Included below is the Foreword, Introduction and table of contents from the the doctoral dissertation "Multimedial Musicality in the Performance Text" by Zachar Laskewicz. 

Foreword

  This dissertation is divided into two major sections. The first of the two, called Discovering the Musical Text as an Embedded Sign, is primarily philosophical and theoretical: it attempts to redefine traditional western conceptions of music so that the theory can encompass the complex 'intertextuality' of musical experience.  The intention here is to help us in the second part of the work which will be concentrating on interculturality in Balinese performance. The first section consists of four chapters, each of which shares common themes and theoretical goals.  Using as its major tool post-Husserlian phenomenology and post-structural theory, the first chapter attempts to redefine 'music' not as a thing to be examined and dissected, but a way of experiencing reality; a way of informing us about time and space in the present: an 'episteme' (See Foucault, The Order of Things).  Music is obviously more than this alone, and the chapters following the first attempt to come closer to individual performances.  The major point of departure is viewing musical experience as a complex type of cultural sign.  This musical sign is placed in a different light in each of these chapters, and the object of analysis moves from the static musical object to the dynamic process of musical performance; the significance of the musical sign is revealed to exist as much in its creation as its material form.    An appropriate metaphor for the structure of the theoretical section is that of the Balinese temple which is also divided into three sections.  It is only through gaining access to the outer realms that one can venture into the most sacred inner sanctum.  In this case, the central point awaiting the reader is the Balinese musical performance as a sign viewed as a physically embodied phenomenon embedded in a cultural context.  The first major theme of this section is the exploration of multimediality explored in terms of the way 'musicality' can be experienced by all the senses and not just as a static aural object.  Other major topics include the notion of the embedded and the embodied 'sign'.  Here the sign is considered in terms of its semiosis in an 'embedded' environment-a non transcendental contextualised sign-and in terms of its 'embodiment' in real human physicality.  The whole first section is devoted to heralding in a new epistemology based on a transferral from product- to process-based thinking, representing a realisation of the importance of the dynamics of a contextualised, embedded situation to all processes of human semiosis.

The second major section recognises the importance of music in creating and perpetuating Balinese culture, and explores the different roles that music has played throughout history in Balinese society.  This section is called Interculturality in Balinese Performance Texts and has two separate chapters.  These chapters attempt to demonstrate the bilateral relationship between musical performance and social change.  That is, music is not simply an expression of the current social, political or philosophical situation, but is a force which in its turn influences cultural development.  Although this section contains a lot of important historical 'facts' concerning influence on Bali both from the West and the 'New Indonesia', the bilateral relationship between music and culture presents a connection with the theoretical opening section.  The last chapter, which includes a discussion of the individual works of contemporary Balinese composers and choreographers, attempts to use the preceding theoretical and practical work to suggest some ideas about a the possible future for Balinese performance.  Two of the major themes introduced in this section are tradition and innovation, where new artistic works are explored in terms of either perpetuating strong cultural givens inculcated by society (tradition) or breaking away with radical new ideas (innovation), acting to change the society in which the artist lives.  Another major theme is, of course, the whole issue of interculturality.  We explore this phenomenon in terms of how and why people belonging to certain cultures are turning more and more to other cultures to answer many of the questions which aren't sufficiently approached within their own culture.  This issue is dealt with in terms of what I refer to as self-reflexive interculturality which involves an artist finding in another culture (the Other) what they expect or need to find rather than what is actually there, leading to western creations like utopia and exoticism.

Each chapter is divided into a number of major divisions which express the most important themes of the chapter.  In turn, these divisions are divided into a number of sections which, if necessary, are sub-divided into units.  Very often, these units are divided again into sub-units.  Although the sub-units can also contain numbered paragraphs, these are used only in terms of reference and are not named.   Each of the units which are in some way sub-divided are usually precluded by an introduction describing the contexts of the following partitions, just as the intention of each of the sections is precluded by a brief summary at the beginning of the chapter divisions.  Each of these divisions, sections, units and other markings are numbered for the purpose of cross-referencing.  Information in the index and glossary refers to this numbering system and not the page numbers, just as within the work itself the reader is directed to divisions, units and sub-units rather than page numbering (i.e. see sub-unit 1.6433 for more information in this regard).

Balinese culture has influenced artists and researchers throughout the twentieth century, and is still creating a large influence today both to artists and theoreticians from the West who are attracted to this remarkably well-preserved culture.  Through the perpetuation of complex cultural systems, the Balinese have been able to remain largely self-sufficient; not being too 'adversely' affected by outside influence.  Their culture is for us a truly unique phenomenon, a structure that provides a coherent significative context to Balinese existence.  Within this 'tightly spun fabric' (to evoke a somewhat outdated Geertzian image), the performance of music plays a very important role, supporting and perpetuating an intricately complicated matrix of sound, movement and action.  For the Balinese, music is certainly more than simply a diversion, but a complex cultural phenomenon.  In order to try and encompass this phenomenon in theoretical terms, an entity that can't be separated from the cultural context to which it is bound, traditional European methods of analysis that tend towards distinction and separation have to be avoided or subverted.  It is necessary to open the discussion into a large number of different fields, including anthropology, linguistics, ethnomusicology, performance and ritual theory to name a few.  I hope the reader enjoys the challenging philosophical and theoretical journey I considered necessary to realise my research goals.

There are many, many people who I would like to thank for their contribution to this work.  For Section One, Dr. Saskia Kersenboom at the University of Amsterdam in the Netherlands provided me with an enormous amount of theoretical support.  The whole first section is based on influences taken from a lecture series she gave on the Multimedial Text, and also on ideas taken from both published and unpublished works I had the privilege of reading.  Particularly useful was her book Word, Sound, Image: The Life of the Tamil Text (1995) which includes a 'multimedial' text in the form of a CD-ROM, one you can interact with and where the multimedial elements such as interaction between dance, gesture, language and song are all present providing the possibility for understanding multimedial elements which are lacking in traditional western written texts.  Her work on multimediality in the text was so influential that I hoped to structure this work in a similarly 'interactive' way.  Unfortunately, lacking access to the necessary funds and equipment, this didn't come to pass, but it explains the extended numerical system I have used and the circular structure of the work: in the 'hypertext' version every unfamiliar term could lead directly to another part of the text by simply clicking on a word, and the general structure of the work was one which involved the reader finding his or her own way into the theoretical 'heart' as it were.  This also explains some of the repetition revised in each new chapter now that the hypertext can no longer allow the reader to easily revise any given topic at any given time. 

I'd also like to thank two friends who have supported me emotionally during this difficult period: Patrick Eecloo and Guy De Mey who were there for me (almost) all the time when times got difficult.  Before the field-work I did in Bali I spent two years in the Netherlands learning Balinese gamelan and attending Dr. Kersenboom's courses.  Dr. Henrice Vonck at the University of Amsterdam and Dr. Hedi Hinzler at the University of Leiden also deserve my thanks.  They were both members of the gamelan group I played with called Sandi Sari, and they provided me with both unconditional advice and the chance to learn to play Balinese music, which I greatly appreciate.  In Belgium, I have formed my own gamelan group (called Saling Asah) and that was also a highly educational experience.  In this regard I'd particularly like to thank our teacher I Made Agus Wardana who has taught me both Gender Wayang and Gong Kebyar, in addition to being a remarkable source of information.  During the field-work trips in 1997 and 1998 I stayed with Wardana's family, which was in itself an educational experience.  Made's brothers, sister-in-laws, mother, father and other relatives all made me feel like an 'embedded participant', allowing me to partake in temple celebrations and other family affairs.  At the STSI in Bali, I had the chance to interview important teachers and composers, and I'd like to take the chance to thank them: I Nyoman Windha, I Komang Astita, and I Wayan Dibia.  Elaine Barkin, Wayne Vitale and Nyoman Wenten-all of whom live in California-also allowed me to interview them in both California and Bali, which was of great assistance.  Finally, there are an enormous amount of people I'd like to thank for their assistance to my research, some of whom I've never met.  These are people I came into contact with via the internet, either through personal contacts or a major gamelan mailing list.  Some of the people who assisted me include Herbst, Wallis, Grauer, Tenzer, and Mack among many others.  I'd like to thank them for the efforts they made to help me.  Lastly, I'd like to thank Prof. Dr. J. Van Schoor at the University of Ghent who supported me in all my activities throughout the this work's conception and preparation.  Without the assistance of all these people, I wouldn't have been able to produce this book.

The writing of this work has truly been an important event in my life, representing an enormous development in my ability to reflect upon the world and understand my role in it as both an observer and an (artistic) participant.  My research tactics began in a sensuous form through my work as a composer, which was followed by a gradual transformation which led to the development of an ability to analyse not only my own work and its role in my own personal experience of reality, but also into how 'musicality' communicates in our life, and more generally into the role of individuals as vital participants in culture.  I feel looking back over the last four years that I've covered enormous ground, although I admit this is in a way only the first step on what will become a life-time journey, one which I will take on with enormous enthusiasm.

