峇裡島的佳美蘭銅板琴。演奏者的右手 用一個鐵鎚敲擊金屬的「琴 鍵」,然後用左手很快地 消音。
印度尼西亞巴厘島的樂隊
峇裡島居住,大 部分居民信奉印度教,音樂是日常生活不可分割的一部分,
所有的各種規模的儀式和活動,從慶典的節日到葬禮的火化,都 要有佳美蘭樂隊的伴奏。
佳美蘭樂隊主要是由打擊樂器組成的——更準確地說,是由銅板琴(metallophones,像木琴的樂器,用錘子敲擊銅製的琴鍵)、定音鑼、有音高的鑼、排鐘、 鼓和鈸組成的。偶爾,也會有長笛和人聲的加入。
佳美蘭的音樂是用一種很不同於西方古典音樂的手法產生的。在西方音樂中, 作品是線性的、有目標定向的,因為旋律建立在基礎的和聲結構之上,走向情感 的高潮。相反,佳美蘭的作品是循環地組織起來的。 它們的結構圍繞著一個單獨的、核心的旋律,這個旋 律被一系列鑼的敲擊所強調。核心的旋律在作品中被 演奏了很多次,創造了節奏和旋律的一遍又一遍的固 定反复。聽眾和表演者可以跟上音樂的發展,通過聆聽鑼的音型而知道它們在循環的什麼地方(對第一次聽佳美蘭的聽眾的暗示是:大的、轟隆作響的鑼只在循環的結束或開始時敲)。鼓手形成了佳美蘭音樂的基礎:用複雜的音型和提示,他們為整個樂隊的速度變化做出信號,與舞者進行交流,並指示演賽者適時地從一個無限期的循環站協副日的演奏中,鼓手就像指揮,引領樂隊,使每一個人保持一致。演奏者必須仔細 地聆聽鼓手的訊號。
有些旋律樂器不演奏核心的旋律,而是用複雜的方式對它進行加工。最常見 的是用連鎖風格(interlocking style)來演奏,其中,不同樂器的演奏者貢獻音 樂的小片段,它們結合在一起形成複合的音樂線條。
佳美蘭樂隊在印度尼西亞的所有島嶼上大量存在。但不是所有佳美蘭的音樂都是一樣的,每個地方的佳美蘭有其自身特殊的音響和儀式功能,甚至作品的 曲目(通常由教師向學生口傳心授)。例如,比起巴厘的印度教島嶼更炫耀的佳美蘭音樂,爪哇的穆斯林島嶼的佳美蘭音樂聽起來就有更多的冥想性。
在峇裡島上,沒有其他佳美蘭的風格比「凱比亞」(kebyar)佳美蘭更浮華閃爍。
這種熱烈的、戲劇性的,甚至炫技的凱比亞風格的不尋常之處在於它是巴厘島佳美蘭的一種世俗的形式——也就是說,它的音樂純粹作為音樂而存在,而不是作為宗教禮儀的加強。
來自這個島嶼的各個 村莊的佳美蘭樂隊每年都聚在一起在一個大型的比賽上演奏。這種「樂團之間的 戰鬥」吸引了數千的觀眾,他們來聆聽和觀看,並為他們村莊的樂團喝采。
《金色的雨》(Hujan Mas)是一首流行的凱比亞作品,基於來自爪哇的一 首同名作品的旋律。在巴厘島的版本中,佳美蘭樂隊中的每一種樂器都得的演奏中,鼓手就像指揮,引領著樂隊,使每一個人保持一致。演奏者必須仔細 地聆聽鼓手的訊號。
A Balinese gamelan band displays a brass instrument.
The player's right hand hits the metal "keys" with a hammer, and then he quickly silences the sound with his left hand.
A band from Bali, Indonesia
Living in Bali, most residents believe in Hinduism, and music is an integral part of daily life.
All ceremonies and events of all sizes, from celebratory festivals to funerals and cremations, are accompanied by gamelan bands.
Gamelan bands are primarily composed of percussion instruments—more specifically, metallophones (xylophone-like instruments with copper keys struck with hammers), tuned gongs, pitched gongs, and platoons. Made of bells, drums and cymbals. Occasionally, flutes and vocals are added.
Gamelan music is produced using a method that is very different from Western classical music. In Western music, the composition is linear and goal-directed, as the melody builds on a basic harmonic structure and builds toward an emotional climax. Instead, Gamelan's works are organized cyclically. They are structured around a single, central melody that is emphasized by a series of gong strikes. The core melody is played many times in the work, creating a fixed repetition of rhythm and melody over and over again. Listeners and performers can keep up with the music and know where in the cycle they are by listening to the gongs' patterns (a hint for first-time Gamelan listeners: the big, booming gongs are only in the cycle). knock at the end or beginning). Drummers form the basis of gamelan music: using complex patterns and cues, they signal tempo changes for the entire band, communicate with dancers, and instruct performers to timely transition from station to position in an indefinite cycle. During the performance, the drummer is like a conductor, leading the band and keeping everyone in line. The player must listen carefully to the drummer's signal.
