I had a vague feeling that there were simliar patterns you can find in both gamelan and early IDM music. The impurities have been de-emphasized, and the cleaner, even primitive stuff has been intentionally preserved. (I'm not sure if the feeling is the exact opposite or not) They seem to have lost the religious side of Gamelan, but maybe in some jungle music or IDM that hasn't yet been eroded by algorithmic music, you can still find the resemblance. Whereas in Biosphere or B12, it's almost obvious for that trend.
Wayang Golek performed by Asep Sunandar Sunarya was probably the most beautiful and "spiritual" thing I've ever heard (except western classical music) . And at the meantime, you are just hard to forget Xenakis' Pléïades. These pieces really remind me of so many things that are geniuely True and indeed Beautiful.

>>75
I placed a wrong audio file.

>>76
I don't really sure if the crowd is really that dionysian spirit, but musically and sonically, this is exactly right.
> [Nietzsche] thinks he is against the crowd, but he doesn’t realize that the dionysian unanimity is the voice of the crowd . . . What Nietzsche doesn’t see is the mimetic nature of unanimity. He doesn’t seize the meaning of the Christian reflection of the mob phenomenon. He does not see that the dionysiac is the spirit of the crowd, of the mob, and the Christian is the heroic exception.
> Rene Girard

>>78
And an almost identical statement from Xenakis.
This is what I feel in >>>/k/77

>>74
Booklet for Music for the Gods: The Fahnestock South Sea Expedition: Indonesia archived:

>>78
Plainly, Dionysian unconsciousness in its collective form is different from Dionysian unconsciousness that is differentiated and localized in an individual - so that an individual is in himself a people, a civilization, an order in its totality. For this differentiation to happen, Apollonian discipline is first needed, since it is Apollonian discipline, rationality, or consciousness, that differentiates.
Herd mentality when structured externally at least can maintain a superficial civilization (as in the case of Japan), but unstructured it will be pure, undifferentiated, barbarism.
Nietzsche was entrenched in a structured, disciplined herd, and he wanted individuals to be in contact with the Dionysian, the potential for greatness, so he needed to break the chain that bounds the individuals first. But his doing so, for herds, merely let undifferentiated Dionysian unconscious take control.

>>81
Can we say that only the Apollonian has the capacity to calmly accommodate a Dionysian state, or, this Apollonian is already a combination of the two, but the Apollonian is predominant, the other is hidden. The Apollo reborn from the ashes of Dionysus, Dionysus was the initial state and Apollo would be its evolution. And the Dionysus that is folded in the Apollonian, is a individualized Dionysus, "differentiated and localized in an individual".
>I say that like all pagan gods Dionysus - and his other manifestations like Bacchus - is just an internal function or force, constituing and working inside a pagan cosmic order, that can be put into abstraction as ‘the liberating force’. No matter what kind of ’liberation’ he brings, he just ’liberates’, and that is his sole function and purpose.
This 'liberation' is only momentary，"in a flash of immanent happiness", like Voegelin said. Belongs to human, and rising from Nous, but it's not Nous.
I have a question of all of these though, isn't Dionysus the most special or "unique" of all the pagan gods?

>>82
I need some distinction. In the quote, when I was speaking about the Dionysian, I wasn't speaking in the framework that puts the Apollonian and the Dionysian side by side. It was in the context of a broadly comparative-mythology-oriented characterization of the Dionysian. I wasn't speaking about Nietzsche's distinction, since his concept of the Dionysian can only be understood in the tension that arises from the dualism of the Apollonian and the Dionysian - since
> Apollo's classic Greek power to create measured and harmonious beauty is endlessly assailed by the drunken frenzy of Dionysus threatening to smash everything the sheer, the sheer tension the energy the tinge of madness, the supernatural powers that emerge […]
and this all presupposes that this drunken frenzy is happening inside a single individual, and further, in conflict with the Apollonian. It can be said that the Dionysian is like matter, substance, and the Apollonian bestows form to the matter.
For Nietzsche herd mentality was really what Kierkegaard criticized, it is, so to speak, Japanese mentality. Even if he thought about a violent mob, it wasn't his concern after all, since the world he was living in was so too superficially civilized. He thought this was due to the fact that there was no individual greatness, and for him Christianity was a religion for the weak, for those who want safety and comfort that a semi-Apollonian order (semi- since this order is a "community" one, an order that is formed by people mutually supporting each other in perpetuating their pitiful, boring life) provides. But as Goethe repeatedly pointed out, individual greatness presupposes the actual existence of an individual, which the Dionysian, without a strict Apollonian discipline, simply dissolves. Furthermore it is in the tension between the Apollonian and the Dionysian that greatness may arise, otherwise, with only the Dionysian present, it is pure chaos without any human significance; formless matter.

Maybe this is holy legendary. But I really don't much like fusion. qobuz
>It reflects an enduring classical tradition of Sundanese music while at the same time creating something fresh, modern and original. The music is centred on the kacapi, a boat-shaped zither whose mellifluous tones have been heard in Sunda (West Java) for centuries.
>The instrumentation of the Sambasunda Quintetfollows the Tembang Sunda tradition, using up to three kacapis, augmented by violin and suling (bamboo flute) accompanied by a female singer. The addition of thekhendang drums – a large barrel-shaped drum played at both ends with various tones elicited by pressure of the foot and three smaller high-pitched drums known as kulenter – is a contemporary touch, and, although some of the compositions are based on standards from the Tembang Sunda repertoire, they are performed with a distinctly urban rhythmic accent. The whole is suffused with a contemporary awareness of global sounds, from the local and international pop music prevalent in Bandung, to the influences of the group’s interactions with international artists they have met and performed with at major music festivals around the world. This is most apparent in the instrumental piece ‘Paddy Pergi Ke Bandung’ (‘Paddy Goes To Bandung’), which, as the title suggests, is a playful collision of Irish and Javanese themes.
>https://worldmusic.net/blogs/guide-to-world-music/indonesia-gamelan-from-palace-to-paddy-field