Link 1: Use of Ostinato and Pedal Point

                              
                  Despite the vast cultural differences between both pieces, the use of ostinato and the pedal note is apparent. It is crucial to note that a key characteristic of gamelan music is the use of a colotomic structure, which is defined as a structure of music where specific instruments mark off established time intervals. In Gamelan music, instrument like the gongs are struck at different intervals, each playing their own repetitive rhythm, rhythmic ostinato, throughout the piece. In Pagodes, Debussy uses an ostinato (“Colotomic Structure”), a repeated melodic or rhythmic phrase, which is similar to the way colotomic gamelan structure uses repetition. An ostinato is introduced right at the start of the piece, starting in measure 3, and repeated throughout measures such as 5, 7, 53, 55, 57, 59, 80, and 82. The effect of this ostinato is to create a unifying structure of the pieces (“Ostinato”). This ostinato can be seen in figure 1, which will be shown below:

 

However, Debussy does not only use one ostinato, he also uses another ostinato to create unity, and it can be seen in measures 77-80, seen in figure 2 below.

 

This ostinato uses rapid 32^nd notes in the right hand melody and quarter notes in the left hand, and the cyclic upwards and downwards shape of the right hand melody is continued over several measures creating a very strong and intense ostinato. This repetition brings in a static quality that in addition to the first ostinato ties together and unifies Pagodes as a whole. However, Debussy doesn’t stop there. He proceeds to include a third ostinato, to elude a sense of strong unity. By using three varying ostinato phrases, the piece does not get dull and repetitive, yet is able to use repetition of 3 different types of ostinato to create unity. Furthermore, the ostinato can also create a mesmerizing, daze like atmosphere to the piece. Especially in Pagodes, where the alternating pianissimo dynamics and forte dynamics coupled with the ostinato phrases lulls the listeners into a fugue like state. This third ostinato can be seen within the use of two conjunct notes, C# and D#. This two note ostinato is used throughout the piece and is performed by alternating sections of the piano, creating a sense of call and response, otherwise known as antiphony. In figure 3 below, we can see the two note ostinato:

 

            In Tabuh Pisan, an actual colotomic structure is present. While Pagodes uses the ostinato to create the feel of a colotomic structure, this Gamelan piece uses a colotomic structures where the highly layered texture with interlocking layers based off the core melody, Balungan, are played in a system where musical intervals are marked off by the entrance of the gongan, a gong like instrument that creates a deep and resonating sound. Though this is not specifically a rhythmic ostinato, the use of the gongan in Tabuh Pisan is reminiscent of Debussy’s use of ostinato. In the gamelan piece, one can hear the entrance of the gong that is consistently repeated in four beat intervals. This lasts for a majority of the song, from 1:12 all the way to 11:35. This can be heard in Track 1 below:

Audio Example Track 1

            In addition to the ostinato mentioned above, another ostinato can be heard in Tabuh Pisan. This is the repeated motif ostinato played by an idiophone, most likely the Slenthem. The motif consists of two four beat measures of ascending notes that continue to repeat itself.  In contrast to Debussy, Tabuh Pisan’s use of colotomic nature not only creates a sense of unity, it also creates tension that builds up, as in addition to the four beat interval entrance of the gong, the interlocking layers of all the other instrumental sections of the piece create a harsh and slightly chaotic sound.

            While the use of ostinato in both pieces are a link, there are differences in the effect and roles of the ostinato. As Gamelan music is very cyclical and repetitive, the use of ostinato and repeated instrumental sections played simultaneously are the focus of the Gamelan piece and creates a lulling, shimmering and hypnotic sound. Whereas in Debussy's piece, Pagodes, the use of Ostinato is more of an accompaniment, that mimics and echoes the hypnotic sound so brazenly performed by the Gamelan Ensemble in Tabuh Pisan. Rather amazingly, Debussy shows the versatility of the piano by demonstrating how a solo instrument can almost imitate the sounds and tones of a full Gamelan Ensemble that is rich with instruments of varying timbres. 

           Furthermore, Debussy’s use of a pedal point also creates an impression of colotomic structure in gamelan music. A pedal point can be defined as a sustained note during which the harmony above it changes, often creating a dissonant sound. The effect of this is to create a static feel, as the unchanged pedal point ties the piece together and makes the listeners hear a strong tonal effect. Similar to the cyclical gong ostinato played every four beats as mentioned above, a whole note is often sustained in each measure of Pagodes as can be seen in measures 19 to 26. Refer to the highlighted whole notes in figure 4:

However, even though the whole note that is sustained in Pagodes can create a similar effect of unification and a static-feel, it is less powerful and unifying as the cyclic gong in Tabuh Pisan which resonates loudly throughout the piece and remains constant.