Karawitan : Source Readings in Javanese Gamelan and Vocal Music, Volume 1.
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| Other Authors: | |
| Format: | eBook |
| Language: | English |
| Published: |
Ann Arbor :
University of Michigan, Center for South & Southeast Asian Studies,
1984.
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| Edition: | 1st ed. |
| Series: | Michigan Papers on South and Southeast Asia Series
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| Subjects: | |
| Online Access: | Click to View |
Table of Contents:
- Intro
- Series Page
- Title Page
- Copyright
- Contents
- Series
- Preface
- Judith Becker
- Volume 1
- Introduction
- A Note From The Translator
- Author's Forword
- Catatan-Catatan Pengetahuan Karawitan
- The System of Gendhing
- Karawitan
- The Contents of Karawitan
- Irama
- Lagu
- The Names and Functions of Instruments in Karawitan
- The Influence of Irama on Laqu and Cèngkok
- The Influence of Lagu on Irama
- Gendhing
- The Names of Gendhing Forms
- Sampak
- Srepegan
- Ayak-ayakan
- Kemuda
- Lancaran
- Ketawang
- Ladrang
- Mérong
- Inggah
- Exceptional Forms
- Structures (Komposisi) Found in Gendhing
- Buka
- Mérong
- Ngelik
- Umpak
- Umpak Inggah
- Umpak-umpakan
- Inggah
- Sesegan
- Suwukan
- Dados
- Dhawah
- Kalaienqaken
- Kaseling
- Examples of Types of Structures
- The Sléndro and Péloq Tuning Systems
- Laras Sléndro
- Pathet
- The Tones in Laras Sléndro
- Gendèr Gedhé [and Its Relationship to Pathet]
- The Number of Keys on the Gendèr Gedhé
- Cèngkok as It Relates to Performance Practice
- Gembyang and Kempyung in Gendèr Gedhé
- The Range of Sèlèh
- Pathet and the Range of Sèlèh on the Gendèr
- The Range of Gembyang and Kempyung on the gendèr
- The Strength of a Tone Based on Its Position
- Mixing Pathet
- Issues Related to Pathet
- Padhang-ulihan
- Padhang-ulihan as a Part of Gendhing
- Padhang-ulihan Melodic Sentences in the Ketawang and Ladrang Forms
- Padhang-ulihan Melodic Phrasing in the Méronq Form
- The Direction of Tones
- Cèngkok Mati ['Fixed Cèngkok']
- Relative Strength in the Position of Tones
- Analyzing a Gendhing
- The Types of Balungan
- Melodic Phrases
- Pathet
- The Direction of Tones and Performance Technique
- Ladrang Grompol and Ladrang Mugi Rahayu, Laras Sléndro
- Analysis of the Pathet in the Above Gendhing.
- Analysis of the Performance Technique in the Above Gendhing
- A Note About the Patterns of Cèngkok for Gendèr
- Notes
- Volume 2
- Foreword
- Catatan-Catatan Pengetahuan Karawitan
- The Pélog Tuning System
- Which is Older, Laras Pélog or Laras Sléndro?
