, there is u

nreso

lved

deb

ate a

mo

ng

st sou

nd

scape co

mp

osers, an

d in

deed

, am

on

gst

acou

stic ecolo

gists, reg

ardin

g w

heth

er or n

ot to

no

n-in

clu

de m

an-m

ade so

un

ds in

sou

nd

scape

pieces, p

erhap

s by

rem

ov

ing

them

from

the re

cord

ing

via stu

dio

editin

g, o

r by

avo

idin

g

record

ing

them

in th

e first p

lace (see D

un

n, 1

99

7). It seem

s to m

e that th

ere is n

o p

rob

lem in

creating

a so

un

dscap

e p

iece w

ith re

cord

ing

s that d

o n

ot co

ntain

man

-mad

e so

un

ds in

vad

ing

the

natu

ral acou

stic ecolo

gy

, if there are

no

man

-mad

e so

un

ds in

vad

ing

the n

atural a

cou

stic ecolo

gy

at the tim

e o

f record

ing

. Ho

wev

er, if there

are m

an-m

ad

e sou

nd

s inv

adin

g th

e natu

ral acou

stic

ecolo

gy

at the tim

e of reco

rdin

g, ch

oo

sing

to elim

inate

them

from

the p

iece is a co

mp

ositio

nal

4 Ham

ilton

(20

07

), p. 6

2

5 Lim

iting

it to o

ne m

inu

te a

lso m

ade it p

ossib

le for m

e to

sub

mit it to

the V

ox

No

vu

s “60

x6

0”

electro

acou

stic mu

sic com

po

sition

series, for w

hich

it was ac

cepted

for th

e “20

10

Scarlet M

ix” –

an h

ou

r-

lon

g aco

usm

atic co

ncert co

mp

rising

sixty

-secon

d p

ieces fro

m six

ty co

mp

osers fro

m all o

ver th

e glo

be.

- 1

31

-

decisio

n w

hich

seem

s to m

e to

un

derm

ine th

e p

roject o

f the aco

ustic eco

log

ist, bein

g n

ot so

lely

con

cerned

with

pu

rely n

atural a

cou

stic ecosy

stems, b

ut also

with

ho

w h

um

an so

cial and

techn

olo

gical life in

terrup

ts natu

ral acou

stic ecosy

stems. A

similar lin

e is d

efend

ed b

y

sou

nd

scape co

mp

oser F

rancisco

Ló

pez

(19

98

). Fu

rtherm

ore

,

[It is] imp

ortan

t to re

mem

ber th

at the o

rigin

al imp

etus fo

r sou

nd

scape a

waren

ess cam

e

from

com

po

sers an

d m

usician

s. We are

the o

nes th

at mak

e listen

ing

and

wo

rkin

g w

ith

sou

nd

and

mu

sic ou

r pro

fession

. It is there

fore

a log

ical ex

tensio

n th

at we w

ou

ld also

be co

ncern

ed ab

ou

t the e

colo

gical h

ealth o

f ou

r acou

stic env

iron

men

t and

all livin

g

bein

gs w

ithin

… T

he q

uestio

n is, h

ow

can so

un

dscap

e com

po

sition

enh

ance

such

env

iron

men

tal listenin

g a

waren

ess? W

hat is its ro

le in in

spirin

g id

eas abo

ut b

alanced

sou

nd

scapes an

d aco

ustic eco

log

y? H

ow

can th

e sou

nd

scape co

mp

oser raise

listenin

g

awaren

ess in an

alread

y o

verlo

aded

sou

nd

wo

rld w

ith y

et ano

ther so

un

d p

iece?

Wh

at is

the eco

log

ical stance th

at we tak

e thro

ug

h o

ur co

mp

ositio

ns b

oth

as listener an

d

com

po

ser? …

An

d h

ow

can w

e con

vin

ce oth

er eco

log

ists that th

e po

llutio

n o

f ou

r

sou

nd

scape is as m

uch

of an

env

iron

men

tal issue as th

e p

ollu

tion

of w

ater and

air – th

at

ind

eed, it is th

e ‘vo

ice’ wh

ich m

akes th

e wo

rld’s en

viro

nm

ental p

rob

lem

s aud

ible to

all

tho

se wh

o ca

re to listen

?6

My

ow

n ap

pro

ach

for O

utsid

e my fro

nt d

oo

r inv

olv

es con

trasting

the n

atural so

un

ds o

f wh

ere I

live, w

ith an

y m

an-m

ade so

un

ds in

vad

ing

that n

atural a

cou

stic ecolo

gy

. Ev

en as “th

e

op

po

rtun

ity to

exp

erience “n

atural”

sou

nd

s decreases w

ith each

gen

eration

du

e to

the

destru

ction

of n

atural h

abitats”

7 man

y o

f us n

everth

eless con

tinu

e ou

r curren

t lifestyles, an

d th

is

is wh

at I aim to

brin

g atten

tion

to in

this sh

ort p

iece. A

s a com

po

ser and

sou

nd

-lov

er, I regret

the lo

ss of d

iversity

in th

e natu

ral aco

ustic eco

log

y, as an

anim

al-lov

er or p

lant-lo

ver reg

rets the

loss o

f bio

div

ersity in

natu

ral env

iron

men

ts.

I waited

for a p

leasant su

mm

er’s day

, and

for th

e tu

is to ap

pea

r (as they

often

did

at that tim

e o

f

the y

ear) to th

e po

hu

tuk

aw

a tree o

utsid

e my

fron

t do

or. I reco

rded

in sh

ort b

ursts th

at afterno

on

,

tryin

g d

ifferent m

icrop

ho

ne p

ositio

ns an

d d

irection

s, and

so o

n. I ch

ose tw

o o

ne-m

inu

te aud

io

clips fro

m th

is po

ol o

f reco

rdin

gs an

d d

ecided

to su

perim

po

se them

, em

bellish

ing

reality. T

he

sou

nd

s of ch

icks ch

irpin

g an

d tu

is calling

are con

trasted

with

the so

un

ds o

f plan

es flyin

g

ov

erhead

, cars d

rivin

g p

ast and

my

neig

hb

ou

r’s creaky

gate sw

ing

ing

in th

e win

d, u

ntil, at

0’5

8’’, th

e p

iece en

ds su

dd

enly

wh

en th

e g

ate slam

s shu

t – rev

erb

add

ed (th

e o

nly

instan

ce of

electron

ic man

ipu

lation

of reco

rded

sou

nd

in th

e pie

ce).

Alth

ou

gh

this p

iece do

es no

t dra

w u

po

n an

y cro

ss-cultu

ral mu

sical m

aterial, it is ind

icative o

f

an ap

pro

ach

in w

hich

the so

un

ds o

f an ‘o

ther’ are

prese

nted

as mu

sic. In th

is piec

e, I presen

t

natu

ral and

tech

no

log

ical sou

nd

s tog

ether, a

s mu

sic, just as I p

resent cro

ss-cultu

ral mu

sic,

6 Westerk

amp

(20

02

), p. 5

2.

7 Wrig

htso

n (2

00

0), p

. 12

.

- 1

32

-

instru

men

ts, and

mu

sical mate

rials tog

ether, in

oth

er wo

rks, in

an attem

pt to

‘op

en th

e au

dien

ces

ears’ to ex

citing

new

mu

sical po

ssibilities. 8

PE

RF

OR

MA

NC

E H

IST

OR

Y (a

s of 1

2 J

uly

20

10

)

1 Ju

ne 2

01

0

Presen

ted b

y V

ox

No

vu

s at ICM

C at th

e Electro

nic M

usic F

ou

nd

ation

, New

Yo

rk, U

SA

2 Ju

ne 2

01

0

Presen

ted b

y V

ox

No

vu

s at ICM

C at th

e Electro

nic M

usic F

ou

nd

ation

, New

Yo

rk, U

SA

3 Ju

ne 2

01

0

Presen

ted b

y V

ox

No

vu

s at ICM

C at W

ang

Cen

ter Ch

ap

el, Sto

ny

Bro

ok

Un

iversity

, New

Yo

rk, U

SA

4 Ju

ne 2

01

0

Presen

ted b

y V

ox

No

vu

s at ICM

C at W

ang

Cen

ter Ch

ap

el, Sto

ny

Bro

ok

Un

iversity

, New

Yo

rk, U

SA

5 Ju

ne 2

01

0

Presen

ted b

y V

ox

No

vu

s at ICM

C at W

ang

Cen

ter Ch

ap

el, Sto

ny

Bro

ok

Un

iversity

, New

Yo

rk, U

SA

8 Ju

ly 2

01

0

Presen

ted b

y V

ox

No

vu

s at the N

elson

Sch

oo

l of M

usic, N

elson

, New

Zealan

d

SC

HE

DU

LE

D F

UT

UR

E P

ER

FO

RM

AN

CE

S

14

July

20

10

P

resented

by

Vo

x N

ov

us at th

e Ad

am C

on

cert Ro

om

, New

Zealan

d S

cho

ol o

f

Mu

sic (Kelb

urn

cam

pu

s), Wellin

gto

n

31

July

20

10

P

resented

by

SM

P E

nse

mb

le at the A

dam

Co

ncert R

oo

m, N

ew

Zealan

d S

cho

ol

of M

usic

(Kelb

urn

cam

pu

s), Wellin

gto

n

4 A

ug

20

10

P

resented

by

Vo

x N

ov

us at T

on

-Art-E

xp

o, M

argit H

aup

t, Karlsru

he, G

erman

y

8 I am

rem

ind

ed o

f two

of Jo

hn

Cag

e’s famo

us q

uip

s, “Wh

erev

er we are

, wh

at we h

ear is mo

stly n

oise.

Wh

en w

e ig

no

re it, it d

isturb

s us. W

hen

we listen

to it, w

e find

it fascinatin

g” an

d “

Wh

ich is m

ore

mu

sical, a

truck

passin

g b

y a fac

tory

or a tru

ck p

assing

by

a m

usic sch

oo

l?” (C

age q

uo

ted in

Mo

rris, 19

67

,

p. 4

72

). Part o

f a co

mp

oser’s m

ission

sho

uld

be to

furth

er dev

elop

the ro

le of m

usic

bo

th a

s an

artfo

rm,

and

in th

e a

rtwo

rld. P

art of th

is inn

ov

ation

is challen

gin

g w

hat it is fo

r som

eth

ing

to co

un

t as m

usic.

- 1

33

-

28

Au

g 2

01

0

Presen

ted b

y V

ox

No

vu

s at the In

ternatio

nal S

ou

nd

Art F

estival B

erlin,

in B

erlin, G

erman

y

- 1

34

-

CH

AP

TE

R F

OU

R

CO

NC

LU

SIO

N

Mu

sic com

po

sition

is a creative p

rocess sh

aped

by

the trad

ition

s, valu

es, intu

ition

s and

beliefs

of th

e com

po

ser. Cro

ss-cultu

ral com

po

sition

is a partic

ular p

ractice th

at is no

w w

idely

ackn

ow

ledg

ed an

d en

gag

ed in

by

man

y co

ntem

po

rary c

om

po

sers. A cro

ss-cultu

ral com

po

sition

practice o

ffers n

ew

po

ssibilities th

at com

po

sing

strictly w

ithin

the W

estern art trad

ition

do

es no

t

allow

. Th

ese po

ssibilites in

clud

e accessing

new

timb

res, tu

nin

g sy

stems, an

d o

ther m

ediu

ms o

f

exp

ression

. Th

e utilisatio

n o

f no

n-W

estern m

usical in

strum

ents, th

e ad

op

tion

of n

on

-Western

con

cepts o

f form

and

strucu

tre, and

con

sideratio

n o

f the m

usic

al aesthetics o

f mu

sical traditio

ns

ou

tside o

f the W

estern trad

ition

is a ch

alleng

ing

and

enrich

ing

path

to th

e futu

re for co

mp

osers

of to

day

.

Th

is thesis h

as exam

ined

top

ics relevan

t to c

ross-cu

ltural m

usical cre

ation

such

as particip

ant

ob

servatio

n, tu

nin

g sy

stems, n

otatio

nal sy

stems, co

mp

oser/p

erform

er collab

oratio

n, aesth

etics,

and

issues o

f cultu

ral app

rop

riation

. In n

avig

ating

these issu

es I hav

e kep

t in m

ind

that all

mu

sical traditio

ns h

ave eq

ual v

alidity

and

valu

e, and

I hav

e attem

pted

to sh

ow

du

e respect an

d

sensitiv

ity to

oth

er mu

sical traditio

ns th

rou

gh

ou

t my

creative en

deav

ou

rs.

In th

e wo

rds o

f Ph

ilip G

lass, “T

raditio

ns are im

plo

din

g an

d ex

plo

din

g ev

eryw

here

– ev

ery

thin

g

is com

ing

tog

ether, fo

r better o

r for w

orse, an

d w

e can

no

lon

ger p

retend

we’re all liv

ing

in

differen

t wo

rlds b

ecause

we’re

on

differen

t con

tinen

ts.”1 G

lass’s ob

servatio

n reso

nates w

ith m

y

ow

n sen

se of th

e state o

f mu

sickin

g in

a g

lob

al mu

sical env

iron

men

t as well as m

y p

erso

nal

app

roach

to m

usical cre

ativity

; by

syn

thesisin

g elem

ents o

f Western

and

no

n-W

estern m

usic

mak

ing

with

respect an

d sen

sitivity

, I ackn

ow

ledg

e th

e increasin

g g

lob

al intersectio

ns o

f

mu

sical com

po

sition

in m

y o

wn

wo

rks an

d th

e po

tentia

l of th

is syn

thesis to

brin

g ab

ou

t new

mo

des o

f mu

sical p

ractice an

d e

mb

od

ied k

no

wled

ge. 2

1 Glass (n

.d.), <

http

://ww

w.b

rain

yq

uo

te.co

m/q

uo

tes/q

uo

tes/p/p

hilip

glas2

00

89

2.h

tml/>

Accessed

10

/07

/20

10

. 2 I k

ind

ly th

ank

on

e of m

y an

on

ym

ou

s thesis ex

amin

ers for su

gg

esting

the w

ord

ing

of th

is final sen

tence

,

wh

ich I h

ave in

serted v

erbatim

in p

lace o

f its earlier versio

n.

- 1

35

-

AP

PE

ND

ICE

S

AP

PE

ND

IX I

Co

mp

ose C

ase

Stu

dy

– L

ou

Ha

rrison

Am

erican

com

po

ser Lo

u H

arriso

n (1

91

7-2

00

3) is reg

arded

by

man

y as a

pio

neer o

f cro

ss-

cultu

ral mu

sic com

po

sition

, especially

for co

mb

inin

g g

amelan

and

som

etimes o

ther A

sian

instru

men

ts with

Western

instru

men

ts (see S

piller, 2

00

9; M

iller & L

ieberm

an, 2

00

4). It is

almo

st imp

ossib

le to co

nsid

er the to

pic o

f cross-cu

ltura

l com

po

sition

with

ou

t ackn

ow

ledg

ing

the m

usic o

f Lo

u H

arrison

.

Man

y o

f Harriso

n’s e

arliest matu

re wo

rks w

ere p

ercussio

n p

ieces utilisin

g fo

un

d o

bjects an

d

scrap m

etal, such

as Su

ite for P

ercussio

n (1

94

2) an

d D

ou

ble M

usic

(19

41

– jo

int au

tho

rship

with

Joh

n C

age):

Fig

. I.1: Jo

hn

Cag

e an

d L

ou

Harriso

n (first h

alf o

f first pag

e): Do

ub

le Mu

sic (19

41

), pu

blish

ed b

y C

. F. P

eters

Co

rpo

ration

, US

A (1

96

1) p

. 5

Harriso

n w

as interested

in A

sian m

usics, esp

ecially

Ko

rean m

usic, an

d le

arnt to

play

piri, a

do

ub

le-reed b

amb

oo

win

d in

strum

ent, stu

dy

ing

un

der trad

ition

al Ko

rean m

usic ex

pert D

r. Lee

Hy

e K

u (v

on

Gu

nd

en, 1

99

5). H

e co

mp

osed

man

y n

ew

wo

rks u

sing

this in

strum

ent, in

clud

ing

Mo

on

gu

nkw

ha

, Se T

an

g A

k (19

61

), Qu

inta

l Ta

ryun

g (1

96

1), P

relud

e for P

iri an

d H

arm

on

ium

- 1

36

-

(19

62

), No

va O

do

(19

63

), and

in P

acifica

Ro

nd

o (1

96

3) alo

ng

side o

ther C

hin

ese an

d K

orean

instru

men

ts – sh

eng

(Ch

inese m

ou

th o

rgan

), gu

zhen

g (C

hin

ese zither, also

spelt ‘ch

eng

’), and

kaya

geu

m (K

orean

zither) –

with

Western

instru

men

ts, psalteries an

d tu

ned

bo

wls:

