The Other of the Exotic: Balinese Music as Grammatical Paradigm in Ligeti's‘Galamb borong’
Identifieur interne : 000313 ( Main/Exploration ); précédent : 000312; suivant : 000314The 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
Affiliations:
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Le document en format XML
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xml: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.</div></front></TEI><affiliations><list></list><tree><noCountry><name sortKey="Bauer, Amy" sort="Bauer, Amy" uniqKey="Bauer A" first="Amy" last="Bauer">Amy Bauer</name></noCountry></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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