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Lelambatan in Banjar Wani, Karambitan, Bali

dc.contributor.advisorDueck, Jonathanen_US
dc.contributor.authorMuehrer, Rachel Rosalieen_US
dc.date.accessioned2006-09-12T05:31:35Z
dc.date.available2006-09-12T05:31:35Z
dc.date.issued2006-07-27en_US
dc.identifier.urihttp://hdl.handle.net/1903/3692
dc.description.abstractThe ceremonial music genre lelambatan originated from the gamelan gong gede orchestras in the courts of Bali. The once luxurious gamelan gong gede, funded by the rajas, has long departed since Dutch colonization, democratization, and Indonesian independence. Today the music is still played for ritual occasions, but in a new context. Gamelan gong kebyar instruments, melted down and rebuilt from those of the gong gede and handed down to the villages from the courts, are utilized in lelambatan because of their versatility and popularity of the new kebyar musical style. The result is remarkable: music from the court system that represents the lavishness of the rajas is played with reverence by the common class on gamelans literally recast to accommodate an egalitarian environment. A case study in Karambitan, Bali, examines the lelambatan music that has survived despite, or perhaps with the assistance of, history and cultural policy.en_US
dc.format.extent515423 bytes
dc.format.mimetypeapplication/pdf
dc.language.isoen_US
dc.titleLelambatan in Banjar Wani, Karambitan, Balien_US
dc.typeThesisen_US
dc.contributor.publisherDigital Repository at the University of Marylanden_US
dc.contributor.publisherUniversity of Maryland (College Park, Md.)en_US
dc.contributor.departmentMusicen_US
dc.subject.pqcontrolledMusicen_US
dc.subject.pquncontrolledGamelanen_US
dc.subject.pquncontrolledLelambatanen_US
dc.subject.pquncontrolledBalien_US


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