CMUS 103: Introduction to Musics of the World

Muppets! http://www.youtube.com/watch?v=2F65jI5_9DU

12 girls band El Condor Pasa concerted in Japan: http://www.youtube.com/watch?v=IMU6M_Eg318

Oh yeah -

Here it is, heavy metal-improv style.

http://www.youtube.com/watch?v=Q8D3XMMOqUk

This link provides a good example of “El Condor Pasa” and how it has been altered as it has passed along through various locations and styles. This example uses a very different sound and completely different instrumentation from any of the more traditional Andean versions of the song.

Little Big Planet, one of Sony’s flagship titles and what will be (at least judging by reviews), many critics’ Game of the Year, was recalled a week before its worldwide release to remove instances of Qur’anic text in the audio. An interesting read, and one that emphasizes just how mainstream music can become without the audience even understanding its context.

http://kotaku.com/5065106/nsiders-letter-to-sony-and-media-molecule-re-quran-references

There are several differences between Balinese Gamelan and gamelan found through out Indonesia. The Balinese gamelan is based of a 8 beat cycle in which starts on the eighth beat. The “female gong” plays on the 8th beat and the same musician plays the “male gong” on the the 4th beat. The kettle gong musicians in Balinese gamelan play only 1 or 2 kettle gongs where in traditional Indonesian gamelan kettle gong players play upwards of 8 kettle gongs at a time. There are also cymbals in in Balinese Gamelan, there are no cymbals in other forms of gamelan. The cymbals make up an important part of Balinese gamelan and highlight the fundamental difference between the different types of gamelan. there are usually 10 pairs of cymbals in each gamelan group. half of the cymbalists play on the  “on beat” and half play on the “off beat”. The two parts interlock into a very complex piece. the cymbals go from interlocking parts to playing simultaneously which happens on every fourth beat. The kettle gongs also play in this very complex interlocking technique. The metalphones in Balinese gamelan make up the melody. these metalphones, unlike those in traditional gamelan, only have 4 keys.

The recordings from this week focused on music from the rainforest. The four selections all use voice as their primary instrument. It does not seem that the performers of each piece are of a specific gender although the first piece, styles of yodeling, seems as though it could possible be a song performed by women. I felt that each piece got progressively more developed, the first, styles of yodeling, being rather bare besides the yodeling, while the next pieces add percussion and varying sounds. Styles of yodeling and the Molimo song seemed very similar in style, both had a very cyclical rhythmic sound. The last two, Makala and Ejengi ceremony, seemed like they could possibly involve dancing or some type of movement based on their sound and the involvement of their performers. Both backgrounds sound like they have clapping or stomping of the feet. I personally enjoyed the Ejengi ceremony recording the most. The music kind of made me want to dance and I felt like there was a greater variety in the sounds used. I liked that it was less cyclical than the others, the sound changed from vocal, adding more percussion and different voices as it went along. Overall I felt it had more body to it.

The Balinese Gamelan was very similar to other forms of gamelan including Javanese gamelan, but also had its differences.  The Balinese use very portable instruments as the drums are carried with straps and each kettle gong is carried and played by only one musician. They also incorporate the use of cymbals, which i haven’t heard used in other gamelan factions. This gamelan is also very processional, mostly taking place during temple anniversaries or cremations.  This gamelan does use the cycle though with the female gong being hit to start every cycle, and the male gong being used on every 4th measure, while another gong, which is smaller, is used in the beats between.  The difference is that in Bali, they do not start the female gong on beat one, it is instead started on beat eight. The rhythm used in Balinese gamelan is also different.  It uses interlocking beats called kotekan that are said to have religious meaning.  This interlocking rhythm is derived from the cymbals.  From hearing and watching the videos on the site, I felt like the beat was much faster and the notes were more distinct.  Overall, I enjoyed the videos and music on this site more than I enjoyed listening to the other forms of gamelan and talempong we have studied this semester. 

 I think these are both songs in a shadow-puppet play. They both sounded pretty theatrical to me (which is to say only a bit more dramatism), especially compared to the other gamelan pieces we’ve been listening to. Before I realized this my first thoughts towards Ladrang Wilujang were that it was a happy song for a happy occasion. Then, however, noting the differences between this song and other wedding or festive songs we’ve heard, I thought of changing my description of “happy” to “triumphant.” Pembang Pacar also had this effect on me. My first thoughts were that it was simply a low-key song with a strange vibe (to Western ears). The tempo changes of the song towards the end, however, changed my mind, and I was suddenly convinced the song sounded just like a journey. Heavy, regular beats like footsteps. When it sped up, something intense was going on, and when it slowed down, the obstacle had been passed and the travelers had arrived at their destination.

Do you think there is a notable difference between this music and the gamelan music we were hearing before? Does it sound more dramatic to you? I think it would be interesting to listen to the other gamelan music with a mindset to interpret it as for a shadow-puppet play,  and see what happens.