Insitu Recordings

Basel-Bali Music Collection

About the Basel-Bali Music Collection

The purpose of the Basel-Bali Music Collection is to make available audio/video materials recorded by people associated with the University of Basel, Switzerland during the latter half of the 20th century (ca. 1942-1991). Moving this content online ensures it will remain accessible to those who stand to benefit from it the most: people in villages where the documented practices remain integral to village adat.

The materials in this broader collection are drawn from six related sub-collections, all focused on the seven-tone ritual ensembles gambang, selunding, caruk and gong luang/saron. The first consists of wire, wax-roller, and tape recordings made by Ernst Schlager and Theo Meier between 1942 and 1946. The second consists of tape recordings made by Theo Meier, on behalf of Ernst Schlager, in the 1950s and 1960s. The third consist of tape recordings made by Hans Oesch with assistance from Theo Meier in 1969. The fourth, and largest, consists of tape and film recordings made by a team of researchers connected to the University of Basel who were in Bali between 1972 and 1973. This includes materials gathered under the direction of Urs Ramseyer, Tilman Seebass, and Danker Schaareman. The fifth consists of tape recordings made by Hans Oesch with Theo Meier’s assistance in 1974. And the sixth consists of tape recordings made by Stephen Mueller in 1977, by Danker Schaareman between 1980 and 1991 (at times made together with Barnie Palm, Dieter Mack, and Andrew Toth), and by Wayne Vitale in 1983.

All sound recordings related to these sub-collections, excluding those made by Urs Ramseyer, Stephen Mueller,  and Wayne Vitale, were stored at the Institute of Musicology at the University of Basel until being moved to Fonoteca Nazionale in 2018. After returning from Bali in 1974,1 Ramseyer deposited sound and film recordings at the Museum of Cultures in Basel. These were primarily recorded in the Tenganan and Sidemen-Iseh-Selat areas and have not yet been digitized. Sound recordings made by Vitale in 1983 remain in his possession, but digitized copies were provided for this collection. After returning from Bali in 1973, sound recordings made by Tilman Seebass and Danker Schaareman were deposited in the Institute of Musicology at the University of Basel, alongside earlier recordings made by Schlager, Meier, and Oesch, but films were sent to the Institute for Scientific Film (IWF) in Göttingen, Germany. Between 1974 and 1985 several documentary films containing this footage, as well as footage sent from the Museum of Cultures by Ramseyer, were published by IWF (see list of published films below). However, when the IWF dissolved in 2011, all raw material in their possession, including the raw films Ramseyer had sent from the Museum of Cultures in Basel, was transferred to the Technische Informationsbibliothek (TIB) in Hannover, Germany. According to TIB, this transfer did not include the valuable raw films focused on music recorded by Seebass and Schaareman, which were instead sent to their “owner” (Tilman Seebass) in Innsbruck, Austria. As far as we know, this footage was never published. Raw films made by Ramseyer that had not been sent to IWF for the documentary films, were transferred from the Museum of Cultures in Basel to the Cinématèque Suisse in Lausanne in 2020.

1 Ramseyer remained in Bali after the 1972-1973 research concluded. He left in 1974.

Danker Schaareman and Peter Horner at Dr. Anak Agung Made Djelantik's house, Kintamani, Bali, 1972, photo by Bernadette Waldis (copyright Museum of Cultures, Basel, Switzerland, archive number: 29741)
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Processing of the materials is as follows:

  1. Digitization, splicing, and processing of audio and video materials
  2. Updating temporary index made in 1970s
  3. Cataloging digitized materials and updating metadata
  4. Distributing materials (DVD, flash disk, print materials) to villages; collecting missing information; seeking permission to host materials online
  5. Uploading materials to publicly-accessible website

Status

Acquired, digitized, processed, returned to Bali, and made available online.

10%

It should be noted that what is currently available in the Basel-Bali Collection includes only a fraction of the material once maintained by the Institute of Musicology at the University of Basel.

The Basel-Bali Music Collection concerns materials in six related sub-collections. Items currently available are from all but the first, and only those recorded in the village Asak. Additional materials will we be added in batches by village.

  1. 1942-1946: tape, wire, and wax-roller recordings by Ernst Schlager and Theo Meier
  2. 1950s-1960s: tape recordings by Theo Meier on behalf of Ernst Schlager
  3. 1969: tape recordings by Hans Oesch with Theo Meier’s assistance
  4. 1972-1973: tape and film recordings by Urs Ramseyer, Danker Schaareman, and Tilman Seebass
  5. 1974: tape recordings by Hans Oesch with Theo Meier’s assistance
  6. 1977-1991: tape recordings by Stephen Mueller, by Danker Schaareman between 1980 and 1991 (occasionally with Barnie Palm, Andrew Toth, and Dieter Mack), and by Wayne Vitale in 1983

Between 1972 and 1973 audio recordings were made with Nagra Kudelsky IV-S and III-M (mono) tape recorders, a Stellavox AMI Stereomixer, Shure 545 SD dynamic directional microphones, AKG C 451 E condenser directional microphones, and Scotch 207 and Agfa 525 tape. The speed of tape had to be chosen carefully. The Nagra Kudelski can run at three recording speeds: 9.5cm/s, 19cm/s and 38cm/s, which affects the amount of time that can be captured on a single tape. The largest reel that can be used on a Nagra Kudelski is 19cm, which was commonly used (though on occasion 9.5cm reels were also used). Because the team rarely knew how long musicians would play, 19cm reels set to a recording speed of 19cm/s was the default setting. The highest speed of 38cm/s, which produces the highest recording quality, was only used when we knew a performance’s duration in advance, as we were concerned about running out of tape before the performance ended.

Microphone placement was also a challenge, particularly for selunding music. While recording in Bungaya, team members were allowed to enter the Bale Agung, where the gambang was played, but not permitted to place microphones higher than the instruments. In Asak, only musicians and members of the taruna were allowed to ascend onto the bale where the selunding was played. Thus, the recording equipment was placed below, and microphones were placed in the bale by one of the musicians, and according to the team’s instructions. When recording during ritual activities, musicians were also not able to tell the team when they would start playing. The leader of the group–while watching the ritual actions closely–made these decisions while observing the ritual activity and only provided musicians with a moment’s notice before starting to play. He sees that it is time to begin, he begins, and does this without bothering himself with signaling the awkward foreigners below, as the atmosphere didn’t allow for it. This explains why some recordings do not capture the beginning of performances.

Moving images were taken with two Swiss Bolex 16mm cameras on tripods. Still photography was taken with an unknown camera using kodachrome, ektachrome, and high-speed film for low-light conditions, all produced by Kodak.

