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[null,null,"Titolo",null,"Karawitan : Source Readings in Javanese Gamelan and Vocal Music, Volume 1 / / Judith Becker, editor, Alan H. Feinstein, assistant editor ; Hardja Susilo, Sumarsam, A.L. Becker, consultants"]
[null,null,"Pubbl/distr/stampa",null,"Baltimore, Maryland : , : Project Muse, , 2020"]
[{"$nulls":4},"©2020"]
[null,null,"ISBN",null,"9780891480273"]
[{"$nulls":4},"0891480277"]
[null,null,"Edizione",null,"[1st ed.]"]
[null,null,"Descrizione fisica",null,"1 online resource (1 EPUB unpaged) : illustrations"]
[null,null,"Collana",null,"Michigan papers on South and Southeast Asia ; ; no. 23"]
[null,null,"Disciplina",null,"785/.06/6095982"]
[null,null,"Soggetti",null,"Vocal music - Indonesia - Java - History and criticism"]
[{"$nulls":4},"Gamelan music - Indonesia - Java - History and criticism"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,"Nota di contenuto",null,"Intro -- Series Page -- Title Page -- Copyright -- Contents -- Series -- Preface -- Judith Becker -- Volume 1 -- Introduction -- A Note From The Translator -- Author's Forword -- Catatan-Catatan Pengetahuan Karawitan -- The System of Gendhing -- Karawitan -- The Contents of Karawitan -- Irama -- Lagu -- The Names and Functions of Instruments in Karawitan -- The Influence of Irama on Laqu and Cèngkok -- The Influence of Lagu on Irama -- Gendhing -- The Names of Gendhing Forms -- Sampak -- Srepegan -- Ayak-ayakan -- Kemuda -- Lancaran -- Ketawang -- Ladrang -- Mérong -- Inggah -- Exceptional Forms -- Structures (Komposisi) Found in Gendhing -- Buka -- Mérong -- Ngelik -- Umpak -- Umpak Inggah -- Umpak-umpakan -- Inggah -- Sesegan -- Suwukan -- Dados -- Dhawah -- Kalaienqaken -- Kaseling -- Examples of Types of Structures -- The Sléndro and Péloq Tuning Systems -- Laras Sléndro -- Pathet -- The Tones in Laras Sléndro -- Gendèr Gedhé [and Its Relationship to Pathet] -- The Number of Keys on the Gendèr Gedhé -- Cèngkok as It Relates to Performance Practice -- Gembyang and Kempyung in Gendèr Gedhé -- The Range of Sèlèh -- Pathet and the Range of Sèlèh on the Gendèr -- The Range of Gembyang and Kempyung on the gendèr -- The Strength of a Tone Based on Its Position -- Mixing Pathet -- Issues Related to Pathet -- Padhang-ulihan -- Padhang-ulihan as a Part of Gendhing -- Padhang-ulihan Melodic Sentences in the Ketawang and "]
[{"$nulls":4},"Ladrang Forms -- Padhang-ulihan Melodic Phrasing in the Méronq Form -- The Direction of Tones -- Cèngkok Mati ['Fixed Cèngkok'] -- Relative Strength in the Position of Tones -- Analyzing a Gendhing -- The Types of Balungan -- Melodic Phrases -- Pathet -- The Direction of Tones and Performance Technique -- Ladrang Grompol and Ladrang Mugi Rahayu, Laras Sléndro -- Analysis of the Pathet in the Above Gendhing."]
[{"$nulls":4},"Analysis of the Performance Technique in the Above Gendhing -- A Note About the Patterns of Cèngkok for Gendèr -- Notes -- Volume 2 -- Foreword -- Catatan-Catatan Pengetahuan Karawitan -- The Pélog Tuning System -- Which is Older, Laras Pélog or Laras Sléndro? -- Performance Practice (Garap) and Cènqkok on the Gendèr Gedhé -- Gendèr Pélog Nem and Gendèr Pélog Barang -- Pathet in Laras Pélog -- Garap -- Mode (Modus) in the pélog Tuning System -- Fingering -- Mode and Gendèr Cènqkok -- Pathet Lima in the Theory of Gendhing -- Pélog Pathet Nem in the Theory of Gendhing -- Pélog Pathet Barang in the Theory of Gendhing -- Tuning (Stem[m]ing) -- Analyzing Pathet in Laras pélog Based on Tuning -- The Order of Tones in the Pélog Pathet According to Various Theories -- Gendhing in Surakarta -- Sléndro Gendhing in Laras pélog -- Changes in the Balungan of Gendhing -- Pélog Pieces in Laras sléndro -- Appendix I -- Advice from R[adèn] M[as] Sahirjan -- Appendix II -- Appendix III -- Creating or Composing Gendhing -- Appendix IV -- Minor -- Appendix V -- Barang Miring -- Notes -- Inner Melody -- Saron Melody, Balungan, and Nuclear Theme -- The Range and Motion of Gamelan Melody and how it is Played on the Instruments -- Rebab -- Gendèr Barung -- Saron and Balungan -- Saron Panerus (Saron Peking) -- Bonang Barung -- Gendhing bonang -- Chapter III -- Form and Melodic Phrases in Gendhing -- Melodic Phrasing -- Conclusion -- Wedha Pradangga -- Preface -- The Cryptic Literature (Sastra Sinandi) Concealed in the Tones of the Gamelan -- Concerning Character -- To Join in Happiness and to Join in Sadness -- Concerning Pathet -- Gamelan and Wayang Kulit -- Translator's Notes -- Ichtisar Teori -- Gamelan -- Instruments of the Gamelan -- Famous Gamelan -- Instrumentation for Different Kinds of Gamelan -- Laras -- Intervals (Swarantara) -- Tone Groupings (Nada-nada Kelompok)."]