Introduction[1]

This book has been produced thanks to more than four years of work.  The first years involved a great deal of self-questioning and I gradually learnt to treat my own subjective experience as a valid form of research.  Moving from being an active creative artist-a composer and performer of experimental music-theatre-to being an academic researcher has been a long journey which I couldn't possibly describe in detail in this introduction.  Suffice to say, on the gradual process which led to the 'composition' of this work, I went through many stages of looking back at my own creative work to discover that I had already begun to answer many of the questions posed by my new research into Balinese culture, communicating remarkable information about myself and the way a person attempts with his or her own body to confront the world they are surrounded by.  My early academic experiments, attending conferences and writing papers, involved my own compositional work.  What I realise now is that I was on a journey towards developing a system of analysis which would be based on artistic rather than scientific information, treating as equally valid all types of 'subjective' experience: it is, after all, only through our own personal experience that we can interface with the world.  This process of weaning myself away from my own work to be able to apply the sort of approaches which I had developed to topics external to my own work was a difficult one.  It did, however, finally happen and when I reached the point where I could talk about topics externally to my own body by applying similar methods, I felt at once sure that this information was valid and worthy of consideration.   It was true to me and although I am only one among many, it is only through my own mediation with the world that any information can be internalised, dealt with and classified.  Some of these issues, and there are many, will become clearer in the course of this work.  In this introduction, however, I would like to discuss some major themes which are important within this work both to describe them to the reader and to demonstrate how they relate to one another.  We begin with a discussion of my own role in the research project: how I have allowed-even encouraged-my subjective experience to impinge on my research work, and the call for the recognition of such data.  This is followed by a brief discussion of some of the problems with traditional anthropology, which rejects subjective experience to provide an image of 'culture' as a static given.  After this I propose a new model for studying human 'performance' as a valid field within anthropology itself, based on Kersenboom's notion of Culture as a Performing Art.  This precludes a discussion of new directions for anthropology demonstrated in contemporary research based on less-traditional field work techniques, and then the presentation of a major new field: performance anthropology.  In addition, I focus on some important issues regarding Bali as an anthropological topic: What is it that attracts us to Bali both as researchers and tourists?  What hidden agendas are hiding behind innocent research topics? What do we actually want to learn, what the Balinese culture can tell us or what we ourselves want to know?  Ashamedly, I confess to the latter; I found there what was absent in my own culture.  This 'intercultural' approach is demonstrated to be a major force that influences both artistic and 'scientific' (academic) endeavour.

My position as both spectator and participant

The personal quest for gaining an insight into how the Balinese experienced music began much earlier, as discussed above, i.e. as part of a personal quest to find a discourse to describe what I was trying to achieve in my compositions.  Only after taking my work this far was it possible for me to approach anything outside myself.  My initial interest in other cultures was firstly thanks to a strong sense of alienation from my own culture, and the first 'compositional'-actively artistic-discourse I adopted involved composing works which either rejected or expanded upon what I saw as the limited confines of western musicality.  My desire as a composer and a theoretician has been a statement against the complacent acceptance of a cultural reality which is for a large degree arbitrary.  After realising the enormous distance I had set up between myself and my own 'musical' culture through the creation of my own musical 'languages', it was clearly time for me to examine the traditions I was reacting against a little closer.   It is also important to consider the factors of other musical cultures which I have borrowed to form part of my own compositional 'vocabulary'.   Beginning with my own compositions, it is clear that as a reaction to western conceptions of music, I have been searching for new 'symbol' systems that unite the music into a cultural whole; that help music to act as a symbolic communication system to express structures that are entirely out of the range of verbal communication.  It could be said that my music(-theatre) is not 'separate' from life in that it attempts to define or outline clear symbolic structures as opposed to a western formal music which is being perpetuated in our culture as a pure, non-contextual communicative vehicle. Our tendency towards development and change has resulted in music's separation from daily life-at least in a theoretical sense-and our tendency for logic and rational processes has resulted in the classification of 'music' as something involved with 'technique' or 'form', classical ideas that are to be held and perpetuated, based on philosophical notions of time and space that stem from positivistic visions of reality.  In separating music from life we have only succeeded in making it more difficult for those deigned 'unmusical' to gain a deeper understanding of the important role of musicality in all human existence.  Thanks to the insights which were made clear to me thanks to the assistance of my guides-especially Dr. Saskia Kersenboom-I have been able to develop a form of theoretical analysis based on the lived experiential processes of individuals rather than on the static acceptance of structures. 

Problems of traditional cultural anthropology

Geertz, Mead, Bateson, De Zoete and the whole school of anthropology that developed around them thanks to the willing assistance of Balinese culture to live up to their anthropological goals have become important figures in anthropology.  They have irrevocably changed the face of contemporary anthropology.  In this work, especially Chapter Five, I try to question their work.  Geertz and his cronies, who I refer to as the 'Balinese' circle were united by the fact that the Balinese culture became the perfect stamping grounds for their theoretical work in the field of cultural anthropology, made a great influence to structural anthropology and the later movement which moved against its strictly objective 'bird's eye' view of cultural processes.  The research methods of interpretation used by these anthropologists can be seen as belonging to the old school of thought which saw culture as a static formula.  Geertz is famous for his 'semiotic' method for anthropology which resulted in all-encompassing generalisations about culture.  This is represented clearly in the following passage: "The Balinese, perpetually weaving intricate palm-leaf offerings, preparing elaborate ritual meals, decorating all sorts of temples, marching in massive processions, and falling into sudden trances, seem much too busy practising their religion to think (or worry) very much about it" (Geertz, 1973: 175).  His semiotic studies reflect upon culture as a structure out of which, with the help of specific anthropological tools, complex sign systems can be extracted, suggesting a belief in a 'transcendent' approach to culture, external to its expression in the lives of individuals.  Views such as these, entering into anthropology from the structuralist movement via Levi-Strauss, expressed basic philosophical understandings which are based on fundamental assumptions specifically characteristic of a sadly outdated epistemology inherent in some elements of western culture.  It is for this reason that the early section of chapter one discusses the origin of some of the basic assumptions of our culture which have emerged from a history of western philosophy, expressing itself in institutional settings and the way people comprehend their environment.  In this work I hope to demonstrate that we need to move from a belief in culture as a set of static sign systems which interact in a harmonious way, in other words we need to develop a system which demonstrates that culture cannot be viewed as a harmoniously static Geertzian 'web-like' structure, but rather a constantly fluctuating series of processes which everyday individuals struggle to adjust themselves to: as Wikan notes, some are not involved with the 'spinning' of the web, some are just stuck in it (see Wikan: 1990).

Possible new directions for the field of semiotics

Time and change seem to be two words that have an intimate connection with one another.  No matter how we may like to prevent time from bringing irrevocable change into our world, we don't seem to be able to prevent it.  Even the theories we create to gain a deeper insight into reality seem to be sensitive to the changing force of time, despite the fact that we often see them as being transcendent of the natural world.  Theoretical models are designed to give a fitting insight into the surrounding reality, and although the 'reality' itself does not actually change in any large way, our method of interpreting it does, and this results in a gradual transferral to new theoretical models based on new needs.  Such changes have resulted in us interpreting our world in radically different ways.  We are entering a new age in semiotics in which the sign is beginning to be viewed in a new light.  Influenced by research in different fields, especially psycholinguistics-a subject involved with human acquisition of behaviour and language-the previously static image of the sign is receding and a newer dynamic sign is emerging.  We are no longer interested in the sign itself-viewed as an abstract entity-but we are instead interested in the complex context in which the sign is created by the individual.  The second major impact of the new approach is a realisation that the sign is not only 'embedded' in a given human context, but that the signs are very much 'embodied' in the physicality of the human body.  We can turn here again to research from the field of psycholinguistics which has demonstrated that as children we develop our understandings of objects and acts thanks to our own physicality, even before we are able to speak (pre-linguistic communication).  For me, a strong example is the important human symbol of 'the smile', which we learn through the physical act of making and observing the reactions.  We can observe the smile as an abstract sign which is simply and passively 'learnt', but research has proved the opposite: the smile receives a complex series of bodily related meanings because we create it with our bodies.  This can also explain the 'contagiousness' of human behaviour (when someone laughs, others laugh/yawn etc.).  Most importantly, the basic message is that the process of sign emergence ('semiosis') is more important than the sign itself, or rather the 'sign' is a complex vehicle which cannot be abstracted from its contextualisation.  An analogy can be made with the institution of flute-playing.  Although two flutists from contrasting schools may end up with the same 'product' as the listener may experience, i.e. the 'act of flute-playing' may sound the same if two flautists are asked to play a piece of music, the attitudes that went into the education of the two flute-player could have been so different that the process of achieving semiosis for the performers results in entirely contrasting shades of signification.  We can compare the French and the American schools of flute-playing, the former involving constriction of the throat and upper torso muscles to attain technical perfection, and the latter using relaxation and diaphragm support for an easy and relaxed attainment of technique. This implies that the process of creation itself should become the major subject of semiotic research involved with the human sciences.  We are in a constant process of forming and reforming the signs that make up our conception of culture.  The emergence of the sign in a 'cultural performance' is perhaps one of the most interesting ways to explore cultural signification.  It is only in a dynamic sense that this can occur, and a new light has to be thrown on old theoretical tools.  In this work I hope to demonstrate how this can be applied to the field of cultural anthropology. 

