The Other of the Exotic: Balinese Music as Grammatical Paradigm in Ligeti's‘Galamb borong’
Identifieur interne : 000420 ( Istex/Corpus ); précédent : 000419; suivant : 000421The Other of the Exotic: Balinese Music as Grammatical Paradigm in Ligeti's‘Galamb borong’
Auteurs : Amy BauerSource :
- Music Analysis [ 0262-5245 ] ; 2008-07.
English descriptors
- Teeft :
- African music, African musicians, African polyphony, Aggregate series, Articulation, Attack intensity, Attack points, Balinese, Balinese gamelan, Balinese music, Bass line, Bauer, Bauer music analysis, Benjamin suchoff, Blackwell, Blackwell publishing, Borong, California press, Cambridge university press, Central africa, Chromatic scale, Colotomic structure, Conceptual orientalism, Contemporary composer, Contrapuntal, Contrapuntal structure, Contrary motion, Corda sections, Core melody, Cosmopolitan, Cosmopolitan imagination, Countersubject, Debussy, Different intonation systems, Different levels, Dirty patches, Elaboration, Embellishment, Embellishment groups, Exotic, Galamb, Galamb borong, Gamelan, Gamelan gong, Gamelan gong kebyar, Gendar panerus, Gong, Gong kebyar, Grammatical paradigm, Greater dissonance, Hand tenuto, Hands tenuto, Harmonic, Ideologiefreier stil, Indonesian, Indonesian gamelan, Interval class, John cage, Journal compilation, Kebyar, Kebyar piece, Kotekan, Kreasi baru, Large gongs, Ligeti, Main theme, Melodic motion, Michael tenzer, Modal scale degrees, Molto cantabile melody, Motivic analysis, Music analysis, Musical language, Musical languages, Neue arten, Niklas wilson, Octave, Opening cycle, Opening tremolo, Orientalism, Piano concerto, Pitch series, Pokok, Previous group, Public culture, Rhythmic pattern, Rhythmic patterns, Rhythmic structure, Right hand, Roger nichols, Rural music, Same note, Sangsih, Sangsih parts, Scale degrees, Scale steps, Schizophonic mimesis, Second book, Second section, Second theme, Semibreve collection, Semiquaver, Semiquaver pulse, Seventh levels, Simultaneous attacks, Steve reich, Tenzer, Thematic motives, Transformation network, Transition motive, Tude, Tudes, Ubit empat, Ubit telu, Unordered pitches, Upper voice, Violin concerto, Wedge motive, Western tradition, Whole tone, World music.
Abstract
From the 1980s onwards, György Ligeti openly acknowledged the influence of African polyphony, Indonesian gamelan and music of the Americas on works such as the Piano Concerto (1980–8) and Violin Concerto (1989–93), as well as the Études pour piano (1985–2001). The present article analyses Étude No. 7, ‘Galamb borong’, in order to establish the precise point of intersection between Western and non‐Western within one specific piece. On the basis of this case study, the composer may be shown to celebrate the exotic under the umbrella of the cosmopolitan in a discourse of the universal that is inherently local. Furthermore, by permitting ‘Galamb borong’ to unfold as a dialogue between Balinese music and the Western classical canon, Ligeti's embrace of ‘amalgamated musical languages’ comes to represent an aesthetic standpoint capable of liberating the creative individual not only from inherited tradition but also from the postmodern present.
Url:
DOI: 10.1111/j.1468-2249.2009.00277.x
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ISTEX:2EDA74C2033CAB6EDE993850B6DFE8B0A3BB0D78Le document en format XML
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Journal compilation © 2009 Blackwell Publishing Ltd.</licence></availability><date type="published" when="2008-07"></date></publicationStmt><notesStmt><note type="content-type" subtype="article" source="article" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-6N5SZHKN-D">article</note><note type="publication-type" subtype="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note></notesStmt><sourceDesc><biblStruct type="article"><analytic><title level="a" type="main">T<hi rend="smallCaps">he</hi> O<hi rend="smallCaps">ther of the</hi> E<hi rend="smallCaps">xotic</hi>: B<hi rend="smallCaps">alinese</hi> M<hi rend="smallCaps">usic as</hi> G<hi rend="smallCaps">rammatical</hi> P<hi rend="smallCaps">aradigm in</hi> L<hi rend="smallCaps">igeti</hi>'<hi rend="smallCaps">s</hi>‘G<hi rend="smallCaps">alamb borong</hi>’</title><title level="a" type="short">The Other of theExotic</title><author xml:id="author-0000"><persName><forename type="first">Amy</forename><surname>Bauer</surname></persName><affiliation><orgName type="institution">University of California</orgName><address><addrLine>Irvine</addrLine><country key="US"></country></address></affiliation></author><idno type="istex">2EDA74C2033CAB6EDE993850B6DFE8B0A3BB0D78</idno><idno type="ark">ark:/67375/WNG-LZL3W17F-0</idno><idno type="DOI">10.1111/j.1468-2249.2009.00277.x</idno><idno type="unit">MUSA277</idno><idno type="toTypesetVersion">file:MUSA.MUSA277.pdf</idno></analytic><monogr><title level="j" type="main">Music