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Imbal
Kunst, Jaap (2013). ''Music in Java: Its history, Its Theory and Its Technique'', p.169. Springer. . or (, ) is a technique used in Indonesian Javanese gamelan. It refers to a rapid alternation of a melodic line between instruments, in a way similar to hocket in medieval music or '' kotekan'' in Balinese gamelan. "A style of playing in which two identical or similar instruments play interlocking parts forming a single repetitive melodic pattern." In Javanese gamelan, it is used especially for the '' sarons'' and the ''bonangs''. On the ''bonangs'', an ''imbal'' pattern is divided between the ''bonang panerus'' and ''bonang barung'', in the octave or so of range that both instruments have. When played on ''sarons'', generally two of the same instrument are used. Both ''bonang'' and ''saron'' patterns generally are made of scalar passages that end on the '' seleh'' at the end of the '' gatra''. Each key is dampened as soon as the other instrument plays, and it allows the melody ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gamelan Theory
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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gamelan
Gamelan (; ; , ; ) is the traditional musical ensemble, ensemble music of the Javanese people, Javanese, Sundanese people, Sundanese, and Balinese people, Balinese peoples of Indonesia, made up predominantly of percussion instrument, percussive instruments. The most common instruments used are metallophones (played with mallets) and a set of hand-drums called ''kendang'', which keep the beat (music), beat. The ''kemanak'', a banana-shaped idiophone, and the ''gangsa'', another metallophone, are also commonly used gamelan Musical instrument, 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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kotekan
''Kotekan'' is a style of playing fast interlocking parts in most varieties of Balinese Gamelan music, including Gamelan gong kebyar, Gamelan angklung, Gamelan jegog and others. Kotekan are "sophisticated interlocking parts," "characteristic of gong kebyar and several other Balinese gamelan styles, that combine to create the illusion of a single melody, melodic line that often sounds tempo, faster than any single human could possibly play." According to Colin McPhee: "Composed of two rhythmically opposing parts which...interlock to create a perpetual flow of sound, the ''kotekan'' adds sheen and intensity to the music, ...calls for the utmost rhythmic precision...[and] lies in the top register of the gamelan."McPhee, Colin (1966). Music in Bali', p.162. New Haven, CT: Yale. . In ''kotekan'' there are two independent parts called ''polos'' and ', each of which fills in the gaps of the other to form a complete rhythmic texture. In Gamelan gong kebyar, Kotekan is usually played on ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gamelan
Gamelan (; ; , ; ) is the traditional musical ensemble, ensemble music of the Javanese people, Javanese, Sundanese people, Sundanese, and Balinese people, Balinese peoples of Indonesia, made up predominantly of percussion instrument, percussive instruments. The most common instruments used are metallophones (played with mallets) and a set of hand-drums called ''kendang'', which keep the beat (music), beat. The ''kemanak'', a banana-shaped idiophone, and the ''gangsa'', another metallophone, are also commonly used gamelan Musical instrument, 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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Saron (instrument)
The saron is a musical instrument of Indonesia, which is used in the gamelan. It normally has seven bronze bars placed on top of a resonating frame (''rancak''). It is usually about 20 cm (8 in) high, and is played on the floor by a seated performer. In a pelog scale, the bars often read 1-2-3-5-6-7 across (the number four is not used because of its relation to death) (in kepatihan numbering); for slendro, the bars are 6-1-2-3-5-6-1; this can vary from gamelan to gamelan, or even among instruments in the same gamelan. Slendro instruments commonly have only six keys. It provides the core melody ( balungan) in the gamelan orchestra. Varieties Sarons typically come in a number often sizes, from smallest to largest: *Saron panerus (also: peking) *Saron barung (sometimes just saron) *Saron demung (often just called demung) Each one of those is pitched an octave below the previous. The slenthem or slentho performs a similar function to the sarons one octave below the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Of Java
The Music of Java embraces a wide variety of styles, both traditional and contemporary, reflecting the diversity of the island and its lengthy history. Apart from traditional forms that maintain connections to musical styles many centuries old, there are also many unique styles and conventions which combine elements from many other regional influences, including those of neighbouring Asian cultures and European colonial forms. Gamelan The gamelan orchestra, based on metallic idiophones and drums, is perhaps the form which is most readily identified as being distinctly "Javanese" by outsiders. In various forms, it is ubiquitous to Southeast Asia. In Java, the full gamelan also adds a bowed string instrument (the rebab, a name illustrative of Islamic influence), plucked siter, vertical flute suling and voices. The rebab is one of the main melodic instruments of the ensemble, together with the metallophone gendér; these and the kendang drums are often played by the most experi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Of Indonesia
Indonesia is a country with many different tribes and ethnic groups, and its music is also very diverse, coming in hundreds of different forms and styles. Every region has its own culture and art, and as a result traditional music from area to area also uniquely differs from one another. For example, each traditional type of music is often accompanied by its very own dance and theatre. Contemporary music scene have also been heavily shaped by various foreign influences, such as America, Britain, Japan, Korea, and India. The music of Java, Sumatra, Bali, Flores (Lesser Sunda Islands) and other islands have been well documented and recorded, and further research by Indonesian and international scholars is also ongoing. The music in Indonesia predates historical records, various Native Indonesian tribes often incorporate chants and songs accompanied with musical instruments in their rituals. The contemporary music of Indonesia today is also popular amongst neighbouring countries ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gendhing Structures
''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] |
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] |
Panerusan
The panerusan instruments or elaborating instruments are one of the divisions of instruments used in Indonesian gamelan. Instead of the rhythmic structure provided by the colotomic instruments, and the core melody of the balungan instruments, the panerusan instruments play variations on the balungan. They are usually the most difficult instruments to learn in the gamelan, but provide the most opportunity for improvisation and creativity in the performer. Hood, Mantle. ''The Nuclear Theme as a Determinant of Patet in Javanese Music''. New York: Da Capo, 1977. Pages 11–12. Panerusan instruments include the gendér, suling, rebab, siter/ celempung, bonang, and gambang. The female singer, the pesindhen, is also often included, as she sings in a similar fashion to the instrumental techniques. As these include the only wind instruments, string instruments, and wooden percussion instruments found in the gamelan, they provide a timbre which stands out from most of the gamelan. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