Recordings sourced from Freiburg (including most materials in sub-collections 1-7) were spliced from a digitized tape delivered to us on CDs in 44.1khz 32bit MPEG-4 Part 14 format (.m4a). CD tracks were then decoded to 44.1khz 24bit Windows Audio File format (.wav), after which individual performances were identified and spliced–adding or leaving one second of space before the desired start/end times. Files were then leveled to produce a whole-track LUFS value of -23db before one-second fade ins/outs were applied. Finally, the entire collection was encoded to variable bitrate Moving Picture Experts Group Layer-3 (.mp3) using the Fraunhofer codec.

Many recordings in sub-collection 2 (1950s-1960s) included pitchpipe references. In some cases, these allowed us to create duplicate files that playback at a more accurate pitch level and speed. In these cases, both the original recording, as we received it, and a new “corrected” version are included in the corresponding catalog entry.

Recordings provided by Wayne Vitale (included in sub-collection 6) were subject to the same process described above but delivered to us in 44.1khz 16bit Windows Audio File format (.wav). Vitale produced these recordings using a Sony TCD-M5 stereo cassette recorder with Maxell UD-XL C90 tape and Dolby B noise reduction. The microphones were likely two Beyer 260(M) ribbon mics or a small Sony stereo mic. Digitization involved a Nakamichi Cassette Deck2 with Dolby B switched on, a Zoom Handy Audio Interface connected to a MacBook Pro (mid 2015) running OSX 10.11.6, and ProTools 12.8.2.

The immediate source of each recording is indicated in its corresponding catalog entry.

  1. 1969: Hans Oesch, private funding; made recordings in Bali with Theo Meier.
  2. 1972-1973: financing by the Swiss Funds for the Promotion of Scientific Research (SNF) with sponsorship from the Lembaga Ilmu Pengetahuan Indonesia (LIPI) and Universitas Udayana. On the Swiss side, the institutions involved were the Institute of Musicology (Prof. Dr. Hans Oesch), the Institute of Ethnology (Prof. Dr. Meinhard Schuster) and the Museum of Cultures (Dr. Gerhard Baer). Participants: Dr. Urs Ramseyer (cultural anthropology and ethnomusicology), Danker Schaareman (cultural anthropology and ethnomusicology), Gera van der Weijden (cultural anthropology and ethnomusicology), Dr. Tilman Seebass (musicology), Peter Horner (film), Bernadette Waldis (film, photography).
  3. 1974: Hans Oesch, private funding; made recordings in Bali with Theo Meier.
  4. 1985-1994: Various research projects with financing by the Swiss Funds for the Promotion of Scientific Research (SNF) and sponsorship from the Lembaga Ilmu Pengetahuan Indonesia (LIPI) and Universitas Udayana. On the Swiss side, the institutions involved were the Institute of Musicology and the Institute of Ethnology. Participants (1985-1986): Danker Schaareman (cultural anthropology and ethnomusicology), Annette Rein (cultural anthropology and dance), Monika Nadolny (religious practice and herbal medicine), Barnie Palm (cultural anthropology, sound recording, photography), and Wayne Vitale (music).
  5. 2007-present: (Intermittent), follow-up research in ethnomusicology by Danker Schaareman and members of Insitu Recordings, private funding.
  1. 1976, Tilman Seebass, Panji in Lombok I. Baerenreiter-Musicaphon, BM 30 SL 2564, Kassel (LP record text)
  2. 1976, Tilman Seebass, Panji in Bali I. Baerenreiter-Musicaphon, BM 30 SL 2565, Kassel (LP record text)
  3. 1977, Tilman Seebass, Panji in Lombok II. Baerenreiter-Musicaphon, BM 30 SL 2564, Kassel (LP record text)
  4. 1985, Danker Schaareman, Ritual Music from Bali I: The Annual Cycle in Tatulingga: The Usaba Sumbu, Baerenreiter-Musicaphon, BM 30 SL 2570, Kassel (LP record text)
  5. 1985, Danker Schaareman, Ritual Music from Bali II: Cross-Section through the Music of the Annual Cycle in Tatulingga, Baerenreiter-Musicaphon, BM 30 SL 2571, Kassel (LP record text)
  6. 1987, Danker Schaareman, Ritual Music from Bali III: The Gong Gedé from Sulahan, Baerenreiter-Musicaphon, BM 30 SL 2573, Kassel (LP record text)
  7. 1987, Danker Schaareman, Ritual Music from Bali IV: The Gong Gedé from Pamêcutan, Baerenreiter-Musicaphon, BM 30 SL 2574, Kassel (LP record text)

Published materials may only be streamed online, as TIB regulations restrict downloading.

