Abstract:
This study discusses, evaluates, and analyzes the various methods and patterns in
which American composers Bill Alves (1960-), Lou Harrison (1917-2003), and Alan
Hovhaness (1911-2000) have adapted Indonesian gamelan musical concepts,
philosophies, and performance practices in selected Western chamber works that include
the double-action pedal harp. In particular, these examples contain notation,
instrumentation, musical layers and interactions, and sounds that are inspired by or
modeled after Javanese and Balinese musical elements. Greater focus is given to
Javanese musical practices, and inherent compositional devices have been discovered in
each piece’s structure, rhythm, melody, ornamentation, intonation, and choice of
instrumentation or orchestration. Special attention is given to a contextual and musical
analysis of the Concerto for Harp and American Gamelan by Bill Alves, which features
an unprecedented fusion of Western and Eastern musical practices. It is further evaluated
through discussions of “authenticity” in world music, and I provide recommendations as
to how a harpist can use this information in order to recreate this piece.
