LEADER 04011nam 22006015 450 001 996248147803316 005 20221108053900.0 010 $a0-520-93049-5 024 7 $a10.1525/9780520930490 035 $a(CKB)2660000000000270 035 $a(dli)HEB05904 035 $a(SSID)ssj0000333483 035 $a(PQKBManifestationID)11242245 035 $a(PQKBTitleCode)TC0000333483 035 $a(PQKBWorkID)10377102 035 $a(PQKB)11705173 035 $a(MiAaPQ)EBC1982564 035 $a(DE-B1597)519922 035 $a(OCoLC)558442672 035 $a(DE-B1597)9780520930490 035 $a(MiU)MIU01000000000000007009183 035 $a(EXLCZ)992660000000000270 100 $a20200424h20042005 fg 101 0 $aeng 135 $aurmnummmmuuuu 181 $ctxt 182 $cc 183 $acr 200 10$aUnplayed Melodies $eJavanese Gamelan and the Genesis of Music Theory /$fMarc Perlman 210 1$aBerkeley, CA :$cUniversity of California Press,$d[2004] 210 4$dİ2005 215 $a1 online resource (xix, 254 p. )$cill., music ; 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-520-23956-3 320 $aIncludes bibliographical references (p. 227-243) and index. 327 $tFrontmatter --$tContents --$tIllustrations --$tAcknowledgments --$tConventions of Transcription and Orthography --$tIntroduction --$t1. Cognitive Preliminaries: The Nature of Musical Knowledge and the Processes of Creative Thinking --$t2. A Brief Introduction to Karawitan --$t3. Karawitan as a Multipart Music: The Relations between the Melodic Parts --$t4. The Balungan as Melodic Guide --$t5. Theorizing Melodic Guidance: The Social and Historical Context of Javanese Music Theory --$t6. Three Concepts of Unplayed Melody --$t7. Implicit-Melody Concepts in Perspective --$t8. Patterns of Conceptual Innovation in Music Theory: A Comparative Approach --$tConclusion --$tNotes --$tGlossary --$tReferences Cited --$tIndex 330 $aThe gamelan music of Central Java is one of the world's great orchestral traditions. Its rich sonic texture is not based on Western-style harmony or counterpoint, but revolves around a single melody. The nature of that melody, however, is puzzling. In this book, Marc Perlman uses this puzzle as a key to both the art of the gamelan and the nature of musical knowledge in general. Some Javanese musicians have suggested that the gamelan's central melody is inaudible, an implicit or "inner" melody. Yet even musicians who agree on its existence may disagree about its shape. Drawing on the insights of Java's most respected musicians, Perlman shows how irregularities in the relationships between the melodic parts have suggested the existence of "unplayed melodies." To clarify the differences between these implicit-melody concepts, Unplayed Melodies tells the stories behind their formulation, identifying each as the creative contribution of an individual musician in a postcolonial context (sometimes in response to Western ethnomusicological theories). But these stories also contain evidence of the general cognitive processes through which musicians find new ways to conceptualize their music. Perlman's inquiry into these processes illuminates not only the gamelan's polyphonic art, but also the very sources of creative thinking about music. 410 0$aACLS Humanities E-Book. 517 3 $aJavanese gamelan and the genesis of music theory 606 $aMusic$zIndonesia$zJava$xHistory and criticism 606 $aGamelan music$zIndonesia$zJava$xHistory and criticism 606 $aMelody 615 0$aMusic$xHistory and criticism. 615 0$aGamelan music$xHistory and criticism. 615 0$aMelody. 676 $a781.2/4/095982 700 $aPerlman$b Marc$4aut$4http://id.loc.gov/vocabulary/relators/aut$01009393 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a996248147803316 996 $aUnplayed Melodies$92330848 997 $aUNISA