Central among Lou Harrison’s pioneering East-West fusions, his works for gamelan and Western instruments are frequently cited either as exemplars of the composer’s Californian, postmodern musical sensibility, or as noteworthy instances of cultural hybridity. However, close examination of Main bersama-sama (1978) and Bubaran Robert (1976/1981) shows that these pieces can and should be understood for what they tell us about Harrison’s deep engagement with melody.
Harrison has mistakenly been regarded as a West Coast musical dabbler, writing tuneful pieces that lack the complexity that characterizes the work of his East Coast contemporaries. Yet analysis of the pitch structure of these pieces reveals intricate compositional games similar to the pre-compositional strategies of composers more typically associated with algorithmic compositional methods. Because these intricacies lie beneath the melodic surface of the music they have largely been unheard and unappreciated in Harrison’s work.
The melodic nature of these games challenges the widely accepted depiction of Harrison as a mere tunesmith, showing how he explored the ability of melody—as opposed to large-scale tonal or harmonic schemes—to create form and serve a central generative function in his music.
This according to “Unheard complexities in Lou Harrison’s Main bersama-sama and Bubaran Robert” by Rachel Chacko (Journal of the Society for American Music VII/3 [August 2013] pp. 265–94).
Today is Harrison’s 100th birthday! Below, the two pieces in question.
The gamelatron, a robotic gamelan built by the sound artist Aaron Taylor Kuffner, has appeared regularly at events such as Burning Man, raves, and exhibitions.
Breaching the conceptual divides between instrument and art installation, performance and recording, sculptor and composer, and prosthesis and robot, the gamelatron is a singular site for investigating imaginaries of the human, machine, and media.
This according to “Atmosphere as a concept for ethnomusicology: Comparing the gamelatron and gamelan” by Andrew McGraw (Ethnomusicology LX/1 [winter 2016] pp. 125–147.
Below, the gamelatron in action.
The concept of désa kala patra (place-time-context) anchors the levels of meaning enacted in performances of Balinese tembang (vocal music), informs the construction of traditional dance and theater events, and underlies pedagogical methods.
The preservation of this ideological core is fundamental to Balinese identity as modern elements—including uses of electronic sound technology—are woven into the cultural fabric. The concept of taksu (spiritual energy) illuminates the religious underpinnings of Balinese artistic values.
This according to Voices in Bali: Energies and perceptions in vocal music and dance theater by Edward Herbst (Hanover: University Press of New England, 1997).
Above, Pura Besakih (Mother Temple of Besakih) is a stunning example of Balinese aesthetics; below, a taste of Balinese gamelan and dance.
In August 1928 representatives from the German record companies Odeon and Beka were sent to Bali; their efforts resulted in 98 recordings on 78 rpm discs of a wide variety of examples of Balinese music.
As it happened, at that time Bali was undergoing an artistic revolution. A new style known as kebyar was rapidly gaining popularity, and older ceremonial styles were literally disappearing, as their bronze instruments were melted down and reforged to accommodate the new style’s requirements; the Odeon/Beka recordings preserve several musical traditions that were later lost.
These were the recordings that inspired the young Canadian composer Colin McPhee, who first heard them in 1929. McPhee went to Bali in 1931 and remained there for nearly a decade; his activities included making painstaking transcriptions of Balinese pieces.
This according to the commentary by Edward Herbst that accompanies the CD The roots of gamelan: The first recordings—Bali, 1928; New York, 1941 (World Arbiter, 1999).
Above, a Gamelan gong gede group in Denpasar around the time the recordings were made; this tradition dates from the 15th century. Gong gede survives today, as the video below attests.
Debussy first heard Javanese gamelan music from a relatively small group at the 1889 Paris Exposition Universelle; he finally heard a full ensemble at the 1900 Exposition.
While he generally disapproved of the Orientalism of earlier Romantic-era composers, he found tremendous inspiration in gamelan music—not in its surface exoticism, but in the details of its structure, texture, and modality.
Exposure to Javanese gamelan music was one of the important catalysts in the flowering of Debussy’s mature style, and it left its mark on his work in a much broader and more profound way than is generally supposed.
“Javanese music obeys laws of counterpoint that make Palestrina seem like child’s play,” he wrote, “and if one listens to it without being prejudiced by one’s European ears, one will find a percussive charm that forces one to admit that our own music is not much more than a barbarous kind of noise more fit for a traveling circus.”
He also wrote of “Javanese rhapsodies, which, instead of confining themselves in a traditional form, develop according to the fantasy of countless arabesques.”
This according to Echoes from the East: The Javanese gamelan and its influence on the music of Claude Debussy, a 1988 dissertation for the University of Texas, Austin, by Kiyoshi Tamagawa.
Today is Debussy’s 150th birthday! Below, “Sirènes” from his Nocturnes, a piece in which Tamagawa demonstrates extensive influence of gamelan music; this influence is best discerned in the two-piano version presented here.
Related article: Historic Balinese gamelans