Fig

. I.2: L

ou

Harriso

n: fro

m “L

a F

amilio

de la R

egh

a Ko

rto” fro

m P

acifica

Ro

nd

o (1

96

3) p

ub

lished

in v

on

Gu

nd

en

(19

95

), p. 1

76

Fig

. I.3: L

ou

Harriso

n: fro

m “L

ud

ado

de L

’Delfen

oj” fro

m P

acifica

Ro

nd

o (1

96

3), p

ub

lished

in v

on

Gu

nd

en (1

99

5),

p. 1

79

Harriso

n co

ntin

ued

to lea

rn C

hin

ese and

Ko

rean

instru

men

ts, and

perfo

rmed

man

y tim

es in a

Ch

inese m

usic en

sem

ble

in th

e 19

60

s (Miller &

Lieb

erman

, 19

99

). His in

terest in p

ercussio

n,

com

bin

ed w

ith an

interest in

Asian

mu

sic, cu

lmin

ated in

the co

nstru

ction

, ou

t of alu

min

ium

and

scrap m

etals, of an

‘Am

erican

Gam

elan’ w

ith p

artner B

ill Co

lvig

– n

amed

so it co

uld

be

iden

tified as d

ifferen

t, tho

ug

h in

spired

by

, Ind

on

esian g

amelan

. It was u

sed as a

veh

icle fo

r new

com

po

sition

s rather th

an p

erform

ing

traditio

nal Jav

anese o

nes (P

erlman

, 19

94

). Harriso

n’s

piri

- 1

37

-

com

po

sition

s for A

meric

an g

am

elan in

clud

e La

Ko

ro S

utro

(19

72

) and

Su

ite for V

iolin

an

d

Am

erican

Ga

mela

n (1

97

4 –

join

t auth

orsh

ip w

ith v

iolin

solo

ist Rich

ard D

ee). Harriso

n th

en

stud

ied Jav

anese g

am

elan u

nd

er Pak

Co

kro

1 in C

aliforn

ia, and

, initially

at Co

kro

’s inv

itation

,

com

po

sed m

any

traditio

nal-sty

le gam

elan p

ieces (usin

g co

nv

entio

nal fo

rms an

d m

od

es) for

Javan

ese gam

elan, su

ch as G

end

ing

Sa

mu

el (19

76

), Gen

din

g P

ak C

okro

(19

76

), Bu

ba

ran

Ro

bert (1

97

6 –

revised

, with

add

ed p

iccolo

trum

pet so

lo, in

19

81

), La

nca

ran

Da

niel (1

97

6),

La

gu

So

ciseknu

m (1

97

6), G

end

ing

Pa

ul (1

97

7), G

end

ing

Jod

y (19

77

), Gen

din

g A

lexan

der

(19

81

), and

man

y, m

any

oth

ers (see Miller &

Lieb

erman

, 20

04

). 2

Fig

. I.4: L

ou

Harriso

n: L

ag

u S

ocise

knu

m (1

97

6), p

ub

lished

in H

arrison

& N

eilson

[eds] (1

98

1), p

. 12

Su

perficially

, this lo

ok

s like th

e no

tation

of a

stand

ard Jav

anese g

amelan

piec

e. Th

e co

loto

mic

structu

re is ind

icated ab

ov

e the n

otatio

n (T

= ketu

k, N =

keno

ng

, P =

kem

pu

l, and

the g

on

g

ag

eng

no

te is circled

). Ho

wev

er, there

are

clues th

at the p

iece

is a wo

rk b

y a W

estern co

mp

oser:

the o

ctave leap

(from

low

6 to

6) in

the fin

al ga

tra is alien

in trad

ition

al Javan

ese g

am

elan

mu

sic, and

Harriso

n ask

s the b

on

an

g p

layer to

ign

ore th

e low

6 in

extrap

olatin

g th

e bo

na

ng

part:

Fig

. I.5: S

up

plem

ent: L

ou

Harriso

n: L

ag

u S

ocise

knu

m (1

97

6), p

ub

lished

in H

arriso

n &

Neilso

n [ed

s] (19

81

), p. 1

3

Oth

er than

that, th

e bo

na

ng

play

er p

lays au

then

tic, traditio

nal m

ipil tech

niq

ue (d

ou

blin

g,

alternately

, the tw

o fo

rthco

min

g n

otes o

f the b

alu

ng

an

), tho

ug

h th

e rest after th

e 5

in th

e secon

d

ga

tra o

f the b

alu

ng

an

cou

ld also

be in

terpreted

as a cue fo

r gem

bya

ng

an

techn

iqu

e (o

ctaves

syn

cop

ated ag

ainst th

e ba

lun

ga

n), as ty

pically

a b

on

an

g p

layer fills in

the ‘rest’ in

the b

alu

ng

an

line w

ith th

e p

revio

us n

ote. In

La

gu

So

ciseknu

m, th

e very

first rest, in th

e first g

atra

, gets

‘filled in

’ with

a tw

o, th

e p

revio

us n

ote/last n

ote o

f the cy

cle, so th

at the m

ipil p

attern 2

32

3 is

1 Alth

ou

gh

bo

rn C

ok

row

asito (‘C

ok

ro’ fo

r sho

rt), Ind

on

esian h

on

ou

rs besto

wed

up

on

him

resulted

in

severa

l form

al nam

e chan

ges, fro

m K

.R.T

. Wasito

dip

uro

and

K.R

.T. W

asitod

inin

gra

t to K

.P.H

.

No

top

rojo

. 2 T

hese w

ork

s are in

the co

nven

tion

of trad

ition

al Javan

ese gam

elan –

it is bo

th rare

and

hu

mb

ling

for a

com

po

ser to su

bm

it so co

mp

lete

ly to

the trad

ition

of an

oth

er cultu

re.

- 1

38

-

gen

erated. L

ikew

ise, th

e first rest o

f the seco

nd

ga

tra is filled

in w

ith a 5

, the p

revio

us n

ote, so

that th

e mip

il pattern

51

51

is gen

erated. T

he rest a

fter the 5

in th

e seco

nd

ga

tra, h

ow

ever,

Harriso

n sp

ecifies to fill in

with

a 1, rath

er than

a 5

, creatin

g a p

alind

rom

e pattern

for th

at ga

tra:

51

51

15

15

. Th

is sho

ws th

at Harriso

n w

as interested

in ad

op

ting

auth

entic trad

ition

al

perfo

rman

ce p

ractice, bu

t also d

evelo

pin

g it so

that it w

ou

ld w

ork

with

the v

ision

that h

e had

for

the co

mp

ositio

n.

Fig

. I.6: L

ou

Harriso

n: B

ub

ara

n R

ob

ert (19

76

rev. 1

98

1), p

ub

lished

in H

arrison

& N

eilson

[eds] (1

98

1), p

. 11

Harriso

n’s B

ub

ara

n R

ob

ert also lo

ok

s like a

con

ven

tion

al Javan

ese g

am

elan p

iece

. Th

e

ba

lun

ga

n co

ntain

s mu

ted stru

ck to

nes, th

ou

gh

this tech

niq

ue d

oes o

ccur in

Javan

ese mu

sic. Th

e

deco

rating

instru

men

ts play

ga

rap

for la

ras slen

dro

pa

thet m

an

yura

and

the co

loto

mic

structu

re

is ind

icated. A

gain

, ho

wev

er, there a

re clues th

at the w

ork

is com

po

sed b

y a

Western

com

po

ser

in th

e bo

na

ng

part th

at Harriso

n in

clud

es:

Fig

. I.7: S

up

plem

ent: L

ou

Harriso

n: B

ub

ara

n R

ob

ert (19

76

rev. 1

98

1), p

ub

lished

in H

arriso

n &

Neilso

n [ed

s] (19

81

),

p. 1

3

- 1

39

-

Th

e ab

ov

e ex

cerp

t con

tains th

e extrap

olatio

n o

f the first six

ga

tra fo

r bo

na

ng

and

bo

na

ng

pa

neru

s, abo

ve th

e b

alu

ng

an

line. T

he fifth

ga

tra is th

e on

ly o

ne o

ut o

f the first six

ga

tra o

f the

piece th

at com

prises trad

ition

al style m

ipil. 3 In

the first g

atra

, instead

of fillin

g in

the rest (th

e

mu

ted stru

ck to

nes) w

ith a

6, th

e p

revio

us n

ote

, and

switch

ing

to g

emb

yan

ga

n, 4 H

arrison

instru

cts the b

on

an

g to

play

an ascen

din

g fo

ur n

ote sc

ale, 23

56

– u

nch

aracteristic for b

on

an

g,

bu

t ultim

ately th

e melo

dy

that H

arriso

n d

esired (D

iamo

nd

, 19

87

). Th

e th

ird g

atra

is a

transp

ositio

n o

f the first, o

ne to

ne lo

wer, so

its rest is filled in

similarly

, with

12

35

. Th

e seco

nd

and

fou

rth g

atra

utilise a v

ersio

n o

f mip

il that H

arriso

n h

as con

structed

: instead

of 3

53

5 o

ver

ba

lun

ga

n 3

5, as in

the fo

urth

ga

tra, th

e bo

na

ng

play

s 35

65

, repla

cing

the first n

ote

of th

e

pattern

with

the ad

jacen

t hig

her n

ote o

f the se

con

d n

ote

of th

e p

attern, creatin

g a

gen

erally u

p-

then

-do

wn

stepw

ise m

elod

ic con

tou

r:

Fig

I.8: M

elod

ic con

tou

r of b

on

an

g p

art in H

arriso

n’s B

ub

ara

n R

ob

ert

Th

is style o

f deco

ration

is again

used

in th

e seco

nd

half o

f the fo

urth

ga

tra –

23

53

ov

er 2

3 –

and

the se

con

d g

atra

is a transp

ositio

n o

f the fo

urth

, up

on

e ton

e, so is u

sed ag

ain th

ere also

.

Th

e six

th g

atra

emp

loy

s gem

bya

ng

an

style p

layin

g as, u

nlik

e the o

ther o

ccasio

ns, th

e rest is

filled in

with

the p

revio

us n

ote, trad

ition

ally req

uirin

g a

play

er to p

lay a

syn

cop

ated rh

yth

m in

octav

es – h

ow

ever th

e rh

yth

m th

at Harriso

n g

ives is h

is ow

n, an

d is n

ot th

e traditio

nal

gem

bya

ng

an

rhy

thm

, and

no

r is the b

on

an

g p

an

erus co

un

terpart o

f that g

em

bya

ng

an

rhy

thm

(thro

ug

ho

ut th

e rest of th

e excerp

t, ho

wev

er, th

e b

on

an

g p

an

erus d

oes p

lay a Jav

anese sty

le

do

ub

ling

of th

e bo

na

ng

part). A

ll of th

ese clu

es tog

ether g

ive th

e p

iece a

distin

ctively

no

n-

Javan

ese feel – th

ou

gh

to a listen

er no

t fam

iliar with

the co

nv

entio

ns o

f Javan

ese g

am

elan, th

e

differen

ce m

ay n

ot b

e app

arent at all.

Th

ese p

ieces, L

ag

u S

ocisekn

um

and

Bu

ba

ran

Ro

bert, also

exem

plify

Harriso

n’s ap

pro

ach to

the

pro

cess of co

mp

ositio

n fo

r gam

elan. F

or th

e Jav

anese

, the b

alu

ng

an

is con

sidered

a “co

re

melo

dy

,”5 w

hich

is imp

lied in

a g

amelan

pie

ce even

if no

ba

lun

ga

n in

strum

ents are

play

ing

,

from

wh

ich th

e emb

ellishin

g in

strum

ents flesh

ou

t their m

elod

ies. Ho

wev

er, “[for L

ou

Harriso

n]

the b

alun

gan

is the m

elod

y. It is w

here L

ou

Harriso

n sp

end

s his co

mp

ositio

nal en

ergy

, it is

wh

at he w

rites and

re-writes, it is w

hat h

as to “

wo

rk” b

efore

add

ing

the o

ther lay

ers of th

e p

iece

3 Do

ub

ling

, altern

ate

ly, th

e n

ext tw

o n

ote

s of th

e ba

lun

ga

n –

see Ch

apter 1

Sec

tion

III. 4 O

ctav

e sy

nco

patio

n ag

ain

st the b

alu

ng

an

– see

Ch

apter 1

Sectio

n III.

5 Bo

dy

, pers. co

mm

., 20

10

.

3

5

6

5

- 1

40

-

and

prep

arin

g a p

erform

ance.”

6 Th

us h

is alteration

s to th

e em

bellish

ing

parts are

justified

, as

they

mu

st, for h

im, co

ntrib

ute to

the aesth

etic succ

ess of th

e ba

lun

ga

n. 7 C

on

sider B

ub

ara

n

Ro

bert ag

ain. O

nce

analy

sed, th

e b

alu

ng

an

melo

dy

can

be sh

ow

n to

com

prise

five

‘melo

dicles’

8 – sm

all melo

dic cells, w

hich

Harriso

n rep

eats or ap

plies sim

ple se

rialist

techn

iqu

es to. M

y an

alysis is in

fluen

ced b

y A

lves’ (2

00

1), th

ou

gh

I hav

e a differen

t

interp

retation

to h

im, in

den

tifing

the m

elod

icles as mo

re closely

related:

Ba

lun

ga

n fo

r Bu

ba

ran

Ro

bert (S

lend

ro sca

le – 1

, 2, 3

, 5, 6

) M

elod

icle trea

tmen

t in B

ub

ara

n

Ro

bert (ea

ch g

atra

= 1

melo

dicle)

5 6 xx 6 5 6 3 5 3 5 xx 5 3 5 2 3

2 1 2 3 2 xx 2 3 2 1 2 3 2 3 5 6

5 6 xx 6 5 6 3 5 3 5 2 3 2 1 2 3

2 xx 2 3 2 1 2 3 2 3 5 6 3 25 35 6

1. U

nd

erlinin

g d

eno

tes d

ou

ble-sp

eed

(i.e. q

uav

ers)

2. ‘x

’ den

otes strik

ing

the p

revio

us k

ey th

ou

gh

mu

ted b

y h

old

ing

it tigh

t

with

free h

and

A B

A1

B1

C A

2 C D

A B

B1 C

A2 C

D E

A1 d

eno

tes a tran

spo

sition

of A

, do

wn

on

e

scale step

A2 d

eno

tes a retro

grad

e inv

ersion

of A

,

transp

osed

do

wn

three

scale step

s

B1 d

eno

tes a tran

spo

sition

on

B, d

ow

n o

ne

scale step

E is u

ltimately

rela

ted to

C: 3

25

35

6 =

3, 2

, 3, 5

(C, u

p o

ne sc

ale step) 9

Fig

. I.9: S

tructu

re of H

arriso

n’s B

ub

ara

n R

ob

ert

I sho

w ab

ov

e th

at Bu

ba

ran

Ro

bert’s ‘m

ain m

elod

y’ (as co

nceiv

ed b

y H

arriso

n) co

mp

rises a

simp

le, accessib

le, Weste

rn-sty

le form

. Th

e first lin

e co

nsists o

f melo

dicle A

, then

B, th

en a

transp

ositio

n o

f A, d

ow

n o

ne scale

step, an

d th

en a tran

spo

sition

of B

, also d

ow

n o

ne sc

ale step.

Th

e seco

nd

line co

nsists o

f new

melo

dicle C

, then

A2 (a tran

spo

sed retro

grad

e inv

ersion

of A

–

essentially

the sam

e n

otes as C

, excep

t for th

e m

uted

2’s o

n th

e seco

nd

beat o

f the g

atra

, rather

than

a 1), th

en C

again

, then

D –

an asc

end

ing

melo

dy

that en

ds o

n th

e tw

o p

itches th

at also

mak

e u

p A

. Th

e third

and

fou

rth lin

es are ex

actly

the sam

e as th

e first an

d seco

nd

, excep

t for

the fact th

at A1 is sk

ipp

ed, sh

ifting

all of th

e oth

er melo

dicles fo

rward

on

e slot, an

d allo

win

g an

extra o

ne to

fit in at th

e end

, E –

a (no

n-Jav

anese

) cad

en

ce-like fig

ure

with

sub

metrical (q

uav

er)

mo

vem

ent. T

he w

ho

le structu

re is rep

eated as a

traditio

nal Jav

anese

gam

elan fo

rm is.

6 Diam

on

d (1

98

7), p

. 10

0.

7 Harriso

n d

isplay

s an u

nd

erstand

ing

of Jav

anese g

amelan

pa

thet (m

od

e) con

ven

tion

s – th

e first sectio

n o

f

Ph

ilemo

n a

nd

Ba

ukis (1

98

7) fo

r vio

lin an

d Jav

anese g

am

ela

n, fo

r exam

ple, en

ds w

ith th

e typ

ical slen

dro

ma

nyu

ra c

aden

ce 3

2 1

6 (A

lves, 2

00

1).

8 ‘Melo

dic

les’ defin

ed as “m

otiv

ic neu

me-lik

e arrang

emen

ts wh

ich co

uld

be d

iaton

ic, ch

rom

atic,

transp

osed

, inv

erted, u

sed in

retro

grad

e, or jo

ined

to fo

rm a

mo

de” b

y v

on

Gu

nd

en (1

99

5), p

. 7.

9 Mich

ael N

orris, p

ers. com

m., 2

01

0.

- 1

41

-

Harriso

n also

com

po

sed w

ork

s that co

mb

ine In

do

nesian

gam

elan w

ith o

ther in

strum

ents –

in

pieces su

ch as M

ain

Bersa

ma

-sam

a (1

97

8) fo

r Su

nd

anese g

am

elan an

d h

orn

, Th

reno

dy fo

r

Ca

rlos C

há

vez (19

78

) for S

un

dan

ese g

amelan

and

vio

la, Do

ub

le C

on

certo

for V

iolin

, Cello

, an

d

Ga

mela

n (1

98

2) fo

r Javan

ese gam

elan, v

iolin

and

cello, G

end

ing

in H

on

or o

f Ap

hro

dite (1

98

6)

for Jav

anese g

am

elan, ch

oir, an

d h

arp

, A C

orn

ish L

an

ca

ran

(19

86

) for Jav

anese

gam

elan an

d

sop

rano

saxo

ph

on

e, Ph

ilem

on

an

d B

au

kis (19

87

) for v

iolin

and

Javan

ese g

am

elan, an

d

Co

ncerto

for P

ian

o w

ith Ja

van

ese G

am

elan

(19

87

), amo

ng

st oth

ers. In th

ese wo

rks, it is

exp

ected th

at the W

estern

instru

men

ts be tu

ned

to m

atch

the p

itches o

f the g

am

elan as clo

sely as

po

ssible.

Tak

e, for in

stance, M

ain

Bersa

ma

-sam

a, fo

r Su

nd

anese

(West Jav

anese) g

am

elan w

ith F

rench

ho

rn, w

hich

play

s a solo

melo

dy

line altern

ately w

ith su

ling

in a q

uestio

n-an

swer sty

le. In th

is

piece, th

e bo

na

ng

part d

oes n

ot an

ticipate

the m

ain p

itch

es, bu

t con

tinu

es the m

ain p

itches in

an

iterated o

ctave sty

le:

Fig

. I.10

: Lo

u H

arriso

n (b

b. 1

6-2

1): M

ain

Bersa

ma

-sam

a (1

97

8), p

ub

lished

by

Herm

es B

eard

Pre

ss, US

A (1

98

9)

p. 3

6

In trad

ition

al Javan

ese g

am

elan m

usic, th

e fou

rth n

ote o

f a ga

tra is co

nsid

ered th

e stro

ng

beat,

and

the b

on

an

g an

d o

ther elab

oratin

g in

strum

ents an

ticipate th

e stron

g p

itch b

y p

layin

g p

atterns

that lead

up

to an

em

ph

asis of it th

rou

gh

ou

t the g

atra

. Here, H

arriso

n sw

itches th

is Ind

on

esian

no

tion

for a W

estern o

ne, as th

e stro

ng

beat (first b

eat o

f the b

ar) is co

ntin

ued

thro

ug

ho

ut th

e

bar, rath

er than

in an

ticipatio

n o

f it. Th

e relation

ship

betw

een th

e b

on

an

g an

d th

e m

ain p

itches

(brack

eted ab

ov

e) illustrates th

is po

int. T

he first b

ar con

tinu

es the C

, the se

con

d b

ar con

tinu

es

the B

, the th

ird b

ar con

tinu

es the G

(go

ing

to first in

versio

n G

cho

rd o

n b

eat three), an

d so

on

.

