The Fifth International Symposium on Traditional Polyphony ...

64
Michael Tenzer
repeats cyclically and lasts for eight pulsations comprising thirty-two minimal subdivisions. All of the
simultaneous intervals converge, except for where the neliti diverges with the Kotekan at pulsations 2 and 6.
<strong>The</strong> polyphony may thus be described as intercalated and predominantly convergent.
<strong>The</strong> fastest layer is composed of a formulaic motive lasting two pulsations and repeated thrice to fill the
cycle. It contains a series of three pitches repeated in order until eight subdivisions have been filled. In the
first repetition it is inverted, in the second it is repeated, and in the third it is transposed up by one scale tone
(ex. 1; audio ex. 1).
In example 2a-c the two slower-moving parts are shown on a single staff, using open noteheads where
the slower pokok part falls. <strong>The</strong> relationship between these two slower parts remains completely convergent
(ex. 2a-c; audio ex. 2a-c).
In examples 2a and b there is a regular pattern of consecutive pairs of divergent and convergent arrivals
between the two slow parts and the fastest part (ex. 2a, b; audio ex. 2a, b). Each thus occurs 50% of the time.
What distinguishes the two examples is the orientation of the pairs: in example 3a the first of each pair of
divergent tones falls with the neliti and the second one with the pokok (ex. 3a; audio ex. 3a); in example 3b it is
the reverse. Thus the motion from convergent to divergent has a different polarity with respect to the rhythmic
structure of the cycle (ex. 3b; audio ex. 3b).
In example 2a the increased divergence is due to the use of two different kinds of motives in the fast part.
<strong>The</strong> second of these is exactly like the one we saw in example 1. <strong>The</strong> first motive, however, is of a different
contour and composed such that it always ends on the same note as the motive immediately prior. This creates
a kind of melodic stasis because the rate of structural change in this part is therefore once every four pulsations,
instead of two as in the previous example. More significantly, it creates a different and independent rate of
tonal motion between the two parts, and this independence contributes to the polyphonic character (ex. 2a;
audio ex. 2a).
In example 2b the fastest part uses only one repeating motive lasting two pulsations while the slower
melody diverges. Because of the repetition the upper part is like an elaborated bordun, which creates a mild
tension with the melody moving below it (ex. 2b; audio ex. 2b).
Example 2c begins with a repeating 8-pulsation convergence/divergence pattern of CDCDCCCC. <strong>The</strong>
third statement of the pattern brings a special example of polyphony through contrary motion in a conventional
context. It arises because some instruments have a limited range and are forced to move in contrary motion
with the pokok in order to arrive at the right tones at the right moments. In this case, the reyong, a set of tuned
gongs, is limited to one octave starting from sol# (up to la, do#, mi and re). When the pokok ascends do#-remi-la-sol#,
the reyong cannot follow. Instead it uses a descending motive, do#-la-sol#-five times. This creates
a contrametric pattern of three mimimal values that is completely distinct from the pokok, causing it to diverge
at two consecutive common arrival points (ex. 2c; audio ex. 2c).
<strong>The</strong> preceding examples showed local instances of divergence in this repertoire. But the compositions
cannot be said to have a contrapuntal conception because melodic independence arises from special cases
of voice-leading, not from a fundamental compositional impulse. In the next example, taken from an ancient
ensemble known as gamelan gender wayang, counterpoint is more intrinsic to the style. <strong>The</strong> clear stratification
of pokok, neliti, and Kotekan is absent, and these terms cannot be used.
Gender Wayang is a small ensemble music played on a pair of ten-keyed metallophones that may be
doubled an octave higher. Each player uses one mallet in each hand and plays separate right and left-hand
parts. Each pair of players has complementary parts that interweave closely to create a single composite. In
example 3a we see the instruments notated separately in the lower four staves, but combined for convenience
in the top two staves (ex. 3a; audio ex. 3a).