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

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356 amy bauer Ex. 12 ‘Galamb borong’, intensity graph Sections: 1 2 3 4 Coda b. 1 10 20 30 40 50 60 70 80 accent both hands tenuto one hand, accent one hand accent, one hand tenuto both hands tenuto one hand, quaver or longer, one hand tenuto, one hand quaver or longer, both hands quaver or longer, one hand Intensity in terms 1 32 63 94 125 156 187 218 249 280 311 342 373 404 435 466 497 528 559 590 621 652 683 714 745 776 807 838 869 900 931 962 993 1024 of attack duration, density and articulation Time in multiples of successive semiquavers (bars 33–45). Section 3 presents an inverted arc, beginning at the fourth level of intensity and subsiding to the lowest level, with one final stab in the fourth and eighth levels (bars 46–62). One occurrence of accents in both hands precedes the fourth section, which continues at the highest level of intensity (bar 63). The coda begins in bar 74, taking the work down to the first level in another reyongan passage over a tolling C1–B♭0–A♭0 in the bass marked lasciara vibrare (bars 75–83). The final six bars wind down to a barely audible murmur in the first octave over the final gongs (E1–D1) and a paradoxical instruction that the final, lunga rest be rendered ‘imperceptible’. 28 Kreasi baru as Virtuoso Étude: Counterpoint in ‘Galamb borong’ My analysis of the ways in which ‘Galamb borong’ reflects the influence of gamelan gong kebyar all but ignores the average listener’s experience of the work as an exemplar in theWestern tradition of the virtuoso étude. Peter NiklasWilson (1992) has drawn attention to a resemblance with Debussy’s ‘Feux d’artifice’ – an apt comparison, for the latter also features an episodic construction together with a distinct division of the total chromatic into complementary white-key and black-key collections. 29 Furthermore, both works rely on a network of melodic connections and transformations to unify their motivic structure and provide voice-leading connections between these two pitch groupings. 30 A pitch-only © 2009 The Author. Journal compilation © 2009 Blackwell Publishing Ltd. Music Analysis, 27/ii-iii (2008)
The Other of the Exotic 357 representation of the core melodic structure in Section 1 of ‘Galamb borong’ (Ex. 13) reveals a tight contrapuntal structure that is not evident on the surface of the piece. My analysis identifies six basic motives which recur throughout the Étude, each with a particular function defined by its position and number of reiterations in the core melodic voice of both hands. The series B4–E♭5–G5–D♭5, each pitch of which falls on successive downbeats of the opening cycle, establishes the main theme (MT), or subject, as a motto featuring rising intervals of a major third (interval class 4) in one direction, followed by a falling tritone. This theme fragments immediately, recurring as a three-note head (B5–E♭6–G6 and F6–A6–D♭7, bars 25–26) or tail motive (C3–E3–B♭2, bar 25). A neighbour figure (N) follows the first appearance of the theme proper; this oscillation of major seconds functions as a means of retarding the transition from one registral level to another (D5–E5, bars 12–13; G♭5–A♭5, bars 13–14; E♭5–F5, bars 18–20; and E♭6–D♭6, bars 23–24). A three-note descending scale in bar 9 (a marker of the second level of intensity in Ex. 12) acts as a countersubject (CS) to the main theme; the countersubject returns prominently, expanded and inverted, throughout the Étude, appearing with greatest intensity in the sixth octave at the climax of the work (bar 72). A second theme (ST) appears in the right hand in bars 11–12: a repeated G6 followed by a whole tone up and tritone down which inverts the tail of the main theme.The second theme first appears alongside a reduced version of itself in the left hand (marked STs: B♭4–C5–A♭4); it is followed by a shift to A6 against three versions of itself, a four-voice chorus which announces the first large-scale elongation of the rhythmic pattern (bars 15–17). The second theme instigates development in Section 1, moving from the bass voice to the upper voice at the end of the section (bars 27–28). The tritone found in both the main and the second themes is preceded by a whole tone in the same direction to form the transition motive (TR), which appears three times as a means of progressively expanding the Étude’s registral compass (C4–B♭2–E2, bar 7; F6–G6–D♭7, bars 10–11; and E2–D2–A♭1, bar 26). The final thematic motive, labelled ‘wedge’ (W), first appears as the second half of the countersubject in the bass (G♭4–E4– C4–B♭3–C4); the falling whole tone–major third–whole tone turn appears only in descent in the left hand, and only in ascending form (inversion) in the right.The wedge motive moves outwards in both directions, appearing twice in its full version before fragmenting to close out the section in both hands (F7–A7–B7, right hand, bars 8–29; and C6–B♭5–G♭5–E5, and so on, left hand, bars 28–32). I have chosen to identify the head note of each motive with the corresponding ‘scale degree’ belonging to each mode. Taking the opening tremolo as a cue, I begin the ‘even’ whole-tone scale (modal scale degrees ˆ2, ˆ4 and so on) on A♭ and the ‘odd’ (modal scale degrees ˆ1, ˆ3 and so on) on F. Working with modal scale degrees (rather than pitch or pitch-class notation) allows one more easily to track contrapuntal lines and their correspondence between hands through each of the constituent voices as they depart from and return to the normative minor-third relation between the hands established at the work’s outset. 31 Despite the homo- 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 and 14: The Other of the Exotic 349 Ex. 6
Page 15 and 16: The Other of the Exotic 351 Ex. 8 F
Page 17 and 18: The Other of the Exotic 353 from a
Page 19: The Other of the Exotic 355 Ex. 11
Page 23 and 24: The Other of the Exotic 359 geneity
Page 29 and 30: The Other of the Exotic 365 ‘[Lig
Page 31 and 32: The Other of the Exotic 367 5. For
Page 33 and 34: The Other of the Exotic 369 27. Ind
Page 35 and 36: The Other of the Exotic 371 ______,

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