Th

is com

pro

mise m

eans th

e p

iece still so

un

ds trad

itional, w

hile allo

win

g H

arrison

to co

nstru

ct a

- 1

42

-

solo

melo

dy

with

clear W

estern h

armo

nic

structu

res. Sp

iller (20

09

) argu

es that “

Harriso

n

con

ceived

the g

am

elan p

art he co

mp

osed

as a kin

d o

f ch

ord

al acco

mp

anim

ent th

at exp

licitly

sup

po

rts the m

elod

y’s im

plied

harm

on

y, w

ith th

e stru

ctural p

itches p

rov

idin

g a k

ind

of b

ass

line…

and

the o

ther g

am

elan in

strum

ents p

rov

idin

g…

deco

rating

figu

ration

s that p

rolo

ng

the

bass n

ote’s h

armo

ny

.”1

0 A trad

ition

al bo

na

ng

part w

ou

ld b

e disso

nan

t again

st Harriso

n’s

harm

on

ic sch

em

e.

Co

nv

ersely, co

nsid

er Co

ncerto

for P

ian

o w

ith Ja

van

ese Ga

mela

n:

Fig

. I.11

: Lo

u H

arriso

n (first h

alf of first p

age, th

ird m

ov

emen

t): Co

nce

rto fo

r Pia

no

with

Java

nese G

am

elan

(19

87

),

pu

blish

ed b

y H

ermes B

eard

Press, U

SA

(19

90

) p. III (1

)

In th

e abo

ve ex

tract, the b

uka

(intro

du

ction

) is giv

en, to

be p

layed

by

the b

on

an

g, an

d th

e

ba

lun

ga

n an

d g

on

g n

otes’ cip

her n

otatio

n is th

en g

iven

abo

ve th

e pian

o p

art. Th

e p

iano

is

play

ing

a melo

dy

two

octav

es apart (rem

iniscen

t of g

am

ba

ng

) wh

ich essen

tially d

ecorates th

e

pitch

es of th

e ba

lun

ga

n as th

e pitch

es often

coin

cide (b

. 2 –

E an

d 2

tog

ether o

n first b

eat of th

e

bar; b

. 3 –

E an

d 2

tog

ether o

n first b

eat of th

e b

ar; b. 4

– F

and

3 to

geth

er on

first beat o

f the

bar, an

d so

on

). Here, H

arrison

sho

ws a m

ore

end

-weig

hted

harm

on

ic sch

em

e. C

on

sider th

e

last three q

uav

ers of b

. 5: A

, F, A

, then

F o

n th

e stron

g b

eat of b

. 6, as th

e gam

elan b

alu

ng

an

strikes th

e sam

e p

itch. A

lso co

nsid

er beats th

ree an

d fo

ur o

f b. 6

: qu

avers d

escend

ing

by

step, F

,

E, D

, C, to

B o

n th

e stron

g b

eat of b

. 7, as th

e gam

elan b

alu

ng

an

also strik

es that p

itch.

Harriso

n h

as carefully

con

structed

the p

iano

solo

so th

at th

e gam

elan m

usician

s can

play

accord

ing

to w

hat is trad

ition

al, and

no

t hav

e to

alter their p

atterns to

fit in w

ith th

e add

ed so

lo

part, all th

e w

hile a

ccou

ntin

g fo

r the an

ticipato

ry n

ature

of th

e e

mb

ellishin

g in

strum

ents.

10 S

piller (2

00

9), p

. 42

.

- 1

43

-

Harriso

n h

as thu

s emp

loy

ed at least tw

o d

ifferent ap

pro

aches to

com

po

sing

for g

am

elan an

d

Western

instru

men

ts: from

a W

estern-sty

le persp

ective (b

alu

ng

an

as melo

dy

, fron

t-weig

hted

harm

on

ic sch

em

a), and

from

a Javan

sese-style (b

alu

ng

an

as skeletal m

elod

ic fram

ew

ork

, end

-

weig

hted

melo

dic

schem

a). 11

Harriso

n also

com

po

sed m

uch

mu

sic fo

r Western

instru

men

ts insp

ired b

y g

amelan

– fo

r

instan

ce, Su

ite for V

iolin

, Pia

no

an

d S

ma

ll Orch

estra (1

95

1), C

on

certo in

Slen

dro

(19

61

), and

Eleg

y, T

o th

e M

em

ory

of C

alvin

Sim

mo

ns (1

98

2) ev

ok

e th

e sou

nd

s, scales an

d tex

tures o

f

Javan

ese gam

elan.

Fo

r instan

ce,

Co

ncerto

inS

lend

rob

ring

sto

geth

er go

ng

s,fo

un

dp

ercussio

n,

tackp

iano

s(p

iano

s with

thu

mb

-tack

s pressed

into

the h

amm

ers for a m

ore

metallic so

un

d) an

d

celesta, with

a vio

lin so

lo o

ver th

e to

p –

an in

teresting

precu

rsor to

Harriso

n’s A

merican

gam

elan co

mp

ositio

ns.

11 In

my

ow

n p

ieces fo

r gam

elan

and

Western

instru

men

ts in trad

ition

al Jav

anese

style

, Keta

wa

ng

An

gg

un

and

La

dra

ng

Sa

nta

i I em

plo

y th

e latter ap

pro

ach (th

e k

ind

of sty

le o

f Harriso

n’s C

on

certo

for P

ian

o w

ith

Java

nese G

am

elan

), and

in G

end

hin

g T

arika

n I em

plo

y th

e form

er –as th

e b

alu

ng

an

stron

gly

defin

es th

e

melo

dy

of th

e p

iece, th

e rh

yth

mic

imp

licatio

ns o

f the p

iece

, the p

ath

et, an

d so

on

. H

ow

ever, th

e Western

solo

s still wo

rk w

ithin

anan

ticipato

ry sch

ema, e

mp

hasisin

g im

po

rtant b

alu

ng

an

pitch

es:

bb

. 16

-17

Fig

. I.12

:E

xcerp

t from

Gen

dh

ing

Ta

rikan

Pelo

g N

em

In th

e abo

ve ex

cerp

t, the ac

cord

ion

play

s the G

# (p

elog

4) ju

st befo

re the b

on

an

g (se

con

d v

oic

e of sh

ort

score), w

hich

again

play

s it just b

efore

the b

alu

ng

an

instru

men

ts. Th

is cano

n-lik

e tech

niq

ue e

mp

hasises

that d

isson

ant n

ote

, wh

ich reso

lves, in

the

ba

lun

ga

n, o

n th

e D

(pelo

g 1

) on

the first b

eat o

f the n

ext b

ar.

Th

is D is alread

y an

ticip

ated

, ho

wev

er, inb

oth

the a

ccord

ion

and

bo

na

ng

on

the fo

urth

beat o

f the b

ar

befo

re, sou

nd

ing

simu

ltaneo

usly

with

the b

alu

ng

an

’s G#

. Acco

rdin

g to

a fro

nt-en

ded

harm

on

ic schem

a,

that w

ho

le first bea

t of th

e n

ext b

ar can

be co

nsid

ered a

B-fla

t7 in

first inv

ersion

,a trito

ne aw

ay fro

m th

e

cho

rd o

f the fo

urth

beat o

f the b

ar befo

re, an

E7

. Th

e h

armo

ny

there

shifts a

t the sam

e interv

al a

s the

melo

dic

ou

tline th

ere inth

e b

alu

ng

an

(42

1 –

an au

gm

ented

fou

rth). T

his is m

y o

wn

dev

elo

pm

ent o

f the

style in

itiated b

y H

arrison

.

(Acco

rdio

n)

(Ba

lun

ga

n)

(Gam

elan

sho

rt score)

- 1

44

-

Fig

. I.13

: Lo

u H

arriso

n (first h

alf of first p

age): C

on

certo

in S

lend

ro (1

96

1), p

ub

lished

by

C. F

. Peters C

orp

ora

tion

,

US

A (1

97

8) p

. 5

Here, th

e vio

lin so

lo p

lays a

melo

dy

that elab

orates an

d o

rnam

ents th

e celesta part, in

the sa

me

man

ner as th

e in

teractio

n o

f the reb

ab

part w

ith th

e ba

lun

ga

n in

traditio

nal Jav

anese g

am

elan:

Fig

. I.14

: Lo

u H

arriso

n (b

b. 3

2-3

7): C

on

certo

in S

lend

ro (1

96

1), p

ub

lished

by

C. F

. Pete

rs Co

rpo

ration

, US

A (1

97

8)

p. 7

- 1

45

-

Harriso

n’s E

legy, T

o th

e Mem

ory

of C

alvin

Sim

mo

ns fo

r large m

ixed

cham

ber en

sem

ble,

inco

rpo

rates gam

elan tech

niq

ues in

the in

strum

ent p

art-w

riting

:

Fig

. I.15

: Alv

es’ abstrac

tion

of L

ou

Harriso

n’s E

legy, T

o th

e Mem

ory

of C

alvin

Sim

mo

ns (1

98

2), b

b. 1

7-1

9, p

ub

lished

in A

lves (2

00

1) p

. 49

Th

e red

uctio

n ab

ov

e sho

ws a

mip

il style tech

niq

ue –

the v

iolin

(and

cello

two

octav

es low

er)

perfo

rm w

hat o

ne co

uld

con

sider a b

alu

ng

an

, and

the h

arp an

d v

iola to

geth

er perfo

rm in

a

con

ven

tion

al bo

na

ng

style. 1

2

Harriso

n’s m

usic h

as left an

un

prec

eden

ted m

ark in

the d

om

ain o

f cro

ss-cultu

ral com

po

sition

.

His m

usic rem

ains in

fluen

tial to m

any

com

po

sers wh

o sy

nth

esise mu

sic-cultu

res in th

eir ow

n

wo

rks. T

he sig

nifican

ce o

f Harriso

n’s m

usic an

d m

usical th

ink

ing

has b

ecom

e ev

en m

ore

pertin

ent sin

ce his d

eath, b

oth

with

the p

op

ularity

of w

orld

and

‘fusio

n’ p

op

ular m

usic, an

d

con

temp

ora

ry g

lob

alisation

: “Tru

ly h

e is an ex

amp

le o

f a wo

rld m

usician

, on

e w

ho

‘cherish

es,

con

serves, co

nsid

ers, and

creates’.”1

3

12 T

his is v

ery sim

ilar to m

y ap

pro

priatio

n o

f gam

elan

techn

iqu

es (via p

rescrep

tive tran

scriptio

n) o

n

Western

instru

men

ts in m

y p

iece

Wig

ena

:

b

b. 4

-5

Fig

. I.16

: Ex

cerp

t from

Wig

ena

, string

qu

artet p

art o

nly

Here, th

e vio

la p

erform

s the b

alu

ng

an

of trad

ition

al Javan

ese p

iece

Keta

wa

ng

Wig

ena

pelo

g n

em, w

hile

the ce

llo p

lays w

hat th

e b

on

an

g m

igh

t play

in a

traditio

nal p

erfo

rman

ce o

f the p

iece, an

d sim

ilarly fo

r

first vio

lin (b

on

an

g p

an

erus) an

d se

con

d v

iolin

(pekin

g).

13 v

on

Gu

nd

en (1

99

5), p

. 28

3.

- 1

46

-

AP

PE

ND

IX II

Fo

lk a

nd

no

n-W

estern

mu

sic in W

estern

art m

usic

co

mp

ositio

n

Th

is app

end

ix p

rov

ides an

exp

ositio

n o

f the d

evelo

pm

en

ts in W

estern art m

usic th

at lead u

p to

the ex

plo

sion

of cro

ss-cultu

ral com

po

sition

, “[the] m

ost rem

arkab

le d

evelo

pm

ent in

20

th-

centu

ry m

usic,”

14 o

utlin

ing

the d

evelo

pm

ent o

f the co

ntex

t in w

hich

my

ow

n c

ross-cu

ltural

com

po

sition

s – w

hich

use n

on

-Western

instru

men

ts, prescrip

tive tran

scriptio

n o

f no

n-W

estern

material, an

d m

aterial heav

ily in

fluen

ced b

y an

d/o

r based

on

no

n-W

estern m

usic –

are set.

In W

estern m

usic

there

is a trad

ition

of ex

oticism

and

influ

ence o

f folk

traditio

ns. M

any

pro

min

ent W

estern

art m

usic

com

po

sers inco

rpo

rated fo

lkso

ng

into

larger scale

pieces –

salient

exam

ples in

clud

e Beeth

ov

en’s V

aria

tion

s op

. 10

7 (1

81

9), S

chu

bert’s D

ivertissemen

t à la

Ho

ng

roise (1

82

4), S

on

ata

in C

ma

jor “

Reliq

uie”

(18

25

), Brah

ms’ 2

1 H

un

ga

rian

Da

nces (1

86

9)

and

the P

olo

vtsian

Dan

ces from

Bo

rod

in’s o

pera

Prin

ce Ig

or (1

89

0); an

d in

Sain

t-Saën

s’

Sa

mso

n et D

alila

(18

76

) the co

mp

oser ev

ok

es the ex

otic so

un

ds o

f the M

idd

le East b

y

emp

loy

ing

the A

rab H

ijz m

od

e (aug

men

ted seco

nd

betw

een

secon

d an

d th

ird d

egrees o

f the

scale) ov

er an

assym

entrical rh

yth

m g

rou

ped

3+

3+

2 (L

ock

e, 19

91

):

Fig

. II.1: C

amille

Sain

t-Saën

s: Act III, B

acch

anele in

Sa

mso

n et D

alila

(18

76

), pu

blish

ed in

Lo

cke (1

99

1), p

. 26

8

Sch

ub

ert’s treatmen

t of a S

wed

ish fo

lk-caro

l in h

is So

na

ta in

C m

ajo

r “R

eliqu

ie” tran

sform

s

the o

rigin

al tun

e into

a mo

re ‘classical’ m

elod

y “in

a marv

ellou

sly S

chu

bertian

way

” (B

row

n,

19

72

):

14 C

raig (1

98

6), p

. 16

.

- 1

47

-

Fig

. II.2: F

ranz S

chu

bert: S

on

ata

in C

ma

jor “

Reliq

uie”

(18

24

), pu

blish

ed in

Bro

wn

(19

72

), p. 1

78

Th

ese e

arly co

mp

osers m

ade u

se o

f kn

ow

n fo

lk an

d n

on

-Western

mu

sic to d

evelo

p th

eir ow

n

mu

sical lang

uag

e in

their co

mp

ositio

nal o

utp

ut, g

enerally

with

ou

t directly

stud

yin

g o

r

researchin

g th

at traditio

nal m

usic

. Th

e serio

us stu

dy

of trad

ition

al mu

sics by

com

po

sers

occu

rred m

uch

later. Wh

ile som

e of th

ese co

mp

osers n

o d

ou

bt w

ere g

enu

inely

insp

ired b

y fo

lk

and

no

n-W

estern m

usic

, som

e com

po

sers perciev

ed co

mm

ision

s for fo

lkso

ng

arrang

emen

ts as

“hack

-wo

rk.”

15

Bartó

k’s in

terest in E

uro

pean

folk

mu

sic was fa

mo

usly

spark

ed in

19

04

wh

en h

e o

verh

eard

Lid

i

Dó

sa, a

Hu

ng

arian w

om

an w

ho

was a serv

ant at th

e h

ou

se he w

as stayin

g at in

Slo

vak

ia at the

time, sin

gin

g a sim

ple fo

lk tu

ne (C

halm

ers, 2

00

8). C

ap

tivated

, Bartó

k ask

ed h

er to sin

g it ag

ain;

he m

emo

rised th

e tun

e an

d in

19

05

pu

blish

ed an

arrang

emen

t of it, P

iros a

lma

(Red

app

le), in

Hu

ng

arian m

agazin

e M

ag

yar L

an

t (Sch

neid

er, 20

06

). Afte

r this, B

artók

and

friend

Ko

dály

beg

an co

llecting

, transcrib

ing

, and

arrang

ing

folk

mu

sic from

Tran

sylv

ania, H

un

gary

, Ro

man

ia,

Bu

lgaria, an

d m

any

oth

er pla

ces (Stev

ens, 1

99

3). K

od

ály co

mp

leted a

Ph

D in

19

06

analy

sing

the stro

ph

ic form

s of th

e collected

folk

vo

cal m

usic

from

Hu

ng

ary

, and

later cho

se o

ne o

f these

tun

es for h

is Pea

cock

Va

riatio

ns (1

93

9); sim

ilarly, B

artók

bu

ilt pieces aro

un

d so

me o

f these

collected

folk

son

gs, su

ch as in

his Im

pro

visatio

ns o

n H

un

ga

rian

Pea

san

t So

ng

s (19

20

)

(Stu

cken

schm

idt, 1

96

9).

Un

like alm

ost all o

ther co

mp

osers b

efo

re th

em, B

artók

and

Ko

dály

enag

aged

in a rig

oro

us stu

dy

of th

e folk

mu

sic that also

app

eared

in th

eir mu

sic. Th

e en

gag

em

ent o

f these

two

com

po

sers in

an ea

rly fo

rm o

f ethn

om

usico

log

y w

as crucial to

the d

ev

elop

men

t of cro

ss-cultu

ral com

po

sition

.

Th

is fieldw

ork

exp

osed

Bartó

k to

irregu

lar prim

e nu

mb

er metres (fo

r instan

ce, 5/8

, 7/8

, 11

/8)

and

the ‘asy

mm

etry’ p

ossib

le even

in 4

/4 m

etres (for in

stance, 2

+3

+3

) (Stu

cken

schm

idt, 1

96

9).

Th

ese rh

yth

mic

dev

ices “do

min

ate the sty

le of h

is early

pian

o w

ork

s, inclu

din

g th

e collectio

n

15 B

row

n (1

97

2), p

. 17

3.

