amy bauer The Other of the Exotic: Balinese Music as Grammatical ...

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350 amy bauer Ex. 7 ‘Galamb borong’, bars 9–12: pitch-class series, rhythmic groupings and melodic anticipations in the elaboration of each hand 2 3 3 3 3 3 3 4 10 6 3 3 2 1 3 1 7 3 1 5 3 1 11 5 1 11 7 3 1 5 3 11 3 5 1 11 1 5 7 5 7 11 1 11 5 3 11 7 5 1 7 5 1 9 3 7 11 7 9 9 9 9 9 7 7 5 5 7 0 4 6 0 10 4 0 10 2 0 10 8 2 8 10 2 4 6 10 0 6 6 8 0 8 0 10 6 10 2 4 2 10 8 4 8 10 2 4 8 2 8 10 2 8 10 4 10 6 6 8 10 2 10 0 0 4 2 3 3 4 4 4 4 3 7 6 3 3 2 hemiola 8 © 2009 The Author. Journal compilation © 2009 Blackwell Publishing Ltd. Music Analysis, 27/ii-iii (2008)
The Other of the Exotic 351 Ex. 8 Four categories of embellishment figure in ‘Galamb borong’ Travelling 10 Overlapping 38 15 Fixed 9 Rotating 39 15 its relation to the rhythmic group directly preceding it. The two ngubeng categories are fixed (F) and rotating (R). In a fixed group, two or more pitches from the previous group are held invariant while one or two shift; in a rotating group, at least three unordered pitches are held invariant with respect to the previous group. The majalan category includes overlap (O) and travelling (T) groups. An overlap group retains at least two ordered pitches from the previous rhythmic group; a travelling unit shares no more than two unordered pitches with the previous group. To track formal development in any gamelan piece, a listener must attend to the subtle qualities of majalan or ngubeng present in these groups, along with bass accents (‘gong’ tones) and periodic stress patterns. Ex. 9 shows the cycle of melodic embellishments in terms of F, R, O andT groups, as well as the rhythmic pattern of the pokok/neliti over bars 3–47. Durations between attacks of the lead melody are shown as multiples of the semiquaver pulse. A corresponding ‘deeper’ rhythmic level, created by simultaneous attacks between hands, is shown by a dotted line.The joint accents which at the outset articulate 12- and 48-beat recurring cycles represent the trunk and branches of ‘Galamb borong’; the stability of the opening cycle is reflected in the static accompaniment of bars 1–8. In bar 8, however, this periodicity is compromised, and the independence of pitches in each hand is reflected in the hands’ increasing rhythmic divergence along with the transition to fixed, followed by overlapping, embellishment groups. Subsequent phrases include attacks of the core melody, evenly spaced first by 5 and then by 7 and 9 (subdivided as 5 + 4) semiquavers. Fixed and rotating groups accompany thematic motives (discussed below) as well as those points where both hands transgress the 12/16 metric boundary (bars 8–9, 12–13, 17–24, 38–73 and 76–end). By contrast, travelling groups mark the shift away Music Analysis, 27/ii-iii (2008) © 2009 The Author. Journal compilation © 2009 Blackwell Publishing Ltd.
Page 1 and 2: DOI: 10.1111/j.1468-2249.2009.00277
Page 3 and 4: The Other of the Exotic 339 and Cag
Page 5 and 6: The Other of the Exotic 341 vaguely
Page 7 and 8: The Other of the Exotic 343 gamelan
Page 9 and 10: The Other of the Exotic 345 moments
Page 11 and 12: The Other of the Exotic 347 Ex. 5 R
Page 13: The Other of the Exotic 349 Ex. 6
Page 17 and 18: The Other of the Exotic 353 from a
Page 19 and 20: The Other of the Exotic 355 Ex. 11
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Page 31 and 32: The Other of the Exotic 367 5. For
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