The textures of Central Javanese gamelan music: Pre-notation and its discontents
Noriko Ishida
Abstract
Open-access reader
Noriko Ishida
Abstract
Open-access reader
This study is an attempt to elucidate what kind of melody the texture of gamelan music is made up of. Through the reconstruction of the melodic texture of the pre-notation era and the examination of the impact of notation on performance practice, it is made clear that the monogenetic texture of the pre-notation era has developed into the diversified and enriched texture of current practice in response to the use of notation. The notion of an inner melody present in the performer’s mind as a basis for his performance is shown to be less than probable.
OpenAlex reports 11 citations for this work. Citation counts describe recorded attention and do not establish research quality.
A contribution statement is not available in the OpenAlex record.
Method details are not available in the OpenAlex metadata.
Findings are not separately available in the OpenAlex metadata.
Limitations are not available in the OpenAlex metadata.
Application details are not available in the OpenAlex metadata.
This study is an attempt to elucidate what kind of melody the texture of gamelan music is made up of. Through the reconstruction of the melodic texture of the pre-notation era and the examination of the impact of notation on performance practice, it is made clear that the monogenetic texture of the pre-notation era has developed into the diversified and enriched texture of current practice in response to the use of notation. The notion of an inner melody present in the performer’s mind as a basis for his performance is shown to be less than probable.
Key concepts: Notation, Melody, Musical notation, Texture (cosmology), Performing arts, Performance practice, Linguistics, Computer science