Performance Anthropology as a multi-disciplinary area of research

With this work, I'd like to herald the entrance of a field of research into performance.  This field would include many different types of human 'symbolic' behaviour which includes of course the (multimedial) musicality discussed in this work, and I envisage calling this discipline performance anthropology: the study of symbolic forms expressed in human performance.    Performance is for some a difficult term, often mistaken for the term performance art.  This term is a relatively new one which had its basis in the European avant-garde around the turn of the century and developed in the USA as part of the Fluxus art movement.  Although such a field should include the study of (western) performance art, I think the term itself goes far deeper and can help us to find a connection between our forms of symbolic representation-including music, theatre, film, and ritual performance-which are discussed, brought into question and/or resolved in the dynamic act of performance.  Equal attention should be paid to the cultural templates which performers make their own and are able to share with others, in addition to their individual dynamic experience of these templates that makes their lives meaningful, assisting them to understand their environment.  Performance Anthropology is about what happens now, what living cultures are doing with their bodies and their minds to experience their culture.  It is not about dead artefacts, but living 'cultural texts'.  These notions will be developed in the course of this work.  Dr. David George, now a professor in Theatre and Drama studies at the University of New York, influenced me during our early contact in Australia, including some of the courses I attended which he had been involved in the design of, including Drama, Ritual and Magic and Performance Studies.  The extract below demonstrates the paradigm-changing possibilities of this new emphasis on performance (process-based) as compared to theatre (product-based) studies.  The possibilities for this area of research and the vital connection between cultural anthropology and performance studies still has not been made, in other words our own culture still hasn't been brought into the discussion, concentrating instead on 'ethnic-cultures' which again suggests that our 'theatre' and other forms of symbolic entertainment (including sports and music) are in a different category to rituals and entertainment enjoyed by people throughout the world.  The following passage describes the necessity George sees in developing an area of study based on performance:

 ". . .it is only the Post-modern debunking of all Modernist hierarchies which has enabled performance to claim its place not only as a legitimate field of inquiry in its own right but as a primary phenomenon allowing us to reverse the old chart... we now have PERFORMANCE as the primary ontology... This reversal has many implications: far from theatrical performance being a betrayal of some 'objective reality,' that reality itself is re-cognised as the primary 'fiction,' the secondary construct.  Far from theatre being a second-hand version of some primary reality, that reality itself is exposed as a mere representation-of a metaphysical belief system..."

(George: 1989).

Bali as an area of cultural study

This section of the introduction had to be included, at least to provide an answer to people who may wonder why I had chosen Bali as the subject of my research, considering it has been studied so much and for so long by other researchers.  More has been written over Bali than over any other culture: there exist two large volumes, for example, which include only the references of works which have been written about Bali.  Balinese culture has influenced artists and researchers throughout the twentieth century, and is continuing to fire artistic and theoretical debate.  Through the perpetuation of complex cultural systems, the Balinese have been able to remain largely self-sufficient - not being too adversely affected by outside influence.  Their culture is for us truly a unique phenomenon, one which seems to create a tight band of meaning creating a place for and giving significance to every factor of Balinese existence.  Within this tightly spun fabric, the performance of music plays a very important role, supporting and perpetuating an intricately complicated matrix of sound, movement and action.  For the Balinese, music is certainly more than simply a diversion, but a complex cultural phenomenon that touches every aspect of Balinese life.  In order to try and encompass this phenomenon in theoretical terms, an entity that can't be separated from the cultural context to which it is bonded, traditional European methods of analysis that tend towards distinction and separation have to be avoided or subverted.  It is necessary to open the discussion into a large number of different fields, including anthropology, linguistics, ethnomusicology, performance and ritual theory to name a few.  In terms of anthropology, Bali has often been experienced as the fantasy come true for anthropologists throughout the twentieth century, having all the right elements to be the perfect specimen for field-work.  It is relatively isolated, and therefore can be viewed on its own terms, and it is an island paradise with an enormous amount of mystical and exotic charm.  Thanks to its isolation as an island with its own internal structure it can provide 'the' answer to 'the' cultural question being investigated by the researcher.  Post-colonial theory, however, has made us aware of possible personal agendas fulfilled in cultural analysis.  The question is, in which ways does Bali fulfil my fantasies?  This has made me more aware of my own personal agenda.  What is it about Bali that makes we want to write about it?  Hasn't there already been enough written about one tiny island?  Haven't there been enough theoreticians who have used Bali to support their theoretical models?  I can only add that I didn't choose Bali.  Bali chose me: it was through my experience working with Balinese people that I gained an insight into the way cultures worked.  That is to say, through working with other cultures, both 'practically' and 'theoretically' I was impelled to see my own culture in a different light and question those things I had accepted as arbitrarily true.  In terms of my work as a composer I have learned about my own personal agenda, finding in Javanese and Balinese gamelan the answers to all the questions left unanswered in my own musical culture.  The Balinese concept and experience of musicality perpetuates a non-elitist musical system which is truly 'multimedial' in nature and philosophy, something which I've always maintained but which was not acceptable in my own cultural environment.  Cultural estrangement and the necessity for a multimedial music culture attracted me to Bali, so yes, Bali was at first my dream come true.  I'd like to mention here, however, that I was taught a great deal about intercultural misunderstanding.  This has made me very wary of and sensitive to theorists who write about a music system they haven't themselves learnt to play, as the process of education 'inculcates' certain behavioural approaches to reality which often provide epistemological ground entirely out of the range of the expectations of the 'scientist' who is involved in the intercultural research.  I know, because I learnt the hard way.[2]

