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Minggah
The minggah or inggah is a section of a gendhing composition for gamelan. It follows the merong, after an ompak. It is distinguished from the previous section by the use of kempyang. In the minggah section, the kempyang and kethuk play in the same pattern as in the ketawang, but with no kempul, and the kenong only where the gong ageng goes in the ketawang. Like the merong, it has a diversity of forms which can be specified by naming the number of kethuk strokes used. For example, consider "gendhing kethuk 2 kerep minggah kethuk 4." This means that in the minggah, there will be four gatras per nongan. The structure would then look like: where "{{mono, ." indicates no interpunctuating instrument plays, p indicates the stroke of the kempyang, T the ketuk, N the kenong, and G the simultaneous stroke of the gong and kenong. Thus, in each section, the gong plays once, the kenong divides that into four parts, and then that is divided into parts according to the given structure. Here e ... [...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] |
Ketawang
''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 cha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ladrang
''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] |
Merong
The merong is a section of a composition for Javanese gamelan, a musical ensemble featuring metallophones, xylophones, drums, and gongs. Specifically, the merong is the initial part of a gendhing. A merong cannot be played on its own, but must be followed by a minggah, which may also take the form of a ladrang or other colotomic structure. The merong is the longest of the sections used in gamelan composition. It consists of a single Gong ageng#Function, gongan lasting four Kenong, nongan, but the nongan can be of different lengths. Merong are then classified according to the number of kethuk strokes in a nongan in each section. The merong does not use the kempyang or kempul. There are two patterns for the kethuk in the merong, ''arang'' ("infrequent, sparse") and ''kerep'' ("frequent"). Both have the kethuk play only at the end of a gatra (music), gatra, but in the kerep pattern, it is at the end of all odd-numbered gatras, whereas in the arang, it is at the end of the gatras of doub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ompak
The ompak or umpak ("bridge") is a section of a gamelan composition. It refers to the opening gongan of a ladrang or ketawang, or four gongans of the lancaran. These sections are usually repeated, and can be repeated as often as desired. This section is also called the bubuka gendhing, which is not to be confused with the buka (i.e. bubuka opaq-opaq). The analogous section for a gendhing is the merong. Ompak can also refer to the bridge which links separate sections of a gendhing, i.e. between the merong and minggah sections. This usually consists of one or two nongan, or sometimes a whole gongan. The balungan for the ompak may or may not be different from the regular merong, but there is always a different kendhang pattern. The cue to go to the ompak is usually given by an increase in speed from the kendhang, often including a change in irama ''Irama'' is the term used for tempo in Indonesian gamelan in Java and Bali. It can be used with elaborating instruments. It is a con ... [...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] |
Kempyang
The kempyang and ketuk are two instruments in the gamelan ensemble of Indonesia, generally played by the same player, and sometimes played by the same player as the kenong. They are important beat-keepers in the colotomic structure of the gamelan. Depending on the structure, they play different, repeating patterns every gongan. Not all structures use the kempyang, but the kempyang is never played without the ketuk. They are shaped like bonang, but are generally placed in their own frame (''rancak''). The kempyang is pitched higher (about one octave, although it depends if they are in the pelog or slendro set. Both have a central boss like the bonang, but the kempyang has a rounder top (like the higher bonangs), while the ketuk has a flat top (like the lower bonangs). In the common numerical notation, kempyang strokes are marked by "-" while the ketuk is marked by "+". The ketuk pattern is used to classify longer gendhing types, where it refers to the number of ketuk strokes in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kempul
A kempul is a type of hanging gong used in Indonesian gamelan. The kempul is a set of pitched, hanging, knobbed gongs, often made of bronze, wood, and cords. Ranging from in diameter, the kempul gong has a flat surface with a protruding knob at the center and is played by hitting the knob with the "soft end of a mallet." "The wooden mallet used has a ball shape head with heavy padding on a short wooden handle. The number of kempul gongs present in a gamelan ensemble varies but, "although there can be two to ten kempul on one separate rack, it is common to have five kempul hanging on the same rack as the Gong ageng and gong siyem" (two larger gongs). Kempul in music "Generally, the instruments in a gamelan orchestra may fall into the following three functional categories: # Instruments that delineate the structure of the piece; # Instruments that guide temporal flow of the music; # Instruments that carry melodies in both simple and elaborate forms" "Instruments in the firs ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kenong
The Kenong is a musical instrument of Indonesia used in the gamelan. It is a kind of gong and is placed on its side. It has the same length and width. Thus, it is similar to the bonang, kempyang, and ketuk, which are also cradled gongs. Kenongs are generally much larger than the aforementioned instruments. However, the kenong has a considerably higher pitch. Its sound stands out because of its unique timbre. The kenong sticks are taller than that of the bonang. The kenong is sometimes played by the same player as the kempyang and ketuk. Most of the instruments in the gamelan 'family'. are originally from Java, Indonesia but spread to Southeast Asia. The kenong usually has a specific part in the colotomic structure of the gamelan, marking off parts of a structure smaller than a gongan (the space between each strike of the gong). The interval of each part between strikes of a kenong is called a . In a fast, short structure these can only last a second or so; in a longer gendh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gong Ageng
The gong ageng (or gong gedhe in Ngoko Javanese, means large gong) is an Indonesian musical instrument used in the Javanese gamelan. It is the largest of the bronze gongs in the Javanese and Balinese gamelan orchestra and the only large gong that is called ''gong'' in Javanese.Lindsay, Jennifer (1992). ''Javanese Gamelan'', p.10-11. . "The largest phrase of a gamelan melody is marked by the deepest sounding and largest instrument, the large gong or ''gong ageng''....The ''gong ageng'' is made of bronze..." Unlike the more famous Chinese or Turkish tam-tams, Indonesian gongs have fixed, focused pitch, and are dissimilar to the familiar crash cymbal sound. It is circular, with a conical, tapering base of diameter smaller than gong face, with a protruding polished boss where it is struck by a padded mallet. Gongs with diameter as large as have been created in the past, but gongs larger than about are more common especially to suit the budget of educational institutions.Wasi ... [...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] |
Ketuk
The kempyang and ketuk are two instruments in the gamelan ensemble of Indonesia, generally played by the same player, and sometimes played by the same player as the kenong. They are important beat-keepers in the colotomic structure of the gamelan. Depending on the structure, they play different, repeating patterns every gongan. Not all structures use the kempyang, but the kempyang is never played without the ketuk. They are shaped like bonang, but are generally placed in their own frame (''rancak''). The kempyang is pitched higher (about one octave, although it depends if they are in the pelog or slendro set. Both have a central boss like the bonang, but the kempyang has a rounder top (like the higher bonangs), while the ketuk has a flat top (like the lower bonangs). In the common numerical notation, kempyang strokes are marked by "-" while the ketuk is marked by "+". The ketuk pattern is used to classify longer gendhing types, where it refers to the number of ketuk strokes in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