Some melodic instruments do not play the core melody, but process it in complex ways. Most commonly it is played in the interlocking style, in which players on different instruments contribute small pieces of music that combine to form composite musical lines.
Gamelan bands are found in large numbers on all Indonesian islands. But not all gamelan music is the same. Each local gamelan has its own special sound and ritual functions, and even the repertoire of the works (usually taught orally by teachers to students). For example, the gamelan music of the Muslim islands of Java sounds more meditative than the more ostentatious gamelan music of the Hindu islands of Bali.
In Bali, no other gamelan is more flashy and sparkly than the "kebyar" gamelan.
What is unusual about this fiery, dramatic, even virtuoso style of kebia is that it is a secular form of Balinese gamelan—that is, its music exists purely as music; Not as an enhancement of religious ritual.
Gamelan bands from various villages across the island come together every year to play at a large competition. This "battle between the bands" attracted thousands of spectators who came to listen, watch, and cheer on the bands from their villages.
"Golden Rain" (Hujan Mas) is a popular Kebian composition based on the melody of a Javanese composition of the same name. In the Balinese version, every instrument in the gamelan band is played, and the drummer is like a conductor, leading the band and keeping everyone in line. The player must listen carefully to the drummer's signal.
A Balinese gamelan band displays the brass clavichord. The player's right hand strikes the metal "keys" with a hammer, then quickly mutes them with the left hand.
A band from Bali, Indonesia -
Bali is a small island below the equator in the middle of Indonesia's vast archipelago, the world's fourth most populous country (about 245 million people) (see Figure 37.1). Bali is home to more than two million people, most of whom are Hindus, and music is an integral part of daily life, closely tied to religion and daily work. Hindu gods and local Balinese deities are worshipped daily in temples, homes, and the streets. The practice requires artistic dedications ranging from intricately carved banana leaf incense sticks and a few small colorful paintings to a large temple ceremony featuring a dozen dancers in decorative costumes and large quantities of home-cooked food. All ceremonies and events of all sizes, from festive celebrations to funeral cremations, are accompanied by the gamelan band.
A gamelan is an ensemble of different instruments that play together, much like an orchestra or military band. However, unlike Western orchestras, which are dominated by string and wind instruments, a gamelan ensemble is primarily composed of percussion instruments—more specifically, metallophones (xylophone-like instruments with hammers hitting brass keys, see Figure 37.6), timpani, pitched gongs, chimes, drums, and cymbals. Occasionally, flutes and vocals are added.
Gamelan music is produced in a very different way from Western classical music. In Western music, pieces are linear and goal-oriented, as melodies build on basic harmonic structures and build toward emotional climaxes. In contrast, gamelan pieces are organized cyclically. They are structured around a single, core melody that is emphasized by a series of gong strikes. The core melody is played many times throughout the piece, creating a fixed repetition of rhythm and melody over and over. Listeners and performers can follow the music and know where in the cycle they are by listening to the gong patterns (a hint for first-time gamelan listeners: the large, booming gongs are struck only at the end or beginning of the cycle). Drummers form the foundation of gamelan music: using complex patterns and cues, they signal changes in tempo for the entire band, communicate with dancers, and direct performers to stop and join in an indefinite cycle at the right time.
In the performance, the drummer is like a conductor, leading the band and keeping everyone in line. Performers must listen carefully to the drummer's signals.
Some melodic instruments do not play the core melody, but instead process it in complex ways. The most common is played in an interlocking style, in which players of different instruments contribute small fragments of music that combine to form a composite musical line. In this way, the music reinforces the common Balinese belief that everyone in this world supports and depends on each other. True cosmic and social balance is achieved not through individual display, as in the impressive solo passages of a Western concerto, but by everyone working together to create a beautiful whole. In Example 37.2, notice how the voices interlock.
Far East
Gamelan orchestras are plentiful on all the islands of Indonesia. But not all gamelan music is the same; each local gamelan has its own particular acoustic and ritual functions, and even repertoire of works (often passed down orally from teacher to student). For example, gamelan music on the Muslim island of Java sounds more meditative than the more flamboyant gamelan music of the Hindu island of Bali.