Analysis</title><title level="j" type="alt">MUSIC ANALYSIS</title><idno type="pISSN">0262-5245</idno><idno type="eISSN">1468-2249</idno><idno type="book-DOI">10.1111/(ISSN)1468-2249</idno><idno type="book-part-DOI">10.1111/musa.2009.27.issue-2-3</idno><idno type="product">MUSA</idno><idno type="publisherDivision">ST</idno><imprint><biblScope unit="vol">27</biblScope><biblScope unit="issue">2‐3</biblScope><biblScope unit="page" from="337">337</biblScope><biblScope unit="page" to="372">372</biblScope><biblScope unit="page-count">36</biblScope><publisher>Blackwell Publishing Ltd</publisher><pubPlace>Oxford, UK</pubPlace><date type="published" when="2008-07"></date></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><abstract xml:lang="en" style="main"><head>ABSTRACT</head><p>From the 1980s onwards, György Ligeti openly acknowledged the influence of African polyphony, Indonesian gamelan and music of the Americas on works such as the Piano Concerto (1980–8) and Violin Concerto (1989–93), as well as the <hi rend="italic">Études pour piano</hi> (1985–2001). The present article analyses Étude No. 7, ‘Galamb borong’, in order to establish the precise point of intersection between Western and non‐Western within one specific piece. On the basis of this case study, the composer may be shown to celebrate the exotic under the umbrella of the cosmopolitan in a discourse of the universal that is inherently local. Furthermore, by permitting ‘Galamb borong’ to unfold as a dialogue between Balinese music and the Western classical canon, Ligeti's embrace of ‘amalgamated musical languages’ comes to represent an aesthetic standpoint capable of liberating the creative individual not only from inherited tradition but also from the postmodern present.</p></abstract><textClass><keywords rend="tocHeading1"><term>ORIGINAL ARTICLES</term></keywords></textClass><langUsage><language ident="en"></language></langUsage></profileDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/2EDA74C2033CAB6EDE993850B6DFE8B0A3BB0D78/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="Wiley, elements deleted: body"><istex:xmlDeclaration>version="1.0" encoding="UTF-8" standalone="yes"</istex:xmlDeclaration><istex:document><component version="2.0" type="serialArticle" xml:lang="en"><header><publicationMeta level="product"><publisherInfo><publisherName>Blackwell Publishing Ltd</publisherName><publisherLoc>Oxford, UK</publisherLoc></publisherInfo><doi origin="wiley" registered="yes">10.1111/(ISSN)1468-2249</doi><issn type="print">0262-5245</issn><issn type="electronic">1468-2249</issn><idGroup><id type="product" value="MUSA"></id><id type="publisherDivision" value="ST"></id></idGroup><titleGroup><title type="main" sort="MUSIC ANALYSIS">Music Analysis</title></titleGroup></publicationMeta><publicationMeta level="part" position="07002"><doi origin="wiley">10.1111/musa.2009.27.issue-2-3</doi><numberingGroup><numbering type="journalVolume" number="27">27</numbering><numbering type="journalIssue">2‐3</numbering></numberingGroup><coverDate startDate="2008-07">July/October 2008</coverDate></publicationMeta><publicationMeta level="unit" type="article" position="6" status="forIssue"><doi origin="wiley">10.1111/j.1468-2249.2009.00277.x</doi><idGroup><id type="unit" value="MUSA277"></id></idGroup><countGroup><count type="pageTotal" number="36"></count></countGroup><titleGroup><title type="tocHeading1">ORIGINAL ARTICLES</title></titleGroup><copyright>© 2009 The Author. Journal compilation © 2009 Blackwell Publishing Ltd.</copyright><eventGroup><event type="firstOnline" date="2009-11-26"></event><event type="publishedOnlineFinalForm" date="2009-11-26"></event><event type="xmlConverted" agent="Converter:BPG_TO_WML3G version:2.3.4 mode:FullText source:FullText result:FullText" date="2010-03-29"></event><event type="xmlConverted" agent="Converter:WILEY_ML3G_TO_WILEY_ML3GV2 version:3.8.8" date="2014-02-03"></event><event type="xmlConverted" agent="Converter:WML3G_To_WML3G version:4.1.7 mode:FullText,remove_FC" date="2014-10-31"></event></eventGroup><numberingGroup><numbering type="pageFirst" number="337">337</numbering><numbering type="pageLast" number="372">372</numbering></numberingGroup><linkGroup><link type="toTypesetVersion" href="file:MUSA.MUSA277.pdf"></link></linkGroup></publicationMeta><contentMeta><countGroup><count type="figureTotal" number="18"></count><count type="tableTotal" number="0"></count><count type="formulaTotal" number="0"></count><count type="referenceTotal" number="38"></count><count type="wordTotal" number="12257"></count><count type="linksPubMed" number="0"></count><count type="linksCrossRef" number="0"></count></countGroup><titleGroup><title type="main">T<sc>he</sc> O<sc>ther of the</sc> E<sc>xotic</sc>: B<sc>alinese</sc> M<sc>usic as</sc> G<sc>rammatical</sc> P<sc>aradigm in</sc> L<sc>igeti</sc>'<sc>s</sc>‘G<sc>alamb borong</sc>’</title><title