- 1

48

-

Fo

r Ch

ildren

, and

the late

r Fifth

Strin

g Q

uartet (1

93

4), th

e Mu

sic for strin

gs, p

ercussio

n, an

d

celesta (19

36

), and

the six

Bu

lgarian

Dan

ces from

Mikro

kosm

os.”

16

Fig

. II.3: B

éla

Bartó

k: fro

m th

e fifth D

ance in

Bu

lgarian

Rh

yth

m fro

m M

ikroko

smo

s (19

26

-19

39

), pu

blish

ed in

Stu

cken

schm

idt (1

96

9), p

. 35

– an

irregu

lar, a

sym

metrica

l treatm

ent o

f gro

up

ing

accen

ts in “9

/8”

Fu

rtherm

ore

, thro

ug

h h

is fieldw

ork

, Bartó

k w

as exp

ose

d to

micro

ton

ality an

d b

iton

ality

(Stu

cken

schm

idt, 1

96

9). T

hese tech

niq

ues also

influ

enced

his co

mp

ositio

n –

pian

o w

ork

s such

as the first o

f his F

ou

rteen B

ag

atelles (1

90

8) e

mp

loy

bito

nality

, “On

e key

sign

ature fo

r the rig

ht

han

d, an

d an

oth

er on

e for th

e left.”1

7 Melo

dies are

prese

nted

alternately

, with

the m

elod

y o

f on

e

key

rising

and

the m

elod

y o

f the o

ther k

ey fallin

g, easily

and

accessib

ly estab

lishin

g th

e

bito

nality

of th

e piece:

Fig

. II.4: B

éla

Bartó

k: B

agatelle

No

. 1 fro

m F

ou

rteen B

ag

ate

lles (1

90

8), p

ub

lished

in S

tuck

ensch

mid

t (19

69

), p. 7

5 –

C-sh

arp

min

or p

layed

by

the rig

ht h

and

, C P

hry

gian

play

ed b

y th

e left h

and

Micro

ton

al mu

sic was esp

ou

sed b

y C

zech

com

po

ser A

lois H

ába, in

fluen

ced b

y F

erruccio

Bu

son

i’s essay “S

ketch

of a N

ew

Esth

etic of M

usic” [1

90

7] (1

96

2) in

wh

ich altern

ative

div

ision

s of th

e octav

e are ad

vo

cated. F

rom

19

20

, Háb

a com

po

sed in

qu

arterton

es, third

-, sixth

-,

16 S

tuck

ensch

mid

t (19

69

), p. 3

5.

17 C

halm

ers (20

08

), p. 7

6.

- 1

49

-

and

even

twelfth

ton

es – c

reating

an o

ctave co

mp

rising

seven

ty-tw

o m

icro-step

s. Háb

a’s

research in

to M

orav

ian fo

lk m

usic

info

rmed

his e

mp

loy

men

t of m

icro

ton

es in h

is com

po

sition

s

– “

He fo

un

d, as B

artók

and

Ko

dály

had

do

ne in

the B

alkan

s, that th

ere are

div

ergen

ces fro

m th

e

interv

als of th

e seven

-no

te scale in

folk

-son

g w

hich

are

no

t to b

e dism

issed as b

ad in

ton

ation

.”1

8

Háb

a felt that h

is iden

tification

of m

icroto

nes in

Mo

ravian

folk

mu

sic ju

stified h

is use o

f them

in h

is ow

n co

mp

ositio

ns (M

cCred

ie, 20

02

). In fa

ct, the d

ivisio

n o

f no

tes ‘equ

ally’ is ju

st on

e

app

roach

– in

deed

, all the ad

van

tages o

f equ

al tem

pera

men

t no

twith

stand

ing

, wh

y d

iscou

nt

ano

ther ap

pro

ach if b

oth

are still capab

le o

f successfu

l mu

sical exp

ression

?

Strav

insk

y, d

urin

g h

is early

perio

d, w

as influ

enced

by

folk

mu

sic and

had

po

ssession

of A

nto

n

Juszk

iewicz

’s pu

blish

ed co

llection

of 1

,78

5 fo

lk tu

nes (v

an d

en T

oo

rn, 1

98

7). W

hen

com

po

sing

Th

e R

ite of S

prin

g,

Strav

insk

y d

elved

into

folk

lore so

urces, d

raw

ing

vario

usly

on

a bo

ok

of L

ithu

anian

wed

din

g so

ng

s, Rim

sky

’s folk

-son

g arran

gem

ents, an

d h

is ow

n m

em

ories o

f peasan

t

sing

ers… H

avin

g assem

bled

his fo

lk m

elod

ies, Strav

insk

y p

roceed

ed to

pu

lverize

them

into

mo

tivic b

its, pile

them

up

in lay

ers, an

d reassem

ble th

em

in cu

bist co

llages

and

mo

ntag

es. 19

In h

is treatmen

t of fo

lk tu

nes in

Th

e Rite

of S

prin

g, S

trav

ink

sy d

evelo

ped

the m

aterial to v

aryin

g

deg

rees:

Ex

am

ple 1

Ex

am

ple 2

18 S

tuck

ensch

mid

t (19

69

), p. 4

4.

19 R

oss (2

00

9), p

p. 9

7-9

8.

- 1

50

-

Ex

am

ple 3

Fig

. II.5: Ig

or S

travin

sky

: Th

e Rite o

f Sp

ring

(19

13

), pu

blish

ed in

van

den

To

orn

(19

87

), pp

. 11

-12

Fu

rtherm

ore

, his ra

w, d

rivin

g, u

np

redictab

le, p

un

chy

rhy

thm

s in th

e Les A

ug

ures P

rinta

niers

mo

vem

ent ev

ok

e th

e sou

nd

s of fo

lk m

usic –

insp

ired b

y, b

ut n

ot d

erived

from

, folk

material:

- 1

51

-

Fig

. II.6: Ig

or S

travin

ksy

(first half o

f first pag

e): L

es A

ug

ures P

rinta

niers m

ov

em

ent fro

m T

he R

ite of S

prin

g (1

91

3),

pu

blish

ed b

y B

oo

sey &

Haw

kes, U

K (1

96

7) p

. 10

Am

erican

min

imalist co

mp

osers L

a M

on

te Yo

un

g, T

erry R

iley, S

teve R

eich an

d P

hilip

Glass

dev

elop

ed m

ajor m

usical in

terests in n

on

-Western

mu

sics (Sch

warz, 2

00

8). G

lass wo

rked

with

icon

ic sitar virtu

oso

Rav

i Sh

ank

ar o

n a film

score fo

r cu

lt classic Ch

ap

pa

qu

a (1

96

6-7

) and

Glass’s S

tring

Qu

artet (1

96

6), a

mo

ng

st oth

er pieces, fo

cused

on

the In

dian

treatm

ent o

f rhy

thm

s,

“in term

s of recu

rring

cycles o

f ton

es, of rh

yth

mic

pu

lses add

ed an

d su

btracted

.”2

0

Reich

has alw

ays h

ad a sp

ecial interest in

percu

ssion

, an

d as w

ell as exp

ressing

an in

terest in

gam

elan (see

Ch

apter 1

, Sectio

n V

), in 1

97

0 h

e stud

ied u

nd

er master A

frican d

rum

mer, G

ideo

n

Alo

rwo

yie, in

Gh

ana, W

est Africa

(Ro

ss, 20

09

). His p

articipan

t ob

servatio

n th

ere cu

lmin

ated

in h

is epic co

mp

ositio

n D

rum

min

g (1

97

1), lastin

g o

ver eig

hty

min

utes:

20 R

oss (2

00

9), p

. 54

8.

- 1

52

-

Fig

. II.7: S

teve R

eich (first p

age): D

rum

min

g (1

97

1), p

ub

lished

by

Hen

do

n M

usic In

c, US

A (1

97

3), p

rinted

in R

eich

(20

02

) p. 6

5

Fam

ou

sly, tw

elve-to

ne th

eory

pio

neer A

rno

ld S

cho

enb

erg h

as ob

jected to

the in

fluen

ce o

f folk

and

no

n-W

estern m

usic in

Western

art mu

sic, bo

ldly

stating

that

Fo

lklo

rists wh

o, w

heth

er they

are forced

to (th

rou

gh

a sh

ortag

e of th

eories o

f their o

wn

)

or n

ot (b

ecau

se, after all, the av

ailable m

usical cu

lture an

d trad

ition

cou

ld fin

d ro

om

even

for th

em

) wish

to ap

ply

to th

e inh

erently

prim

itive id

eas of fo

lk m

usic a

techn

iqu

e

that su

its on

ly a co

mp

licated sty

le of m

usical th

ink

ing

. 21

I believ

e I hav

e sho

wn

just h

ow

enrich

ed th

e Western

art m

usic trad

ition

has b

ecom

e th

rou

gh

the in

fluen

ce of fo

lk an

d n

on

-Western

mu

sic. Alth

ou

gh

no

t all traditio

nal m

usical m

aterial m

ay

suit an

ov

erly co

ntrap

un

tal treatmen

t (Mich

ael N

orris, p

ers. com

m., 2

01

0), it see

ms S

cho

enb

erg

is all too

eager to

assum

e that ‘p

rimitiv

e’ mu

sic (‘prim

itive’ is o

f cou

rse an ex

pu

ng

ed term

in

anth

rop

olo

gy

and

ethn

om

usico

log

y) is n

ot c

apab

le of fin

e-grain

ed m

usical th

ink

ing

, wh

ich is

no

t true, an

d h

as been

availab

le to W

estern m

usic sch

olars sin

ce B

artó

k an

d K

od

ály b

egan

collectin

g fo

lk m

usic –

and

, ind

eed, b

efore th

at too

by

wo

rld m

usic en

thu

siasts such

as the

math

em

atician A

lexan

der Jo

hn

Ellis (see E

llis, 18

85

). Fu

rtherm

ore

, the classical m

usical

system

s of In

do

nesia, C

hin

a, Ind

ia, and

the M

idd

le East (to

nam

e bu

t a few

) can riv

al Western

21 S

cho

enb

erg, q

uo

ted in

Stu

cken

schm

idt (1

96

9), p

.15

7.

- 1

53

-

art mu

sic’s rep

ertoire fo

r com

plex

ity an

d in

tricacy. S

ch

oen

berg

is, to q

uo

te po

litical scientist

Ch

arles Tay

lor, u

nn

ecessarily

“bein

g in

ho

spitab

le to d

ifference

.”2

2 Mu

sic delig

hts; w

hy

priv

ilege o

ne sin

gle trad

ition

(Weste

rn) o

ver all th

e o

thers?

Mo

reov

er, S

cho

enb

erg q

uip

s “[traditio

nal m

usic an

d a

rt mu

sic] may

no

t be as d

ifferent as o

il

and

oliv

e oil o

r ho

ly w

ater and

wash

ing

water, b

ut th

ey m

ix as b

adly

as oil an

d w

ater.”2

3 I

disag

ree with

this statem

ent, in

fact mu

ch o

f my

com

po

sition

po

rtfolio

is an attem

pt to

successfu

lly m

ix th

e tw

o u

sing

vario

us co

mp

ositio

nal ap

pro

aches (see C

om

po

sition

Po

rtfolio

Preface

). Sch

oen

berg

’s ob

jection

do

es no

t hav

e any

weig

ht b

ehin

d it an

d n

or d

oes h

e o

ffer an

y

sup

po

rting

evid

ence. I h

old

that cro

ss-cultu

ral com

po

sition

offers th

e p

ossib

ility o

f a new

aesthetic –

a m

ediu

m th

rou

gh

wh

ich a

com

po

ser can su

cceed in

dev

elop

ing

and

ou

tpu

tting

his/h

er ow

n u

niq

ue m

usic

al style.

22 T

aylo

r (19

94

), p. 6

0.

23 S

cho

enb

erg, q

uo

ted in

Stu

cken

schm

idt (1

96

9), p

. 16

3.

- 15

4 -

AP

PE

ND

IX III

Aesth

etics

It will b

ecom

e app

arent w

hy

any

matter p

ertainin

g to

ph

iloso

ph

y b

egin

s with

a defin

ition

of th

e

app

rop

riate terms. 1 B

y ‘aesth

etic app

reciation

’, I refer to th

e senso

ry an

d e

mo

tion

al exp

erience

on

e has w

hen

on

e en

gag

es with

an acu

te dram

a, insp

ects a Mo

net, listen

s to a B

ach so

nata,

surv

eys a b

eautifu

l land

scape, an

d so

on

. Wh

en o

ne is exp

eriencin

g X

aesthetically

, they

are

aesth

etically a

pp

reciatin

g X

. As C

aro

lyn

Ko

rsmey

er no

tes, “Just as o

ne c

ann

ot d

ecide th

at

sou

p is w

ell season

ed w

itho

ut sip

pin

g it, so

on

e cann

ot co

nclu

de th

at mu

sic is lyrical an

d

mo

vin

g w

itho

ut h

earing

it. 2 No

seco

nd

-han

d acco

un

t will su

ffice to m

ake th

e aesthetic

jud

gem

ent.”

3 Wh

en o

ne h

as an ‘aesth

etic reaction

’, on

e is resp

on

din

g e

mo

tion

ally, d

ecidin

g

ho

w p

ositiv

e or n

egativ

e (wh

ere o

n th

e co

ntin

uu

m b

etween

the tw

o) th

e exp

erience in

qu

estion

is, and

an ‘a

esthetic ju

dg

emen

t’ is the ap

plicatio

n o

f that reactio

n –

for ex

am

ple, w

hen

on

e says

they

prefe

r Beeth

ov

en’s S

ym

ph

on

y V

II to h

is Sy

mp

ho

ny

IV. S

o, w

hen

on

e com

pares

aesthetically

, on

e m

ust g

o th

rou

gh

two

steps afte

r app

reciatin

g (ex

perien

cing

) – o

ne m

ust h

ave

an e

mo

tion

al respo

nse, an

d th

en m

ust m

ake a

jud

gem

en

t regard

ing

that resp

on

se (and

the ex

tent

that th

ese jud

gem

ents are

‘ration

al’ is, at best, an

op

en em

pirical q

uestio

n, n

ot fo

r discu

ssion

here).

Fo

rma

lism in

aesth

etics is the v

iew

that w

hat o

ne aesth

etically ap

preciates in

exp

erien

cing

an

artwo

rk is strictly

the in

terna

l com

po

nen

ts, “lines an

d c

olo

urs co

mb

ined

in a p

articu

lar way

,

certain fo

rms an

d relatio

ns o

f form

s.”4 B

ell (19

14

) calls th

is ‘Sig

nifican

t Fo

rm’. F

or m

usic

then

, this is sp

ecifically “to

nally

mo

vin

g fo

rms”

5 – ‘to

nal’ in

referen

ce to

‘ton

es’, no

t in

op

po

sition

to ‘ato

nal’. A

cco

rdin

g to

this v

iew

, the co

nten

t of m

usic is so

un

ds an

d th

ese sou

nd

s

are arrang

ed in

form

s. Fo

r the fo

rmalist, th

ere is no

oth

er con

tent in

the m

usic –

for in

stance

,

amo

ng

oth

er thin

gs, feelin

g. A

ltho

ug

h a p

erfo

rmer m

ay

perfo

rm p

assion

ately, an

d th

e aud

ience

may

weep

at the m

elanch

oly

they

perciev

e, th

e fe

eling

itself was n

ot tran

smitted

as mu

sical

con

tent; after all, h

ow

can a p

iece

of m

usic b

e sa

d? R

ath

er, form

alists such

as Han

slick (1

98

6)

app

eal to p

hy

siolo

gy

and

psy

cho

log

y to

exp

lain th

e fe

eling

s associated

with

certain m

usic

, no

t

aesthetic ap

preciatio

n.

1 My

defin

ition

s are in

fluen

ced

by

Kin

gsb

ury

(20

09

), Barw

ell (20

09

), and

man

y o

f Ken

dall W

alto

n’s

pap

ers (especially

19

70

& 1

99

3).

2 Th

e ex

tent to

wh

ich a

skilled

mu

sician can

“hear” a p

iece

in h

is/her m

ind

by

read

ing

its score carefu

lly

is at best an

op

en em

pirica

l qu

estion

that c

ann

ot b

e ex

plo

red w

ithin

the sco

pe o

f this th

esis. 3 K

orsm

eyer (2

00

5), p

. 26

9.

4 Bell (1

91

4), p

. 8.

5 Han

slick (1

98

6), p

. 29

.

- 1

55

-

Mo

reov

er, fo

rmalists reject th

at any

externa

l com

po

nen

t of th

e artwo

rk is aesth

etically v

aluab

le.

Bell rejects th

at the so

cial and

po

litical aims o

f the artist are

of aesth

etic valu

e an

d h

e rejects

that an

y k

no

wled

ge ab

ou

t the a

rtwo

rk is o

f aesthetic v

alu

e – fo

r instan

ce the era in

wh

ich it w

as

created, w

ho

by

, for w

hat re

ason

s, and

so o

n (B

ell, 19

14

).

Ken

dall W

alton

(19

70

, 19

93

) and

Allen

Carlso

n (1

97

9, 2

00

5) o

pp

ose th

is vie

w. T

hey

argu

e

that ex

ternal co

mp

on

ents a

re in

deed

of aesth

etic v

alue. T

hey

po

int to

exam

ples w

ith w

hich

they

sho

w th

at on

e can

no

t fully

aesthetically

app

reciate an

artw

ork

with

ou

t un

derstan

din

g so

meth

ing

of its so

cial or p

olitical aim

, or its h

istory

, “Ro

bert R

ausch

enb

erg o

nce care

fully

ob

literated a

dra

win

g b

y d

e K

oo

nin

g, titled

the b

are can

vas “

Erased

De K

oo

nin

g D

raw

ing

”, fra

med

it, and

exh

ibited

it,”6 an

d h

is do

ing

so is aesth

etically sig

nifica

nt. C

on

sider Jo

hn

Cag

e’s 4’3

3’’ (1

95

2).

