LEADER 04228nam 2200637Ia 450 001 9910787586003321 005 20221206100904.0 010 $a90-04-25369-6 024 7 $a10.1163/9789004253698 035 $a(CKB)2670000000395236 035 $a(EBL)1342561 035 $a(OCoLC)855969910 035 $a(SSID)ssj0000913525 035 $a(PQKBManifestationID)11480851 035 $a(PQKBTitleCode)TC0000913525 035 $a(PQKBWorkID)11023233 035 $a(PQKB)10509445 035 $a(MiAaPQ)EBC1342561 035 $a(nllekb)BRILL9789004253698 035 $a(Au-PeEL)EBL1342561 035 $a(CaPaEBR)ebr10745961 035 $a(CaONFJC)MIL509661 035 $a(PPN)184930812 035 $a(EXLCZ)992670000000395236 100 $a20060928d2006 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aListening to an earlier Java$b[electronic resource] $eaesthetics, gender, and the music of wayang in central Java /$fSarah Weiss 210 $aLeiden $cKITLV Press$d2006 215 $a1 online resource (195 p.) 225 0 $aVerhandelingen van het Koninklijk Instituut voor Taal-, Land- en Volkenkunde ;$v237 300 $aDescription based upon print version of record. 311 $a90-6718-273-7 320 $aIncludes bibliographical references (p. [167]-178) and index. 327 $aPreliminary Material -- Introduction: Preliminary soundings -- Chapter I: Musical analysis and cultural analysis: Pathet, grimingan, and gender -- Chapter II: Competing hegemonies: The discourse on Javanese gender -- Chapter III: Flaming wombs and female gender players: Order, chaos, and gender in Central Javanese myth -- Chapter IV: Javanese rasa: Gendering emotion and restraint -- Chapter V: Listening back -- Conclusion: Final soundings -- Glossary -- Bibliography -- Index. 330 $aIn \'old-style\' Central Javanese wayang , still known to many shadow-puppet performers and musicians in Java today, the male dhalang and his primary accompanist, usually a female gender player, are gendered embodiments of a Javanese aesthetic that has its origins in early Java. Analysis of the musical tradition known as \'female style\' grimingan ?melodies played on the gender as the puppeteer sings, narrates or describes a scene?makes it possible to \'listen back\' to and reconstruct aesthetics for Javanese performance that can be felt in literary sources as early as the 12th century and that has endured into the present through cultural and political upheaval and globalised change during the colonial and postcolonial periods. Ethnomusicologist Sarah Weiss, herself a gamelan musician who has directed ensembles in Australia and the United States over many years, examines for the first time the musical practices, concepts, stories, changing historical circumstances, and myths that have shaped \'female-style\' gender playing into a uniquely significant mode of artistic practice. This study is the first large-scale treatment of gender issues in Indonesian music. Integrating the analysis of gender and music with that of aesthetics, this study of the musical synergy between the puppeteer and his female accompanist describes the ways in which shifting gender constructions have helped to shape and change Central Javanese music and theatre performance practice while throwing new light on the history of Javanese gender relations and culture, as well as on the aesthetics of Central Javanese shadow-puppet theatre. PLEASE NOTE that the accompanying CD-ROM is no longer available due to the incompatibility with current file formats. 410 0$aVerhandelingen van het Koninklijk Instituut voor Taal-, Land- en Volkenkunde$v237. 606 $aWayang music$zIndonesia$zJava 606 $aSex in music 606 $aSex role$zIndonesia$zJava 615 0$aWayang music 615 0$aSex in music. 615 0$aSex role 676 $a780.9598/26 686 $a24.70$2bcl 700 $aWeiss$b Sarah$01564538 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910787586003321 996 $aListening to an earlier Java$93833693 997 $aUNINA