Dissertation Figures

Figure 5.1

Otok (right) co-represents other players' parts in the gaps of his own, evident from his mallet and head movements.

Figures 5.2/5.3

The 5 against 3 rhythmic pattern used in a section from Putu Septa's Piwal II, Septa's claps against the 5 against 3 ostinato.

Figures 5.5/5.7

Measures 11-22 of Putu Septa's Piwal III, for gamelan selonding. The bracketed numbers indicate the duration patterns given to each of the three sub-groups within the ensemble. Measure 11 starts at 0:09, measure 22 ends at 0:48.

Figure 5.14

Measures 11-22 of Putu Septa's Piwal III, for gamelan selonding. The bracketed numbers indicate the duration patterns given to each of the three sub-groups within the ensemble. Measure 11 starts at 0:09, measure 22 ends at 0:48.

Figure 5.15

Excerpt from final section of Piwal V, featuring the "stuttering" rhythm in the top staff. The number under each note indicates its scale degree.

Figure 5.16

Sequence of rhythmic patterns in the first section of SANGA-sia. The upper staff shows the interlocking gangsa parts. The lower staff shows the melody played by the jublag and jegogan. The kajar plays the same rhythm as the jublag, the rhythm corresponding to the numbers written above each measure.

N.B., the audio presented here also corresponds to Figures 5.20, 5.21, 5.22, 5.23.

Figure 5.19

Sequence of rhythmic patterns in the first section of SANGA-sia. The upper staff shows the interlocking gangsa parts. The lower staff shows the melody played by the jublag and jegogan. The kajar plays the same rhythm as the jublag, the rhythm corresponding to the numbers written above each measure.

N.B., the audio presented here also corresponds to Figures 5.20, 5.21, 5.22, 5.23. Onset marking/detection of the audio in this video was used to produce the Mean Relative Onset diagram reproduced below that indicates the subtle asynchronies that can be heard here.

Figure 5.25

Three versions of a ngucek-type phrase used in SANGA-sia. Italicised numbers indicate bar numbers in original full score. The reong parts were interlocked between three players; breakdown not shown here for visual clarity. Timestamps correspond with the YouTube edit.

Figure 5.29

Score excerpt from Samsara, Act 4. The boxed text in Indonesian reads “Calung and Jegogan plays these notes freely, not in tempo.” Instrument abbreviations: Kj=Kajar, G=Gong, Jg=Jegogan, Cl=Calung, Pm=Pemade, Ktl=Kantilan.

Figures 5.30/5.31

Transcription of the basic cycle and tempo ombak in the wedding scene, Samsara (Garin Nugroho, 2024), as measured in the Singapore première.