iii
Table of Contents
LIST OF FIGURES.....................................................................................................................................V
PREFACE
..................................................................................................................................................VII
Overview and Aim
..............................................................................................................................xiii
Metanarratives
.....................................................................................................................................xv
M
ETHODOLOGY
......................................................................................................................................
XVI
Orthography and Pronunciation
.....................................................................................................xviii
Notation and Transcription
.............................................................................................................xviii
Commonly Used Abbreviations
..........................................................................................................xxi
CHAPTER 1 INTRODUCTION, HISTORICAL AND THEORETICAL SETTING
.......................1
TAXONOMY AND TERMINOLOGY – DEFINING THE OBJECT OF STUDY
..............................1
Avant-Garde and the Social Meanings of Musik Kontemporer
..........................................................4
HISTORICAL SETTING
........................................................................................................................10
Colonialism
.........................................................................................................................................11
Bali Under Independence
...................................................................................................................24
CHAPTER 2 CULTURAL RHETORICS, DISCOURSE SURROUNDING NEW MUSIC INBALI
.............................................................................................................................................................49
METAPHORS FOR CREATION, FORM AND COMPOSITION......................................................50
OFFICIAL POLICIES AND PHILOSOPHIES
.....................................................................................57
BALINESE HISTORIOGRAPHY: THE PRAKEMPA
........................................................................70
The Prakempa as a Source of Inspiration to Modern Composers
....................................................76
CHAPTER 3 AUDIENCES, COMPOSERS, AND PATRONS
...........................................................89
BALINESE AUDIENCES
......................................................................................................................89
BALINESE COMPOSERS
.....................................................................................................................92
PATRONS
.............................................................................................................................................104
The Bali Arts Festival (Pesta Kesenian Bali-PKB)
.........................................................................105
Other non-Academic Festivals and Patrons
....................................................................................111
Academic Festivals
...........................................................................................................................115
Foreign Patronage
............................................................................................................................121
ASTI/STSI/ISI Denpasar
...................................................................................................................122
CHAPTER 4 FOREIGN INFLUENCES AND OTHER SCENES
....................................................150
1) Idea diffusion
................................................................................................................................151
2) Social Analogy
..............................................................................................................................168
POST PKM INFLUENCES AND DEVELOPMENTS
.......................................................................178
Western Composers
..........................................................................................................................178
OTHER SCENES
..................................................................................................................................183
Central Java
......................................................................................................................................183
CHAPTER 5 ANALYSIS OF SELECTED WORKS
..........................................................................197
ISSUES IN ANALYSIS
........................................................................................................................197
ANALYZED WORKS
..........................................................................................................................204
Dewa Ketut Alit’s Pengastung Kara
................................................................................................204
Dewa Made Suparta’s Leyak Mata
..................................................................................................229
I Wayan Gede Arsana’s Moha
.........................................................................................................253
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