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Balungan Instruments
The ''balungan'' () is sometimes called the "core melody" or, "skeletal melodic outline," of a Javanese gamelan composition. This corresponds to the view that gamelan music is heterophonic: the ''balungan'' is then the melody which is being elaborated. "An abstraction of the inner melody felt by musicians," the ''balungan'' is, "the part most frequently notated by Javanese musicians, and the only one likely to be used in performance."Anderson Sutton, Richard (1991). ''Traditions of Gamelan Music in Java: Musical Pluralism and Regional Identity'', p.xix. Cambridge University. . The group of instruments which play the closest to the ''balungan'' are sometimes also called the ''balungan'', or ''balungan'' instruments. These are the '' saron'' family and the '' slenthem''. In many pieces, they play the ''balungan''. However, they can also elaborate on the parts in a variety of techniques. It is possible that there is no instrument playing the ''balungan'', although many musicians cla ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ladrang Cycle Balungan
''Colotomy'' is an Music of Indonesia, Indonesian description of the rhythmic and meter (music), metric patterns of gamelan music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various size: the ''kempyang'', ''ketuk'', ''kempul'', ''kenong'', ''gong suwukan'', and ''gong ageng''. The fast-playing instruments, ''kempyang and ketuk'', keep a regular beat (music), beat. The larger gongs group together these hits into larger groupings, playing once per each grouping. The largest gong, the ''gong ageng'', represents the largest time cycle and generally indicates that that section will be repeated, or the piece will move on to a new section. The details of the rhythmic patterns depend on the colotomic structure (), also known as ''gendhing'' structure. There are a number of different structures, which differ greatly in length and complex ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Syncopation
In music, syncopation is a variety of rhythms played together to make a piece of music, making part or all of a tune or piece of music off-beat (music), off-beat. More simply, syncopation is "a disturbance or interruption of the regular flow of rhythm": a "placement of rhythmic stresses or accents where they wouldn't normally occur". It is the correlation of at least two sets of time intervals. Syncopation is used in many musical styles, such as electronic dance music. According to music producer Rick Snoman, “All dance music makes use of syncopation, and it’s often a vital element that helps tie the whole track together”. Syncopation can also occur when a strong harmony is simultaneous with a weak Beat (music), beat, for instance, when a 7th chord, 7th-chord is played on the second beat of a measure or a dominant chord is played at the fourth beat of a measure. The latter occurs frequently in tonal cadences for 18th- and early-19th-century music and is the usual conclu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gamelan Instruments
Gamelan (; ; , ; ) is the traditional ensemble music of the Javanese, Sundanese, and Balinese peoples of Indonesia, made up predominantly of percussive instruments. The most common instruments used are metallophones (played with mallets) and a set of hand-drums called ''kendang'', which keep the beat. The '' kemanak'', a banana-shaped idiophone, and the '' gangsa'', another metallophone, are also commonly used gamelan instruments on Bali. Other notable instruments include xylophones, bamboo flutes (similar to the Indian ''bansuri''), a bowed string instrument called a ''rebab'' (somewhat similar to the '' gadulka'' of Bulgaria), and a zither-like instrument called a '' siter'', used in Javanese gamelan. Additionally, vocalists may be featured, being referred to as '' sindhen'' for females or '' gerong'' for males.Sumarsam (1998)''Introduction to Javanese Gamelan''. Middletown. Although the popularity of gamelan has declined slightly since the introduction of moder ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jaap Kunst
Jaap Kunst (12 August 1891 – 7 December 1960) was a Dutch musicologist. He is credited with steering the discipline away from exclusively comparative methods and into the direction of historical particularism, coining the term " ethno-musicology" as a more accurate name for the field then known as comparative musicology. Kunst studied the folk music of the Netherlands and his field studies in Indonesia between 1920 and 1934 are seen as fundamental contributions to the knowledge and understanding of Indonesian folk music. His published work totals more than 70 texts. Early life Kunst was born on 12 August 1891 in Groningen. Both of his parents were pianists, and his father was a music-school teacher and music critic. He began to study the violin at only 5 years old, and continued to play the instrument throughout his life. Kunst was drawn toward folk music as a result of vacations to the island of Terschelling. Kunst decided to pursue a career in law. While studying law at ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Patet
Pathet (, also patet) is an organizing concept in central Javanese gamelan music in Indonesia. It is a system of tonal hierarchies in which some notes are emphasized more than others. The word means '"to damp, or to restrain from" in Javanese. ''Pathet'' is "a limitation on the player's choice of variation, so that while in one ''pathet'' a certain note may be prominent, in another it must be avoided, or used only for special effect. Awareness of such limitations, and exploration of variation within them reflects a basic philosophical aim of gamelan music, and indeed all art in central Java, namely, the restraint and refinement of one's own behaviour." Javanese often give poetic explanations of pathet, such as "Pathet is the couch or bed of a melody." In essence, a pathet indicates which notes are stressed in the melody, especially at the end of phrases (seleh), as well as determines which elaborations (cengkok and sekaran) are appropriate. In many cases, however, pieces are se ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mantle Hood