  1. 1974, Number: V 1617; Signature: E 2162; Title: Bali, Karangasem – Rhythmisches Reisstampfen in Iseh; Author(s): Ramseyer, Urs (Basel); 6.25 min.; Sound: Original sound
  2. 1974, Number: V 1617; Signature: E 2163; Title: Bali, Karangasem – Figurationsrhythmik in der balinesischen Musik; Author(s): Ramseyer, Urs (Basel); 16.5 min.; Sound: Original sound
  3. 1974, Number: V 1617; Signature: E 2164; Title: Bali, Karangasem – »angklung«-Orchester in Iseh; Author(s): Ramseyer, Urs (Basel); 12.5 min.; Original sound
  4. 1974, Number: V 1617; Signature: E 2165; Title: Bali, Gianyar – Unterricht im »légong«-Tanz durch I Gusti Gedé Raka in Saba; Author(s): Ramseyer, Urs (Basel); 17 min.; Sound: Original sound
  5. 1974, Number: V 1617; Signature: E 2166; Title: Bali, Gianyar – »légong«-Tanz in Saba. 1. “Hofdame »condong« und himmlische Nymphen »widiyadari«”; Author(s): Ramseyer, Urs (Basel); 20.5 min.; Sound: Original sound
  6. 1974, Number: V 1617; Signature: E 2167; Title: Bali, Karangasem – »selonding«-Orchester. Ritualmusik in Tenganan Pegeringsingan; Author(s): Ramseyer, Urs (Basel); 30.5 min.; Sound: Original sound
  7. 1974, Number: V 1617; Signature: E 2208; Title: Bali, Karangasem – Schlitztrommel-Orchester in Iseh; Author(s): Ramseyer, Urs (Basel); 9 min.; Sound: Original sound
  8. 1974, Number: V 1617; Signature: E 2209; Title: Bali, Karangasem – Maultrommel-Orchester in Iseh; Author(s): Ramseyer, Urs (Basel); 6.5 min.; Sound: Original sound
  9. 1974, Number: V 1617; Signature: E 2210; Title: Bali, Gianyar – Auswahl eines Mädchens für den »légong«-Tanz in Saba; Author(s): Ramseyer, Urs (Basel); 3.5 min.; Sound: No sound
  10. 1974, Number: V 1617; Signature: E 2211; Title: Bali, Gianyar – »légong«-Tanzprobe in Saba; Author(s): Ramseyer, Urs (Basel); 14 min.; Sound: Original sound
  11. 1974, Number: V 1617; Signature: E 2212; Title: Bali, Gianyar – Maskentanz der »Rangda« in Saba; Author(s): Ramseyer, Urs (Basel); 9 min.; Sound: Original sound
  12. 1974, Number: V 1617; Signature: E 2234; Title: Bali, Karangasem – »wayang lemah«. Kultisches Spiel mit Lederfiguren in Sidemen; Author(s): Ramseyer, Urs (Basel); 45.75 min.; Sound: Original sound
  13. 1975, Number: V 1617; Signature: E 2236; Title: Bali, Gianyar – »légong«-Tanz in Saba. 2. “Himmlische Nymphen »widiyadari«”; “König Lasem”; Author(s): Ramseyer, Urs (Basel); 28 min.; Sound: Original sound
  14. 1975, Number: V 1617; Signature: E 2237; Title: Bali, Karangasem – »selonding«-Orchester. Rituelle Siebentonmusik in Tenganan Pegeringsingan; Author(s): Ramseyer, Urs (Basel); 6.25 min.; Sound: Original sound
  15. 1975, Number: V 1617; Signature: E 2238; Title: Bali, Karangasem – »topeng«-Maskenspiel von Sidemen mit dem »gamelan« aus Ipah; Author(s): Ramseyer, Urs (Basel); 22.5 min.; Sound: Original sound
  16. 1975, Number: V 1617; Signature: E 2239; Title: Bali, Karangasem – »karé«. Zweikampf mit Schilden in Tenganan Pegeringsingan; Author(s): Ramseyer, Urs (Basel); 6.5 min.; Sound: Original sound
  17. 1975, Number: V 1617; Signature: E 2245; Title: Bali, Karangasem – Töpfern eines Wassergefäßes in Jasi; Author(s): Ramseyer, Urs (Basel); 18.5 min.; Sound: No sound
  18. 1976, Number: V 1617; Signature: E 2416; Title: Bali, Karangasem – Doppelikat in Tenganan Pegeringsingan. 1. Schären und Abbinden der Kette; Author(s): Ramseyer, Urs (Basel); Ramseyer-Gygi, Nicole (Basel); 45.25 min.; Sound: Voice only
  19. 1976, Number: V 1617; Signature: E 2417; Title: Bali, Karangasem – Doppelikat in Tenganan Pegeringsingan. 2. Aufwinden und Abbinden des Eintrags; Rotfärben; Auflösen des gemusterten Eintrags; Author(s): Ramseyer, Urs (Basel); Ramseyer-Gygi, Nicole (Basel); 31.5 min.; Sound: Voice only
  20. 1976, Number: V 1617; Signature: E 2418; Title: Bali, Distrikt Karangasem – Doppelikat in Tenganan Pegeringsingan. Ordnen der gemusterten Kette; Author(s): Ramseyer, Urs (Basel); Ramseyer-Gygi, Nicole (Basel); 25.5 min.; Sound: Voice only
  21. 1976, Number: V 1617; Signature: E 2419; Title: Bali, Distrikt Karangasem – Doppelikat in Tenganan Pegeringsingan. Weben auf dem horizontalen Webgerät mit Rückenjoch; Author(s): Ramseyer, Urs (Basel); Ramseyer-Gygi, Nicole (Basel); 31.5 min.; Sound: Voice only
  22. 1980, Number: V 1617; Signature: D 1321; Title: Tänze und Opferhandlungen während des »sumbu«-Festes in Tatulingga (Distrikt Karangasem, Bali); Author(s): Weijden, Gera van der (Basel) & Schaareman, Danker (Basel); Kleindienst-Andrée, Dore (Bearb.) (Göttingen); Duration: 15.75 min.; Sound: Original sound
  23. 1980, Number: V 1617; Signature: E 2628; Title: Bali, Karangasem – »caruk«-Musikensemble von Abiantihing (Selat); Author(s): Seebass, Tilman (Basel) & Schaareman, Danker (Basel); 4.5 min.; Sound: Original sound
  24. 1983, Number: V 1617; Signature: D 1435; Title: Komprimierte Form eines »gambuh« (Tanzdrama) in Batuan (Distrikt Gianyar, Bali); Author(s): Seebass, Tilman (Basel) & Weijden, Gera van der (Basel); Kleindienst-Andrée, Dore (Bearb.) (Göttingen) Duration: 23 min.; Sound: Original sound
  25. 1981, Number: V 1617; Signature: E 2160; Title: Bali, Gianyar – Unterricht im »baris«-Tanz durch I Gusti Gedé Raka in Saba; Author(s): Ramseyer, Urs (Basel); Duration: 15.75 min.; Sound: Original sound
  26. 1981, Number: V 1617; Signature: E 2161; Title:Bali, Gianyar – »baris«-Tanz in Saba mit dem »gamelan« aus Pinda; Author(s): Ramseyer, Urs (Basel); 10.5 min.; Sound: Original sound
  27. 1983, Number: V 1617; Signature: D 1512; Title: Tanz und Trance auf Bali 1937-1945; Author(s): Ramseyer, Urs (Basel); Duration: 41 min.; Sound: Voice only

Adams, J. (2021). Pupuh Gambang: Manuscript, Melody, and Music [Unpublished doctoral dissertation]. University of British Columbia.

Bagiartha, I W., & Tantra, I. N. (1994). Gending-Gending Gambang II. Denpasar: Sekolah Tinggi Seni Denpasar.

Boekian, I. D. P. (1936). Kajoebii: een oud-Balische bergdesa. Tijdschrift voor Indische Taal-, Land- en Volkenkunde, 76, 127-176.

Darmayasa, I D. G. (2010). Gamelan Gambang dalam Upacara Pegingsiran Rau Pingit di Desa Pakraman Pengotan Bangli (Kajian Teo-Estetik). Denpasar: Institut Hindu Dharma Negeri.

de Zoete, B. & Spies, W. (2002 [1938]). Dance and Drama in Bali. Hong Kong: Periplus Editions.

Herbst, E. (2015). Bali 1928 Volume III: Lotring and the Sources of Gamelan Tradition [Album]. New York: Arbiter of Cultural Traditions.

Korn, V.E. (1932). Het Adatrecht van Bali. ’s Gravenhage: G. Naeff.

———. (1933). De dorpsrepubliek Tnganan Pagringsingan op Bali. Santpoort: Mees.

Kunst, J. (1925). De Toonkust van Bali, door J. Kunst en C. J. A. Kunst-van Wely, besproken door J. K.. Djawa: Tijdschrift van het Java-Instituut, 5, 271-272.

———. (1927 [1968]). Hindu Javanese Musical Instruments. Koninklijk Instituut voor Taal-, Land- en Volkenkunde Translation Series 12. Dordrecht: Springer.

Kunst, J. & Kunst-van Wely, C. J. A. K . (1925). De Toonkunst van Bali. Koninklijk Bataviaasch Genootschap van Kunsten en Wetenschappen. Weltevreden: G. Kolff & Co.

