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The melody may perhaps
be compared to a pattern repeating itself indefinitely on stuff or wall-paper.
Upon this background the dance winds about, taking its own course. When,
as sometimes happens, dance and melody coincide one becomes conscious
of the undercurrent of melody with a shock of delight.
The melody of the gender, which uninterruptedly keeps time, depends on
the prompting of the drum which stands in intimate and indispensable relation
to the dancer. The cymbals also are in constant attendance on the dancer.
The great difference between the classical music of Legong and the newer
music of Kebyar is that is that the melody in the latter sometimes abandons
its quadrangular cage and joins the drum in the restless activity of its
abounding accents. The familiar tjondong melody has two parts, a sequence
of two bars in andante tempo, the melody being in crotchets, and two bars
in andante, of which the melody is in quavers. There can be as many series
of these two bars as are necessary to the dance.
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Music
of Kebyar
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Toktor
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we must point out a very important distinction which the Balinese make between
two clearly separate groups of ancestors. The first of these groups consists
of the dead who are riot yet completely purified. This group is in turn subdivided
in pirata, those riot yet cremated, and pitara, those already cremated. The
former are still completely impure; the latter have been purified, but are still
considered as distinct, individual souls. The second group consists of the completely
purified ancestors who are considered as divine.
No contact is sought with the pirata, the dead who have not yet been cremated.
Oil the contrary they are dangerous, Offerings must however be made for the
redemption of their souls.
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