Conclusion

Table of Contents

Foreword

Table of Contents

General Introduction

Chapter 1:  Musical Experience as Episteme

1.1                Introduction

1.2                Understanding Contemporary Western Thought

1.21        Fixity and Flexibility: tracing and questioning our current 'episteme'

1.211                FOUCAULDIAN ANALYSIS

1.212                LONGING FOR THE REAL: early western thought (essentialism/realism)

1.213                LONGING FOR DUALITY: Descartes/Kant legacy of dichotomous thinking

1.2131                Introduction to dichotomous idealism

1.2132                Platonic mind/body distinction

1.2133                 Reasoning versus sense perception: Cartesian dualism

1.2134                Kantian dichotomy

1.2135                Transcending the body

1.214                CONCLUSION

1.22                Pervading paradigm in western culture: the legacy of positivism and empiricism

1.221      THE WESTERN EPISTEME 

1.222      THE RISE OF EMPIRICISM AND POSITIVISM

1.2221                The philosophy/science distinction

1.2222                The origin and significance of empiricism

1.2223                The origin and significance of positivism

1.2224                Development in the 20^th century

1.2225                The legacy of positivism

1.23                Semiology and Semiotics in the twentieth century

1.231                SAUSSURIAN LINGUISTICS

1.232                PEIRCIAN SEMIOTICS

1.233                PHENOMENOLOGY

1.234                STRUCTURALISM

1.235          SEMIOTICS AND THE QUEST FOR ULTIMATE KNOWLEDGE: a step backwards

1.2351                The semiotic haven

1.2352                The distancing of the author and the reader from the 'text'

1.2353                The universal application of semiotic theory

1.24        The destabilisation of post-structuralist theory

1.241                QUANTUM THEORY

1.242                DECONSTRUCTION

1.243          BOURDIEU

1.244      ATTALI AND SOUND

1.245      POST-HUSSERLIAN PHENOMENOLOGY

1.2451                Heidegger and Dasein: being-in-the-world

                1.2452                Merleau-Ponty: Embodiment and its implications

1.2453                Conclusion

1.25                Conclusion: anthropology and post-colonialism (learning from the 'other')

1.251                RESTRICTIONS OF EUROPEAN POST-MODERNISM

1.252      THE IMPORTANCE OF PRACTICE

1.253      SELF-REFLEXIVE ANTHROPOLOGY

1.254      WHAT CAN WE ACHIEVE?

1.3          The problematic nature of modern aesthetic and musicological theory

1.31        The modern paradigm in which much contemporary

             aesthetic theory is embedded

1.311      WHAT DOES THE TERM 'AESTHETICS' ACTUALLY MEAN?

1.312      OUR MISPLACED CULTURAL ASSUMPTIONS

1.313                EPISTEMOLOGICAL REASONS FOR THESE ASSUMPTIONS

1.314                ARTISTIC INSTITUTIONS AND THE ISSUE OF SOCIAL CONTROL

1.32        Specific implications for musicology

1.321      THE DISEMBEDDED MUSICAL TEXT

1.3211                Positivistic and static musicology

1.3212                Literate culture and the implications for folk-knowledge

1.3213                Disembeddedness and the serialist method

1.3214                Musical systems

1.3215                Conclusion

1.322      THE DISEMBEDDED MUSICAL TEXT IN PRACTICE

1.323      THE ISSUE OF NOTATION

1.324                RETAINING THE DISEMBEDDED MUSICAL TEXT IN THEORY

1.325      THE DANGER OF THE DISEMBEDDED MUSICAL TEXT

1.326                MUSICAL SEMIOTICS PERPETUATING DISEMBEDDEDNESS THROUGH THE 'TRACE'

1.3261                Molino's theory of art

1.3262                Musical semiotics and the trace

1.327                EMPOWERING THE LISTENER

1.33                Romanticism and the Myth of Unity

1.331      THE MYTH OF UNITY PERPETUATED BY ROMANTICISM

1.332      THE PERPETUATION OF MUSICAL ELITISM

1.34                Theoretical basis for elitism inherent in western musical PRAXIS and THEORY

1.341                BOURDIEU'S EXPLORATION OF CULTURAL INSTITUTIONS

1.342      SOCIAL SEGREGATION OF ART

1.343                MUSICAL INSTITUTIONS PERPETUATING CULTURAL DOMINATION

1.344                PERPETUATION IN MUSICAL THEORY

1.345                CONCLUSION: Musical Change

1.35                Problems of reducing music to a purely aural context

1.351                NATTIEZ'S REDUCTION AS WESTERN PARADIGM

1.352                REASONS FOR THIS REDUCTION

1.353      MAJOR OUTCOME OF THIS REDUCTION

1.354                PROGRESS THANKS TO THE FIELD OF ETHNOMUSICOLOGY

1.36                CONCLUSION: from product to process.

1.4                Extending our vision of musical experience

1.41        What is multimedial musicality?

1.411                DEFINITION OF MULTIMEDIALITY

1.412      AN EXTENDED DEFINITION OF MUSICAL EXPERIENCE

1.413                MULTIMEDIALITY IN PRACTICE

1.414                MULTIMEDIAL MUSICALITY DEFINED

1.42                Musicality as a dynamic creative process and a sensual means of understanding

1.421      ALL PARTICIPANTS AS CREATORS

1.422                COMMUNAL ASPECT OF THE MULTIMEDIAL EXPERIENCE

1.423      THE IMPORTANCE OF SPATIAL/TEMPORAL ENVIRONMENT

1.424                BALINESE EXAMPLE

1.43        The connection between music and dance

1.431      POINTS OF BASIC SIMILARITY

1.432      THE IRREDUCIBILITY OF DANCE

1.433                EXAMPLES FROM BALINESE PERFORMANCE

1.4331                Intrinsic relationship between music and dance

1.4332                Dance and music teaching processes

1.4333                Dance controlling musical structure in traditional performance

1.4333                Balinese theatricality

1.44                Multimedial musicality in twentieth century Western performance

1.441                INTRODUCTION

                1.4411 Italian and Russian Futurism: liberating the word

                1.4412 The Dada Movement: introduction to aleatoricism

                1.4413  German Expressionism: combining sound, colour and movement

                1.4414  Dalcroze-Eurhythmics and Orff's total theatre

1.4415  Multimedial musicality in America

                1.4416  The New Music-Theatre

1.442                CONCLUSION

1.45                Towards a multimedial approach to music

1.5                Art, Music and Epistemology

1.51        What is an episteme?

1.52        What is a musical episteme?

1.521      THE EPISTEME AND LANGUAGE

1.522                EXISTING APPROACHES TO A MUSICAL EPISTEME

1.522      TWO MAJOR ASPECTS OF THE MUSICAL EPISTEME: dynamic tool and cultural vehicle

1.523      THE MUSICAL EPISTEME IN WESTERN CULTURE

1.524                MISAPPROPRIATION OF CULTURAL MATERIAL

1.53                Relationship between art and science

1.54        Music not as an aesthetic 'product', but a form of sensuous knowledge

1.541      THE DANGER OF PRODUCT-BASED APPROACHES

1.542      MUSIC AS SENSUAL KNOWLEDGE

1.543      MUSIC AS A WAY OF 'KNOWING'

1.55        The performing arts and cognition

1.551                MUSICAL UNDERSTANDING EXPRESSING NON-DISCURSIVE THOUGHT PROCESSES

1.552                REFLEXIVE MUSICAL COGNITION

1.553      NON-DISCURSIVE THOUGHT REALISED IN PERFORMATIVE ACTION

1.554                MUSICAL THOUGHT BONDED TO SPATIAL AND TEMPORAL ENVIRONMENTS

1.56        Music as an epistemological tool

1.561      MUSIC AS A FILTERING SYSTEM: musical intelligence

1.562      MUSIC AS A VITAL MEANS OF COMPREHENSION: musical experimentation

1.57        Music as a way of transmitting cultural knowledge and perpetuating culture

1.571                NOISE/SOUND DISTINCTION

1.572      MUSIC TRANSMITTING CERTAIN TYPES OF CULTURAL INFORMATION

1.573      MUSIC AND CULTURAL CHANGE

1.574                INDIVIDUALISM OF ARTISTIC MESSAGES AND CULTURAL ESTRANGEMENT

1.6          Music and the individual in a new analytical approach

1.61                Introduction to phenomenology

1.62        The drawbacks of traditional phenomenology (Hüsserl/Heidegger)

1.63        The profound influence of phenomenology on the development of anthropology

1.631      MOVES AGAINST ESSENTIAL KNOWLEDGE AND TRUTH

1.632      ABILITY TO RELATE OUR BEING TO THE 'OTHER'

1.633                IMPORTANCE OF UNDERSTANDING ACTS EXPERIENTIALLY AS THEY OCCUR

1.634          IMPORTANCE OF NATURAL ATTITUDE AND COMMONSENSE KNOWLEDGE

1.635                LANGUAGE (AND MUSIC) AS CREATIVE MEDIUM

1.64        Specific implications for musicology

1.641                REDISCUSSION OF THE DUALITY OF ARTISTIC CREATION

1.642                MUSICAL CREATION AND RESTRICTION

1.643      THE 'I' DISCOVERING THE 'OTHER' THROUGH SHARING MUSIC

1.65        The importance of 'enactive knowledge': knowing is doing

1.651                AGAINST OBJECTIFICATION OF CULTURAL ACTS

1.652                RECOGNITION OF THE IMPORTANCE OF ENACTION

1.653      FROM PRODUCT TO PROCESS

1.6531                Music as the product of a complex process

1.6532                The listening process occurs according to personal episteme

1.6533                A contrast between Javanese and European learning methodology

1.6534                Balinese/European musical processes

1.66                Conclusion: musical thinking as an active tool to understand reality

1.7                Towards an analytical model for musical experience:

music as experience, music as process, music as episteme

1.71        How the model works

1.72        DESA KALA PATRA:

the Balinese three-tiered approach to signification and change

1.73        An approach to a musical episteme

1.731      MUSICAL EXPERIENCE AS A SOCIAL FILTER: music and the other

                 [This first area explores the sociocultural nature of music.]

1.7311                 Noise/Sound distinction

1.7312                Music communicating social and status

1.7313                Music used for social and political ends

1.7314                  Music used for other sociocultural tasks

1.732                MUSICAL EXPERIENCE AS A TOOL TO COMPREHEND OUR TEMPORAL AND

                SPATIAL WORLD: music and its presence

[Music and dance teach us how to experience space and time as it is realised in the present, becoming a phenomenological tool for understanding a particularly dynamic environment.]

1.7321                The self-reflexive sign pointing at itself

1.7322                Music and dance communicating dynamic spatial and temporal information

1.7323                  Music and dance creating communal space

1.7324                The dynamism of the 'story' enacted by music

1.7325                The portable sound environment

1.7326                Taksu and the joy of the moment of realisation

1.733                MUSICAL EXPERIENCE AS A TOOL OF MEMORY: music and the past discovered in the present

[Musical experience becomes a tools for experiencing particular times and places, dynamic moments in the past, in other words, textual tools which give us the means to reunderstand elements of our culture in a new context.]

