Tradition in Suspension: Timbre in Contemporary Gamelan Compositions.
Timbre, which traditionally was put in the background of musical compositions, now starts to gain a presence in the foreground of contemporary gamelan compositions. It does so to the extent that it dominates other musical parameters; it blurs the distinction between timbre, harmony, rhythm, and many...
| Publicado en: | Contemporary Music Review Vol. 43; no. 1; pp. 93 - 116 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Feb2024
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=186208723&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 186208723 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: Feb2024 vid: 43 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 186208723 10.1080/07494467.2024.2406616 ppf: 93 ppct: 23 formats: fmt: – @attributes: type: T – @attributes: type: P size: 2.3MB tig: atl: Tradition in Suspension: Timbre in Contemporary Gamelan Compositions. aug: au: Nataraja, Dion affil: University of California Berkeley, Berkeley, CA, USA su: Musical composition Critical theory Postcolonialism Twentieth century Theory (Philosophy) sug: subj: Musical composition Critical theory Postcolonialism Twentieth century Theory (Philosophy) keyword: contemporary critical theory Gamelan orchestration philosophy postcolonial theory timbre ab: Timbre, which traditionally was put in the background of musical compositions, now starts to gain a presence in the foreground of contemporary gamelan compositions. It does so to the extent that it dominates other musical parameters; it blurs the distinction between timbre, harmony, rhythm, and many other elements. In this paper, I analyse the rise of timbre as a compositional parameter by looking at new gamelan works after the year 2010. This includes the works of Septian Dwi Cahyo, Irene Tanuwidjaja, Dion Nataraja, Dieter Mack, Putu Septa, Arham Aryadi, Arya Deva Suryanegara, and Yan Priya Kumara Janardhana. Aside from this primary analysis, I also trace the development of the discourse regarding timbre in the gamelan tradition by looking at historical precursors in the twentieth century, such as works by I Wayan Sadra, Pande Made Sukerta, Aloysius Suwardi, Ki Tjokrowasito, and Ki Nartosabdho. I connect my analysis with various critical theories by writers ranging from Bhabha to Derrida to demonstrate that the rise of timbre has brought the gamelan tradition to its breaking point, yet, it is still in relation to that tradition; it is a state of tradition in suspension. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Music Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Music Review holder: Taylor & Francis Ltd dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
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