|
The child learns gamelan without written material or theory such as solfeggio. Likewise when an advanced player deepens knowledge of a composition. The music is not handed down through true formal lessons. The player acquires experience by playing in group, by imitating what is shown to him. His musical feeling will do the rest. There is no technical obstacle as there can be in violin or in piano. Gamelan instruments are very accessible to the new player.
Performance of the music is done without score. More generally, the ear is more important than the eye. In this music, listening is important since interaction between players is part gamelan's foundations. What an instrument plays is a constant response, adaptation, complement, paraphrase, completion of what the others play. All of this is part of the players' musical feeling. Auditory memory of the piece is important as well.
The conductor with his baton, separate from the orchestra, would not fit here. Indications for starting, for speeding up or slowing down, for strike strength, for change of section, for stopping are they too a matter of ear and not of eye. In a gamelan, instruments giving indications can be one or two metallophones or a gong chime, and a drum. The notable exception is that of the dancer who gives indications through his dance.
Oral tradition, yes ; but not verbal. The players know no theory of their music. Besides, they have no wording to memorize as gamelan is an instrumental music. Voice has no part comparable to the instruments. Singing exists, as in every country, but when it goes with gamelan, it does not integrate into the musical structure and is no more than an ingredient of the ceremony or the show.
The more we practice gamelan, the more we develop our ear in three ways : reflexes, coordination between oneself and the ensemble, and musical feeling.
|
