Self-Generated Processes for Integrating Balinese Drumming and the Drumset

Abstract

This is a multi-faceted research project investigating interactions between the performance of the Balinese kendang and the drumset. Kendang is the double headed cylindrical shaped drum that often leads gamelan (Balinese music ensemble) orchestras. Drawing on more than two decades of performance experience as a drumset and kendang practitioner, this thesis sets out original strategies for integrating technical and creative aspects of both instruments. Existing scholarship on interactions between two disparate drumming traditions such as these is limited and has thus far been primarily concerned with literal translation: rhythms of the source drumming remaining intact with a system of sonic equivalents established. In response, this study investigates alternatives to literal translation. By exploring alternatives to this approach, the research establishes a range of original categorised developmental processes on the drumset and kendang, whilst simultaneously providing insights into how the investigation has informed my identity as a performer on both instruments. The potential creative output that can result from these two contrasting drumming traditions coming together is also revealed and forms a significant component of the study. The project involves the creation of original musical works, fieldwork, autoethnography, development of analytical methods for viewing Balinese drumming, the creation of original musical instrument hardware and it relies heavily on video material. Research outcomes and associated developmental processes on both the kendang and drumset highlight the potential of a self-generated approach, reflective of personal experience, and offer a set of transferable categorised processes and models that can be applied to other drumming practices.