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

372 amy bauer
______, 2000b: ‘Theory and Analysis of Melody in Balinese Gamelan’, Music
Theory Online, 6/ii (May), http://146.6.95.224/mto/issues/mto.00.6.2/
mto.6.2.tenzer.html.
Vitale, Wayne, 1990: ‘Kotekan: The Technique of Interlocking Parts in Balinese
Music’, Balungan, 4/ii, pp. 2–15.
Wilson, Peter Niklas, 1992: ‘Interkulturelle Fantasien: György Ligetis Klavieretüden
Nr. 7 und 8’, Melos: Jahrbuch für Zeitgenössische Musik, 51, pp. 63–84.
ABSTRACT
From the 1980s onwards, György Ligeti openly acknowledged the influence of
African polyphony, Indonesian gamelan and music of the Americas on works
such as the Piano Concerto (1980–8) and Violin Concerto (1989–93), as well as
the Études pour piano (1985–2001). The present article analyses Étude No. 7,
‘Galamb borong’, in order to establish the precise point of intersection between
Western and non-Western within one specific piece. On the basis of this case
study, the composer may be shown to celebrate the exotic under the umbrella of
the cosmopolitan in a discourse of the universal that is inherently local. Furthermore,
by permitting ‘Galamb borong’ to unfold as a dialogue between Balinese
music and the Western classical canon, Ligeti’s embrace of ‘amalgamated
musical languages’ comes to represent an aesthetic standpoint capable of liberating
the creative individual not only from inherited tradition but also from the
postmodern present.
© 2009 The Author.
Journal compilation © 2009 Blackwell Publishing Ltd.
Music Analysis, 27/ii-iii (2008)