Th

is piec

e of m

usic

is like n

o o

ther co

mp

osed

befo

re it, and

aesth

etically ap

pre

ciating

its

perfo

rman

ce w

itho

ut tak

ing

into

accou

nt certain

extern

al com

po

nen

ts (e.g. co

nv

entio

ns an

d

exp

ectation

s) chan

ges th

e aesthetic ex

perien

ce o

f the p

iece. In o

ther w

ord

s, pro

po

nen

ts of th

is

view

argu

e th

at the fo

rmalist n

ecessarily

misses so

meth

ing

wh

en h

e/she ex

perien

ces 4

’33

’’;

Cag

e’s inten

tion

s beh

ind

the p

iece 4

’33

’’– “

may

be, in

part, to

dea

estheticize o

ur ex

perien

ces,

to g

et us to

enjo

y so

un

ds th

em

selves w

itho

ut ad

mirin

g th

em o

r their cre

ators”

7 [my

italics] – a

re

ind

eed aesth

etically p

ertin

ent, o

n th

is vie

w.

Sim

ilarly, o

n th

is vie

w, kn

ow

ledg

e ab

ou

t a p

iece m

akes a d

ifference, “

On

e mig

ht sim

ply

no

t

thin

k to

listen fo

r a recurrin

g series o

f interv

als in a p

iece o

f mu

sic, u

ntil h

e learn

s that th

e

com

po

ser mean

t the w

ork

to b

e stru

ctured

arou

nd

it.”8 K

no

win

g th

e inten

tion

s of a p

iece se

ems

to h

eigh

ten o

ne’s a

esthetic ex

perien

ce o

f it, and

mak

es it po

ssible to

pro

perly p

erceive all o

f the

intern

al com

po

nen

ts the fo

rmalists are

exclu

sively

con

cern

ed w

ith.

Bran

chin

g o

ff from

this v

iew

, Fran

kfu

rt Sch

oo

l ph

iloso

ph

er Th

eod

or A

do

rno

arg

ues th

at a piec

e

mu

st be aesth

etically ex

perien

ced th

rou

gh

his (M

arxist-in

fluen

ced) so

ciolo

gy

of art –

on

ly b

y

un

derstan

din

g p

ertinen

t facts abo

ut co

mp

osers, th

eir social statu

ses, and

so o

n (a so

cially

respo

nsib

le un

derstan

din

g), can

a pie

ce o

f mu

sic be p

rop

erly p

erceiv

ed (H

am

ilton

, 20

07

).

Fo

r the fo

rmalist, as N

oël C

arroll (2

00

5) rig

htly

po

ints o

ut, “th

e inten

ded

prim

ary

fun

ction

of

exh

ibitin

g sig

nifican

t form

is a n

ecessary

con

ditio

n fo

r art status.”

9 Th

is has serio

us

con

sequ

ences –

let us co

nsid

er on

e ex

am

ple. A

dv

ertisin

g jin

gles still co

nstitu

te ‘mu

sic’1

0

6 Walto

n (1

97

0), p

. 33

5.

7 Walto

n (1

99

3), p

. 50

5.

8 Walto

n (1

97

0), p

. 33

7.

9 Carro

ll (20

05

), p. 1

14

. 1

0 Wh

ile th

ere is a distin

ctio

n b

etw

een

‘hig

h art’ an

d ‘lo

w art’ an

d jin

gle

s are no

t exem

plars o

f hig

h art –

nev

erthele

ss, low

‘com

merc

ial’ art is still art. F

or m

ore o

n th

is, see F

isher (2

00

5). S

imilarly

, Ad

orn

o h

as

his o

wn

ideas o

n th

e d

ialec

tic betw

een h

igh

/low

art and

its co

mm

od

ity sta

tus (see H

amilto

n, 2

00

7).

- 1

56

-

desp

ite the fa

ct that sig

nifican

t form

is no

t their p

rimary

fun

ction

– fa

cilitatin

g a

dvertisin

g a

nd

ma

rketin

g is th

eir prim

ary fu

nctio

n (see

Walto

n, 1

99

9), an

d it fo

llow

s that w

hen

on

e

aesthetically

exp

eriences a jin

gle, o

ne sh

ou

ld d

o so

kno

win

g w

ha

t it exists fo

r, no

t just in

terms

of its in

ternal co

mp

on

ents (h

arm

on

ies, vo

ice-lead

ing

s, lines, sh

apes, to

ne co

lou

rs, and

so o

n),

oth

erwise

on

e’s aesthetic ap

preciatio

n m

ay b

e misin

form

ed. M

oreo

ver, Z

ang

will (2

00

1) arg

ues

that m

usic is a

esthetically

valu

able in

the w

ay it serv

es its extra-m

usical fu

nctio

ns.

Th

ese p

ositio

ns d

o n

ot p

ersuad

e me. N

either th

e form

alist v

iew, n

or its o

pp

ositio

n fro

m th

e

Ken

dall/C

arlson

/Zan

gw

ill cam

p o

r the F

rank

furt S

cho

ol/A

do

rno

cam

p reso

nates w

ith m

e.

Instead

, I find

Carro

ll’s plu

ralist op

tion

favo

urab

le – w

hat o

ne m

eans b

y a

rt (or ev

en ju

st by

mu

sic) is so in

credib

ly d

iverse

, especia

lly acro

ss cultu

res, it do

es no

t mak

e sense

to su

pp

ose

that th

ere is on

ly o

ne rig

ht w

ay to

aesthetically

app

reciate it (see C

arroll, 2

00

5; W

eitz, 19

56

).

Mo

rris Weitz b

elieves th

at the d

ebate b

etween

the fo

rmalists an

d th

eir op

po

nen

ts “radically

misco

nstru

es the lo

gic o

f the co

ncep

t of a

rt.”1

1 Ind

eed

, esp

ecially co

nsid

ering

art’s div

ersity

,

on

e sho

uld

no

t priv

ilege o

ne w

ay o

f app

reciatin

g art o

ver an

oth

er. It is that sen

sitivity

and

respect to

social an

d cu

ltural co

ntex

ts requ

ires us to

app

reciate app

rop

riately reg

ardin

g th

ose

con

texts, n

ot a g

eneral th

eory

that m

ust b

e ad

hered

to b

y ap

preciato

rs acro

ss all art.

An

imp

ortan

t analo

gy

can b

e mad

e betw

een

the aesth

etic exp

erience o

f a w

ork

and

on

e’s

app

roach

to aesth

etic exp

erience. I w

ill emb

race tw

o im

po

rtant term

s no

w in

famo

us in

the

literature o

f the n

atural an

d so

cial sciences –

actu

al seq

uen

ces and

rob

ust p

rocesses:

On

e ex

plan

ation

of [A

ustralia’s v

ictory

ov

er En

glan

d in

the 1

97

4-1

97

5 crick

et tests]

wo

uld

walk

us th

rou

gh

a p

lay b

y p

lay d

escriptio

n o

f the tests, d

etailing

each

dism

issal,

run

by

run

and

ou

t by

ou

t. An

alternativ

e wo

uld

app

eal to th

e streng

ths an

d w

eakn

esses

of th

e op

po

sing

sides: in

particu

lar, Au

stralia’s streng

ths in

fast bo

wlin

g an

d field

ing

.

Th

ese tw

o ex

plan

ation

s do

no

t con

flict and

each

is of v

alue. T

he p

lay-b

y-p

lay

exp

lanatio

n is an

actu

al-sequ

ence ex

plan

ation

, for it id

en

tifies the p

articu

lar p

ossib

le

wo

rld th

at we in

hab

it. Bu

t if it is true th

at Au

stralia in th

at series was m

uch

the stro

ng

er

side, w

e co

uld

kn

ow

the p

recise seq

uen

ce o

f play

s with

ou

t kn

ow

ing

som

ethin

g v

ery

imp

ortan

t. Nam

ely, h

ad A

ustralia n

ot w

on

that w

ay, th

ey

wo

uld

hav

e wo

n in

ano

ther

and

similar w

ay. 1

2

I pro

po

se that an

‘actual seq

uen

ce’ app

roach

to an

alysin

g, u

nd

erstand

ing

, or ex

perien

cing

a

piece o

f mu

sic is o

ne in

wh

ich th

e listener p

erceives ‘th

is sou

nd

’, then

‘this so

un

d’, th

en ‘th

is

sou

nd

’, un

til the en

d o

f the p

iece. In

oth

er wo

rds, th

e ‘actual seq

uen

ce’ ap

pro

ach

desc

ribes th

e

wh

ole in

terms o

f its ind

ivid

ual p

arts thro

ug

h tim

e. Th

is app

roach

is iden

tified b

y M

artin L

od

ge

(19

91

) – h

ow

ever it is n

ot o

bv

iou

s that it is ad

op

ted u

niv

ersally. A

‘rob

ust p

rocess’ ap

pro

ach,

rather, p

erceiv

es som

ethin

g ex

tra o

vera

ll, such

as an ex

ternal fo

rm, o

r a sp

ecific p

rocess at w

ork

,

or an

y n

on

-mu

sical pro

perty

that is n

ot id

entifiab

le simp

ly b

y an

alysin

g th

e pieces co

nstitu

ent

11 W

eitz (1

95

6), p

. 28

. 1

2 Stere

lny

(19

95

), p. 2

58

.

- 1

57

-

parts as th

ey ap

pea

r thro

ug

h tim

e. Ind

eed

, som

ethin

g v

ital to a p

iece m

ay b

e lost b

y n

ot

con

siderin

g a w

ork

’s rob

ust p

rocess, if in

deed

there is o

ne; fo

r exam

ple, G

oeh

r (20

05

) mo

urn

s a

loss in

aesthetic ex

perien

ce “

wh

en w

e hear th

e mu

sic of a

flam

enco

or a

blu

es gu

itarist in a

con

cert hall,”

13 as th

e etiqu

ette and

fram

ew

ork

of th

e co

ncert h

all chan

ges h

ow

the au

dien

ce

mu

st listen an

d b

ehav

e, wh

ich is v

ery

differen

t to h

ow

tho

se mu

sical styles are

oth

erwise

exp

erienced

in clu

bs, b

ars, or o

ther v

enu

es, for in

stance

. Mo

reov

er, an actu

al sequ

ence

acco

un

t

misses so

meth

ing

vital ab

ou

t wo

rks su

ch as T

erry R

iley’s In

C (1

96

4) an

d S

teve R

eich’s

Cla

pp

ing

Mu

sic (1

97

2) –

nam

ely, th

at there

is som

ethin

g im

po

rtant ab

ou

t the p

iece th

at is lost if

the actu

al sequ

ence

is all that is p

erciev

ed. 1

4 Of co

urse

, ‘actual seq

uen

ce’ an

d ‘ro

bu

st pro

cess’

are no

t mu

tually

exclu

sive te

rms, an

d w

ill ind

eed d

escrib

e app

roach

es of a d

ual o

nto

log

y an

d

will b

e usefu

l wh

en e

mp

loy

ed alo

ng

side e

ach o

ther –

i.e. emp

loy

ing

a p

lura

lity of ex

plan

atory

app

roach

es and

no

t arbitrarily

priv

ilegin

g o

ne ap

pro

ach o

ver th

e o

ther (see

Stereln

y, 1

99

6).

No

te th

at I am n

ot ad

vo

catin

g rela

tivism, rath

er, I am

argu

ing

than

there is lik

ely to

be sev

eral

app

rop

riate way

s to ap

preciate

artwo

rks g

iven

their so

cial an

d cu

ltural co

ntex

ts. Th

ere m

ay also

be in

app

rop

riate way

s – I p

resum

e th

at on

e can

no

t hav

e g

enu

inely

exp

erienced

a Beeth

ov

en

sym

ph

on

y –

or ev

en C

age’s 4

’33

’’– b

y listen

ing

to it in

on

e’s sleep, fo

r exam

ple

, bu

t perh

aps it

is app

rop

riate to d

o so

for m

usic

with

in so

me o

ther so

cial or cu

ltural co

ntex

t, ho

wev

er.

13 G

oeh

r (20

05

), p. 2

21

. 1

4 In th

ese

specific

cases it is th

e fre

e mo

vem

ent th

rou

gh

melo

dic ce

lls in In

C an

d th

e shiftin

g/p

hasin

g

pro

cess in C

lap

pin

g M

usic

.

- 1

58

-

AP

PE

ND

IX IV

Co

mp

act d

isc sup

ple

men

t1

5

Disc can

be lo

cated

insid

e back

cov

er.

Trad

ition

al Javan

ese gam

elan rep

ertoire

1. L

ad

ran

g G

leyo

ng

Pelo

g N

em

2. K

etaw

an

g A

sma

ran

da

na

(Wiled

) Slen

dro

Ma

nyu

ra

3. L

an

cara

n U

da

n M

as P

elog

Ba

ran

g

perfo

rmed

by

Gam

elan P

adh

ang

Mo

ncar, in

clud

ing

my

self, an

d stu

den

ts of th

e New

Zealan

d S

cho

ol o

f Mu

sic

(direc

ted b

y B

ud

i S. P

utra)

Ex

tract fro

m trad

ition

al Balin

ese gam

elan rep

ertoire

4. P

eng

ipu

k from

Pu

spa

nja

li

perfo

rmed

by

Gam

elan T

aniw

ha Jay

a, in

clud

ing

my

self (d

iected

by

Gareth

Farr)

Ya

ng

qin

stand

ard rep

ertoire

5.

(Th

e G

eneral’s O

rder)

6.

(Festiv

al of T

iansh

en M

ou

ntain

s)

perfo

rmed

by

Wan

g H

ui (ya

ng

qin

) and

my

self (dru

m)

7.

(Clim

bin

g M

ou

ntain

to K

ill the T

iger)

perfo

rmed

by

Wan

g H

ui (ya

ng

qin

)

Pre-co

mp

ositio

nal resea

rch activ

ities

8. L

elag

on

Pra

u L

aya

r Pelo

g N

em

perfo

rmed

by

Gam

elan P

adh

ang

Mo

ncar, in

clud

ing

my

self (d

irecte

d b

y B

ud

i S. P

utra

) with

Tristan

Carter (v

iolin

)

and

the N

ew Z

ealan

d S

cho

ol o

f Mu

sic Jazz C

ho

ir (direc

ted b

y Ju

lian

Rap

hael)

9. T

erry R

iley’s In

C

perfo

rmed

by

An

drz

ej No

wick

i and

Karlo

Marg

eti

(cla

rinet), P

ieta H

extall (tru

mp

et), Lau

ryn

William

son

(saxo

ph

on

e), Sim

on

Eastw

oo

d (d

ou

bleb

ass), and

Rich

ard R

ob

ertshaw

e, Mik

e Lem

mo

n, C

atherin

e Ro

bertsh

awe,

Pip

pa S

tröm

, and

my

self (Javan

ese gam

elan

instru

men

ts) as T

he S

MP

En

sem

ble

10

. Helen

Bo

water’s Z

ing

aro

(my

arrang

em

ent)

perfo

rmed

by

An

drz

ej No

wick

i (cla

rinet), K

ylie

Nesb

it (basso

on

& v

iola) an

d m

yse

lf (Javan

ese g

amelan

instru

men

ts)

as Th

e SM

P E

nsem

ble

15 A

ll tracks o

n th

is com

pac

t disc

are my

ow

n re

cord

ing

s (exce

pt track

8, w

hich

was reco

rded

by

Ro

y

Carr –

senio

r techn

ician

at th

e New

Zealan

d S

cho

ol o

f Mu

sic).

- 1

59

-

RE

FE

RE

NC

ES

Allan

, To

ny

(20

08

), Myth

ic Bestia

ry (UK

: Du

ncan

Baird

Pu

blish

ers)

Alv

es, Bill (2

00

1), “

Kem

ban

gan

in th

e M

usic o

f Lo

u H

arrison

” in P

erspectives o

f New

Mu

sic

Vo

l. 3 N

o. 2

(US

A: P

ersp

ectives o

f New

Mu

sic)

An

on

ym

ou

s, <h

ttp://w

ww

.bo

rges.p

itt.edu

/vak

alo/zf/assets/im

ages/0

07

7_

Mirm

igo

leon

.JPG

/>

Accessed

22

.06

.20

10

Balk

will, L

aura-L

ee &

William

Fo

rde T

ho

mp

son

(19

99

), “A

Cro

ss-Cu

ltural In

vestig

ation

of th

e

Perc

eptio

n o

f Em

otio

n in

Mu

sic: Psy

cho

ph

ysical an

d C

ultu

ral Cu

es” in

Mu

sic Percep

tion

Vo

l.

