-Poulenc's adaptation of Gamelan Music- How far does inspiration reach?

Through out history western composers have been influenced by the closely remote parts of the world. Inspiration seems to overcome distances where originality is concerned.

Francis Poulencs Concerto for two pianos is truly highly influenced by Indonesian music. A particular humanity from a Javanese Gamelan, Lancaron Jokowo can be utilise to try out the relationship between Poulenc and this trend inspired to great completion by the World Music fair hosted by capital of France at the beginning of the 20th century.

Poulenc attempted to translate - rather successfully - the language of Indonesian music to western authoritative music. Evidence of this can be seen in the ostinato patterns of a alternate(prenominal) nature creating a very thick texture, contrisolelying by and large to the pieces polyrhythmic attributes.

Indonesian Gamelan music is based around the pentatonic scales which they call the pelog. Poulenc collective this scale in his double piano concerto creating a key fruit that quite resembles Lancaron Jokowo.

However, there is a limit as to how far-off Poulenc could successfully recreate this harmonic effect. Although Poulenc attempts to use the instruments in a way that would mimic a gamelan, such as the percussive use of the piano, and imitating the instruments commonly arrange in such an ensemble, the instruments used in Lancaron Jokowo have a microtonal quality to them This is due to the point that they are handmade whereas western instruments are all tuned to concert pitch producing a more precise tonality. Perhaps Poulenc found himself limited by the well tuned clavier.

Investigating further into the melodic concepts found in Lancaron Jokowo, it is evident that the core melody line is played by the instrument with the highest pitch. This is very common if not almost mandate in Indonesian Gamelan music. Furthermore the lowest pitched instruments overly play longer notes than the core melody line.

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