1. Angkat-Angkatan – Eman Sabudi Subandi (Putu Emon)
This work is inspired by gender wayang music. In this piece, the gender perform patterns in 6/8 while the drum set plays in 4/4.
2. Tenget Gamang – I Gde Agustina Yoga Putra (Yoga)
Gamang is a type of supernatural being with an indistinct form that inhabits rivers or other secluded places. The term also describes a condition that is unstable, shaky, or full of uncertainty, both physically and emotionally. In a spiritual context, this term reflects the search for inner balance, which is an important tenet (tenget) of Agama Hindu Bali.
This work transforms these ideas into music. The melody and instrumentation, for example, convey the context of another realm, and traditional instruments, such as selonding and gong, serve not merely as accompaniment, but represent reinterpretations of activities in another, invisible dimension that is often overlooked by ordinary perception. Overall, the sounds and tones highlight the essence of other-worldly nuances, creating a musical experience that is simultaneously transcendent and contemplative.
3. Simbol – I Gede Mei Sutrisna Yasa (Ukisangan)
It is all about the signs. Something that happens all the time might be a sign, but perhaps it is more likely to be a sign if it doesn’t happen very often? Whatever the interpretation, and regardless of how many interpretations are possible, I accept them all. Thank you.
4. Mutusake – Ni Made Ayu Dwi Sattvitri (Sattvitri)
A cicak’s tail detached suddenly, wriggling erratically and disrupting our concentration. Startled by its movement, our hands struck the keys of the gamelan erratically, producing dissonant notes. Everyone expressed surprise, and one hand spontaneously struck keys, producing a jumbled mix of notes. We quickly moved away from the tail, the lingering echoes of our final notes sounding as if the music had been cut short, just like the cicak’s tail.
This experience inspired me to express the surprising and unpredictable wriggling of that cicak’s tail in a composition. I chose gender wayang instruments and the melody Cecek Megelut to serve as its foundation. The tail’s detachment and our surprise is depicted in a series of expressive notes that evoke uncertain feelings. Imagine two cicak’s struggling, whether fighting or mating, and then shedding their tails in surprise when they notice that someone is observing them.
5. Cecek Megelut – I Made Subandi (Subandi)
A classic from the gender wayang repertoire, rearranged and reinterpreted for semar pegulingan, and performed on instruments at Museum Wiswakarma.
6. Ngangkih – Pande Kadek Ega Sasdicka (Dega Pande)
This work is an exploration of the different sound colors that can be produced using each hole on a suling in combination with a special type of breathing called ngangkih. In the piece, existing musical passages are performed using different holes on the suling.
Special thanks to Museum Wiswakarma for allowing us to record in their beautiful and inspiring space!
Recording session coordinator(s): I Putu Gede Sukaryana
Recording date(s): 2023/07/26
Recording location(s): Museum Wiswakarma
Audio recording: Zachary Hejny, Jonathan Adams
Video recording: I Putu Gede Sukaryana
Crew: Pande Kadek Ega Sasdicka (Dega Pande), Ethan Rohl
Audio mixing: Jonathan Adams
Audio mastering: Jonathan Adams
Video editing: I Putu Gede Sukaryana
Photography: Jonathan Adams, Ethan Rohl
Cover art: Jonathan Adams