———. (1925). De Toonkunst van Bali II. Tijdschrift voor Indische Taal-, Land- en Volkenkunde, 65(3), 369-508.

McPhee, C. (1966). Music in Bali: A Study in Form and Instrumental Organization in Balinese Orchestral Music. Yale University Press.

Nakamura, K. (1992). Articulating Rituals. The Use of Ritual Music in Selat (Karangasem), In D. Schaareman (Ed.), Balinese Music in Context: A Sixty-fifth Birthday Tribute to Hans Oesch (pp. 151-171).

Poerbatjaraka, R. M. Ng.. 1968. Tjerita Pandji dalam Perbandingan. Djakarta: P.T. Gunung Agung.

Ramseyer, U. (1992). The Voice of Batara Bagus Selonding: Music and Rituals of Tenganan Pagringsingan (translated by Cressida Joyce), In D. Schaareman (Ed.), Balinese Music in Context: A Sixty-fifth Birthday Tribute to Hans Oesch (pp. 115-149).

———. (1974). Distrikt Karangasem – Figurationsrhythmik in der balinesischen Musik. Publikationen zu wissenschaftlichen Filmen, Sektion Ethnologie, Publikationen zu wissenschaftlichen Filmen, Sektion Ethnologie, Film 2163. Göttingen: Institut für den Wissenschaftlichen Film 1974.

———. (1974). Bali, Distrikt Gianyar – Maskentanz der “Rangda” in Saba. Publikationen zu wissenschaftlichen Filmen, Sektion Ethnologie, Film E 2212. Göttingen: Institut für den Wissenschaftlichen Film.

———. (1974). Bali, Distrikt Karangasem – “angklung”-Orchester in Iseh. Publikationen zu wissenschaftlichen Filmen, Sektion Ethnologie, Film E 2164. Göttingen: Institut für den Wissenschaftlichen Film.

———. (1974). Bali, Distrikt Karangasem – Maultrommel-Orchester in Iseh. Publikationen zu wissenschaftlichen Filmen, Sektion Ethnologie, Film E 2209. Göttingen: Institut für den Wissenschaftlichen Film.

———. (1974). Bali, Distrikt Karangasem – Rhythmisches Reisstampfen in Iseh. Publikationen zu wissenschaftlichen Filmen, Sektion Ethnologie, Film E 2162. Göttingen: Institut für den Wissenschaftlichen Film.

———. (1974). Bali, Distrikt Karangasem – Schlitztrommel-Orchester in Iseh. Publikationen zu wissenschaftlichen Filmen, Sektion Ethnologie, Film E 2208. Göttingen: Institut für den Wissenschaftlichen Film.

———. (1974). Bali, Distrikt Gianyar – “légong”-Tanzprobe in Saba. Publikationen zu wissenschaftlichen Filmen, Sektion Ethnologie, Film E 2211. Göttingen: Institut für den Wissenschaftlichen Film.

———. (1974). Distrikt Gianyar – Unterricht im «légong»-Tanz durch I Gusti Gedé Raka in Saba. Publikationen zu wissenschaftlichen Filmen, Sektion Ethnologie, Film E 2165. Göttingen: Institut für den Wissenschaftlichen Film 1974.

———. (1975). Bali, Distrikt Karangasem – “karé”. Zweikampf mit Schilden in Tenganan Pegeringsingan. Publikationen zu wissenschaftlichen Filmen, Sektion Ethnologie, Film E 2239. Göttingen: Institut für den Wissenschaftlichen Film.

———. (1975). Bali, Distrikt Karangasem – “topeng”-Maskenspiel von Sidemen mit dem “gamelan” aus Ipah. Film Publikationen zu wissenschaftlichen Filmen, Sektion Ethnologie, E 2238. Göttingen: Institut für den Wissenschaftlichen Film.

———. 1977. Kunst und Kultur in Bali. Zürich: Atlantis.

———. (1980). Bali, Distrikt Gianyar – “légong”-Tanzprobe in Saba. Publikationen zu wissenschaftlichen Filmen, Sektion Ethnologie, Serie 10, Nr. 28, Film E 2210. Göttingen: Institut für den Wissenschaftlichen Film.

———. (1980). Bali, Distrikt Gianyar – “légong”-Tanz in Saba. I. Hofdame “condong” und himmlische Nymphen “widiyadari”. Publikationen zu wissenschaftlichen Filmen, Sektion Ethnologie, Serie 10, Nr. 30, Film E 2166. Göttingen: Institut für den Wissenschaftlichen Film.

———. (1980). Bali, Distrikt Gianyar — “légong”-Tanz in Saba. II. Himmlische Nymphen “widiyadari”, “König Lasern”. Publikationen zu wissenschaftlichen Filmen, Sektion Ethnologie, Serie 10, Nr. 31, Film E 2236. Göttingen: Institut für den Wissenschaftlichen Film.

———. (1980). Bali, Distrikt Gianyar – Auswahl eines Mädchens für den “légong”-Tanz in Saba. Publikationen zu wissenschaftlichen Filmen, Sektion Ethnologie, Serie 10, Nr. 27, Film E 2210. Göttingen: Institut für den Wissenschaftlichen Film.

———. (1980). Bali, Distrikt Karangasem — “wayang lemah”. Kultisches Spiel mit Lederfiguren in Sidemen. Publikationen zu wissenschaftlichen Filmen, Sektion Ethnologie, Serie 10, Nr. 32, Film E 2234. Göttingen: Institut für den Wissenschaftlichen Film.

———. (1981). Bali, Distrikt Gianyar — “baris”-Tanz in Saba mit dem “gamelan” aus Pinda. Publikationen zu wissenschaftlichen Filmen, Sektion Ethnologie, Serie 11, Nr. 30, Film D 2161. Göttingen: Institut für den Wissenschaftlichen Film

———. (1981). Bali, Distrikt Gianyar – Unterricht im “baris”-Tanz durch I Gusti Gedé Raka in Saba. Publikationen zu wissenschaftlichen Filmen, Sektion Ethnologie, Serie 11, Nr. 29, Film D 2160. Göttingen: Institut für den Wissenschaftlichen Film.

———. (1983). Bali, Distrikt Karangasem – «selonding»-Orchester. Ritualmusik in Tenganan Pegeringsingan. Film E 2167 des IWF, Göttingen 1978. Publikation von U. RAMSEYER, Publ. Wiss. Film., Sekt. Ethnol., Ser. 13, Nr. 6/E 2167 (1983), I5 S.

———. (1983). Bali, Distrikt Karangasem – «selonding»-Orchester. Rituelle Siebentonmusik in Tenganan Pegeringsingan. Film E 2237 des IWF, Göttingen 1978. Publikation von U. RAMSEYER, Publ. Wiss. Film., Sekt. Ethnol., Ser. 13, Nr. 7/E 2237 (1983), 14 S.