No other style of gamelan on Bali is more flamboyant than kebyar gamelan. This fiery, dramatic, even virtuosic kebyar style is unusual in that it is a secular form of Balinese gamelan—that is, its music exists purely as music, not as an enhancement of religious ritual. A 20th-century addition to traditional Indonesian gamelan music, kebia music has also inspired Indonesian popular music. Gamelan bands from villages across the island come together every year to play at a large competition. This "battle of the bands" attracts thousands of spectators who come to listen, watch, and cheer on their village's band. The bands are judged on accuracy, musicality, and visual performance.
"Golden Rain" (Hujan Mas) is a popular kebia piece based on the melody of a song of the same name from Java. In the Balinese version, each instrument in the gamelan band plays its own part, with the drummer acting as a conductor, leading the band and keeping everyone in line. The players must listen carefully to the drummer's signals.
Some melodic instruments do not play the core melody, but instead process it in complex ways. The most common is played in an interlocking style, where players of different instruments contribute small fragments of music that combine to form a composite musical line. In this way, the music reinforces the ordinary Balinese belief that everyone in this world is mutually supportive and interdependent. True cosmic and social balance is achieved not through individual display, as in the impressive solo passages of a Western concerto, but through everyone working together to create a beautiful whole. In Example 37.2, notice how the voices interlock.
Gamelan orchestras are plentiful on all the islands of Indonesia. But not all gamelan music is the same; each local gamelan has its own particular acoustic and ritual functions, and even repertoire of works (often passed down orally from teacher to student). For example, gamelan music from the Muslim island of Java sounds more meditative than the more ostentatious gamelan music of the Hindu island of Bali.
No other style of gamelan in Bali is more flamboyant than the kebyar gamelan. This fiery, dramatic, even virtuosic kebia style is unusual in that it is a secular form of Balinese gamelan—that is, its music exists purely as music, not as an enhancement to religious ritual. A 20th-century addition to traditional Indonesian gamelan music, kebia style music has also inspired Indonesian popular music. Gamelan bands from villages across the island come together every year to play at a large competition. This "battle of the bands" draws thousands of spectators who come to listen, watch, and cheer on their village bands. The bands are judged on their accuracy, musicality, and visual presentation.