[{"$nulls":4},"Embat -- Common Tones (Tumbuk) -- The History of Sléndro and pélog -- Baranq Miring -- Pathet -- Examples of Compositions in the Different Pathet -- Examples of \"Borrowed\" Compositions -- Titilaras -- Irama -- Dhing and Phong -- Gendhing -- The Formal Structures of Gendhing -- General Guidelines about Gendhing -- Kinds of Gendhing in Which a Particular Instrument Plays a Leading Role -- Pieces with Special Functions -- Pieces for Wayang Kulit -- The Four Principles of Karawitan (Catur Prinsip Karawitan): -- Ethics -- Esthetics -- Norms -- Ideals -- Translator's Notes -- Faktor Penting -- Introduction -- Lagu -- Cèngkok -- Luk and Gregel -- Wilet -- Lagu, Player, and Listener -- Reason for Making Cengkok and Wilet -- Innovations -- Tuning System -- Pathet -- Cèngkok -- Irama, or Matra [Meter] -- Instruments -- Playing Style -- Translator's Notes -- Gendhing Jawa -- Author's Note -- Instruments of the Gamelan -- The Study of the Refinements of Gendhing -- Laras [Tuning] -- Irama -- Pathet -- Gendhing -- Vocal Pieces (Gendhing Lésan) -- Instrumental Pieces (Gendhing Thuthuk) -- Instrumental Pieces with a Vocal Part (Gendhinq Gamelan lan Lésan) -- Vocal Pieces with Instrumental Accompaniment -- More on Laras [Tuning] -- More on Irama -- More on Pathet -- More on Gendhing -- Balungan [Skeleton, or Framework] -- Kenongan [Kenong Playing] -- Kethukan [Kethuk Playing] -- Kempulan ['Kempul Playing'] -- [The Playing of the] Kempyang -- The Playing of the Gongs (Gong-gongan) "]
[{"$nulls":4},"-- Notation for Some Gendhing -- Small Gendhing [Gendhing Cilik] -- Small Gendhing, Lancaran Kethuk Ngganter -- Medium-sized Gendhing (Gendhing Sedheng) -- Large Gendhing (Gendhing gedhé) -- Notes -- Serat Sulukan -- Preface -- Selections from Oral and Written Tests for the Student Dhalang -- Explanation of Gendhing Krawitan -- Sulukan in Laras Sléndro Pathet Nem."]
[{"$nulls":4},"Sulukan in Laras Sléndro Pathet Sanga -- Additions: Songs Sung by the Panakawan in Pathet Sanga -- Sulukan in Laras Sléndro Pathet Manyura -- Laras Sléndro Pathet Nem -- Additional Texts for the Sulukan -- Laras Sléndro Pathet Sanga -- Laras Sléndro Pathet Manyura -- Selections from Oral and Written Tests for the Student Dhalang -- Notes."]
[null,null,null,"Sommario/riassunto","The twentieth century has spawned a great interest in Indonesian music, and now books, articles, and manuscripts can be found that expound exclusively about karawitan (the combined vocal and instrumental music of the gamelan). Scholar Judith Becker has culled several key sources on karawitan into three volumes and has translated them for the benefit of the Western student of the gamelan tradition. The texts in her collection were written over a forty-five-year time period (ca 1930-1975) and include articles by Martopangrawit, Sumarsam, Sastrapustaka, Gitosaprodjo, Sindoesawarno, Poerbapangrawit, Probohardjono, Warsadiningrat, Purbodiningrat, Poerbatjaraka, and Paku Buwana X. The final volume also contains a glossary of technical terms, an appendix of the Javanese cipher notations (titilaras kepatihan), a biographical listing, and an index to the musical pieces (Gendhing)."]