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Ngelik
{{Short description, Section of a gamelan composition The ngelik (or lik) is a part of an Indonesian gamelan composition that contrasts from the surrounding section, either the ompak or merong. It is also sometimes called the ''gendhing proper'', in contrast to the bubuka gendhing (i.e. ompak). The ngelik is often associated with a higher pitch, and is usually the part where the gerong sings the main melody of the composition. As many ketawang have the same ompak, the ngelik can be the main determinant of what the piece is. Ngelik vary in length, but are usually longer than the surrounding ompak in a ketawang, the same length as the ompak in a ladrang, and the same length as the merong in a 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. I .... The latter two are typically on ... [...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] |
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] |
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] |
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] |
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] |
Gerong
''Gerong'' () is the Javanese verb meaning "to sing in a chorus." ''Penggerong'' is the proper name of a member of the chorus, but often the word gerong is used to refer to the unison male chorus that sings with the gamelan. The chorus or the melody may also be called the gerongan. The gerong generally sings in distinct sections of a gamelan composition. Certain standard texts in Javanese poetic meters of various structures are used in many compositions; some are based in Javanese poetic forms known as macapat. Some pieces have specific texts written for them, but this is often a special treatment. Female singers are referred to as ''pesindhen'', and may sing in a separate group, a combined group with the men, or as a solo female voice, with or without a male chorus. A gerong part is different from that of a single female singer sindhen, in that the chorus must sing together, and is generally more connected to the steady pulse of the underlying gamelan parts. While vocal parts ... [...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] |
