index Navajo. See aesthetics, Diné negative descriptors, 131–2. See also terminology Nettl, Bruno, 211 New Order, 34 ngèlmu [J], 50, 116. See also esoteric knowledge; kebatinan; rasa as inner meaning; rasa as understanding Ngadirejo, 143 Ngèsthi Raras, 119 ngglajut (nggelacut?) [J], 91n nglèwèr [J], 119 /nd, 189d ngoko [J], xxvii, 58n. See also language, Javanese Ngripto Raras, 119, 147. See also Gombang Nida, Eugene, 55 night watchmen. See ronda nobility. See priyayi nonmusicians. See layperson notation, xxxiv–xl, 8–10, 31, 175; effect on rasa, 101–102, 107, 190. See also oral transmission nyindhèni [J], 153–4 “Onang-Onang,” gendhing 174 ontology of musical work. See gendhing vs. performance; work, musical, ontology of opera and operatice voices, 132–3. See also seriosa;Western influence ora tegel [Ng], 49 oral transmission, 8–9, 11n, 31, 156 Orde Baru. See New Order order of pieces, 20–21, 67, 193. See also klenèngan; pathet; wayang originality, 157. See also change and innovation; compositional process; musicians, individuality; surprise ornamentation, melodic or rhythmic, 120–21; affects arranged by amount of, 75; for båwå singing, 140–1, 153; and gender categories, 68, 101; and generational differences, 97; and heavy/light distinction, xii, 97; and laras, 195; in måcåpåt, 187–8; in the mérong, 152; notation for, xxxix, 103; effect on rasa gendhing, 187; and voice types, xii, 65. See also plainness; wiledan Ortega y Gasset, José, 206/n Other, the, 210. See also difference; postcolonial studies outer/inner (body, mind, heart, institutions), 41–45, 46–52 passim, 117–18; terms for,
92–3/n. See also batin; lahir; microcosm and macrocosm;“outside” art forms “outside” art forms, 16–27, 30, 100, 129. See also musicians,“outside”; village style “outside” musicians. See musicians, “outside” outsiders, cultural. See insiders overexpression, 121/n, 124 overtones, 179 ownership, musical, 207n Pådå (a 20th c. mystic), 43/n, 48, 86 Padmosoekotjo, S., 186, 223 Pakubuwånå IX, 38 Pakubuwånå X, 5, 38, 39 Pakubuwånå XII, 6n, 37 Pakubuwånå XIII, 4, 6n palace-style music, 4–7, 129; as alus, 29, 107, 144; changes to, 10; exclusivity of, 21n, 73–4, 97n; repertoire of, 21n, 29n, 73–4, 97/n; village style, relation to, 21n, 29–30, 74n, 134. See also KåKå; Kepatihan; kraton; Mangkunegaran; musicians, court; musicians,“inside”; priyayi palaran [J], 22 /nd, 81 /nd, 142 /nd, 155, 173, 182 “Pamegatsih,” ketawang, 176, 187n pandai [I], pandhé [J] 109d/n–110 Panggiyo, 145 “Pangkur,” ladrang, 100, 165, 170/n “Pangkur Mataram,” 96 “Pangkur Pamijèn,” ladrang, 216 “Pangkur Paripurnå,” 101 Panji Sutopinilih, 48, 86 Panuju, 142 parts of speech, 125n pathet: borrowed, 192n; categorization as inadequate, 192n; choice of, 174; mixed, 176, 193/n, 194; and rasa gendhing, 165, 171/n, 192–4/n. See also under name of specific pathet (e.g., pélog limå) pathetan, 129/n–30, 151/n–152, 154, 173, 182 pedagogy: for developing intuition, 166; Dutch-influenced, 214–5/n; for foreign learners, 138–9; formal (conservatorybased), 9, 105; imitation as a form of, 142, 202/n; informal, 9; in rehearsal, 161n. See also conservatories; KåKå; rasa, acquisition of; teachers; SMKI; STSI pélog. See laras (tuning system) pélog barang [J], 171/n, 193, 194, 213 pélog limå [Ng], 147 /nd, 192, 194, 195n
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