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BALINESE_MUSIC


                                         June 18, 2006

 Quotes from:  A_HOUSE_IN_BALI

   
"Balinese music is based on               
five tones.  In the sacred                                                  
writings of the priests these                Raven once asked Sika how 
tones have cosmological                      many tones there were in 
significance, for they are                   Balinese music.  He      
linked with the gods of the                  thought for a moment and 
five directions, north, east,                counted on his fingers           
south, west and centre, where                before saying "five".    
in the middle of the lotous                                              
sits Batara Siva, Creator,                           WAYAN_SIKA        
Destroyer, Lord God of All.    
His mystic colour is white;    
his sacred syllable _hing_;    
and the tone for this syllable    
is _ding_.                    
                                        
"The gods of the other directions          
have their own colours -- red,          "He came a week later    
yellow, blue, black; their              saying, Here is the book.    
syllables and tones-- _dong_,                                    
_de'ng_, _doong_, _dang_...             "It was a bundle of dried palm
                                        leaves, trimmed and neatly    
"But he didn't think, said Nyoman       tied together.  It was old and
when I asked him, that the boys         brittle, and crumbled as I    
and men of the clubs thought of         opened it.  Inside, three or  
this as they played.                    four lines of Balinese script 
                                        strecthed across each strip of
"Music is for pleasure, he said.        leaf.                         
It pleases both gods and men."                                        
                                        "That is the _pokok_, the      
       -- p. 43                         stalk, the trunk of the        
                                        music, he said.                
                                                                       
                                        "It was nothing more than the   
                                        meagre tones of the chant in    
                                        the bass, the barest of         
                                        outlines.  Nothing to           
                                        indicate the rhythm, nothing    
                                        to indicate the melody or the   
                                        elaborate interweaving of       
                                        sounds.  A scratch here and     
                                        there marked the accent of a    
                                        gong and that was all.          
                                                                        
                                        "It was only a reminder, said   
                                        Nyoman.  The rest, he explained,    
                                        existed in the mind of the      
                                        teacher."                       
                                                
                                        --- p. 43



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