———. (2009). The Theatre of the Universe. Ritual and Art in Tenganan Pegegeringsingan. Museum der Kulturen Basel.

Ramseyer, U., & Schlager, E. (1983). Tanz und Trance auf Bali – Filmdokumente aus den Jahren 1937-1945. Bearb.: U. RAMSEYER und D. KLEINDIENST-ANDRÉE (IWF). Film D 1512 des IWF, Göttingen 1983. Publikation von U. RAMSEYER und E. SCHLAGER ♰, Publ. Wiss. Film., Sekt. Ethnol., Ser. 13, Nr. 30/D 1512 (1983), 21 S.

Robson, S. O. (1971). Waᶇbaᶇ Wideya: A Javanese Pañji Romance. The Hague: Martinus Nijhoff.

———. (1972). The Kawi Classics in Bali. Bijdragen tot de Taal-, Land- en Volkenkunde, 128(2/3), 308-329.Nive

———. (1979). Notes on the Early Kidung literature. Bijdragen tot de Taal-, Land- en Volkenkunde, 135(2/3), 300-322.

Schaareman, Danker. (1977). Ritual und Musik in Asak, einem Ostbalinesischen Dorf [Unpublished master’s thesis]. Universität Basel.

———. (1980). The Gamelan Gambang of Tatulingga, Bali. Ethnomusicology, 24(3), 465-82.

———. (1986). Tatulingga: Tradition and Continuity: An Investigation in Ritual and Social Organization on Bali. Basel: Wepf & Co. AG Verlag.

———. (1990). The Power of Tones: Relationships between Ritual and Music in Tatulingga, Bali. Indonesia Circle, 52, 5-21.

———. (1992). The Shining of the Deity. Selunding Music of Tatulingga (Karangasem) and its Ritual Use, In D. Schaareman (Ed.), Balinese Music in Context: A Sixty-fifth Birthday Tribute to Hans Oesch (pp. 173-194).

———. (2021). A Short Introduction to Selunding Music, Academia. January 1, 2021. https://www.academia.edu/65076902/Schaareman_D_The_Gamelan_Selunding_of_Asak_Karangasem_Bali

Schaareman, D. (Ed.) (1992). Balinese Music in Context: A Sixty-fifth Birthday Tribute to Hans Oesch. Winterthur: Amadeus-Verlag [Forum Ethnomusicologicum, Basler Studien zur Ethnomusikologie, Band 4]

Schlager, E. (1976). Rituelle Siebenton-Musik auf Bali. Bern: Francke Verlag. [Forum Ethnomusicologicum, Series I: Basler Studien zur Ethnomusikologie, 1]

Seebass, Tilman. (1974/75). Eine Forschungsreise nach Bali und Lombok zum Vergleichenden Studium der Dortigen Älteren Musikschichten. Mitteilungen: Der Deutschen Gesellschaft für Musik des Orients, 13, 69-82.

Seebass, T. & D. Schaareman. (1983). Bali, Distrikt Karangasem – «caruk»-Musikensemble von Abiantihing (Selat). Film E 2628 des IWF, Göttingen 1981. Publikation von T. SEEBASS, Publ. Wiss. Film., Sekt. Ethnol., Ser. 13, Nr. 1/E 2628 (1983), 10 S.

———. (1986a). Notes and Paradigms: Vocal and Instrumental Practice in Ritual Music, Contradiction and Agreement’ La Musique et le rite, Sacré et Profane. Actes du XIIIe Congrés de la Sociètè Internationale de Musicologie Strasbourg, 29(3), 207-221.

———. (1986b). Between Oral and Written Tradition: The Function of Notation in Indonesia. In Y. Tokumaru Y. and O. Yamaguti (Eds.), The Oral and The Literate in Music (pp. 414-427). Tokyo: Academia Music.

———. (2015). Catalogue Raisonné of the Balinese Palm-leaf Manuscripts with Music Notation. München: G. Henle Verlag.

Seebass, T., & G. van der Weijden (Directors) (1983). Komprimierte Form eines »gambuh« (Tanzdrama) in Batuan (Distrikt Gianyar, Bali). Bearb.: D. KLEINDIENST-ANDRÉE (IWF). Film D 1435 des IWF, Göttingen 1981. Publikation von T. SEEBASS, Publ. Wiss. Film., Sekt. Ethnol., Ser. 13, Nr. 2/D 1435 (1983), 13 S.

Sinti, I Wayan. (2011). Gambang: Cikal Bakal Karawitan Bali Edisi I. Denpasar: TSP Books.

Spies, W. (1933). Das grosse Fest im Dorfe Trunjan (Insel Bali). Tagebuchblätter. Tijdschrift voor Indische Taal-, Land- en-Volkenkunde, 73, 220-256.

Stein Callenfels, P. V. van. (1919). Aan de Directie van het Bataviaasch Genootschap Kunsten en Wetenschappen. Notulen van de Algemeene en Directievergaderingen van het Batavaiaasch Genootshap van Kunsten en Wetenschappen, LVII(4), 191-193.

———. 1919-1920. Mededeeling van den Heer P. V. van Stein Callenfels over de Balische bamboe gambang (Met 1 plaat). Notulen van de Algemeene en Directievergaderingen van het Bataviaasch Genootschap van Kunsten en Wetenschappen, Deel LVII, Bijlage IX, pp. 191-193. Weltevreden: G. Kolff & Co.

Suarka, I Nyoman. (2011). Kidung Tantri Pisacarana. Denpasar: Pustaka Larasan.

Sudiana, I. N., Yudarta I. G., & Mawam, I. G. (2009). The Analysis the Compare of Gambang Orchestra in Banjar Jeroan Tumbak Bayuh Village Mengwi in Badung District. Denpasar: ISI Denpasar.

Suleiman, S. (1978). The Pendopo Terrace of Panataran. Jakarta: Proyek Pelita Pembinaan Kepurbakalaan dan Peninggalan Nasional.

Tim Survey Guru-Guru KOKAR. (1972). Gamelan Selonding Musika, brosur mengenai ilmu musik dan koreografi. Jakarta: Lembaga Musikologi dan Koreografi.

Toth, A. F. (1975). The Gamelan Luang of Tangkas, Bali. Selected Reports in Ethnomusicology, II(2), 63-79.

Tusan, P. W. (2002). Selonding: Tinjauan Gamelan Bali Kuna Abad X-XIV. Karangasem: Citra Lekha Sanggraha.

Vickers, A. (1986).  [Unpublished doctoral dissertation]. University of Sydney, Sydney.

———. (1992). Kidung Metres and the Interpretation of the Malat. In D. Schaareman (Ed.), Balinese Music in Context: A Sixty-fifth Birthday Tribute to Hans Oesch (pp. 221-243). Winterthur: Amadeus Verlag, Forum Ethnomusicologicum 4.
———. (2005). Journeys of Desire: A Study of the Balinese Text Malat. Leiden: KITLV.

