Java: Court Gamelan, Volume III
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79722
Track Listing
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16:58
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28:05
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38:14
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45:33
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525:38
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62:25
News & Reviews
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David Lewiston passed away in Hawaii on May 29, 2017, at the age of 88, after an extended illness. The inveterate traveler-musicologist was among the first to release recordings as part of the Nonesuch Explorer Series, which presented indigenous music from around the world, in the late 1960s. His first recording in the series, Music from the Morning of the World, featuring field recordings from Bali, was inducted into the National Recording Registry of "culturally significant" sound recordings in 2008. Here, the musician, producer, and writer Brian Cullman offers a remembrance.
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About This Album
FROM THE ORIGINAL LINER NOTES (1979):
The music of the gamelans from the four royal courts of Central Java presents one of the great classical traditions of Asia. This recording presents the music of the Kraton Ngayogyakarta Hadiningrat, commonly known as the Kraton Yogyakarta, where the Yogyanese style is preserved in its most traditional form. The divisive policy of Dutch colonialism had the unforeseen effect of fostering the performing arts in the protected atmosphere of the courts. The new Yogyanese court strove to produce styles of music, dance, and shadow play that were distinctive from the Surakarta styles, while not diverging radically from the shared tradition.
Credits
Recorded in the Kraton Yogyakarta by Robert E. Brown
More From
This third installment of the Court Gamelan series focuses on the Kraton Yogyakarta, where the Yogyanese style is preserved in its most traditional form. The selections here draw from a wide range of purposes, including processional pieces for the arrival and departure of the sultan, accompaniment for dance dramas, and music for classical solo female dance.
FROM THE ORIGINAL LINER NOTES (1979):
The music of the gamelans from the four royal courts of Central Java presents one of the great classical traditions of Asia. This recording presents the music of the Kraton Ngayogyakarta Hadiningrat, commonly known as the Kraton Yogyakarta, where the Yogyanese style is preserved in its most traditional form. The divisive policy of Dutch colonialism had the unforeseen effect of fostering the performing arts in the protected atmosphere of the courts. The new Yogyanese court strove to produce styles of music, dance, and shadow play that were distinctive from the Surakarta styles, while not diverging radically from the shared tradition.
Recorded in the Kraton Yogyakarta by Robert E. Brown

79722