1.8                Conclusion: Towards a theory of multimedial musical experience

1.81                Adopting the triangular analytical model

1.811                MODEL 1: music in an environment

1.812                MODEL 2: music as process

1.813                MODEL 3: music as episteme

1.814                COMBINATION OF THE MODELS

1.82        A process-based approach to musical meaning

References

Chapter 2:              The Musical Episteme as Text

2.1                  Introduction

2.11        Langue and the structuralist paradigm

2.111                EMBEDDEDNESS OF WESTERN APPROACHES TO TEXT IN ITS OWN CULTURE

2.112      THE ORIGIN OF THE TERMS 'LANGUE' AND 'PAROLE'

2.113                  STRUCTURALISM IN ANTHROPOLOGY OF BALI

2.114      THE REPERCUSSIONS OF THIS THEORY: frozen knowledge in (post)-structuralism

2.115      POST-STRUCTURAL SEMIOTICS

2.12                Discourse according to Benveniste: realisation of text

2.13        The text according to Ricour: the freezing of discourse

2.131      TEXT AS FROZEN DISCOURSE

2.132      THE ERADICATION OF THE WRITER IN THE TEXT

2.133                  RICOURIAN 'DISTANCIATION'

2.134      THE TRANSCENDENT TEXT

2.135                 CONCLUSION

2.14        The text according to Lotman

2.15                Towards a recognition of text in action

2.151                INTRODUCTION

2.152                WITTGENSTEIN

2.153      AUSTIN AND SPEECH ACTS

2.154                CONCLUSION

2.16                A step closer to musical performance:

inadequacy of traditional textual models

2.161                NECESSITY OF NEW MODELS

2.162          RESTRICTION OF THE RICOURIAN TEXT

2.163          PROBLEMATIC NATURE OF THE WESTERN MUSICAL TEXT

2.164      NEW POSSIBILITIES PROVIDED BY A RAPIDLY CHANGING WORLD

2.165                POSITIVE NEW PROPOSALS

2.2                Work/Text distinction

2.21        The Work according to Ricour

2.22        The Work and its Author according to Barthes

2.23        The Text according to Barthes

2.24        The Text paradigm and its implications for music

2.25        Text as Enacted Intertextual Discourse

2.251      OUR TEXT AND THE TEXT OF THE OTHER

2.252                CULTURE AS TEXT

2.253      THE IMPORTANCE OF THE ENACTMENT OF (MUSICAL) TEXTS

2.2531                Text and its enactment

2.2532                'Jouissance' in the Text

                2.2533 Jouissance and Balinese Taksu

2.254      MUSIC AS INTERTEXTUAL AND INTRATEXTUAL MEANS

2.26        Music as PAROLE: text's most dynamic expression

2.3          Text as Performance

2.31        The Iconic Power of Speech

2.311                SPEECH AS PERFORMATIVE ACTION

2.312                ANCIENT APPROACHES TO 'SPEECH'

2.313      THE POWER OF SPEECH IN CONTEMPORARY WESTERN CULTURE

2.314      THE POWER OF SPEECH IN SOUTH-EAST ASIA

2.315          CONCLUSION

2.32                   Orality/Literacy paradigm and its consequences for understanding Text

2.321      WHAT IS A PARADIGM SHIFT?

2.322                ORALITY AND LITERACY AND THE MUSICAL 'TEXT' (SCORE)

2.3221                  What is musical textuality?

                2.3222                 A little musical history.

                2.3223                What is musical inscription?

2.3224                  'Folk' and 'Empirical' textuality in literate and oral cultures

