The Melody Web what each genre heard, and what it passed on

heard passed on Click or tap a node to recenter. Use a connecting line, or Influence, for the story.

Heard

American gamelan

practice · 1954–

Also called composer gamelan, Western gamelan

The United States concert and campus practice that learns Central Javanese court gamelan as repertory and etiquette, then writes new pieces — sometimes on purpose-built iron or aluminum sets (Harrison, Colvig, and after). It is not a style of Impressionism and not a kind of Javanese gamelan. The parent is the Javanese court tradition; the new-music wing is why this is a separate node and not only geographic spread (Miller and Lieberman, Sumarsam). Impressionism leftover as a neighboring concert color, not a parent. Minimalism leftover as a neighboring concert process, not a parent. Empty extra Received/Given is historically checked: campus continuation is this school, not a named later child.

Listen

  1. La Koro Sutro Lou Harrison (1972) YouTube
  2. Suite for Violin and American Gamelan Lou Harrison and Richard Dee (1974) YouTube
  3. Double Concerto for Violin, Cello, and Javanese Gamelan Lou Harrison (1981) YouTube
  4. Philemon and Baukis Lou Harrison (1985) YouTube · Spotify
  5. Bubaran Robert Lou Harrison (1976) YouTube · Spotify
  6. Main Bersama-sama Lou Harrison (1978) YouTube
  7. In That Bright World Jody Diamond (1981) YouTube · Spotify
  8. Braid Barbara Benary (1970s) YouTube
  9. Concerto for Piano with Javanese Gamelan Lou Harrison (1987) YouTube
  10. A Cornish Lancaran Lou Harrison (1986) YouTube

Passed on

Nothing in the corpus yet that this genre passed on.

Javanese gamelan → American gamelan

instrumentationform and structureperformance practicemelodystrength: highwell documented1954–1985pedagogyoralpatronagenotation

Mechanism

U.S. campuses import the court set, the teachers, and the repertory. Players learn balungan, elaborating parts, kendhang cues, and ensemble etiquette as Javanese practice. Harrison and others then build new instruments and write concertos that still depend on that bronze technique. Strength high: the descendant is hard to explain without the parent. This is not Impressionist piano color, and it is not only “gamelan went to California” as a map fact — the new-music wing is a named practice (Miller and Lieberman).

Evidence

Hood’s UCLA program and the Wesleyan and California repertory ensembles; Pak Cokro and other Javanese teachers in the United States; Harrison–Colvig instruments and the Double Concerto. Campus cipher scores and sitting posture are the daily transfer.

Debate

Whether American campus repertory is still Javanese gamelan (geographic spread) rather than a new node. The corpus splits them so the composer-gamelan wing has a place to land. Pieces that only perform Solonese gendhing remain the parent’s repertory abroad. NY minimalism is a neighbor, not this edge: Reich’s main non-Western school was Ghana, not Surakarta.

Mediators

artist: Mantle Hood; artist: Lou Harrison; artist: K.R.T. Wasitodiningrat (Pak Cokro)