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T he O ther of the E xotic : B alinese M usic as G rammatical P aradigm in L igeti ' s ‘G alamb borong ’

T he O ther of the E xotic : B alinese M usic as G rammatical P aradigm in L igeti ' s ‘G alamb... ABSTRACT From the 1980s onwards, György Ligeti openly acknowledged the influence of African polyphony, Indonesian gamelan and music of the Americas on works such as the Piano Concerto (1980–8) and Violin Concerto (1989–93), as well as the Études pour piano (1985–2001). The present article analyses Étude No. 7, ‘Galamb borong’, in order to establish the precise point of intersection between Western and non‐Western within one specific piece. On the basis of this case study, the composer may be shown to celebrate the exotic under the umbrella of the cosmopolitan in a discourse of the universal that is inherently local. Furthermore, by permitting ‘Galamb borong’ to unfold as a dialogue between Balinese music and the Western classical canon, Ligeti's embrace of ‘amalgamated musical languages’ comes to represent an aesthetic standpoint capable of liberating the creative individual not only from inherited tradition but also from the postmodern present. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

T he O ther of the E xotic : B alinese M usic as G rammatical P aradigm in L igeti ' s ‘G alamb borong ’

Music Analysis , Volume 27 (2‐3) – Jul 1, 2008

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Publisher
Wiley
Copyright
© 2009 The Author. Journal compilation © 2009 Blackwell Publishing Ltd.
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/j.1468-2249.2009.00277.x
Publisher site
See Article on Publisher Site

Abstract

ABSTRACT From the 1980s onwards, György Ligeti openly acknowledged the influence of African polyphony, Indonesian gamelan and music of the Americas on works such as the Piano Concerto (1980–8) and Violin Concerto (1989–93), as well as the Études pour piano (1985–2001). The present article analyses Étude No. 7, ‘Galamb borong’, in order to establish the precise point of intersection between Western and non‐Western within one specific piece. On the basis of this case study, the composer may be shown to celebrate the exotic under the umbrella of the cosmopolitan in a discourse of the universal that is inherently local. Furthermore, by permitting ‘Galamb borong’ to unfold as a dialogue between Balinese music and the Western classical canon, Ligeti's embrace of ‘amalgamated musical languages’ comes to represent an aesthetic standpoint capable of liberating the creative individual not only from inherited tradition but also from the postmodern present.

Journal

Music AnalysisWiley

Published: Jul 1, 2008

References