One of the most controversial aspects of Javanese gamelan music is its musical mode, pathet. From her experience as a performer of sindhenan, or female singing, Walton analyses the melodies and defines the basic laws of mode for sindhenan. She explains more convincingly than previous authors how two systems of mode operate simultaneously in gamelan music to enhance its aesthetic appeal.
Save 20% ($21.56)
US and Canada only
Permission to reprint
Permission to photocopy or include in a course pack via Copyright Clearance Center
Errington explores linguistic evidence of social change among the traditional priyayi elite of Surakarta in south-central Java. Employing data from texts, interviews, observed speech, and questionnaires, he shows a progressive leveling in the language used to denote traditional status differences, and he demonstrates how perceptions of speech styles reflect etiquette and the views of the users.
Eldest daughter of eight children, the author grew up in Surakarta, Java, in what is now Indonesia. In the months following the bombing of Pearl Harbor, however, Dutch nationals were rounded up by Japanese soldiers and put in internment camps. Her father and brother were sent to separate men’s camps, leaving the author, her mother, and the five younger children in the women’s camp.
Asian Studies · Southeastern Asia · Indonesia · Java · Women’s Studies · Biography · Literary Studies · Asian History · International History · History · Gender Studies · Southeast Asian Studies · Asia
In these studies Roman Ingarden investigates the nature and mode of being of four kinds of art works: the musical work, the picture, the architectural work, and the film. He establishes that the work of art is a purely intentional object but considers also its connections to the real world. By analyzing a work of art in its “constitutive heterogeneous strata,” Ingarden demonstrates that a work of art will reveal, when examined in the appropriate way, its own inherent structure.
Scholarship on the musical traditions of Indonesia has long focused on practices from Java and Bali, including famed gamelan traditions, at the expense of the wide diversity of other musical forms within the archipelago. Jennifer A. Fraser counters this tendency by exploring a little-known gong tradition from Sumatra called talempong, long associated with people who identify themselves as Minangkabau.