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Further penetration "branching out ofBali" into other interpretive modes As we consider the human organism in its mus1cal ecology the nature and manifestation ofsound, we can distinguish three spheres ofarticulation.1 State ofconsciousness is intrinsic to the first sphere. Form is intrinsic to the second sphere, as it deals with differentiation ofemanations from distinct states; it is in this sphere that the element oftime appears. Instrumentation is Intrinsic to the third sphere, in which emanations are manifested through a physical vehicle; this sphere introduces the element of space, as a distinct entity. Each of these spheres is, in turn, made up of three aspects. State ofconsciousness is the intrinsic aspect ofthe fwst sphere (1), permeating all other aspects, yet distinct in its pure sense. This aspect represents personal orientation and is composed ofspiritual (finer) vibrations. The next aspect is that ofshape-form visualization, a conceptual level composed of Intellectual (less fine) vibrations. Here, phenomena take on form, and shape is considered as a dynamic quality in a timespace sense, manifested as neume, gesture, color, and so on. The third aspect is that r. This discussion reintroduces aspects of cognition and manifestation in a more abstract form in order to cross over disciplines to the realm of religious hermeneutics and, obliquely, Tantric Buddhist discourse. The Tantric Buddhist historic period in Indonesia very much influenced Bali, though centered in the kingdom of Sriwijaya, which ruled from the seventh until the fourteenth century in Palembang, South Sumatra, and in Central Java from the late seventh until the tenth century (Wolters 1970: 133-35). Over the centuries, monks from India and China traveled to Sumatra to study Buddhism (Coomaraswamy 1965: 2oo; and Holt 1967: 36). This strong influence remains in contemporary Bali's syncretic culture. Although my discussion does not deal directly with explicit Balinese categories, it reflects much consultation with Balinese philosophers as well as scholars of Tibetan Buddhism, in an attempt to distinguish some of these ontological issues outside of culture-bound contexts. For religiocultural studies, see Stephan Beyer (1978) and Judith Becker (1993). v 0 I c E s I N B A L I I 142 of physical atoms (vibrations), which includes the realm of sound. There cannot be physical vibrations without both "visualization" and "state," nor can there be visualization without state. This is the sense in which we say that state is intrinsic to this sphere. The aspects ofthis and other spheres are thought of as an ordering of qualities, and not necessarily ofsequence. In certain practices, we may observe that physical qualities lead to visualization and then to state, or visualization to physical to state, and so on. The aspects are not completely distinct from one another in practice, but rather in origin and quality Each aspect may offer a frame of reference to any other aspect of any sphere. However; it seems most appropriate to apply aspects of the state sphere to either the form or instrumentation sphere, and the form sphere to that ofinstrumentation. For instance, the visualization (conceptuaD ofa given stylization (//);or the form, context , or stylization (all II) of a given vocal phenomenon. Three of the many ways in which context (II) could be applied are cultural context (within II), performance context (within Ill), and ideational context (within 1). As we move on to the next sphere (//), the intrinsic aspect is form. This may be thought of as a conceptual articulation ofordering, or the differentiation ofemanations from a state (I). As the element oftime is stressed here, of concern is the articulation and quality ofany given moment, whether that moment include an inflection , a gesture, or an entire ritual event (which may still be considered a moment in itsefO. The second aspect ofthis sphere is context: the circumstances and interrelationships of a given state, concept, or phenomenon. For example, this may apply to a particular melody, as it changes from one set oflyrics to another, or to recognizing a multicontextual temporal event (involving many simultaneous conceptual levels). Stylization , the third aspect, has to do with the form ofpresentation ofany given emanations , referring to "how" rather than "what." Stylization uses selective limitation to focus on essential qualities, leaving other qualities for each individual perceiver to supply on his or her own. We might approach the third sphere by way of instrumentation, which could be aligned with stylization in sphere (II) and physicalization in sphere (1). In this regard, our concern is with the means by which things become physically manifested. Modes of stylization are...

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