2.3225                Overcoming one's folk instincts

2.3226                Comparison to Javanese Balungan

2.3227                Comparison to Balinese notation: tradition, intuition, innovation

2.325      THE IMPORTANCE OF THE LIVING TEXT: aural and visual understanding

2.326                CONCLUSION

2.33                Balinese Textuality

2.331                BALINESE TEXTUALITY BOTH LITERAL AND ORAL

2.332                BALINESE TEXTUAL TRANSLATION

2.333      THE MEANING OF 'NONSENSE' TEXTS

2.334                BALINESE TEXTUALITY

2.34                Alternative approaches to textual inscription

2.341      THE TAMIL 'OLAI'

2.342      THE BALINESE LONTAR

2.343                INSCRIPTION OF MUSIC

2.344                CONCLUSION: the dynamic (re-)inscription of text

2.35        New Visions for the TEXT

2.351      THE TEXT AS MULTIMEDIAL 'WEAVE'

2.352      THE PERFORMATIVE TEXT

2.353      THE BALINESE TEXT MAKING SENSE OF THE IMMEDIATE PRESENCE

2.36        The recital of Balinese texts

2.361                SITUATIONS WHICH INVOLVE THE 'READING' OF TEXTS IN BALI

2.362                SEKEHE BEBASAN AND ITS SIGNIFICANCE

2.363      THE INTONATION OF MEANING

2.37        The realisation of Balinese texts in the context of performances

2.371                HISTORIC IMPORTANCE OF PERFORMATIVE TEXTS

2.372                TEXT IN WAYANG KULIT

2.373                GEGURITAN TEXTS IN ARJA

2.374                TEXT IN CAKAPUNG

2.375                TEXT IN TOPENG

2.4          Text as a tool for cultural perpetuation and change

2.41        Addition of the term 'langage' to extend the langue/parole model

2.411                RESTRICTION OF LANGUE-PAROLE MODEL

2.412                BARTHES AND LANGAGE

2.413      WHAT IS LANGAGE?

2.414                TRIANGULAR MODEL

2.42        LANGAGE as the perpetuation of tradition

2.421                LANGAGE AS TRADITION IN BALI

2.422                SIGNIFICANCE OF THE INDIVIDUAL

2.43        Text as a TOOL for perceiving/understanding reality

2.431       TEXT AS A TOOL

2.432                UNREADABLE AND REGIMENTED TEXTS

2.433                BALINESE TEXTS AND THEIR REALITY

2.434                BALINESE TEXTS AND CULTURAL CHANGE

2.44        Text as a means for perpetuating Balinese culture

2.441                BALINESE WAYANG TEXTS

2.442                BALINESE MUSICAL TEXTS IN CULTURAL PERPETUATION

2.45                Balinese tradition as a coherent adaptable system

2.5          The Living Text

2.51        Artistic texts as modelling systems of reality

2.511      ART AS A FORM OF MODEL FOR THE WORLD

2.512                LOTMAN'S VISION OF ARTISTIC 'TEXTS' IN CULTURE

2.513                SIMPLICITY OF LOTMAN'S MODEL

2.514                BALINESE TEXTS

2.515                MUSICALITY AS AN ELEMENT OF THE ARTISTIC TEXT

2.52                Background information on the Wayang performances

2.521      ORIGIN OF THE WAYANG STORIES

2.522                WAYANG TEXTS AS FABRIC COMBINING MULTIMEDIAL ELEMENTS

2.523      THE ROLE OF THE DALANG

2.53        Reciting of Karawitan as an educational TOOL

2.531                INTRODUCTION

2.532                PAREKAN CHARACTERS

2.533                COMPARISON OF SEKEHE BEBASAN AND PAREKAN ROLES

2.534                WAYANG KULIT AS EDUCATIONAL TOOL

2.535                CONTEMPORARY EXAMPLE

2.54        Ritual potency of Wayang performance texts

2.541      DAY WAYANG (WAYANG LEMAH) DESCRIPTION

2.542                MUSICALITY INHERENT IN FORM

2.53                Conclusion: Wayang performances providing a blueprint for reality

2.6          The Musical Text

2.61        Musical texts expressing a unique form of cultural knowledge

2.611       MUSICAL TEXT AS A FORM OF UNDERSTANDING

2.612                  BALINESE CULTURAL PERPETUATION

2.613                  MUSICAL TEXTS PROVIDING A METHOD OF UNDERSTANDING

2.62        Text bridging Nature and Culture by reproducing natural signs

2.63        Musical texts expressing cognitive states

2.631                  RELATIONHIP BETWEEN MUSICAL AND RITUAL COMMUNICATION

2.632                  RELATIONSHIP BETWEEN SOCIAL LIFE AND THE COGNITIVE EXPERIENCE

OF MUSICALITY

2.633                  BALINESE COGNITIVE MUSICALITY

2.64        Musical Texts and their Indexical Function

2.65       The Balinese Musical Text

2.7                  Conclusion: the popularity of the multimedial performance text

2.71                Importance of a new approach to text

2.72        The text as cultural model

2.73                Accessible and difficult texts

2.74        The Dynamism of the Balinese Musical Text

References

Chapter 3:              The Musical Text as an Embedded Sign

3.1                Introduction

3.11                Objective knowledge as a stigma of Western culture

3.111                QUESTIONING OBJECTIVITY = QUESTIONING OUR FORMS OF UNDERSTANDING

3.112                OBJECTIVITY AND PEIRCE'S IDEAL

3.113                BOURDIEU'S APPROACH: questioning pure objectivism

3.114                KERSENBOOM'S APPROACH: revealing objectivity as wishful thinking

3.12        What is embeddedness?: realisation of the embedded sign in praxis

3.121        THE DYNAMIC SIGN

3.122                  RECOGNITION OF THE PARTICIPANTS

3.123                  IMPORTANCE OF ENACTMENT IN PERPETUATING CULTURE

3.13                  Questioning of traditional approaches to the sign (de Saussure and Peirce)

3.131                  SAUSSURIAN STASIS

3.132                  PEIRCIAN INNOVATION

3.133                  PEIRCIAN POSITIVISM

3.14        The complexity of the embedded sign

3.141      OUR COMPREHENSION REMAINS IRREDUCIBLE TO INDIVIDUAL SIGNS

3.142                  EXTENSION OF THE SIGN TO SYMBOLIC FORM

3.144       EMBEDDEDNESS AND DASEIN

3.145                  BALINESE EMBEDDEDNESS

3.15        The Embedded Sign

3.2                 Approaching Reality by Creating Signs:

the Individual and the Sign

3.21        The symbolic universe which individuals create

3.211      THE SYMBOLIC UNIVERSE WE CREATE BETWEEN NATURE AND CULTURE

3.112                INDIVIDUALS AS ACTIVE PARTICIPANTS

3.212                BALINESE EXAMPLES OF INDIVIDUALISATION OF SYMBOLISM

3.22        Frank Smith's approach to the creative role of cognition

3.221      THE BRAIN AS AN ARTIST

3.222      THE 'THEORY OF THE WORLD' WHICH IS CULTURE

3.223                PERFORMING CULTURE

3.23        Culture as Praxis / Culture as a Performing Art

3.24        The Living Presence of TAKSU

3.25        Music as the ultimate sign connecting nature and culture: Music as Praxis

3.3          The Sign as a Temporal Unit: ICON, INDEX and SYMBOL

3.31                Discussion of limitations of Peirce's sign trilogy

3.311                PEIRCE'S EPISTEME

3.312                PEIRCE'S SIGN: icon, index and symbol

3.313                CONTRAST BETWEEN ANALYSIS OF THE SIGN AND SEMIOSIS

3.32        Roman Jakobson's interpretation of Peirce in relation to time

3.321                JAKOBSON'S TEMPORALLY BASED SIGN

3.322                EXAMPLES OF ICONIC COMMUNICATION

3.323                INDEXICAL COMMUNICATION AS THE PROCESS SIGN

3.33                Kersenboom's application of this theory to the 'Embedded Sign'

3.34                Examples of applications of this model in ritual situations

3.351                RITUALLY-BASED EMBEDDED SIGNS 1: the institution of marriage

3.352                RITUALLY-BASED EMBEDDED SIGNS 2: the Aids ritual

3.35        The danger of focussing on one element of the embedded sign

3.351      PURE ICONICITY IN  SERIALISM

3.352      PURE INDEXICALITY IN FREE IMPROVISATION

3.4          The Sign as an Embedded Cultural Unit Built onto a Fertile Soil

3.41                Discussion of Bourdieu's reintroduction of the term 'Habitus'

3.411      THE THEORY OF THE WORLD WHICH IS HABITUS

3.412                BOURDIEU'S HABITUS

3.413      THE IMPORTANCE OF THE PROCESS OF IMPLEMENTING HABITUS

3.414                CULTURE AS A SYSTEM GENERATING BEHAVIOUR: generative principles

3.415                HABITUS AND CULTURAL INSTITUTIONS: objective conditions

3.416      FROM PASSIVE ENACTION TO DYNAMIC ENACTION: improvisation of individuals

3.42                Kersenboom's Embedded Sign:

application of Habitus to the triangular model

3.43                Adaptive nature of culturally embedded signs

3.431      THE EXAMPLE OF MARRIAGE: an individual's improvisation upon a theme

3.342      STASIS FORCING CHANGE: the example of the church in our culture

3.343                SYMBOLIC NECESSITY FORCING CHANGE: the example of the AIDS Memorial Day

3.434      STASIS FORCING CHANGE OF OBJECTIVE CONDITIONS: image of the artist

3.435                EUROPEAN STASIS: they are so settled in their ways.

3.44                Balinese ability to change its Habitus for the purpose of adaptation

3.441                BALINESE PERCEPTION OF MEANING BASED IN CHANGE: Desa Kala Patra

3.442                BALINESE CULTURE AND OBJECTIVE CONDITIONS AND IMPROVISATION

3.443                CHANGING SYMBOLIC MEANING ATTACHED TO DIFFERENT CULTURAL STRUCTURES

3.444                CHANGING IMPROVISATION BY REPLACING TRADITIONAL FORMS

3.5                Musical Signs as Socially Inculcated Behaviour      

3.51                Behaviour and Praxis: Signs Perpetuated through the Body

3.511                BOURDIEU'S BODILY HEXIS

3.512                HABITUS AS BEHAVIOUR (parole) AND PRAXIS (langage)

3.513                REANTHROPOLOGISING OUR OWN BEHAVIOUR

3.514      SOCIAL INCULCATION

3.515                EXAMPLES FROM EUROPEAN CULTURE

3.5151                  Social inculcation in music and dance

3.516                EXAMPLES FROM BALINESE CULTURE

3.5161                  Balinese spatiality

