Book contents
- The Cambridge Companion to Rhythm
- Cambridge Companions to Music
- The Cambridge Companion to Rhythm
- Copyright page
- Contents
- Figures
- Tables
- Music Examples
- Notes on Contributors
- Acknowledgments
- Introduction
- Part I Overview of Rhythm
- Part II Performing Rhythm
- Part III Composing with Rhythm
- Part IV Rhythm in Jazz and Popular Music
- Part V Rhythm in Global Musics
- 13 The Musical Rhythm of Agbadza Songs
- 14 Rhythmic Thought and Practice in the Indian Subcontinent
- 15 The Draw of Balinese Rhythm
- 16 Rhythmic Structures in Latin American and Caribbean Music
- 17 Indigenous Rhythm and Dance in North and South America
- Part VI Epilogue
- Select Bibliography
- Index
15 - The Draw of Balinese Rhythm
from Part V - Rhythm in Global Musics
Published online by Cambridge University Press: 18 September 2020
- The Cambridge Companion to Rhythm
- Cambridge Companions to Music
- The Cambridge Companion to Rhythm
- Copyright page
- Contents
- Figures
- Tables
- Music Examples
- Notes on Contributors
- Acknowledgments
- Introduction
- Part I Overview of Rhythm
- Part II Performing Rhythm
- Part III Composing with Rhythm
- Part IV Rhythm in Jazz and Popular Music
- Part V Rhythm in Global Musics
- 13 The Musical Rhythm of Agbadza Songs
- 14 Rhythmic Thought and Practice in the Indian Subcontinent
- 15 The Draw of Balinese Rhythm
- 16 Rhythmic Structures in Latin American and Caribbean Music
- 17 Indigenous Rhythm and Dance in North and South America
- Part VI Epilogue
- Select Bibliography
- Index
Summary
Half a century after Debussy’s famous encounter with Javanese gamelan at the 1889 Paris Exposition, Colin McPhee would decisively catapult the music of neighboring Bali into Western cultural consciousness. Like Debussy before him, the Canadian composer and musicologist saw something novel in the structures, textures, and rhythmic idioms of Balinese gamelan. Its “chief strength,” McPhee argued, “is its rhythm.” He marveled at “highly syncopated passages which … upon analysis resolve themselves like mathematical problems” and admired cyclic rhythmic formulae “as yet undreamed of in our world.” The Balinese musical soundscape, seen through McPhee’s filter, would become source material for a generation of composers from the West, perhaps most notably Benjamin Britten and Steve Reich.
- Type
- Chapter
- Information
- The Cambridge Companion to Rhythm , pp. 261 - 282Publisher: Cambridge University PressPrint publication year: 2020
- 1
- Cited by