Wallis, R.H. (1979). Poetry as Music in Java and Bali [Unpublished master’s thesis]. University of Michigan, Ann Arbor.

———. (1980). The Voice as a Mode of Cultural Expression in Bali. PhD diss. Ann Arbor: University of Michigan.

Warren, C. (1993). Adat and Dinas: Balinese Communities in the Indonesian State. New York: Oxford University Press.

Weijden, G. van der und D. Schaareman (1980). Tänze und Opferhandlungen während des «sumbu»-Festes in Tatulingga (Distrikt Karangasem, Bali). Film D 1321 des IWF, Göttingen 1979. Publikation von D. SCHAAREMAN, Publ. Wiss. Film., Sekt. Ethnol., Ser. 10, Nr. 21/D 1321 (1980), 14 S.

Zoetmulder, P.J. (1974). Kalangwan: A Survey of Old Javanese Literature, Koninklijk Instituut Voor Taal-, Land- en Volkenkunde Translation Series 16. The Hague. Martinus Nijhoff.

Motivation

For a long time, I have been concerned about the condition of these recordings, many of which are stored on fragile tapes that deteriorate further with each passing year. This concern has only grown stronger as I begin to notice the musics documented on those tapes wane in many communities where recordings were made: instruments are no longer played or broken, melodies have been forgotten, manuscripts containing notation have been lost, and the processes of transferring knowledge of the associated performance practices from one generation to the next has become increasingly disrupted by shifting priorities and the realities of life in 21st-century Bali. Around ten years ago, however, I noticed a resurgence of interest among young Balinese in villages where I conducted fieldwork in the 1970s, at which point it became clear that it was time to do whatever necessary to ensure the recordings on those tapes were made available to them. Seven-tone music remains essential to ritual life in these communities, and these young Balinese communicated that access to the recordings could benefit their efforts to ensure rituals remained efficacious in the future.

In 2018, I reached out to my friend and colleague, Jonathan Adams, who had recently carried out research on gambang ensembles, about developing the digital infrastructure required to host these materials online. He recognized the immense value my efforts would have to the respective communities—having recently spent several years interacting with gambang musicians across the island—and offered to help. Later, we decided that Insitu Recordings, an organization co-founded by Jonathan and I Putu Gede Sukaryana (Balot) in 2016 and now recognized as a non-profit organization in the United States, would develop this digital infrastructure and host the materials on their website (insiturecordings.org). We then formed a small team consisting of other members of the Insitu Recordings project, including Zachary Hejny, I Putu Gede Sukaryana, and Pande Widiana, and began preparing the materials available to us at the time.

This website is the culmination of that partnership and a place where our collaboration continues. Rather than a static repository of digitized items, this is a place where we share the results of our ongoing engagement with the various people, communities, institutions, and materials that became entangled through the efforts of researchers connected to the University of Basel.

Many thanks to the team at Insitu Recordings for helping me take these initial steps toward realizing my dream.

Danker Schaareman (June, 2022)

Danker Schaareman, Jakarta, Indonesia, 2022, photo by Nadiya Riskiyani
Danker Schaareman, Sudaji-Bebetin, 1973, photo by Bernadette Waldis (copyright Museum of Cultures, Basel, Switzerland, archive number: 29740)

The Basel Tradition

The seeds of the “ritual seven-tone tradition” now associated with Basel were sown in 1941, when Theo Meier (1908-1982), a Swiss painter living in Bali, awakened a passion for this music within a chemist visiting from Switzerland named Ernst Schlager (1900-1964). In the years that followed, those seeds quickly transformed into a formal study cultivated by Meier’s connections and artistic sensibilities. They were also nourished by the pair’s internment in Bali throughout the Japanese occupation during WWII, which had begun less than a year after Schlager arrived, in 1942, and would last until 1946. Although they were not permitted to leave the island, they were allowed to move about freely and passed some of the time exploring seven-tone music. Schlager also gathered materials that he would later rely on to begin a monograph on the subject. That monograph would remain unfinished when Schlager died in 1964, but Hans Oesch, Alfred Bühler, and others at the University of Basel who took an interest in Schlager’s work, eventually organized further research with Meier’s assistance, in order to revise and publish the text posthumously.

Meier’s role in what is often regarded as Schlager’s work cannot be underestimated. He left Switzerland for the Pacific in the 1930s and by the time Schlager arrived in Bali had already settled in Sanur with a Balinese wife. He had also become acquainted with the Western artist-scholars living there, including those drawn to the performing arts, foremost among them the established German painter and specialist in Balinese dramatic arts, Walter Spies. In fact, upon his arrival Schlager joined Meier at Spies’ compound in Iseh, Karangasem, where Meier had relocated after the outbreak of WWII. As a German national, Spies had been arrested by Dutch authorities. This left the compound vacant, a state of affairs that would become permanent when Spies died shortly later, in 1942. Spies was in the process of being deported to India when the ship transferring him was destroyed by a Japanese bomb. It was likely near Iseh that Meier first introduced Schlager to Balinese music, and when recording excursions began, Spies compound proved to be a suitable basecamp. Its vicinity to villages with longstanding seven-tone ritual ensembles and the fact that it was on land owned by the family of Cokorda Gede Dangin, with whom Meier was acquainted, made it ideal. Cokorda Gede Dangin’s status in the Iseh-Sidemen-Selat area made recording easier. Decades later his status would also aid Urs Ramseyer and me (Danker Schaareman) as we made efforts to connect with priests and musicians in the area.

After Schlager returned to Switzerland in 1946, Meier continued recording on his behalf, even though he was now moving back and forth between Bali and Thailand, having settled in Chang Mai sometime after the war. Meier can be heard addressing Schlager directly in the recordings. Omnipresent in them, is also the sound of Meier’s pitchpipe at the beginning of each take, which ensured recordings would be played back at the correct speed in Europe, as the speed of the motors could be adjusted depending on the tape being used and the desires of the recordist. Coupled with Bali’s tropical climate and fluctuations in electricity, which affected the stability of the motors too, such methods were necessary to ensure faithful sound reproduction later.

Like Meier, the well-known linguist and expert in Balinese history, Roelof Goris (1898-1965) also supported Schlager’s efforts from afar. Although Schlager and Goris were in Indonesia at the same time, the two never met, as Goris was interned as a civilian in Java. In 1947, after a year in Holland, and after Schlager had already returned to Switzerland, Goris settled in Singaraja, Bali, where he remained until his death in 1965, and from where he would answer Schlager’s queries. He also contributed many comments on drafts of Schlager’s early manuscript on seven-tone ritual music. In 1973, I made copies of correspondence between them in the collections at Gedong Kirtya that had taken place between 1955 and 1956.