3.517      MUSIC AS INCULCATED BEHAVIOUR

3.52        The rigidity of social inculcation in Balinese culture (Wikan)

3.521                IMPORTANCE OF MANNERS AND RETAINING PLACIDITY

3.522                RADICALLY STRUCTURED BODILY BEHAVIOUR: Balinese are always on stage

3.53        Music and dance as potent forms of inculcation embedded in the present

3.531      MUSIC AND DANCE AS RADICAL FORMS OF INCULCATION

3.532                RADICAL BODILY HEXIS IN MUSIC AND DANCE EXPRESSION

3.54                Balinese examples of social inculcation in performing arts

3.541                IMMERSION IN ACTIVITIES: a plethora of signs

3.542                INCULCATION IN MUSIC

3.543                INCULCATION IN BALINESE DANCE

3.6                Examples of the adaptive nature of

Balinese Signs in Performance

3.61        The importance of recognising culture as being in a constant flux

3.62                 Different types of cultural change: iconic, symbolic and indexical change

3.63                Importance of indexicality or action-based events

in Balinese performance

3.64                Particular examples from Balinese culture

3.641      THE ADAPTIVE NATURE OF THE EMBEDDED SIGN

3.642                ENVIRONMENTAL CHANGE: iconic and indexical change

3.643                SYMBOLIC NEEDS OF AN EXPANDING DENPASAR: indexical change

3.644                BALINESE DANCE: example of symbolic change

3.645                TOPENG: iconic change

3.646                BERUTUK: indexical, symbolic and iconic change

3.647                 BARONG LANDUNG: iconic and symbolic change

3.7                Organic Nature of the Musical Sign

3.71        The musical sign bridging the gap between nature and culture

3.711      FROM NATURAL TO MUSICAL INFORMATION

3.712                NATURAL SYMBOLISM AND MUSIC

3.713      THE MUSICAL SIGN CONNECTING THE FRAGMENTS OF CULTURE

3.714                MUSICAL AND RITUAL COMMUNICATION

3.715                MUSICAL FORCE AND NATURAL FORCE

3.72        The contrasting powers of musical signs

3.711      THE SPATIAL AND TEMPORAL ASPECT OF MUSIC

3.712      THE (MAGICAL) POWER OF SOUND

3.713                QUALITIES OF THE MUSICAL SIGN

3.7131                The Pleasure of the Musical Sign

3.7132                The Deictics of the Musical Sign

3.7133                The Musical Sign and Cultural Change

3.7134                The Musical Sign and Balance/Imbalance

3.7135                The Musical Sign creating a Communal and Sacred Space

3.714      THE OVERT POWER OF THE MUSICAL SIGN

3.8                Conclusion: the Organic Musical Sign

References

Chapter 4:              The Musical Text as an Embedded Sign

4.1          An introduction to embodiment

4.11        What is embodiment?

4.111                EMBODIMENT IN LANGUAGE

4.112                EMBODIMENT AS PHYSICAL REALISATION OF COGNITION

4.113                 EMBODIMENT AS AN EXPRESSION OF MULTIMEDIAL MUSICALITY

4.12                Drawbacks of transcendental scientific paradigm

4.121      THE DISENGAGEMENT OF THE BODY IN WESTERN THOUGHT

4.122                DICHOTOMOUS THINKING

4.123                DANGER OF OBJECTIVITY

4.124                EMBODIED ASPECT CONSIDERED LESS IMPORTANT OR COMPLETE: langue/parole

4.125      OUR DESIRE TO TRANSCEND EMBODIED KNOWLEDGE (Lyotard)

4.13        Early Phenomenology Tracing the Absolutist Path

4.131      THE LONGING FOR ABSOLUTE KNOWLEDGE

4.132                HÜSSERLIAN PHENOMENOLOGY

4.133                HÜSSERLIAN TRANSCENDENTALISM

4.134                TRANSCENDING HÜSSERL

4.14                Embodiment in Contemporary Theory

4.141      THE BODY SPOTLIGHTED: an insight into contemporary approaches to embodiment

4.142                EMBODIMENT IN COMMUNICATION

4.143      THE BODY AND ITS ENVIRONMENT

4.144                 EMBODIED KNOWLEDGE AND EXPERIENCE

4.15                Embodied Experience (Johnson)

4.151      THE BODY AS A BASIS FOR HUMAN RATIONALITY

4.152      IMAGE SCHEMATA AND METAPHORICAL PROJECTIONS

4.153                EXAMPLES OF METAPHORICAL PROJECTIONS

4.154       LANGUAGE AND EMBODIED UNDERSTANDING

4.16                Embodiment in Science (Varela)

4.161      THE ENACTIVE APPROACH

4.162                TOWARDS A CREATIVE COGNITION

4.163                EMBODIED COMPREHENSION AND CLASSIFICATION

4.17                Performance Embodied in a Temporal and Spatial Environment

4.171                PERFORMANCE EMBODYING OUR ENVIRONMENT

4.172                EMBODIMENT AS ENACTION IN A LIVING ENVIRONMENT

4.173      THE TEMPORAL AND SPATIAL NATURE OF PERFORMANCE

4.174      DESA KALA PATRA AND EMBODIED UNDERSTANDING

4.2                Embodiment in psycholinguistics:

learning through active realisations of our environment

4.21        The traditional 'information processor' approach to language learning

4.22        The interactive approach in psycholinguistics

4.221      THE INNATIST AND THE INTERACTIONIST VIEWS OF THE LEARNING PROCESS

4.222                INTERACTION AS AN ESSENTIAL PART OF THE LEARNING PROCESS

4.223                CREATIVITY IN FIRST LANGUAGE LEARNING

4.224                ENACTIVE LEARNING PROCESSES IN MUSIC: emphasis on process and not product

4.225                CREATIVE COGNITION AND MUSICAL THINKING: towards the embodied musical sign

4.23        The embodied nature of musical experience

4.231                EMBODIMENT IN PERFORMANCE

4.232                SPATIOMOTOR MODES OF MUSICAL EMBODIMENT

4.233                RELATIONSHIP BETWEEN MUSIC AND DANCE

4.234                REDRESSING THE BALANCE: auditory and motion processes in musical understanding

4.3          Time, Space and Embodiment in Balinese Life

4.31        The Basic axioms of Balinese Culture

4.32                Process-Based Ontology

4.33                Spatiality in Bali and its relationship to Balinese cultural embodiment

4.332                SACRED SPACE

4.333                BALINESE BODILY HEXIS

4.334      THE POWER OF THE CROWD: secular communal space and the concept of 'ramai'

4.34        Cyclical Time in Balinese Life and Religion

4.341      HINDU CONCEPTION OF TIME

4.342                PERMUTATIONAL CALENDAR

4.343      THE BALINESE LUNAR-SOLAR CALENDAR

4.35                Application of the 'Nawasanga'

4.4          Time, Space  and Embodiment in Balinese Performance Texts

4.41                Application of the 'Triloka' to Balinese performance

4.411                SUBDIVISION OF THE WORLD

4.412                OCCASIONS OF USE

4.413                STRUCTURE OF THE WORKS

4.414                INSTRUMENTAL PARTS

4.42        Dance and Music in Balinese Ritual

4.43        Musical Structures and Balinese Liturgical and Secular Temporality

4.431      THE ROOTS OF BALINESE MUSICAL TEMPORALITY

4.432                COLOTOMIC GONG STRUCTURES AND CYCLICAL TIME

4.433                TRANSFORMATION OF TIME

4.434                EMBODIMENT OF TIME

4.435                HISTORICAL AND RITUAL TEMPORALITY IN BALINESE PERFORMANCE

4.44                Liturgical and Secular space in Balinese music

4.441                PHYSICAL DYNAMISM OF KOTEKAN

4.442                BALEGANJUR

4.443                SPATIALITY IN BALINESE CONTEMPORARY PERFORMANCE

4.444                CREATING A SENSE OF SPACE IN PERFORMANCE

4.445                CREATING SACRED SPACE

4.45        Musical Structures and Social Structures

4.451                SECULAR PERFORMANCE

4.452                GAMELAN AS METAPHOR FOR BANJAR STRUCTURE

4.453                KOTEKAN

4.46                Embodiment in Balinese Performance (trance and taksu)

4.461                TRANCE AND TAKSU TRANSFORMING TIME AND SPACE

4.462                TRANCE AS A FORM OF EMBODIMENT: spontaneous induction in a given environment

4.463      TAKSU AS A FORM OF EMBODIMENT:

personally induced for specific performance-based conditions

4.463                EMBODIMENT IN THE BALINESE VOCAL ARTS

4.47                Relationship between music and dance/movement

4.471      MUSIC AND DANCE AS INTERRELATED TERMS

4.472      DANCE CONTROLLING MUSIC IN BALINESE PERFORMANCE

4.473      DANCE AND MUSIC SHARING SAME ABSTRACT LANGUAGE

4.474                BALINESE 'THEATRICALITY'

4.475      KEBYAR DUDUK

4.5                   Conclusion: The Balinese Embodied Musical  Sign

4.6                General Conclusions

References

Chapter five:              The Balinese Musical Sign

5.0                Introduction

5.1          Art in Society: Music as a Tool of Cultural Perpetuation

5.11        The top-down/bottom-up approach to art (tradition/innovation)

5.111      TOP-DOWN AND BOTTOM-UP THINKING

5.112      THE ROLE OF AVANT-GARDE ART IN SOCIETAL CHANGE

5.1121                The cultural text as model for reality

5.1122                Comparison between traditional and avant-garde artistic texts

5.1123                The artist extending existing cultural texts or creating new ones

5.1124                The sensitivity of the tradition/innovation relationship

5.1125                Art as a powerful tool for social change

5.113                ARTISTIC MODELS FOR CHANGE IN BALINESE CULTURE

5.114                CONTEMPORARY BALINESE MUSIC: Kreasi Baru and Musik Kontemporer

5.12        The epistemic quality of performance and musical communication:

cultural tools in action

5.121                INDIVIDUALS TESTING THEIR THEORIES OF THE WORLD

5.122      THE ARTISTIC TEXT IN ACTION

5.123      THE DYNAMIC BALINESE MUSICAL TESTING GROUNDS

5.124      THE MUSICAL TEXT AS A POWERFUL CULTURAL TOOL

5.125                BALINESE CULTURAL TEXTS BETWEEN TRADITION AND INNOVATION

5.13                Balinese terms for composer/artists

(alternative notions of tradition/innovation)

