アルジャのププソンにみるモチャパット声楽の音楽的規範

抄録

Balinese mocapat, represents certain metrics, poems, and songs, displaying a rich variety in lyrics, melody and singing styles. Such variety is evident in the “freely” ornamented singing style as pepeson in arja performance. Here, the same lyric, same melody in fact is sung differently. However, even within the free style, certain aspects are prescribed for the singers, so that the song can be recognized to belong to mocapat or a certain type of the melodies. I am able outline the nature of the “free” style. It can be characterized by the appearance of certain aspects such as, articulation, the fixed pitch of the final note of each line, and the place of ornamentation. Although the singer is “free”, these aspects provide the listener with a common thread among the varied styles of the song.
In addition to these rules, there are some other factors which provide similarity among the songs. These include the influence of paca-pricing (the basic tones which consists of the mocapat melodies), requirements of the context of singing, and the process of learning.
Mocapat songs are sung through the dynamic between these prescriptions and freedom. As a result, we may experience some similarity among the variations. The presence of such similarities is necessary to identify the piece as a mocapat. However, the freedom results in a wide variety of the same melody and allows singers to show their own individuality and creativity.