"Golden Rain" (Hujan Mas) is a popular kebia piece based on the melody of a piece of the same name from Java. In the Balinese version, each instrument in the gamelan band gets a chance to play.
一支峇裡島的佳美蘭樂隊展 示了銅板琴。演奏者的右手 用一個鐵鎚敲擊金屬的「琴 鍵」,然後用左手很快地 消音。
一支來自印度尼西亞巴厘島的樂隊-
峇裡島是印尼這個世界第四人口大國(約2.45億人口)巨大的群島 中部的一個位於赤道下方的小島(見圖37.1)。峇裡島上有兩百多萬人居住,大 部分居民信奉印度教,音樂是日常生活不可分割的一部分,與宗教和日常工作緊 密相關。印度教的神和峇裡島當地的神每天都供奉在廟裡、家裡和街上。這種實踐要求藝術的奉獻,小到精緻雕刻的香蕉葉包香和一些小的五顏六色的畫,或大到一個大型的寺廟儀式,以十多個身穿裝飾性的服裝的舞者和大量的家庭製作的食物為特徵。所有的各種規模的儀式和活動,從慶典的節日到葬禮的火化,都 要有佳美蘭樂隊的伴奏。
佳美蘭樂隊是一種在一起演奏的不同的樂器組成的合奏團,很像一個管弦樂 隊或軍樂隊。然而,與西方以弦樂器和管樂器為主導的管弦樂隊不同,佳美蘭樂隊主要是由打擊樂器組成的——更準確地說,是由銅板琴(metallophones,像木琴的樂器,用錘子敲擊銅製的琴鍵,見圖37.6)、定音鑼、有音高的鑼、排鐘、 鼓和鈸組成的。偶爾,也會有長笛和人聲的加入。
佳美蘭的音樂是用一種很不同於西方古典音樂的手法產生的。在西方音樂中, 作品是線性的、有目標定向的,因為旋律建立在基礎的和聲結構之上,走向情感 的高潮。相反,佳美蘭的作品是循環地組織起來的。 它們的結構圍繞著一個單獨的、核心的旋律,這個旋 律被一系列鑼的敲擊所強調。核心的旋律在作品中被 演奏了很多次,創造了節奏和旋律的一遍又一遍的固 定反复。聽眾和表演者可以跟上音樂的發展,通過聆聽鑼的音型而知道它們在循環的什麼地方(對第一次聽佳美蘭的聽眾的暗示是:大的、轟隆作響的鑼只在循環的結束或開始時敲)。鼓手形成了佳美蘭音樂的基礎:用複雜的音型和提示,他們為整個樂隊的速度變化做出信號,與舞者進行交流,並指示演賽者適時地從一個無限期的循環站協副日
的演奏中,鼓手就像指揮,引領樂隊,使每一個人保持一致。演奏者必須仔細 地聆聽鼓手的訊號。
有些旋律樂器不演奏核心的旋律,而是用複雜的方式對它進行加工。最常見 的是用連鎖風格(interlocking style)來演奏,其中,不同樂器的演奏者貢獻音 樂的小片段,它們結合在一起形成複合的音樂線條。用這種方法,音樂加強了普 通巴厘島人的信念,即在這個世界上的每個人都是互相支撐和依賴的。真正的字 宙和社會的平衡不是像一首西方協奏曲令人印象深刻的獨奏段落那樣通過個人的 展示來取得的,而是通過每個人在一起工作來創造一個美麗的整體。在譜例37.2 ,請注意各聲部是怎樣連鎖的。
遠東
佳美蘭樂隊在印度尼西亞的所有島嶼上大量存在。但不是所有佳美蘭的音 樂都是一樣的,每個地方的佳美蘭有其自身特殊的音響和儀式功能,甚至作品的 曲目(通常由教師向學生口傳心授)。例如,比起巴厘的印度教島嶼更炫耀的佳 美蘭音樂,爪哇的穆斯林島嶼的佳美蘭音樂聽起來就有更多的冥想性。
在峇裡島上,沒有其他佳美蘭的風格比「凱比亞」(kebyar)佳美蘭更浮華 閃爍。這種熱烈的、戲劇性的,甚至炫技的凱比亞風格的不尋常之處在於它是巴厘島佳美蘭的一種世俗的形式——也就是說,它的音樂純粹作為音樂而存在,而不是作為宗教禮儀的加強。凱比亞風格的音樂作為對傳統的印尼佳美蘭音樂的 一種20世紀的附加物,也啟發了印度尼西亞的流行音樂。來自這個島嶼的各個 村莊的佳美蘭樂隊每年都聚在一起在一個大型的比賽上演奏。這種「樂團之間的 戰鬥」吸引了數千的觀眾,他們來聆聽和觀看,並為他們村莊的樂團喝采。根據 這些樂團的準確度、音樂性和視覺的表現來做出評判。
《金色的雨》(Hujan Mas)是一首流行的凱比亞作品,基於來自爪哇的一 首同名作品的旋律。在巴厘島的版本中,佳美蘭樂隊中的每一種樂器都得的演奏中,鼓手就像指揮,引領著樂隊,使每一個人保持一致。演奏者必須仔細 地聆聽鼓手的訊號。
有些旋律樂器不演奏核心的旋律,而是用複雜的方式對它進行加工。最常見 的是用連鎖風格(interlocking style)來演奏,其中,不同樂器的演奏者貢獻音 樂的小片段,它們結合在一起形成複合的音樂線條。用這種方法,音樂加強了普 通巴厘島人的信念,即在這個世界上的每個人都是互相支撐和依賴的。真正的字 宙和社會的平衡不是像一首西方協奏曲令人印象深刻的獨奏段落那樣通過個人的 展示來取得的,而是通過每個人在一起工作來創造一個美麗的整體。在譜例37.2 ,請注意各聲部是怎樣連鎖的。
佳美蘭樂隊在印度尼西亞的所有島嶼上大量存在。但不是所有佳美蘭的音樂都是一樣的,每個地方的佳美蘭有其自身特殊的音響和儀式功能,甚至作品的 曲目(通常由教師向學生口傳心授)。例如,比起巴厘的印度教島嶼更炫耀的佳 美蘭音樂,爪哇的穆斯林島嶼的佳美蘭音樂聽起來就有更多的冥想性。
在峇裡島上,沒有其他佳美蘭的風格比「凱比亞」(kebyar)佳美蘭更浮華 閃爍。這種熱烈的、戲劇性的,甚至炫技的凱比亞風格的不尋常之處在於它是巴厘島佳美蘭的一種世俗的形式——也就是說,它的音樂純粹作為音樂而存在,而不是作為宗教禮儀的加強。凱比亞風格的音樂作為對傳統的印尼佳美蘭音樂的 一種20世紀的附加物,也啟發了印度尼西亞的流行音樂。來自這個島嶼的各個 村莊的佳美蘭樂隊每年都聚在一起在一個大型的比賽上演奏。這種「樂團之間的 戰鬥」吸引了數千的觀眾,他們來聆聽和觀看,並為他們村莊的樂團喝采。根據 這些樂團的準確度、音樂性和視覺的表現來做出評判。
《金色的雨》(Hujan Mas)是一首流行的凱比亞作品,基於來自爪哇的一 首同名作品的旋律。在巴厘島的版本中,佳美蘭樂隊中的每一種樂器都得到一次