companion recordings
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hroughout the book, two different sets of recordings are indicated in the margins. The first of these is taken partly from lessons and interviews with my teachers and consists mostly of short snippets of singing that are transcribed in the text. The symbol indicates these. Those interested may listen to these recordings at www.oup.com/us/rasa. Below is a listing of the online examples. All examples were performed by me in October 2008, except where noted. Track T/1. Excerpt from the gérong part to ladrang Sri Sinubå. Track T/2. Upward gregel: 5 ˆ 6 Track T/3. Upward gregel on the beat: 5 + 6 Track T/4. Turn-like figure: 6
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Track T/5. Turn-like figure on the beat: 6 5 Track T/6. Downward gregel: 6 ˇ 5 Track T/7. Turn-like figure followed by a downward gregel: 2
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Track T/8. Kawilan, in rebab terminology (upper-neighbor grace note): 5 ù6 Track T/9. Three-note motive in plain sléndro tuning, played on the gendèr. Track T/10. Three-note motive using miring, with the gendèr playing the first and third notes of the motive. Track 3/1. A short motive occurring in a large number of vocal pieces, in two versions: one “listless,” the other gagah (manly) or prenès (coquettish). Suhartå, in Jakarta, June 19, 1991. Track 4/1. Sekar måcåpat Dhandhanggulå, lelagon Buminatan. Sutarman, in Solo, June 6, 1992. Track 4/2. Sekar måcåpat Dhandhanggulå Tlutur. Sutarman, in Solo, June 6, 1992. Track 5/1. Excerpt from båwå sekar tengahan Kenyå Kedhiri, laras sléndro pathet sångå, performed with four different variants (and a fifth that is only slightly different from the fourth). Suhartå, in Solo, March 11, 1990.
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