type="shortAuthors"><sc>amy bauer</sc></title><title type="short">T<sc>he</sc> O<sc>ther of the</sc>E<sc>xotic</sc></title></titleGroup><creators><creator creatorRole="author" xml:id="cr1" affiliationRef="#a1"><personName><givenNames>Amy</givenNames><familyName>Bauer</familyName></personName></creator></creators><affiliationGroup><affiliation xml:id="a1" countryCode="US"><unparsedAffiliation>University of California, Irvine</unparsedAffiliation></affiliation></affiliationGroup><abstractGroup><abstract type="main" xml:lang="en"><title type="main">ABSTRACT</title><p>From the 1980s onwards, György Ligeti openly acknowledged the influence of African polyphony, Indonesian gamelan and music of the Americas on works such as the Piano Concerto (1980–8) and Violin Concerto (1989–93), as well as the <i>Études pour piano</i> (1985–2001). The present article analyses Étude No. 7, ‘Galamb borong’, in order to establish the precise point of intersection between Western and non‐Western within one specific piece. On the basis of this case study, the composer may be shown to celebrate the exotic under the umbrella of the cosmopolitan in a discourse of the universal that is inherently local. Furthermore, by permitting ‘Galamb borong’ to unfold as a dialogue between Balinese music and the Western classical canon, Ligeti's embrace of ‘amalgamated musical languages’ comes to represent an aesthetic standpoint capable of liberating the creative individual not only from inherited tradition but also from the postmodern present.</p></abstract></abstractGroup></contentMeta></header></component></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>The Other of the Exotic: Balinese Music as Grammatical Paradigm in Ligeti's‘Galamb borong’</title></titleInfo><titleInfo type="abbreviated" lang="en"><title>The Other of theExotic</title></titleInfo><titleInfo type="alternative" contentType="CDATA" lang="en"><title>The Other of the Exotic: Balinese Music as Grammatical Paradigm in Ligeti's‘Galamb borong’</title></titleInfo><name type="personal"><namePart type="given">Amy</namePart><namePart type="family">Bauer</namePart><affiliation>University of California, Irvine</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="article" displayLabel="article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-6N5SZHKN-D">article</genre><originInfo><publisher>Blackwell Publishing Ltd</publisher><place><placeTerm type="text">Oxford, UK</placeTerm></place><dateIssued encoding="w3cdtf">2008-07</dateIssued><copyrightDate encoding="w3cdtf">2008</copyrightDate></originInfo><language><languageTerm type="code" authority="rfc3066">en</languageTerm><languageTerm type="code" authority="iso639-2b">eng</languageTerm></language><physicalDescription><extent unit="figures">18</extent><extent unit="tables">0</extent><extent unit="formulas">0</extent><extent unit="references">38</extent><extent unit="linksCrossRef">0</extent><extent unit="words">12257</extent></physicalDescription><abstract lang="en">From the 1980s onwards, György Ligeti openly acknowledged the influence of African polyphony, Indonesian gamelan and music of the Americas on works such as the Piano Concerto (1980–8) and Violin Concerto (1989–93), as well as the Études pour piano (1985–2001). The present article analyses Étude No. 7, ‘Galamb borong’, in order to establish the precise point of intersection between Western and non‐Western within one specific piece. On the basis of this case study, the composer may be shown to celebrate the exotic under the umbrella of the cosmopolitan in a discourse of the universal that is inherently local. Furthermore, by permitting ‘Galamb borong’ to unfold as a dialogue between Balinese music and the Western classical canon, Ligeti's embrace of ‘amalgamated musical languages’ comes to represent an aesthetic standpoint capable of liberating the creative individual not only from inherited tradition but also from the postmodern present.</abstract><relatedItem type="host"><titleInfo><title>Music Analysis</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0262-5245</identifier><identifier type="eISSN">1468-2249</identifier><identifier type="DOI">10.1111/(ISSN)1468-2249</identifier><identifier type="PublisherID">MUSA</identifier><part><date>2008</date><detail type="volume"><caption>vol.</caption><number>27</number></detail><detail type="issue"><caption>no.</caption><number>2‐3</number></detail><extent unit="pages"><start>337</start><end>372</end><total>36</total></extent></part></relatedItem><identifier type="istex">2EDA74C2033CAB6EDE993850B6DFE8B0A3BB0D78</identifier><identifier type="ark">ark:/67375/WNG-LZL3W17F-0</identifier><identifier type="DOI">10.1111/j.1468-2249.2009.00277.x</identifier><identifier type="ArticleID">MUSA277</identifier><accessCondition type="use and reproduction" contentType="copyright">© 2009 The Author. 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