This book contains notation for all the Javanese gamelan music (as well as sulukan and vocal chorus texts and melodies) presented in six wayangkulit performances that were filmed by the Lontar Foundation: Makutharama and Sesaji Raja Suya, each performed in classical style, contemporary-interpretive style, and condensed style. All gamelan accompaniment for these performances was arranged by renowned shadow master (dhalang), Purbo Asmoro.
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"Gamelan Scores should be particularly welcome for readers...not only for the notation provided but also for the additional analytic sections. The notation includes balungan (the melody played on most of the metallophones), vocal melody, and text, colotomic gongs, and brief information
about sequence (usually in the form of an arrow, an asterisk, or brief annotation indicating the point in a piece where one leaps to the next piece).
Analytic additions include summaries of scenes that group the pieces by dramatic unit and a list of all the musical pieces played in a given performance, sorted by musical form, which is a primary Javanese conceptual framework both for gamelan practice and accompaniment of dance and theater.
Emerson's introduction to this volume is invaluable, discussing the preparation that went into the musical aspects of these performances and including images of Purbo Asmoro's handwritten lists of repertoire. Extensive end notes are brimming with background information about each piece that is not a standard part of the Solonese wayang repertoire or is treated in a nonstandard manner."
- Benjamin Brinner, Professor of Music, University of California/Berkeley
Asian Music, Volume 47, Number 1, Winter/Spring 2016, pp. 147-151 (Review)
"Purbo's sulukan texts and melodies are highly diversified, culled from years of study of various wayang traditions at the academy and a prodigious memory, and the careful notation and translation of these is a great service to any aspiring puppeteer. Gamelan groups around the world will benefit also from the transcription of the hundreds of new and old gamelan pieces played in the six performances."
--Matthew Issac Cohen
Asian Theatre Journal, Volume 33, Number 1, Spring 2016, pp. 206-213
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