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Oscar Murakami-Smith
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    • Dissertation Figures
      • Chapter 2
      • Chapter 3
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      • Chapter 5
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Oscar Murakami-Smith
  • Home
  • Bio/CV
  • Research
    • Publications
    • Dissertation Figures
      • Chapter 2
      • Chapter 3
      • Chapter 4
      • Chapter 5
    • Field Recordings
    • Maps
    • Interactive Mbira Wheel
  • Composition
  • Performance
  • Photography
  • Contact
  • More
    • Home
    • Bio/CV
    • Research
      • Publications
      • Dissertation Figures
        • Chapter 2
        • Chapter 3
        • Chapter 4
        • Chapter 5
      • Field Recordings
      • Maps
      • Interactive Mbira Wheel
    • Composition
    • Performance
    • Photography
    • Contact

Dissertation Figures

I Chapter 2

I Chapter 3

I Chapter 4

I Chapter 5

Figure 2.1

Witnessing ngoncang improvised interlocking parts in Bungkulan, Buleleng, North Bali.

Figure 2.4

Transcription of one cycle of the first section of Tabuh Lelonggoran as played by one gangsa pair (polos and sangsih) in Sekaa Gong Eka Wakya, Banjar Paketan, Singaraja, Buleleng. Polos part is in blue with up-stems, sangsih part is in black with down-stems. Balinese solfege as it corresponds to the notation: nding=i=C#, ndong=o=D, ndeng=e=Eb, ndung=u=G#, ndang=a=A; capital letters indicate lower octave pitch classes. Each ngoncang cell (defined below) is numbered.

Figure 2.12

Full transcription of the second cycle from Sekatian Ndang, as played by Sekaa Gong Eka Wakya on the 23rd of September 2023. N.B. Down stems are the polos parts for readability, and as always, blue indicates polos.

Full transcription in the dissertation, section 2.5.3

© Oscar Murakami-Smith, 2026
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