17

No

. 1 (U

SA

: Un

iversity

of C

aliforn

ia)

Barw

ell, Ismay

(20

09

), “Beau

tiful S

tories” (p

aper p

resen

ted at th

e Ph

iloso

ph

y P

rog

ram

me

Sem

inar S

eries, Victo

ria U

niv

ersity o

f Wellin

gto

n, N

ew

Zealan

d: 6

Au

gu

st 20

09

)

Bell, C

live (1

91

4), A

rt (UK

: Ballan

tyn

e Press)

Berrio

s, Ru

ben

& A

aro

n R

idley

(20

05

), “N

ietzsche”

in R

ou

tledg

e Co

mp

an

ion

to A

esthetics 2

nd

ed. [ed

. Bery

s Gau

t & D

om

inic M

cIver L

op

es] (UK

: Ro

utled

ge)

Bo

dy

, Jack

(19

91

), “Mu

sical Tran

scrip

tion

As A

n A

dju

nct T

o M

usical C

om

po

sition

” in

Ca

nzo

na

Vo

l. 13

No

. 34

(NZ

: Co

mp

osers’ A

ssociatio

n o

f New

Zealan

d)

Bo

dy

, Jack

& M

ichael N

orris (2

01

0), “

Ap

rop

os A

pp

rop

riation

” in C

an

zon

a V

ol. 2

8 N

o. 4

9

(New

Zealan

d: C

om

po

sers Asso

ciation

of N

ew

Zealan

d)

Bro

wn

, Matth

ew

(19

93

), “T

on

ality an

d F

orm

in D

ebu

ssy’s P

rélud

e à

L’A

près-m

idi d

’un

fau

ne”

in M

usic

Th

eory

Sp

ectrum

(US

A: U

niv

ersity

of C

aliforn

ia Press fo

r So

ciety fo

r Mu

sic Th

eory

)

Bro

wn

, Mau

rice J. E

. (19

72

), “Sch

ub

ert and

So

me F

olk

son

gs” in

Mu

sic &

Letters V

ol. 5

3 N

o. 2

(UK

: Ox

ford

Un

iversity

Press)

Bu

son

i, Ferru

ccio

(19

62

), “S

ketch

of A

New

Esth

etic of M

usic

” in T

hree

Cla

ssics in th

e

Aesth

etic of M

usic (U

SA

: Do

ver)

- 1

60

-

Carlso

n, A

llen (1

97

9), “

Ap

preciatio

n an

d th

e N

atural E

nv

iron

men

t” in Jo

urn

al o

f Aesth

etics

an

d A

rt Criticsm

Vo

l. 37

No

. 3 (U

SA

: Black

well P

ub

lishin

g fo

r the A

merican

So

ciety fo

r

Aesth

etics)

__

__

_ (2

00

5), “

Aesth

etic Ap

preciatio

n o

f the N

atural E

nv

iron

men

t” in A

esthetics: a

read

er in

ph

iloso

ph

y of th

e arts 2

nd ed

. [ed. D

avid

Go

ldb

latt & L

ee B. B

row

n] (U

SA

: Pea

rson

Pren

tice

Hall)

Carro

ll, No

ël (20

05

), “Fo

rmalism

” in R

ou

tledg

e Co

mp

an

ion

to A

esthetics 2

nd ed

. [ed. B

erys

Gau

t & D

om

inic M

cIver L

op

es] (UK

: Ro

utled

ge)

Ch

almers, K

enn

eth (2

00

8), B

éla B

artó

k (UK

: Ph

aido

n P

ress)

Ch

erno

ff, Joh

n M

iller (19

79

), Africa

n R

hyth

m a

nd

Africa

n S

ensib

ility (US

A: U

niv

ersity o

f

Ch

icago

Press)

Clark

e, D

avid

(20

00

), “T

he M

eanin

g o

f ‘Laten

ess’: Med

iation

s of W

ork

, Self an

d S

ociety

in

Tip

pett’s T

riple C

on

certo

” in Jo

urn

al o

f the R

oya

l Mu

sical A

ssocia

tion

Vo

l. 12

5 N

o. 1

(UK

:

Tay

lor &

Fran

cis, Ltd

)

Co

ok

e, Merv

yn

(19

88

), “Britten

and

the S

h” in

Th

e M

usica

l Tim

es Vo

l. 12

9 N

o. 1

74

3 (U

K:

Mu

sical Tim

es Pu

blicatio

ns L

td)

__

__

_ (1

99

8), B

ritten a

nd

the F

ar E

ast (U

K: B

oy

dell &

Bre

wer L

td)

Craig

, Dale

A. (1

98

6), “

Tran

s-Cu

ltural C

om

po

sition

in th

e 20

th Cen

tury

” in

Tem

po

New

Series,

No

. 15

6 (U

K: C

amb

ridg

e U

niv

ersity P

ress)

Dia

mo

nd

, Jod

y (1

98

7), “In

the B

egin

nin

g W

as the M

elod

y: T

he G

am

elan M

usic

of L

ou

Harriso

n” in

A L

ou

Ha

rrison

Rea

der [ed

. Peter G

arlan

d] (U

SA

: So

un

din

gs P

ress)

Din

gle (2

01

0), fo

r Au

stralia

n B

roa

dca

sting

Co

mp

an

y (A

BC

) New

s

<h

ttp://w

ww

.abc.n

et.au/n

ew

s/stories/2

01

0/0

2/0

4/2

80

984

8.h

tm/>

Acc

essed 1

7.0

6.2

01

0

Dju

mad

i (19

86

), Titila

ras R

eba

ba

n II (In

do

nesia: T

aman

Bu

day

a Su

rakarta)

- 1

61

-

Du

nn

, Dav

id (1

99

7), “

Natu

re, S

ou

nd

Art, an

d th

e S

acred

” in T

erra N

ova

Vo

l. 2 N

o. 3

(US

A:

MIT

Press)

Du

tton

, Den

nis (2

00

5), “

Aesth

etic Un

iversals” in

Ro

utled

ge C

om

pa

nio

n to

Aesth

etics 2n

d ed.

[ed. B

ery

s Gau

t & D

om

inic M

cIv

er Lo

pes] (U

K: R

ou

tledg

e)

__

__

_ (2

00

9), T

he A

rt Instin

ct (UK

: Ox

ford

Un

iversity

Press)

Dy

nes, M

ichael (2

00

4), fo

r Th

e T

imes

<h

ttp://w

ww

.timeso

nlin

e.co.u

k/to

l/new

s/wo

rld/article4

52

66

0.ece?to

ken

=n

ull&

offset=

0&

pag

e=

1/>

Accessed

17

.06

.20

10

Ellis, A

lexan

der Jo

hn

(18

85

), “O

n th

e M

usic

al Scales o

f Vario

us N

ation

s” in Jo

urn

al o

f the

Ro

yal S

ociety o

f Arts V

ol. 3

3 (U

K: R

oy

al So

ciety o

f Arts)

Farr, G

areth (2

00

1), “F

rom

the D

epth

s So

un

d th

e Great S

ea G

on

gs”

, Pu

blish

ed o

nlin

e

<h

ttp://w

ww

.gareth

farr.com

/dep

ths.h

tml/>

Accessed

08

.02

.20

10

Fau

l, Mich

elle (2

00

6), fo

r Ch

icag

o S

un

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No

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Vo

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No

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SA

: Black

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n In

trod

uctio

n to

Aco

ustic E

colo

gy

” in S

ou

nd

scap

e: Th

e Jou

rna

l

of A

cou

stic Eco

log

y Vo

l. 1 N

o. 1

(Wo

rld F

oru

m fo

r Aco

ustic E

colo

gy

)

Yan

g, M

u (1

99

3), C

hin

ese Mu

sical In

strum

ents: A

n in

trod

uctio

n (A

ustralia: A

ustralian

Natio

nal U

niv

ersity

)

Yee, S

on

ya (2

01

0), A

sian R

epo

rt for 6

Ap

ril (Inte

rvie

w w

ith B

ud

i Pu

tra and

mem

bers o

f

Gam

elan P

adh

ang

Mo

nca

r) for R

adio

New

Zealan

d, b

road

cast 3:3

3p

m, 0

6.0

4.2

01

0

Yo

un

g, Jam

es O. (2

01

0), C

ultu

ral A

pp

rop

riatio

n a

nd

the A

rts (UK

: Wiley

-Black

well)

Zan

gw

ill, Nick

(20

01

), Th

e Meta

ph

ysics of B

eau

ty (US

A: C

orn

ell Un

iversity

Press)

Ziff, B

ruce &

Pratim

a V. R

ao (1

99

7), “In

trod

uctio

n to

Cu

ltural A

pp

rop

riation

: A F

ram

ew

ork

for A

naly

sis” in B

orro

wed

Po

wer [ed

. Ziff &

Rao

] (US

A: R

utg

ers Un

iversity

Press)

Zu

rbru

gg

, Nich

olas (1

99

3), T

he P

ara

meters o

f Po

stmo

dern

ism (U

SA

: So

uth

ern Illin

ois

Un

iversity

Press)

Sco

res

Bartó

k, B

éla (19

69

), Fo

urteen

Ba

ga

telles, extract p

ub

lished

in S

tuck

ensch

mid

t (19

69

) (UK

:

Weid

enfeld

and

Nich

olso

n)

__

__

_ (1

96

9), M

ikroko

smo

s, extract p

ub

lished

in S

tuck

ensch

mid

t (19

69

) (UK

: Weid

enfeld

and

Nich

olso

n)

Bo

dy

, Jack

(19

91

), Melo

dies fo

r Orch

estra (N

Z: W

aiteata M

usic P

ress)

__

__

_ (2

00

6), E

picy

cle (NZ

: Waite

ata Mu

sic Press)

__

__

_ (2

00

7), P

olish

Da

nces (u

np

ub

lished

; from

priv

ate collectio

n)

- 1

68

-

Britten

, Ben

jam

in (1

98

8), C

urle

w R

iver, ex

tract pu

blish

ed in

Co

ok

e (1

98

8) (U

K: M

usical T

imes

Pu

blicatio

ns L

td)

__

__

_ (1

98

9), T

he P

rince

of th

e Pa

go

da

s (UK

: Bo

osey

& H

aw

kes)

Cag

e, Jo

hn

& L

ou

Harriso

n (1

96

1), D

ou

ble

Mu

sic (US

A: C

. F. P

eters Co

rpo

ration

)

Cao

, Lin

g (c

.20

00

), Festiva

l of th

e Tia

nsh

an

Mo

un

tain

s (Rep

ub

lic of C

hin

a: Zh

ao Y

an F

ang

,

Xia

men

Un

iversity

)

Deb

ussy

, Clau

de (1

90

3), E

stam

pes (F

rance: D

uran

d &

Co

.)

__

__

_ (1

91

0), P

relud

es (Bo

ok 1

) (UK

: Un

ited M

usic P

ub

lishers L

td)

Farr, G

areth (1

99

8), F

rom

the D

epth

s So

un

d th

e Grea

t Sea

Go

ng

s (NZ

: Pro

meth

ean E

ditio

ns)

Harriso

n, L

ou

(19

63

), Pa

cifica R

on

do

, extract p

ub

lished

in v

on

Gu

nd

en (1

99

5) (U

SA

:

Scarecro

w P

ress, Inc.)

__

__

_ (1

97

6), L

ag

u S

ocisekn

um

, pu

blish

ed in

Harriso

n &

Neilso

n [ed

s] (19

81

) (US

A: self-

pu

blish

ed)

__

__

_ (1

97

8), C

on

certo in

Slen

dro

(US

A: C

. F. P

eters Co

rpo

ration

)

__

__

_ (1

98

1), B

ub

ara

n R

ob

ert, pu

blish

ed in

Harriso

n &

Neilso

n [ed

s] (19

81

), (US

A: self-

pu

blish

ed)

__

__

_ (1

98

9), M

ain

Bersa

ma

-sam

a (U

SA

: Herm

es Bea

rd P

ress)

__

__

_ (1

99

0), C

on

certo fo

r Pia

no

with

Java

nese

Ga

mela

n (U

SA

: Herm

es Bea

rd P

ress)

__

__

_ (2

00

1), E

legy, T

o th

e M

em

ory

of C

alvin

Sim

mo

ns, ex

tract p

ub

lished

in A

lves (2

00

1)

(US

A: P

erspectiv

es of N

ew

Mu

sic)

I Way

an G

de Y

ud

ane (2

00

6), T

he C

hu

rnin

g o

f the S

ea (u

np

ub

lished

; from

priv

ate co

llection

)

Lan

gfo

rd, M

ark (1

99

0), M

ostly in

B fla

t (NZ

: Waiteata M

usic P

ress)

- 1

69

-

Lilb

urn

, Do

ug

las (20

04

), Cro

tchety

at 5

1 (N

Z: W

aiteata Mu

sic Press)

Messiaen

, Oliv

ier (19

66

), Co

uleu

rs de la

Cité C

éleste (F

rance: A

lph

on

se Led

uc &

Co

.)

__

__

_ (1

96

6), S

ept H

aika

i (Fran

ce: A

lph

on

se Led

uc &

Co

.)

Rav

el, Mau

rice (1

91

2), M

a M

ère L

’oye

(Fran

ce: Du

rand

& C

o.)

Reich

, Stev

e (19

73

), Dru

mm

ing

(US

A: H

end

on

Mu

sic Inc)

Sain

t-Saën

s, Cam

ille (19

91

), Sa

mso

n et D

alila

, extract p

ub

lished

in L

ock

e (1

99

1) (U

K:

Cam

brid

ge U

niv

ersity P

ress)

Strav

insk

y, Ig

or (1

96

7), T

he R

ite of S

prin

g (U

K: B

oo

sey

& H

aw

kes)

Tip

pett, M

ichael (1

98

1), T

riple C

on

certo

for V

iolin

, Vio

la, C

ello a

nd

Orch

estra (U

K: S

cho

tt &

Co

.)

Un

g, C

hin

ary

(19

92

), Sp

iral (U

SA

: C. F

. Pete

rs Co

rpo

ration

)

Zh

ou

Lo

ng

(20

02

), So

ng

of th

e Ch

’in (U

SA

: Ox

ford

Un

iversity

Press)

Reco

rd

ing

s

Gam

elan P

adh

ang

Mo

nca

r and

Gam

elan T

aniw

ha Jay

a (20

08

), No

w I K

no

w (N

ew

Zealan

d:

Am

store)

Sek

ar Petak

(19

86

), A R

ag

Ba

g o

f En

glish

Pieces (U

SA

: Am

erican

Gam

elan In

stitute)

Sh

ang

hai F

ilm O

rchestra

(19

92

), In C

(Celestial H

armo

nies R

eco

rds)

Th

e S

MP

En

sem

ble (2

01

0), P

od

róe –

Jou

rneys (N

ew

Zealan

d: A

msto

re)

- 1

70

-

CO

MP

OS

ITIO

N P

OR

TF

OL

IO

An

ton

Killin

1. Cycles, Shadow

s

2. Wigena

3. Melody for V

iolin and Yangqin

4. To –

5. Ketaw

ang Anggun Slendro M

anyura

6. Ladrang S

antai Slendro Sanga

7. Gendhing T

arikan Pelog N

em

8. Merm

ecolion

9. Po

dró

e

10. Elegy

11. Tabula R

asa

12. Primes

13. After C

live Bell

14. Outside m

y front door

Extended program

me notes for all of the follow

ing works can be found in the thesis that

precedes this composition portfolio.

Ketaw

ang Anggun Slendro M

anyura, Ladrang Santai Slendro Sanga and G

endhing Tarikan

Pelog N

em share a com

bined extended programm

e note, Three P

ieces for Gam

elan in

Traditional C

entral Javanese Style with W

estern Instruments. H

owever, they should be

considered separate pieces, not three movem

ents of a single piece.

AN

TO

N K

ILL

IN

Cycles, S

hadow

s

for clarin

et, vio

la doublin

g b

assoon (o

r vio

la and b

assoon), an

d Jav

anese g

end

er (slendro

)

Cycles, S

hadow

s is ded

icated to

Jack B

ody an

d w

as com

posed

for p

erform

ance b

y A

ndrzej

No

wick

i (clarinet), K

ylie N

esbit (b

assoo

n an

d v

iola), an

d m

yself (g

end

er). It was p

remiered

in N

ew Z

ealand

on

3 O

ctob

er 20

09

at the A

dam

Co

ncert R

oo

m in

Wellin

gto

n.

Th

e cycles-w

ithin

-cycles an

d ex

treme p

erform

ance req

uirem

ents are d

irectly in

spired

by

Jack

Body's E

picycle strin

g q

uartet, w

hile th

e rhy

thm

s are insp

ired b

y trad

ition

al Ch

inese erh

u.

photo

of A

ndrzej N

ow

icki, K

ylie N

esbit, an

d m

yself co

urtesy

of M

egan

Ward

Perfo

rman

ce Instru

ction

s

Gen

der p

layer

Strik

e gen

der w

ith th

e traditio

nal Jav

anese ta

buh (b

eaters)

A "+

" sign

attached

to a n

ote req

uires th

e perfo

rmer to

strike th

e key

with

the w

oo

den

end

of th

e tabuh.

This sh

ould

be so

unded

sharp

and clea

r.

Dam

pen

accord

ing to

the sco

re (rests = n

o so

und! -- u

nless l.v. is in

dicated

)

Attem

pt to

avo

id all in

strum

ent 'sq

wark

s' and

'bu

zzes' - this m

ay in

vo

lve ch

eckin

g th

e reson

ating

tub

es

of th

e instru

men

t befo

re perfo

rman

ce

AN

TO

N K

ILL

IN

Co

py

righ

t © A

nto

n K

illin M

MIX

Virtu

osic! q =

12

0

Ch

eeky a

nd q

uirk

y

Cycles, S

hadow

s

Cla

rinet in

Bb

Vio

lad

ou

blin

g B

asso

on

Ja

va

nese G

end

erla

ras slen

dro

TR

AN

SP

OS

ED

SC

OR

E

ffpp

ff

mu

ta in b

n

1f6

3p3.

33.

3

cl

gd

r

33.

33.

5

cl

bn

gd

r

mp

mf

mf

3

7

cl

bn

gd

r

ff

mp 5

2 .1 .

mf

5,5

mp

6,6

l.v.

1

9

cl

bn

A11

cl

bn

gd

r

ffpp

ff

1f .6

5

p5.

55.

13

cl

bn

gd

r

mp

mf

mf

5

15

cl

bn

gd

r

ff

6

mp .

23

5,5

f5

,55

,56

,6

l.v.

2

17

cl

bn

A little slo

wer q =

10

0

Co

rrective, teasin

g, evo

cative

19

cl

bn

ff

ffp

21

bn

f fl.fl.

fff fl.

fff fl.

fl.

mp

po

co rit.

23

accel.

bn

mf

25

BT

emp

o p

rimo q =

12

0

Ch

eeky a

nd q

uirk

y

cl

bn

gd

r

pp

f

1f6

3p3.

3

27

Tem

po ru

bato

q = c. 1

08

Pom

pou

s

cl

gd

r

mp

p

35.

3

30

accel.

cl

fl.

Tem

po p

rimo q =

12

0

Ch

eeky a

nd q

uirk

y3

2

cl

bn

mp

mf

mf

34

cl

bn

gd

r

fff

6

mp .

5.1.

5,5

f5

,55

,56

,6

l.v.

36

cl

bn

4

A little slo

wer still q =

94

Kin

dly tea

sing

38

cl

bn

ff

ffp

40

bn

gd

r

fl.

fp5,5p

5.5.

42

bn

gd

r

mp

fl.

2mp

5.5

,52

5.

44

bn

gd

r

5

5,5

5.6.

5,5

25.

5.

po

co rit.

46

accel.

bn

gd

r

1,1

5.2

,25

5

CT

emp

o p

rimo q =

12

0

Ch

eeky a

nd q

uirk

y4

8

cl

bn

gd

r

p

f

1f .6

5p5.

55.

50

cl

gd

r

fl.

mp

21

21

52

cl

bn

gd

r

mp

mf

7

mf

7

2

54

cl

bn

qu

asi-rub

ato: as fast as p

ossib

le!

33

3

33

6

56

cl

bn

36

3

33

6

6

58

cl

bn

ppf

fl.

f

fl.

60

cl

bn

ff

ffp P

om

pou

s

62

bn

fmp

64

D

cl

bn

Ch

eeky a

nd q

uirk

y

pp

fl.

f

mu

ta in v

a

7

7

66

cl

fl.