5.131                DISCUSSION OF THE TERMINOLOGY[1]

5.132                CONTRAST IN SIGNIFICATION

5.133      THE CHANGING ROLE OF THE ARTIST IN BALI

5.14                Balinese art forms reflecting tradition and innovation

5.141                RENEWAL IN BALINESE ART

5.142                DISCUSSION OF BALINESE CONSERVATISM

5.1421                The origin of the Balinese avant-garde

5.1422                Balinese intolerance for avant-garde texts

5.1423                Examples of conservatism in performances

                5.1424                Conservatism explained: necessity for gradual change

5.143                CONSTANT BUT GRADUAL INNOVATION IN CONTEMPORARY GONG KEBYAR

5.144      BALI'S CONTROL OVER ITS ARTISTIC TEXTS: STSI (official) and competitions (PKB)

5.145                EMERGENCE OF NEW FORMS NEXT TO GONG KEBYAR

5.15                Importance of intercultural influence

5.151      THE TRADITIONAL 'FEAR' OF INTERCULTURAL INFLUENCE

5.152                INTERCULTURAL TEXTS AS TOOLS TO UNDERSTAND THE CHANGING WORLD

5.153                INTERCULTURALITY IN ART

5.154                INTERCULTURALITY IN ARTISTIC PROCESSES

5.155      THE IMPORTANCE AND INEVITABILITY OF INTERCULTURALITY

5.16        Self-reflexive Interculturality

5.161      THE IMPORTANCE OF INTERACTION IN THE PERFORMING ARTS

5.162      THE SELF-CENTRED NATURE OF THE SELF-REFLEXIVE ACT

5.1621                Self-centred interculturality explained

5.1622                The danger of distancing interculturality from its context

5.1623                Importance of interculturality

5.163      THE EDUCATIONAL ROLE OF SELF-REFLEXIVE INTERCULTURAL INFLUENCE

5.164                EMBARRASSING INTERCULTURAL EXPECTATIONS

5.2                 Balinese Approach to Signification:  Desa Kala Patra

5.21                Meaning of the Sanskrit terms 'desa kala patra'

5.22                Contrast between Balinese and European notions of signification

5.221      FIXED MEANING VERSUS TRANSITORY MEANING

5.222                TENDENCY TO STANDARDISE VERSUS TRANSITORY CLASSIFICATION

5.223      FIXED PERFORMANCE TEXTS VERSUS ADAPTIVE PERFORMANCE TEXTS

5.224      FIXED PITCH VERSUS TRANSITORY PITCH

5.225      FIXED DOGMA VERSUS ADAPTIVE GODHEAD

5.23        DESA KALA PATRA in Practice:

Balinese ability to adapt to cultural change

5.231      DESA KALA PATRA IN THE GRAPHIC ARTS

5.232                ADAPTING TO TECHNOLOGICAL CHANGE

5.233      DESA KALA PATRA IN MUSIC NOTATION

5.234      DESA KALA PATRA IN POLITICS

5.235                CONCLUSION

5.24                Balinese Self-reflexivity

5.241                BACKGROUND INFORMATION ON THE TERM

5.242                BALINESE ABILITY TO PARTICIPATE AND REFLECT UPON THEIR CULTURE

5.243                BALINESE MUSICAL THEATRE: from trance-states to 'ramai'

5.244      THE CLOWN IN BALINESE CULTURE

5.245                EXTERNAL EMBODIMENT AND ACADEMIC SELF-REFLEXIVITY

5.3                Balinese Embedded Contexts

5.31                Balinese Hindu Symbology

5.311                GEOGRAPHICAL POINTS AND POLAR FORCES IN BALINESE-HINDU MYTHOLOGY

5.312      THE TRILOKA: Balinese numerology

5.313      SEKALA / NISKALA COMPARISON

5.314      THE KAKAYONAN

5.315      THE NAWASANGA

5.316       KAÎKET

5.32        Sound and ontology in Balinese life

5.321      ALL-PERVADING SOUND IN [BALINESE] HINDUISM

5.322                MAINTAINING BALANCE

5.323      SOUND, MUSIC AND THE TRILOKA

5.324                SLENDRO AND PELOG IN SPIRITUAL COMMUNICATION

5.33        The Role of the Penasar Figures

5.331                DEFINITION OF THE TERM

5.332      UNIQUE FUNCTION AS INTERPRETERS

5.333      POLY-LINGUALITY AND WISDOM

5.34        The concept 'ramai' and its significance in Balinese life

5.35                Symbolic Systems in Balinese Musical Experience

5.351                BALINESE LONTAR ON MUSICAL SIGNIFICATION

5.352                BALINESE MUSIC AND CYCLICAL TIME

5.353                BALINESE PERFORMANCE AND THE DUAL UNITY

 5.354                BALINESE MUSIC DEMARCATING SACRED SPACE AND TIME

5.3541                Kotekan evoking sacred space and time

5.3542                Balinese music interconnecting the participants (mutuality)

5.3543                Maintaining bodily balance

5.355      MUSIC REPRESENTING BALINESE SOCIAL RELATIONSHIPS

5.36        The way the Balinese internalise and perpetuate their own performance traditions

5.37        Change in Contemporary Balinese Traditional Culture

5.4          Early Developments in the musical tradition

5.41                  Introduction

5.411                BALINESE CULTURAL DEVELOPMENT

5.412      THE IMPORTANCE OF THE PERFORMING ARTS TRADITIONS

5.413                BALINESE ABILITY TO ASSIMILATE OTHER CULTURES

5.414      THE ORIGIN OF BALINESE MUSICALITY

5.42        Early Days until the Majapahit Empire

5.421                PERFORMANCE IN EARLY BALINESE CULTURE

5.422      EARLY JAVANESE INFLUENCE

5.423                ENTRANCE OF THE MAJAPAHIT EMPIRE

5.43        The Achievements of the Majapahit Empire

5.431      THE MAJAPAHIT EMPIRE

5.432      THE FEUDAL SYSTEM

5.433      THE THEATRE-STATE

5.434      THE MAJAPAHIT LEGACY

5.435      THE DEVELOPMENT OF GAMBUH

5.44                Splendour in the Golden Age of Gèlgèl

5.45                Shattering of the empire into smaller kingdoms

5.451      THE IMAGE OF THE ROMANTIC PRINCES

5.452      THE PANJI STORIES

5.453      THE EMERGENCE OF MENGWI AND KLUNGKUNG

5.453      ARJA AND GEGURITAN

5.46                Entrance of Dutch Colonial Imperialism

5.461                BALINESE PRE-COLONIAL SELF-IMAGE

5.462      THE END OF BALINESE RULE

5.463      DUTCH RULE

5.464                CULTURAL CONSEQUENCES FOR BALI

5.5                Colonial Mythology: Bali as a Fantasy Fulfilled

            for Western Artists and Anthropologists

5.51                Introduction: The Orient and the Other

5.511                ORIENTALISM AND THE 'OTHER'

5.5111 Orientalism defined

                 5.5112  Orientalism perpetuating imperialism

5.5113  Orientalism, technology and paternalism

5.512                BALINESE CULTURE CONSTRUCTED AS THE EXOTIC 'OTHER'

5.513                THE DUTCH AND THE FLOWERING OF CULTURAL TOURISM

5.514      BALI AS A DREAM COME TRUE FOR WESTERN ARTISTS AND ANTHROPOLOGISTS

5.5151 Introduction

5.5152The artists

5.52                Colonial images of Bali, Indonesia

5.521                BALI CONSTRUCTED AS THE ETERNAL PARADISE

5.522      THE APOLITICAL MYTH

5.523                THE FANTASY OF THE VILLAGE BALI

5.524                HOW THE BALINESE ADAPTED TO COLONIAL RULE

5.53                Anthropologists and their personal agendas

5.531                PATERNALISTIC ATTITUDE TO THE BALINESE CULTURE

5.532                PROBLEMATIC NATURE OF THE ANTHROPOLOGICAL DATA USED

5.533                BALINESE ANTHROPOLOGY AND ITS LIMITATIONS

5.5331                The Walter Spies circle

5.5332                Margaret Mead's Bali

5.5333                Bateson's cognitive theory

5.54                Walter Spies and his circle of artists

5.541          WALTER SPIES THE MAN

5.542      THE CIRCLE HELD AROUND SPIES

5.543          BONNET AND THE NEW SCHOOL OF BALINESE PAINTING

5.544      SPIES'S INFLUENCE ON THE BALINESE

5.545      MIGUEL COVARRUBIAS

5.546      THE LEGACY OF SPIES

5.45                Colin McPhee and his influence on Balinese music

5.451                COLIN McPHEE THE MAN

5.452                McPHEE'S WRITTEN WORKS

5.453                McPHEE'S REVIVALS

5.454                McPHEE'S LEGACY

5.55                Bali and the Apolitical Myth

5.56                Conclusion: the Balinese themselves

5.6                Western art in Bali and Balinese art in the West:

 Interculturality in the 20^th Century

5.61        Major influences on Balinese Art

5.611                INFLUENCE ON BALINESE GRAPHIC ART

                5.6111                Ability to adapt graphic arts to changing environments

5.6112                Dutch colonial influence

5.6113                The Spies/Bonnet school

5.6114                The Arie Smit school

5.612                INFLUENCE ON BALINESE MUSIC

5.62        Early influences on Western Art

5.621                ORIENTAL EXOTICISM IMPLICIT IN THE OTHER

5.622                IMPRESSIONISM IN GRAPHIC ARTS AND MUSIC

5.6221                Impressionism: an introduction

5.6222                The work of Claude Debussy

5.623      THE INFLUENCE OF BALINESE THEATRE ON ANTONIN ARTAUD

5.63                Influences of Balinese music on contemporary Western music

5.631      PRE-MINIMALIST APPROPRIATIONS OF EASTERN MUSIC

5.6311                European music

5.6312                American music

5.632                SPECIFIC BALINESE INFLUENCE ON BENJAMIN BRITTEN

5.633      THE MINIMALIST MOVEMENT

5.6331                Minimalism in the graphic arts

5.6332                Minimalist music

5.6333                Philip Glass

5.6334                Steve Reich

5.634                ROBERT WALKER: contemporary English composer

5.64        The Balinese influenced:

Balinese music catering to Western tastes or fulfilling own agenda?

5.65                Intercultural insights and compositional models:

performing and understanding

5.651                COMPOSITIONAL MODELS IN CULTURE

5.652                INTERCULTURAL MODELS: appropriation of other cultures as dynamic given

5.653      FROM PRODUCT TO PROCESS:

intercultural meaning based on discovering the learning process

5.7                 Changing Performance Forms: 

From Religious to Secular and Vice Versa

5.71                Development of the 'prembon' form

5.711      THE ORIGIN OF PREMBON

5.712                TOURIST PREMBON

5.713                CONTEMPORARY PREMBON

5.714      THE PREMBON AS CULTURAL ENGINE

5.72        The creation of distinction between secular and sacred dance

5.721      THE NECESSITY FOR SACRED/SECULAR DISTINCTION

5.722      THE SECULAR/SACRED DISTINCTIONS IN PRACTICE

5.723      THE HISTORY OF PANYEMBRAMA

5.74                Development of Gong Kebyar as a movement towards the secular

5.75                Changing nature of the 'kecak' performance

5.751      THE RITUAL ORIGINS OF THE 'KECAK' PERFORMANCE

5.752                MODERN DEVELOPMENT AND THE WALTER SPIES INTERVENTION

5.753      THE MONKEY-DANCE FOR TOURISTS

5.754      FROM ANIMISTIC RITUALS TO CONTEMPORARY BALINESE ART