- Performance Practice (Garap) and Cènqkok on the Gendèr Gedhé
- Gendèr Pélog Nem and Gendèr Pélog Barang
- Pathet in Laras Pélog
- Garap
- Mode (Modus) in the pélog Tuning System
- Fingering
- Mode and Gendèr Cènqkok
- Pathet Lima in the Theory of Gendhing
- Pélog Pathet Nem in the Theory of Gendhing
- Pélog Pathet Barang in the Theory of Gendhing
- Tuning (Stem[m]ing)
- Analyzing Pathet in Laras pélog Based on Tuning
- The Order of Tones in the Pélog Pathet According to Various Theories
- Gendhing in Surakarta
- Sléndro Gendhing in Laras pélog
- Changes in the Balungan of Gendhing
- Pélog Pieces in Laras sléndro
- Appendix I
- Advice from R[adèn] M[as] Sahirjan
- Appendix II
- Appendix III
- Creating or Composing Gendhing
- Appendix IV
- Minor
- Appendix V
- Barang Miring
- Notes
- Inner Melody
- Saron Melody, Balungan, and Nuclear Theme
- The Range and Motion of Gamelan Melody and how it is Played on the Instruments
- Rebab
- Gendèr Barung
- Saron and Balungan
- Saron Panerus (Saron Peking)
- Bonang Barung
- Gendhing bonang
- Chapter III
- Form and Melodic Phrases in Gendhing
- Melodic Phrasing
- Conclusion
- Wedha Pradangga
- Preface
- The Cryptic Literature (Sastra Sinandi) Concealed in the Tones of the Gamelan
- Concerning Character
- To Join in Happiness and to Join in Sadness
- Concerning Pathet
- Gamelan and Wayang Kulit
- Translator's Notes
- Ichtisar Teori
- Gamelan
- Instruments of the Gamelan
- Famous Gamelan
- Instrumentation for Different Kinds of Gamelan
- Laras
- Intervals (Swarantara)
- Tone Groupings (Nada-nada Kelompok).
- Embat
- Common Tones (Tumbuk)
- The History of Sléndro and pélog
- Baranq Miring
- Pathet
- Examples of Compositions in the Different Pathet
- Examples of "Borrowed" Compositions
- Titilaras
- Irama
- Dhing and Phong
- Gendhing
- The Formal Structures of Gendhing
- General Guidelines about Gendhing
- Kinds of Gendhing in Which a Particular Instrument Plays a Leading Role
- Pieces with Special Functions
- Pieces for Wayang Kulit
- The Four Principles of Karawitan (Catur Prinsip Karawitan):
- Ethics
- Esthetics
- Norms
- Ideals
- Translator's Notes
- Faktor Penting
- Introduction
- Lagu
- Cèngkok
- Luk and Gregel
- Wilet
- Lagu, Player, and Listener
- Reason for Making Cengkok and Wilet
- Innovations
- Tuning System
- Pathet
- Cèngkok
- Irama, or Matra [Meter]
- Instruments
- Playing Style
- Translator's Notes
- Gendhing Jawa
- Author's Note
- Instruments of the Gamelan
- The Study of the Refinements of Gendhing
- Laras [Tuning]
- Irama
- Pathet
- Gendhing
- Vocal Pieces (Gendhing Lésan)
- Instrumental Pieces (Gendhing Thuthuk)
- Instrumental Pieces with a Vocal Part (Gendhinq Gamelan lan Lésan)
- Vocal Pieces with Instrumental Accompaniment
- More on Laras [Tuning]
- More on Irama
- More on Pathet
- More on Gendhing
- Balungan [Skeleton, or Framework]
- Kenongan [Kenong Playing]
- Kethukan [Kethuk Playing]
- Kempulan ['Kempul Playing']
- [The Playing of the] Kempyang
- The Playing of the Gongs (Gong-gongan)
- Notation for Some Gendhing
- Small Gendhing [Gendhing Cilik]
- Small Gendhing, Lancaran Kethuk Ngganter
- Medium-sized Gendhing (Gendhing Sedheng)
- Large Gendhing (Gendhing gedhé)
- Notes
- Serat Sulukan
- Preface
- Selections from Oral and Written Tests for the Student Dhalang
- Explanation of Gendhing Krawitan
- Sulukan in Laras Sléndro Pathet Nem.
- Sulukan in Laras Sléndro Pathet Sanga
- Additions: Songs Sung by the Panakawan in Pathet Sanga
- Sulukan in Laras Sléndro Pathet Manyura
- Laras Sléndro Pathet Nem
- Additional Texts for the Sulukan
- Laras Sléndro Pathet Sanga
- Laras Sléndro Pathet Manyura
- Selections from Oral and Written Tests for the Student Dhalang
- Notes.