68

cl

va

mp

fmf

mf pizz.

70

cl

va

f7

arco

f

7

72

cl

va

fl.

74

Tem

po ru

bato

q = c. 1

08

Nosta

lgic

cl

va

mf

very expressive

8

76

va

fmp

mf

55

78

va

ffmp

accel.

80

ET

emp

o p

rimo q =

12

0

Ch

eeky a

nd q

uirk

y

cl

va

gd

r

pp

ff

5

2f1

6p

6.

82

cl

gd

r

fl.

26.

6cresc.

.1

5

84

cl

va

gd

r

mp

fmf

mf pizz.

15.

6.5.

6.2mp

9

86

F

cl

va

fmp

fff

Con

fiden

t, stron

g, sym

bio

tic

pesa

nte

7

arco

fp

esan

te

7

88

cl

va

fl.

90

accel.

Tem

po p

rimo q =

12

0

Rig

hteo

us, p

rou

d

cl

va

gd

r

mf

fffff

mf

fffff2ff .

53 .

3f3 .

fff

10

AN

TO

N K

ILL

IN

Wig

ena

for strin

g q

uartet, Jav

anese in

strum

ents, an

d Jav

anese reb

ab so

lo

Wig

ena is a p

rescriptiv

e transcrip

tion

of a trad

ition

al Javan

ese gam

elan p

iece, recast for p

izzicato

string

qu

artet with

gam

elan in

strum

ents. K

eno

ng

, kemp

ul an

d g

on

g a

gen

g m

ark th

e traditio

nal co

loto

mic

structu

re of th

e wo

rk, an

d th

e melo

dic lead

er of th

e gam

elan, th

e reba

b (a tw

o-strin

g v

ertical fidd

le)

app

ears here as a so

loist.

Perfo

rman

ce Instru

ction

s

Th

e gong, kem

pul &

keno

ng p

layer

Instru

men

ts requ

ired

Gong a

gen

g, ken

ong (p

elog

1 &

5), kem

pul (p

elog

5 &

6)

den

otes g

ong a

gen

g

den

otes kem

pul

d

eno

tes keno

ng

Gong a

gen

g an

d ken

on

g n

otes are to

be left to

ring

on

(l.v.).

Kem

pul n

otes are to

be d

amp

ened

.

Th

e keno

ng an

d kem

pul n

otes are alread

y n

otated

to b

e play

ed slig

htly

(a

semiq

uav

er) after the b

eat, tho

ug

h, th

e exact tim

ing

may

be v

aried at th

e perfo

rmer's

discretio

n, so

lon

g as it falls in

-betw

een th

e vio

la's two

no

tes that im

med

iately

preced

e and

follo

w it.

Th

e rebab p

layer

Th

e rebab tran

scriptio

n is in

tend

ed as a m

elod

ic and

rhy

thm

ic gu

ide o

nly.

No

tes may

be d

ecorated

/orn

amen

ted in

the p

erform

er's ow

n sty

le, etc., though

the g

eneral m

elod

y as n

otated

is rob

ust.

Copyrig

ht ©

Anto

n K

illin M

MIX

Fo

lk-lik

e exp

ression q=

72

Wig

ena

AN

TO

N K

ILL

IN

accel.

Reb

ab

Ken

ong,

Kem

pu

l,G

ong

Strin

g

Qu

artet

pizz

f

(accel.)

1

q=1

08

4rit.

mf

pizz

fpizz

fpizz

f

(q=6

0)

6 q=

90

(First tim

e thro

ug

h)

with

expressio

n; th

ere is room

for im

pro

visatio

n o

n th

is melo

dy (d

ottin

g n

otes,

or o

rnam

entin

g/d

ecora

ting n

otes in

perfo

rmer's o

wn style, etc.)

mf

mf

( f )

mf

2

A912

3

15

B

18

3rd

time th

rou

gh

: rit. poco

a p

oco

(un

til Sectio

n C

)

4

21

fmf

fmf

24

Cq =

80 (3

rd tim

e thro

ugh)

5

27

30

6

D33

2n

d tim

e thro

ug

h: a

ccel. poco

a p

oco

(un

til Sectio

n E

)

fmf

fmf

36

3rd

time th

rou

gh

: rit. poco

a p

oco

al fin

e

7

39

E1.2

. q = 11

6 (2

nd tim

e thro

ugh)

42

8

45

3.

ffffffff

9

AN

TO

N K

ILL

IN

Melo

dy fo

r Vio

lin a

nd Y

angqin

for v

iolin

and

Ch

inese ya

ng

qin

(du

lcimer)

Melo

dy fo

r Vio

lin a

nd Y

angqin

was co

mp

osed

for p

erform

ance b

y E

lena (v

iolin

) and

Wan

g

Hu

i (yan

gq

in). It w

as prem

iered in

New

Zealan

d o

n 2

6 M

arch 2

010 at th

e Massey

Concert

Hall in

Wellin

gto

n, an

d first p

erform

ed in

Ch

ina o

n 1

2 Ju

ne 2

01

0 at th

e Little E

gret M

usic

Hall in

Xiam

en.

photo

of E

lena an

d W

ang H

ui co

urtesy

of W

ang H

ui

Gra

ve co

n g

razia

(q = 5

0-6

0)

Co

py

righ

t © A

nto

n K

illin M

MX

Melo

dy fo

r Vio

lin a

nd

Ya

ng

qin

AN

TO

N K

ILL

IN

Vio

lin

Yan

gq

in

ppmp

ppp

p

33

p

4

fmf

fp

mp

fmf

fp

7

ppp

pmp

mf

3

mp

10

mp

fpf

ff3

fff

1

13

ppmp

ppp

p3

3

ppmp

ppp

p3

3

16

fmf

fp

mp

fmf

fp

mp

19

ppp

pmp

mf

3

ppp

pmp

mf

3

22

mp

fpf

ff3

mp

fpf

ff3

2

A little fa

ster

25

pizz.

p

33

p (dam

pen

no

tes)

33

28

31

3

p3

34

mp

3

mp

cresc.

(ord

.)

mf

3

3

37

pp arco

pmp

ppp

p

33

ppp

40

fmf

fp

mp

fmf

fp

43

ppp

mf

fmp

mf

3

mf

fmp

46

mp

fpf

ff

3

fff

mp

4

To -

for Jav

anese m

usician

(male v

oice an

d Jav

anese g

end

er)

AN

TO

N K

ILL

IN

To - w

as com

po

sed esp

ecially fo

r my

Javan

ese gam

elan teach

er, Bu

di S

. Pu

tra. It is a sho

rt wo

rk

insp

ired b

y m

y tran

scribin

g o

f Ind

on

esian v

ocal m

usic. T

he ly

ric, Saya

ora

ng lew

at (I'm

a

passerb

y) is m

y o

wn

po

etic respo

nse to

the E

dg

ar Allen

Po

e verse T

o - .

q = 6

0 M

ou

rnfu

l

Molto

rub

ato

Co

py

righ

t © M

MIX

An

ton

Killin

To

-A

NT

ON

KIL

LIN

translatio

n assistace fro

m Y

ON

O S

UK

AR

NO

Voice

Javan

ese gen

der

Sa

1 .

mp

.2p

.ya 2

-o 2 .

3

rang

6mf

-

7p

67

.le 2mf

-la

ras p

elog

1 .p2 .pp

6mp

4

wat

3 .fS

a 2 .

mf

ya 2 .

-o 6

76

72 .

7

rang

7

--

--

--

54

.2p2 .

67pp

2 .7

75

8

54

36

42

le 2

mp

wat

3mf

-

2

Sa

3mp

4

ya 4

-o 4

5

rang

6mf

-

3p6

23

23

5mp

6

1

12

le 6

wat

6

-S

a

6p

54

ya 3pp

--

21

3

o 23

6

3

5pran

g

5

pp-

--

6

66p

32

1

3

23

6

3

55

6

* sl.1

= slen

dro

1

17

le 7sl.1

* .7

43

4

wat

3

--

--

--

-

4

Sa

5p

1 .2 .

--

74

34

34

51 .

2 .

21

-y

a 76

76

56

o 1

rang

2

-

1

le 27.

2

wat

6.

mp

-

76

76

56

12

12

7.2

6.

2

Keta

wang A

nggun S

lendro

Manyu

ra

for Jav

anese g

amelan

and

vio

la solo

AN

TO

N K

ILL

IN

Keta

wa

ng

An

gg

un

Slen

dro

Ma

nyu

ra w

as com

po

sed fo

r vio

list Ky

lie Nesb

it and

Gam

elan

Pad

han

g M

on

car. It is based

on

traditio

nal Jav

anese g

amelan

con

ven

tion

s such

as form

,

scale, mo

de, an

d tem

po

structu

re.

AN

TO

N K

ILL

IN

Co

py

righ

t © A

nto

n K

illin M

MX

Keta

wang A

nggun S

lendro

Manyu

ra

AA

Vio

la (solo

)

Balu

ng

an/C

iph

er

Gam

ban

g

Gam

elan S

hort S

core

Sco

rda

tura

Ma

tchin

g th

e pitch

es of th

e ga

mela

n in

strum

ents

f

BU

KA

(bo

na

ng

ba

run

g o

nly

)

(6

23

3

kend

ha

ng en

ters

_6

3 rit.

21 )

(6).

3

TA

NG

GU

NG

speed

ME

RO

NG

(tutti)3

5.

bonang p

aneru

s

BU

KA

(bonang b

aru

ng

only

)

pekin

g (to

p vo

ice), bo

na

ng

ba

run

g (lo

wer vo

ice)

balu

ngan (to

p to

botto

m: sa

ron, d

emung, slen

them

)

6

rit.w

.v.

p3

16

6_

23

35.

1

10

mf

con

espressio

ne

1

DA

DI sp

eed

33

6(3

)3

13

35.

16

6_

2

16

23

35.

1_

19

BB

( ) gl.

66

(3)

6 NG

EL

IK

62

3

22

5_

66

36

25

6_

2_

66

4

28

(3)

66

25

3

31

36

36

6_

5

34

23

35.

(1)

3

37

pizz.

arcop

izz.arco

3_

6._

_6.

6

40

1.

1.

pizz.

23

3_

6.3

43

CC

21

(6).

(DA

DI iteratio

n o

f A [M

ER

ON

G])

33

5.

7

46

16

6_

23

49

2.

2.

arco(p

izz.)

35.

3_

6.3

8

52

DD

21

(6).

(ME

RO

NG

)

3

54

35.

16

6_

9

57

arco

23

35.

13

60

36

(3)

33

5.

10

63

16

6_

23

66

po

co a

po

co a

ccel.p

izz.

35.

1_

66

po

co a

po

co a

ccel.

11

EE

69

(3)

6 (NG

EL

IK)

62

5_

72

arco

66

36

6_

12

75

2_

66

(3)

6

78

62

53

36

13

81

accel.

36

6_

23

accel.

84

pizz.

arco

35.

(1)

33

_

14

87

pizz.

arcop

izz.arco

6._

_6.

23

90

Liv

ely

Liv

ely

pizz.

arcog

l.

3_

6 TA

NG

GU

NG

speed

.3

21

15

FF

93

w.v.

3

(6).

ME

RO

NG

33

5.1

66

_2

3

98

n

35.

13

36

(3)

33

5.

16

103

16

6_

23

35.

1_

108

GG

66

(3)

NG

EL

IK

66

25

_6

6

17

113

36

6_

2_

66

(3)

6

118

po

co rit.

po

co rit.

poco

a

pizz.

mp

62

53

36

36

6_

po

co a

18

123

23

35.

(1)

33

_

127

mo

lto rit.

molto

rit.

arco

mf

w.v.

3

6._

_6.

23

3_

19

131

n

6.3

21

_(

gong

)6.

20

Ladra

ng S

anta

i Slen

dro

Sanga

for Jav

anese g

amelan

, gero

ng

(small m

ale un

ison

cho

ir) and

gu

itar solo

AN

TO

N K

ILL

IN

Ladra

ng S

anta

i Slen

dro

Sanga

was co

mposed

for m

yself (g

uitar), G

amelan

Pad

han

g M

oncar,

and

friend

s stud

yin

g v

ocal p

erform

ance at th

e New

Zealan

d S

cho

ol o

f Mu

sic. It is based

on

traditio

nal Jav

anese g

amelan

con

ven

tion

s such

as form

, scale, mo

de, an

d tem

po

structu

re.

Co

py

righ

t © A

nto

n K

illin M

MIX

AN

TO

N K

ILL

IN

Ladra

ng S

anta

i Slen

dro

SangaAA

rit.

Gero

ng

(Male C

ho

ir)

Gu

itar

Balu

ng

an/C

iph

er

Gam

elan sh

ort sco

re

Sco

rda

tura

Ea

ch strin

g tu

ned

do

wn

on

e semito

ne &

then

tun

e gu

itar so

A-fla

t = slen

dro

5

BU

KA

(bo

na

ng

ba

run

g o

nly

)

(3

56

35

21

3 kend

ha

ng en

ters

35

2_

16. )

(5). TA

NG

GU

NG

speed

ME

RO

NG

(tutti)

21

5.

bo

na

ng

pa

neru

s

(bo

na

ng

ba

run

g o

nly

)

pekin

g (to

p vo

ice), bo

na

ng

ba

run

g (lo

wer vo

ice)

ba

lun

ga

n (to

p to

bo

ttom

: saro

n, d

emu

ng

, slenth

em)

7rit.

6.5.

5.3

52

53

2

DA

DI sp

eed

_

12

16.

5.3

35

63

1

16

1.

1.

52

12

21

6.3.

20

5.3.

(5).

21

5.6.

5.

24

2.

2.

5.3

52

53

6.3.

2

28

BB

NG

EL

IK (tu

tti; with

sing

ers & so

loist)

mf

un

ison

o, th

ou

gh

with

ind

ividu

al

expressio

n &

mo

vemen

t

Out

inth

e

53

(5)

_5

5

31

shad

en

ow

ork

tod

o,

Ny

-

pmf

3mp

mf

f

_6

1 .6

56

3

34

lon

and

glass

there

we

all

mp

ppp

mp

3

mf

1 .5

32

53

37

are,U

nd

er-

aP

oh

u-

tu-

-k

a-

mp

fp

pp

mp

33

3

26

1 .6

52

15.

4

41

wa

(on

final tim

e thro

ug

h o

nly, p

oco

a p

oco

rit.)

Sin

gin

g-

drin

k-

ing

play

-

f

pmf

fmf

p

6.3

35

2_

44

CC

1.2

.

1.2

.

ing

gu

i-

tar

(DA

DI iteratio

n o

f A [M

ER

ON

G])

mp

p

sna

pp

y!

mp

f

16.

(5).

21

5.6.

5.

etc

5

48

5.3

52

53 D

.S. (severa

l times)

D.S

. (several tim

es)

3.

3.

51

mo

lto rit.

molto

rit.

ing

gu

i-

tar

mf

n

mp

pf

16.

_(

gong

)5.

(or fin

al)

6

AN

TO

N K

ILL

IN

Gen

dh

ing

Tarika

n P

elog

Nem

for Jav

anese g

amelan

, accord

ion

solo

and

clarinet in

B-flat so

lo

Gen

dh

ing

Tarika

n P

elog

Nem

was co

mp

osed

for acco

rdio

nist Jo

nath

an B

erkah

n, clarin

ettist

An

drzej N

ow

icki, an

d G

amelan

Pad

han

g M

on

car. It is loo

sely b

ased o

n trad

ition

al Javan

ese

gam

elan co

nv

entio

ns su

ch as fo

rm, scale, m

od

e, and

temp

o stru

cture, w

hich

I hav

e dev

elop

ed

especially

for th

is piece.

Co

py

righ

t © A

nto

n K

illin M

MIX

Liv

ely

Liv

ely

AN

TO

N K

ILL

IN

Gen

dh

ing

Ta

rikan

Pelo

g N

em

Clarin

et in Bb

Acco

rdio

n

Balu

ng

an/C

iph

er

Gam

elan sh

ort sco

re

(1)

ff LA

NC

AR

speed

23

56

53

21

23

56

53

21

23

56

53

27

57

5

pekin

g (u

pp

er voice), sa

ron

& b

on

an

g b

aru

ng

(low

er voice)

ffdem

un

g (u

pp

er voice), slen

them

(low

er voice)

ff

go

ng

& kem

pu

l

5

6 s

53

21

23

57

57

53 s

56

76

53

2(1

)2

35

65

32

1

9

12

35

65

32

12

35

65

32

75

75

6 s

53

21

23

5

13

rit.

rit.

AA Solem

n

So

lemn

mf

6 UM

PA

K (tran

sition

)

(dam

pen

key

w

hile strik

ing

)

xx

75

3x

x2

46

_

KE

TA

WA

NG

form

/colo

tom

ic structu

re K

end

ha

ng

may

ado

pt a m

ore L

an

cara

n

app

roach

to d

rum

min

g T

AN

GG

UN

G sp

eed

(5)

mf

65

32

pekin

g (u

pp

er voice), b

on

an

g b

aru

ng

(lo

wer vo

ice)

mf

mf

ba

lun

ga

n (u

pp

er to lo

wer:

saro

ns, d

emu

ng

s, slenth

em)

etc. (from

here, trad

ition

al Ketaw

ang

go

ng

structre)

2

16

acco

rdio

n ta

cet 2n

d tim

e thro

ugh

1_

24

21

_6

53

57

6

19

mp

mf

mp

33

3

5

(5)

35

32

41

_2

42

1_

23

3

22

fmf

mp

fmp

f5

3

33

3

mf

65

25

(1)

35

32

41

_5

6

25

3

3

33

33

35

67

65

32

4

27

rit.

rit.

mp

pmf

mp

(1)

__

1_

11

24

25

_6

30

clarin

et tacet u

ntil b

.60

(dou

ble-sp

eed)

pmp

35

_2

(6)

DA

DI sp

eed

65

32

(do

ub

le-speed

)

5

33

mp

pmf

1_

24

21

_

up

on

repea

t (of b

b. 3

2-6

4): cla

rinet ta

cet for 2

nd

time th

rou

gh

this p

assa

ge (b

b. 3

2-3

9)

36

1.

1.

mf

fff

mp

pmf

f3

33

65

35

76

(5)

65

6

2.

2.