Mantle Hood (June 24, 1918 – July 31, 2005) was an American ethnomusicologist. Among other areas, he specialized in studying gamelan music from Indonesia. Hood pioneered, in the 1950s and 1960s, a new approach to the study of music, and the creation of the first American university program devoted to ethnomusicology, at the University of California, Los Angeles (UCLA). He was known for making the suggestion that his students learn to play the music they were studying. While it was somewhat novel at the time, this concept (dubbed by Hood ''bi-musicality'') is a central tool of ethnomusicology today. Biography Born and raised in Springfield, Illinois Springfield is the List of capitals in the United States, capital city of the U.S. state of Illinois. Its population was 114,394 at the 2020 United States census, which makes it the state's List of cities in Illinois, seventh-most populous cit ..., Hood studied piano as a child and played clarinet and tenor saxophone in regi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gendhing
''Colotomy'' is an Indonesian description of the rhythmic and metric patterns of gamelan music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various size: the '' kempyang'', '' ketuk'', '' kempul'', ''kenong'', '' gong suwukan'', and ''gong ageng''. The fast-playing instruments, '' kempyang and ketuk'', keep a regular beat. The larger gongs group together these hits into larger groupings, playing once per each grouping. The largest gong, the ''gong ageng'', represents the largest time cycle and generally indicates that that section will be repeated, or the piece will move on to a new section. The details of the rhythmic patterns depend on the colotomic structure (), also known as ''gendhing'' structure. There are a number of different structures, which differ greatly in length and complexity; however, all of them have some coloto ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
American Gamelan Institute
The American Gamelan Institute (AGI) is an organization devoted to promoting and documenting all forms of gamelan, the performing arts of Indonesia, and their international counterparts. The institute was founded by Jody Diamond in Berkeley, California, in 1981. The office moved to Hanover, New Hampshire, in 1990. AGI publishes scores, recordings, monographs, translations and other material. AGI has an online library with a wide variety of monographs, collections of notation, and a font for the cipher notation commonly used for gamelan, called KepatihanPro. These materials may be freely downloaded for educational use. AGI maintains an extensive archive of notation and scores for both new and traditional gamelan music, scholarly writings on gamelan, as well as audio and video recordings. The organization's scope includes gamelan music as practiced in Indonesia as well as around the world. The journal ''Balungan'' was started in 1984 to encourage a dialog between artists and schola ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gendhing Structure
''Colotomy'' is an Indonesian description of the rhythmic and metric patterns of gamelan music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various size: the ''kempyang'', ''ketuk'', ''kempul'', ''kenong'', ''gong suwukan'', and ''gong ageng''. The fast-playing instruments, ''kempyang and ketuk'', keep a regular beat. The larger gongs group together these hits into larger groupings, playing once per each grouping. The largest gong, the ''gong ageng'', represents the largest time cycle and generally indicates that that section will be repeated, or the piece will move on to a new section. The details of the rhythmic patterns depend on the colotomic structure (), also known as ''gendhing'' structure. There are a number of different structures, which differ greatly in length and complexity; however, all of them have some colotomic ch ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Overline
An overline, overscore, or overbar, is a typographical feature of a horizontal and vertical, horizontal line drawn immediately above the text. In old mathematical notation, an overline was called a ''vinculum (symbol), vinculum'', a notation for grouping symbols which is expressed in modern notation by parentheses, though it persists for symbols under a radical sign. The original use in Ancient Greek was to indicate compositions of Greek alphabet, Greek letters as Greek numerals. In Latin, it indicates Roman numerals multiplied by a thousand and it forms medieval abbreviations (sigla). Marking one or more words with a continuous line above the characters is sometimes called ''overstriking'', though overstriking generally refers to printing one character on top of an already-printed character. An overline, that is, a single line above a chunk of text, should not be confused with the macron (diacritic), macron, a diacritical mark placed above (or sometimes below) ''individual'' le ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gatra (music)
A ''gatra'' ("embryo" or "semantic unit") is a unit of melody in Indonesian Javanese people, Javanese gamelan music, analogous to a bar (music), measure in Western music. It is often considered the smallest unit of a gamelan composition. A ''gatra'' consists of a sequence of four beats (''keteg''), which are filled with notes (or rests, ''pin'') from the ''balungan''. In general, the second and fourth beats of a ''gatra'' are stronger than the first and third, and the final note of a ''gatra'', called the ''seleh'', dominates the ''gatra''. In other words, the ''gatras'' are like Western measures in reverse, with the strongest beat at the end. Important colotomic instruments, most notably the ''gong ageng'', are played on that final beat. If the final beat in a ''gatra'' is a rest, the ''seleh'' is the last note played. It is not uncommon in gamelan repertoire to find entire ''gatras'' of rests. Note that the actual length of time it takes to play a ''gatra'' varies from less than ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melody
A melody (), also tune, voice, or line, is a linear succession of musical tones that the listener perceives as a single entity. In its most literal sense, a melody is a combination of Pitch (music), pitch and rhythm, while more figuratively, the term can include other musical elements such as Timbre, tonal color. It is the foreground to the background accompaniment. A line or Part (music), part need not be a foreground melody. Melodies often consist of one or more musical Phrase (music), phrases or Motif (music), motifs, and are usually repeated throughout a Musical composition, composition in various forms. Melodies may also be described by their melodic motion or the pitches or the interval (music), intervals between pitches (predominantly steps and skips, conjunct or disjunct or with further restrictions), pitch range, tension (music), tension and release, continuity and coherence, cadence (music), cadence, and shape. Function and elements Johann Philipp Kirnberger arg ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