After Schlager’s death in 1964, many in Switzerland took interest in his work, and Meier would continue to play a role, particularly in the way additional research was designed and executed. Alfred Bühler (1900-1981), who knew Schlager and Meier well, was perhaps most instrumental in getting the ball rolling. As the first professor of ethnology at the University of Basel, and later as director of the Museum of Cultures (as it is now called), he was well connected. He took pride in the museum’s focus on Oceania and Indonesia and was also an inspiring storyteller who offered tips to those of us aspiring to be scholars. I met him in the museum many times as well as at get-togethers after work in a local restaurant with museum staff, university students, and other scholars (e.g., Prof. Schuster). One of the scholars most inspired by Bühler’s fondness for Schlager’s work was Hans Oesch (1926-1992), an ethnomusicologist who made it his personal mission to complete it. Oesch soon discovered that editing Schlager’s manuscript would require further research, which Bühler also encouraged. In 1969 he travelled to Bali for a short period and made additional recordings with Meier’s assistance. This proved insufficient, however, especially with respect to kidung singing with gambang.

Four years later, in 1972, Oesch and Bühler organized a more ambitious effort that did not involve their participation in Bali. This was a collaborative project bringing together several research institutions, funding from the Swiss National Fund for the Promotion of Scientific Research, and support from Lembaga Ilmu Pengetahuan Indonesia (LIPI). Bühler was good at lobbying the Swiss National Fund to support projects he endorsed. The trip lasted two years and included two weeks on the neighboring island of Lombok. Involved, were the Institute of Musicology at the University of Basel (Head: Prof. Dr. Hans Oesch); the Basel Museum of Ethnography (Director: Dr. Gerhard Bear); and the Seminar of Ethnology (Head: Prof. Dr. Meinhard Schuster). Four individuals associated with these institutions were sent to Indonesia: anthropologist/ethnomusicologist Urs Ramseyer (Basel Museum of Ethnography); musicologist Tilman Seebass (Basel Institute of Musicology); my former wife Gera van der Weijden; and me (Danker Schaareman). Gera and I were students in anthropology and ethnomusicology. In addition to this core team, a film crew comprised of Peter Horner and Bernadette Waldis was also present. The main purpose was to collect materials on seven-tone music, including its cultural context, through sound recordings, films, and ethnographic research. On the side, we were also there to correct mistakes in Schlager’s manuscript and collect materials to add to it. Each researcher had his/her own field of expertise and interests in Bali too: Urs studied in the village of Tenganan and recorded and filmed music and dance; Tilman recorded and filmed music; I studied in the village of Asak and assisted Tilman with recording and filming; Gera studied ritual dance and offerings.

When I arrived in Karangasem in May 1972, I had few preconceptions. I only knew that I was going to be collecting materials for a village monograph (my thesis) and assisting a musicologist with recording. During the first weeks, Theo Meier, who had travelled from Thailand, facilitated introductions and helped make preliminary arrangements for recording sessions in Bungaya, Timbrah, Asak and Bugbug. It was “high season” for selunding activity, and we were hoping to record some of it.

While recording in Asak over a period of several days during the annual Usaba Sumbu, me and the son of the leader of the sekaha pakayuhan (music association), who was a bit younger, began to chat. We talked about this and that, and later he invited me to his house in the West of the village where most members of the dadia Pasek live. Because of this friendly contact, I decided “this is the village” where I would like to spend my time in Bali, and so I began looking for a place to stay. Because of Meier’s connection to the village head, I moved into his compound (in the East)–but only for a month.

The administrative head (Kliang Desa), I Gede Rai (dadia Pulasari), was already quite old and couldn’t talk much, so his son, I Nengah Netra, my age and acting as de facto Kliang Desa, asserted that he would “guide” me. This meant I would stay in his compound and he would invite “informants” over to answer my questions. As an independent researcher with loyalties to the villagers I would later represent, this seemed unethical. As Kliang Desa, Netra’s allegiances were with the local government, to be contrasted with those of the Kliang Adat. I announced that I was moving to the West of the village, into the house of I Gede Sudiana (the first boy I met). The village head didn’t agree with my decision and forbade me to do research without his permission and supervision. To solve this unfriendly situation, I asked the Bupati of Karangasem, Anak Agung Gede Karang of Puri Kertasura, for help. He summoned the village head and told him to be nice. Problem solved. Only later would I get a feel for the somewhat uneasy relationship between the two dadia, Pasek and Pulasari. It was complicated.

I settled in the compound of I Gede Sudiana. His father, Jro Nengah Gede, appeared to be the leader of the sekaha pakayuhan and proved to be an excellent mentor and friend. He borrowed gambang and gangsa instruments from the Pura Bale Agung and thus I learned to play with several members of the sekaha, as well as Jro Gede Putu (dadia Pulasari and one of the best gambang players ever), and Jro Nengah Wenten Subadri (likewise dadia Pulasari). All of them supported my research and provided information on village adat, but more importantly, they were my friends, and remain my friends until now. In the intervening years, many have passed away and many have been born. I am proud to have been a part of it.

Following the 1972-1973 research trip, Oesch started a book series called Forum Ethnomusicologicum Series I: Basler Studien zur Ethnomusikologie (all published by Amadeus-Verlag, Bern) as well as a series of commercial records focused on music from Southeast Asia, South Asia, and Oceania (all published by Baerenreiter-Musicaphon). These would eventually include some limited materials from our research trip, but together they represent no more than a fraction of what was gathered. In 1974, Oesch visited Bali again and made additional recordings with Meier’s assistance over the course of several weeks. This trip was financed privately and not formally connected to the 1972-1973 research efforts he had helped organize two years previously, but the recordings were added to the same growing archive in the Institute of Musicology at the University of Basel. These additional research efforts proved successful, with respect to ensuring Schlager’s legacy, and in 1976, the revised manuscript was published by Francke Verlag, Bern under the title Ernst Schlager: Rituelle Siebenton-Musik auf Bali, Aufgrund des Nachlass herausgegeben von Hans Oesch (edited by Hans Oesch), Forum Ethnomusicologicum Series I: Basler Studien zur Ethnomusikologie (Volume I, Part one and two) with a foreword by Alfred Bühler.

Since 1974, I have been back to Indonesia often—I eventually settled down here. I also continued recording selunding, gong gede, gambang, caruk and gong luang/ saron for some time, and as I was still connected to the institutes in Basel when these additional recordings were made, they were added to the archives in the Institute of Musicology at the University of Basel. This includes recordings I made between 1985 and 1991 while participating in various research projects financed by the Swiss Funds for the Promotion of Scientific Research (SNF) and sponsored by Lembaga Ilmu Pengetahuan Indonesia (LIPI) and Universitas Udayana. One project in 1985-1986 involved several researchers working on interrelated topics, which is why their names occasionally appear on materials in this collection. I focused on cultural anthropology and ethnomusicology, Wayne Vitale focused on seven-tone semar pegulingan and other related musics, Annette Rein focused on cultural anthropology and dance, Monika Nadolny explored religious practices and herbal medicine, and Barnie Palm (Nadolny’s husband) had interests in the realm of cultural anthropology. Palm also assisted with sound recording and photography. Throughout that period, Dieter Mack and Andrew Toth also occasionally accompanied me while making recordings, but they were never directly involved in the Swiss-funded research activities.