40

pmfp

(5)

35

32

41

_2

42

44

mp

fp

mp

p

1_

23

65

25

7

48

mp

fmp

fmp

fmp

33

33

(1)

35

32

41

_

51

mf

mp

mf

mp

mf

mp

mf

mp

33

3

3

56

35

67

8

54

fmp

n

65

32

(1)

_

57

pmp

fmp

fmp

fmp

fp

pp

3

3

3

3

33

33

_1

_1

12

9

60

1.

1.

clarin

et enters h

ere

fmf

fff

mp

pmf

f3

33

42

5_

63

5_

2

64

2.

2.

molto

rit.

mo

lto rit.

D.S

. perfo

rmin

g th

rough b

oth

repea

ts fo

r 1st a

nd 2

nd tim

e bars a

t bb.3

9/4

0

mf

fff

33

(6)

65

4 SU

WU

K (en

din

g)

24

_2

D.S

. perfo

rmin

g th

rou

gh

bo

th rep

eats

for 1

st an

d 2

nd

time b

ars a

t bb

.39

/40

10

67

mp

pmf

f3

65

32

_(

go

ng

)6

11

Merm

ecolio

n

electroaco

ustic

AN

TO

N K

ILL

IN

A m

ermeco

lion

is a som

ewh

at ob

scure m

yth

ical creature. It is a h

yb

rid, co

mb

inin

g th

e bo

dy

of

a gian

t ant w

ith th

e head

and

forep

arts of a lio

n. T

he co

mb

inatio

n o

f such

ph

ysically

con

trasting

species is th

e mo

tivatio

n an

d in

spiratio

n fo

r this sh

ort electro

acou

stic piece, in

wh

ich sev

eral sou

nd

wo

rlds are co

mb

ined

to create a h

yb

rid so

un

dw

orld

: string

s and

flutes,

Balin

ese gam

elan, an

d electro

nic so

un

ds.

Merm

ecolio

n w

as prem

iered in

the U

nited

States o

n 3

Octo

ber 2

00

9 at th

e Wallstreet C

lub

in

Colu

mbus, O

hio

, and h

as received

subseq

uen

t perfo

rman

ces thro

ughout th

e US

A an

d also

in Irelan

d, F

rance, E

ng

land

, Sp

ain an

d C

anad

a.

Podró

e

electroaco

ustic

AN

TO

N K

ILL

IN

Podró

e ("Journ

eys") d

epicts th

e incred

ible sto

ry o

f an an

onym

ous m

an's jo

urn

ey as a ch

ild in

Wo

rld W

ar II: from

Po

land

to th

e labo

ur cam

ps in

Sib

eria, to Iran

, and

even

tually

to N

ew

Zealan

d as a 'P

ahiatu

a child

'. His n

arration

is pu

nctu

ated an

d o

rnam

ented

with

electroaco

ustic so

un

ds.

Podró

e was p

remiered

in N

ew Z

ealand

on

6 N

ov

emb

er 20

09

at the A

dam

Co

ncert R

oo

m

in W

elling

ton

.

AN

TO

N K

ILL

IN

Eleg

y

for p

iano

and

Javan

ese gam

elan

I was m

oved

to co

mpose E

legy after th

e death

of a frien

d. A

gam

elan n

ote d

ou

bles ev

ery

pian

o n

ote - th

e sligh

t differen

ces in tu

nin

g b

etween

the g

amelan

and

a pian

o create b

eating

frequ

encies th

at pro

du

ce a shim

merin

g effect.

Gam

elan In

strum

entatio

n

A m

inim

um

of five g

am

elan p

layers is req

uired

- though m

ore is fin

e too

(just w

ork o

ut th

e 'divisio

n o

f lab

ou

r' betw

een yo

urselves!)

(1) P

elog p

ekin

g, p

elog &

slendro

bonan

g p

aneru

s, pelo

g k

enong

(only

requirin

g p

elog 1

ken

ong p

ot an

d o

nly

pelo

g lo

w 1

& 2

, hig

h 1

& 2

, and all th

ree slendro

2 b

onan

g p

aneru

s pots)

(2) P

elog &

slendro

saron, (p

elog) g

ong su

wuk

(3) P

elog &

slendro

dem

ung

(4) P

elog

(nem

) & slen

dro

gen

der, p

elog

dem

un

g

(5) P

elog

& slen

dro

slenth

em

Gam

elan P

erform

ance N

ote

Strik

e instru

men

ts with

their trad

ition

al tabuh (b

eater)

Dam

pen

accord

ing to

the sco

re (rests = n

o so

und! -- u

nless l.v. is in

dicated

)

Try

to av

oid

all gam

elan in

strum

ent 'sq

wark

s' and

'bu

zzes' - this m

ay in

vo

lve ch

eckin

g th

e instru

men

ts

befo

re perfo

rman

ce

Strik

e balu

ng

an in

strum

ents v

ertically (a straig

ht d

ow

nw

ards strik

e), un

less a tenu

to m

ark is g

iven

,

in w

hich

case perfo

rmers m

ust aim

for a sw

eeter sou

nd

by

strikin

g th

e instru

men

t with

a bit o

f an an

gle

Copyrig

ht ©

Anto

n K

illin M

MIX

Gra

ve, M

elan

cho

lic q = 5

4

AN

TO

N K

ILL

IN

Eleg

y

Pian

o

1

Gam

elan

Pelo

g g

end

er

mp

2pp .

Slen

dro

gen

der

2p l.v.

2pp Pelo

g g

end

er

.

senza

ped

.

mp

ppp

pp

6

Pian

o

2p l.v.

2pp .

5mp

Slen

dro

gen

der

2f .

Pelo

g g

ender

1p .5

2pp . l.v.S

lendro

gen

der

2p

ppp

mp

fp

5

ppp

1

10

Pian

o

2

Pelo

g saro

n

ppS

lendro

dem

ung

2pp

1

Pelo

g g

end

er

mp

5 Slen

dro

gen

der

pp .

Pelo

g d

emu

ng

5p1pp

Pelo

g slen

them

2ppp

mp

ppp

2

14

Pian

o

p1

pp Pelo

g +

Slen

dro

bonan

g p

aneru

s

.p2

3

s2.

Pelo

g p

ekin

g

5p

2

Slen

dro

saron

1 Pelo

g saro

n

p

5

Pelo

g d

emu

ng

2p Slen

dro

dem

ung

21

+ 5

p

Pelo

g g

end

er

2 .

22

+ 4

mp

2

3

ppp

3

p

3

3

19

Pian

o

p1

+ s2

Pelo

g +

Slen

dro

bonan

g p

aneru

s

pp

1 +

4mp Pelo

g p

ekin

g

2p Slen

dro

saron

5 Pelo

g saro

n

mp

2 (Pelo

g) g

ong su

wuk

l.v.

p

3

2pp Pelo

g d

emu

ng

1mp

2pp

22 Slen

dro

slenth

em

p

ppp

mp

3

pp

4

23

Pian

o

Pelo

g +

Slen

dro

bonan

g p

aneru

s

s2.p1

3

p2.

2

Slen

dro

saron

1

Pelo

g saro

n

p

2 Slen

dro

dem

ung

p2

Pelo

g d

emu

ng

5pp5 l.v.

p2

Pelo

g slen

them

22

ppp

3

ppp

5

27

Pian

o

p1 +

s2

pp

.

2p2 Slen

dro

saron

3

2

Slen

dro

gen

der

2f .

Pelo

g g

ender

1p .5

5 l.v.

4mp

2p

ppp

p

3

5

ppp

6

30

Pian

o

1

Pelo

g k

enong

mp

Pelo

g saro

n

5mp5mp

. 5p. 5

mp 1

4ppp

aim

no

t to a

llow

an

y of th

e strikes of th

e bea

ter to b

e hea

rd --

rath

er, aim

for a

reson

an

t, sub

tle dro

ne

(it ma

y be a

pp

rop

riate to

use g

end

er bea

ters for th

is effect)

mp

p

34

Pian

o

. 5

. 1

mpnmp

7

Tabula

Rasa

for C

hin

ese yan

gq

in (d

ulcim

er) and

live electro

nics

AN

TO

N K

ILL

IN

Tabula

Rasa

was co

mposed

for p

erform

ance b

y W

ang H

ui (ya

ng

qin

) and

my

self (live

electron

ics). It was p

remiered

in N

ew Z

ealand

on

26

March

20

10

at the M

assey

Co

ncert H

all in W

elling

ton

.

Tabula

Rasa

mean

s "blan

k slate"; I ap

pro

ached

the ya

ng

qin

as a 'box w

ith strin

gs' p

ossib

le of

pro

du

cing

man

y d

ifferent so

un

ds w

hen

interacted

with

in d

ifferent w

ays, ex

tend

ed b

y

the u

se of liv

e electron

ics.

photo

of W

ang H

ui an

d m

yself co

urtesy

of Jack

Body

Perfo

rman

ce Instru

ction

s

Realisin

g th

e grap

hic sco

re:

Th

e x axis rep

resents tim

e - each g

raph

leng

th is ten

secon

ds

Th

e y axis rep

resents sp

eed - th

e top

of th

e y axis req

uires v

ery fast

play

ing

, the b

otto

m req

uires v

ery slo

w p

layin

g, an

d all o

ther sp

eeds fall

in-b

etween

Th

e thick

er the g

raph

ic gestu

re (line/sh

ape), th

e lou

der th

e dy

nam

ic.

Th

e thin

ner th

e grap

hic g

esture, th

e softer th

e dy

nam

ic.

Ind

ication

s of tim

bre/tech

niq

ue are n

otated

in p

rose ab

ov

e the

grap

hic g

estures. In

dicatio

ns o

f any

specific p

itches are n

otated

in

circles un

dern

eath g

raph

ic gestu

res. Reg

ister of p

itch is left to

the d

iscretion

of th

e perfo

rmer.

Sh

orth

and

L.H

. and

R.H

. den

ote left h

and

side, an

d rig

ht h

and

side,

respectiv

ely, of th

e yan

gq

in, fro

m th

e perfo

rmer's p

erspectiv

e.

Liv

e Electro

nics In

structio

n S

heet

(for so

un

d artist acco

mp

any

ing

the ya

ng

qin

)

Th

e yan

gq

in m

ust b

e record

ed th

rou

gh

Lo

om

er's aud

io so

ftware S

hift (a real-tim

e gran

ular p

itch

shiftin

g an

d d

elay p

rog

ramm

e) via m

icrop

ho

ne d

urin

g th

e perfo

rman

ce, requ

iring

a stereo lo

ud

speak

er

set up

. Sh

ift Versio

n 1

.0.1

is used

by

the co

mp

oser, th

ou

gh

any

later versio

ns w

ill surely

suffice.

Screen

sho

ts of th

e requ

ired d

efault settin

gs are su

pp

lied b

elow

in case th

ey m

ust b

e recreated fro

m scratch

.

A d

emo

of th

e pro

gram

me can

be d

ow

nlo

aded

for free, fo

r Mac, W

ind

ow

s, and

Lin

ux

, from

Lo

om

er's

web

site <h

ttp://w

ww

.loo

mer.co

.uk

/shift.h

tm/>

and

that w

ill be cap

able o

f a perfo

rman

ce of th

is piece.

Th

e vo

lum

e of th

e electron

ics sho

uld

no

t be to

o lo

ud

- eno

ug

h to

app

ear as an 'em

bellish

men

t', or

'electron

ic exten

sion

' of th

e acou

stic instru

men

t, heig

hten

ing

its son

ic capab

ilities, no

t at all ov

erpo

werin

g

the aco

ustic in

strum

ent.

Th

rou

gh

ou

t, the so

un

d artist can

, at his/h

er discretio

n, im

pro

vise w

ith p

arameters o

f the d

efault settin

gs,

reacting

to th

e fine-g

rained

son

ic detail relev

ant to

that p

erform

ance's realisatio

n o

f the g

raph

ic score.

Th

e piece b

egin

s with

defau

lt setting

Ch

ime activ

ated:

As th

e yan

gq

in p

erform

er beg

ins p

age 5

, this sh

ou

ld b

e chan

ged

to d

efault settin

g B

allerin

a:

Th

is sho

uld

be ch

ang

ed b

ack to

Chim

e for th

e first half o

f pag

e 9; B

allerin

a fo

r the seco

nd

half o

f pag

e 9;

Ab

ove a

nd

Belo

w fo

r pag

e 10

; Ba

llerina fo

r pag

e 11

; Chim

e for th

e first half o

f pag

e 12

;

Ab

ove a

nd

Belo

w fo

r the seco

nd

half o

f pag

e 12

. It is recom

men

ded

tha

t these ch

an

ges

are a

nn

ota

ted o

nto

the sco

re for th

e sou

nd

artist to

follo

w d

urin

g p

erform

an

ce.

As th

e yan

gq

in p

erform

er beg

ins p

age 6

, this sh

ou

ld b

e chan

ged

back

to C

him

e, and

then

back

to B

allerin

a

again

for p

age 7

. Th

e secon

d h

alf of p

age 7

, ho

wev

er, sho

uld

be ch

ang

ed to

defau

lt setting

Ab

ove a

nd

Belo

w:

AN

TO

N K

ILL

IN

Prim

es

for clarin

et in B

-flat

Prim

es was co

mp

osed

for p

erform

ance b

y clarin

ettist An

drzej N

ow

icki. It w

as prem

iered in

New

Zealan

d o

n 2

8 O

ctob

er 20

09

at the A

dam

Co

ncert R

oo

m in

Wellin

gto

n.

Prim

es is com

posed

out o

f prim

e num

ber stru

ctures an

d relatio

nsh

ips an

d ev

okes a

math

ematically

influ

enced

sou

nd

wo

rld.

ph

oto

of A

nd

rzej No

wick

i cou

rtesy o

f Rach

el Bran

do

n

Ex

tend

ed tech

niq

ues

Mu

ltiph

on

ic #1

Mu

ltiph

on

ic #2

Th

e ov

erall vo

lum

e ratio (o

f bo

th 'fu

nd

amen

tal ton

e' and

'mu

ltiph

on

ic ton

e') sho

uld

be as ev

en as p

ossib

le.

Th

e effect sho

uld

be p

erform

ed as q

uietly

as the p

erform

er can su

ccessfully

create it. (Th

is may

mean

that it

is lou

der th

an th

e giv

en p

pp.)

No

tes labelled

with

a V sig

n (eg

. b. 3

1) m

ay b

e slap-to

ng

ued

(op

tion

al), or o

therw

ise they

sho

uld

be

percu

ssive soundin

g, at th

e perfo

rmer's d

iscretion

.

Co

py

righ

t © M

MIX

An

ton

Killin

Gra

ve q =

60

Ag

itated

, Isola

ted, M

elan

cho

lic

AN

TO

N K

ILL

IN

Prim

es

à A

nd

rzej No

wicki

TR

AN

SP

OS

ED

SC

OR

E

pp vib

rato; w

iden

ing

vib

rato o

n lo

ng

er no

tes

pppp

ppp mu

ltiph

on

ic #

1

5

ppppp

ffpp

pppmp

pppp

9

ppppp

mp

ppp

pppp

14

pppp

ppppp

n

17

mp

pmp

pmp

ppppp

21

ppp

mp

pff

mu

ltiph

on

ic #

2

pppp

1

26

ffmp

ppp

30

Fast q

= 1

20

Hopefu

l

mp

senza v

ib.

pppp

V =

op

tion

al slap-to

ng

ue

(or, at least p

ercussive so

undin

g)

ffpp

f

ff3

33

5

5

35

3p

mf

p

39

mp

42

ppmp

ppff

45

p A little slo

wer

Nosta

lgic

pppff

ppf

(Hold

it!!!!)T

hou

gh

tful

expressio

n5

3

48

very expressive

Min

i caden

za (like an

"after-tho

ug

ht"). O

wn

rhyth

m, o

wn

temp

i, ow

n ex

pressive feelin

g(s), etc.

2

After C

live Bell

pian

o so

lo

AN

TO

N K

ILL

IN

After C

live Bell w

as com

posed

in a sin

gle d

ay to

com

ply

with

the ru

les for su

bm

ission to

the

2010 IC

SM

Mom

entary

Pleasu

res concert. P

ianist S

am Ju

ry p

remiered

this p

iece in N

ew

Zealan

d o

n 2

7 Ju

ne 2

01

0 at th

e Ad

am C

on

cert Ro

om

in W

elling

ton

.

Each

of th

e spacio

us an

d slo

w m

ov

ing

sou

nd

even

ts that co

mp

rise this w

ork

inv

ites a

reflection

on

the co

lou

rs and

mo

vem

ents o

f lines in

ternal to

the p

iece. Th

e perfo

rmer

determ

ines th

e exact m

otio

n o

f these ev

ents, an

ever-ch

ang

ing

flow

from

mo

men

t to m

om

ent,

and

ever-ch

ang

ing

with

every

perfo

rman

ce of th

e piece.

Co

py

righ

t © A

nto

n K

illin M

MIX

After C

live Bell

Very

slow

an

d sp

acio

us, m

olto

rub

ato

w = 4-7

secon

ds; v

ary

length

of ea

ch ch

ord

/even

t

on

mo

men

tary p

leasures

pian

o so

loA

NT

ON

KIL

LIN

pp

ppp

con

Ped

.

drea

my

8

ppp

mp

16

pp

(irregu

lar rhy

thm

s & su

btle accen

ts)

pppp

exprss.

pppp

19

pp

ppp

pp

pppp

Ou

tside m

y fron

t do

or

electroaco

ustic

AN

TO

N K

ILL

IN

Outsid

e my fro

nt d

oor is a sh

ort electro

acou

stic piece cap

turin

g th

e sou

nd

scape o

f my

ow

n

place o

f residen

ce. Ou

tside m

y fro

nt d

oo

r I hear th

e chirp

ing

of n

ew b

orn

chick

s, the

distin

ctive call o

f Tuis (A

otearo

a's famo

us so

ng

bird

), plan

es wh

izzing

ov

erhead

, cars driv

ing

past, an

d th

e creaky

gate n

ext d

oo

r slamm

ing

shu

t.

Outsid

e my fro

nt d

oor w

as prem

iered in

the U

nited

States o

n 1

Jun

e 20

10

at the E

lectron

ic

Mu

sic Fo

un

datio

n in

New

Yo

rk an

d receiv

ed its first p

erform

ance in

New

Zealan

d

on 8

July

2010 at th

e Nelso

n S

chool o

f Music in

Nelso

n.