1. Chapter Four (Part II): Gamelan in Bali

2. Bali Hindu enclave in Muslim Indonesia Artistic activities part of everyday life –aesthetically pleasing things are “offerings” –spirits need to be appeased

3. Gotong-royong Stratified society Joint responsibility, mutual cooperation Musical style models social organization –Interlocking rhythms –Whole is greater than the sum of its parts

4. Gamelan: Bali vs. Java Variety of ensembles Abrupt tempo/dynamics changes Complex, fast interlocking parts

5. Threes in Bali Hindu trinity –Brahma, Vishnu, Shiva Temples –inner sanctum (sacred; for gods) –inner courtyard (interface; gods and people) –outer courtyard (profane; for people)

6. Threes in Bali (cont.) Old” / “Middle” / “New” ensembles Three-section pieces

7. Gong Kebyar: Four Functional Layers Colotomic instruments –Gong / Kempur / Kemong –Kempli (a.k.a. Kajar)

8. Gong Kebyar: Four Functional Layers (cont.) Core melody and Elaboration –Ugal (lead instrument) –Kantilan / Pemade (higher-pitched) –Calung / Jegogan (lower-pitched) –Reyong (one-row gong chime, 4 players; elaboration)

9. Gong Kebyar: Four Functional Layers (cont.) Drumming –Pair of drums –Time coordination –Dance coordination