When I left Switzerland in 1991, for the last research project, and subsequently settled in Indonesia permanently, the copying and cataloguing of the oldest recordings made by Schlager and Meier had not yet been completed. A small number of the 1972-1973 recordings were eventually published as part of Oesch’s aforementioned series (see list of published sound recordings and films below for details), and in 1992, I had the opportunity to edit and publish Balinese Music in Context: A Sixty-fifth Birthday Tribute to Hans Oesch (also part of the Forum Ethnomusicologicum Series and published by Amadeus-Verlag, Bern).

Following Oesch’s death, interest in ethnomusicology, or rather non-Western musics, faded at the Institute of Musicology in Basel. It is now virtually non-existent. As a result, funds for maintaining the valuable collections made by Schlager and Meier as well as those who followed in their footsteps were never made available. As far as I know, the complete recordings from the 1940s and 1950s are yet to be copied to a more stable format, including the oldest of them, which were made using wax rolls. This is incredibly challenging work, especially in respect to the oldest tape recordings, which can only be played once. Upon playback, the brown layer containing audio is stripped from the transparent plastic tape, never to be heard again. Fast forward and rewind are also impossible. After playback of any kind, a pile of dust is all that remains. From 1972 onwards recordings were made with Nagra Kudelsky IV-S and IV-M tape recorders using Scotch 207 and Agfa 525 tape running at 38cm/s and 19.5cm/s. These tapes were eventually duly copied and archived.

Tilman Seebass has made copies of materials we recorded between 1972 and 1973 for his own use and catalogued them according to protocols we established. We made many of these recordings together, but at times also worked alone. It is fortunate that a small number of these recordings, as well as a some of those made by Schlager and Meier, were recently digitized thanks to the efforts of Professor Dieter Mack (composer/specialist in gong kebyar) and Professor Joseph Willimann (musicologist at the institutes of musicology in Freiburg i.Br., Germany and Basel, Switzerland). These files were transferred to me in Indonesia, however, in the absence of the full “recording protocols” from Seebass I have had to establish an inventory from memory and my own notes. There do exist many (hand-written) notes for individual tapes, but these are quite incomplete. Due to this, some information in the present catalogue may be missing.

Biodata

Theo Meier (1908-1982) was a Swiss painter, who spent a considerable part of his life in Ba-li. Before settling there in 1936, he had at age 24, inspired by the work of Gauguin, traveled to Tahiti to find the “original” Tahitian culture. Meier was disappointed, as it had changed radically. In Bali, he found what he was looking for and that inspired his art. Upon arriving in Bali, he settled first in Sanur, and in 1938 married his first Balinese wife, which lasted until 1941. During this time he became acquainted with Western politicians and artists, such as the German painter Walter Spies, who lived in Ubud as well as in Iseh, Karangasem. After the Japanese invasion, Theo moved to Walter Spies’ home in Iseh and made it his own. In the meantime, Theo was visited by his friend Ernst Schlager. As citizens of a neutral country, the two men were allowed to travel freely in Bali, but not permitted to leave the island. Together they studied Balinese music, dance, kidung singing, and ceremonial life. Theo re-turned to Switzerland in 1955, but only for a year. He then went to Thailand and settled down in Chieng Mai. From time to time, he traveled to Bali to make recordings of ritual seven-tone music on behalf of Schlager. who had begun writing a book about Balinese ritual music. Also, when the 1972-1974 Basel research project began, Theo returned to Bali to introduce the team to people in villages with ritual gambang and selunding music.

Alfred Bühler (1900-1981, Switzerland) obtained a PhD in Ethnography from the University of Basel in 1928. He spent many years of his career in Oceania, Indonesia, and India. His main expertise was in Oceanic art and Indian textiles. From 1938 to 1964 he was conservator and director of the Museum of Cultures (as it is now called) in Basel and in 1959 he was appointed as first professor of ethnology at the university of Basel. When, in 1970, Hans Oesch and Urs Ramseyer began planning the 1972-1973 research efforts in Bali, they relied on advice and recommendations from Alfred Bühler. I, too, remember that when I was a young student in Basel, staff from the museum and university, as well as students, would gather in a restaurant every Friday evening, and Bühler, the senior ethnologist, would tell stories and anecdotes from his fieldwork and give us advice for our upcoming project in Bali.

Hans Oesch (1926-1992, Switzerland) was a musicologist with an ear for non-western music. In 1967 he was appointed Professor of Musicology at the University of Basel. After several study tours in Thailand and Indonesia, and because of his friendship with Theo Meier, he, along with Alfred Bühler, was one of the main initiators of the 1972-1973 research project in Bali. The focus of that project was “seven-tone ritual music of Bali” and it resulted in many recordings of many ensembles, including gambang, selunding, gong luang, caruk and others.

Meinhard Schuster (1930-2021) was a German-Swiss ethnologist who studied under Adolf E. Jensen in Frankfurt, a well-known German ethnologist in the first half of the 20th century. In the beginning of his career, Meinhard did fieldwork in South America and taught at the University of Frankfurt, Germany. In 1965, he moved to Basel, Switzerland where he was employed at the Museum of Cultures, undertook several research trips to Papua Niugini and in 1970 replaced Alfred Bühler as Professor of Ethnology at the University of Basel. From the beginning of my studies in Switzerland in 1970, and until I left Switzerland in 1991, Meinhard urged me to focus on Indonesia, supervised my M.A. and PhD studies. I came to know him quite well as a warm and supportive teacher.

Urs Ramseyer (1938-2018) was a Swiss ethnologist and ethnomusicologist. After having completed his studies in ethnology under Professor Bühler and musicology under Professor Jacques Handschin, he became curator at the Museum of Cultures, Basel. He undertook his first fieldtrip in 1972 as team leader of the 1972-1973 research efforts in Bali. He published many books and articles, specifically about the village Tenganan and Balinese art. He was also a well-known jazz pianist with his own ensemble, which performed many concerts. Until his death in 2018, he was a strong supporter of my endeavor to digitize the archives at the Institute of Musicology in Basel and make them available online.

*Danker Schaareman is the only living person able to produce detailed documentation of recordings available in this collection, and as a member of the 1972-1973 research team and an independent researcher thereafter, has a legal claim to user rights for these recordings.

*Featured image: Jro I Nengah Gede, Menanga, Jro I Nengah Wenten Subadri, Jro Wayan Gedah, Jro Wayan Gedab, Jro Nyoman Mirah, and I Nengah Kiris playing gambang in the Pura Segaha during Palawangan Taruna on Tumpek Kuningan. Photo by Danker Schaareman, 1972.