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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 concept used in Javanese gamelan music, describing melodic tempo and relationships in density between the balungan, elaborating instruments, and gong structure. It is distinct from tempo ( Javanese: ''Laya''), as each ''Irama'' can be played in different tempi. ''Irama'' thus combines "the rate of temporal flow and temporal density"; and the temporal density is the primary factor.Sumarsan, 1996. page 156 One way to think of ''Irama'' is to use the most consistently struck instrument in the gamelan, the ''saron panerus'' (or ''peking''). In some pieces, it plays once per note in the ''balungan'' (such as played by the ''saron barung''). In others, it may play twice as often, or four times, as the notes of the ''balungan'' are more spread out. This corresponds to a slower ''Irama''. In most cases, the more spread out the ''balungan'' is, the longer it ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gamelan Theory
Gamelan () ( jv, ꦒꦩꦼꦭꦤ꧀, su, ᮌᮙᮨᮜᮔ᮪, ban, ᬕᬫᭂᬮᬦ᭄) 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 by mallets and a set of hand-played drums called '' kendhang/Kendang'', which register the beat. The kemanak (a banana-shaped idiophone) and gangsa (another metallophone) are commonly used gamelan instruments in Bali. Other instruments include xylophones, bamboo flutes, a bowed instrument called a ''rebab'', a zither-like instrument ''siter'' (in Javanese ensemble) and vocalists named '' sindhen'' (female) or ''gerong'' (male).Sumarsam (1998)''Introduction to Javanese Gamelan'' Middletown. Although the popularity of gamelan has declined since the introduction of pop music, gamelan is still commonly played in many traditional ceremonies and other modern activities in Indonesia, bo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gamelan
Gamelan () ( jv, ꦒꦩꦼꦭꦤ꧀, su, ᮌᮙᮨᮜᮔ᮪, ban, ᬕᬫᭂᬮᬦ᭄) 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 by mallets and a set of hand-played drums called '' kendhang/Kendang'', which register the beat. The kemanak (a banana-shaped idiophone) and gangsa (another metallophone) are commonly used gamelan instruments in Bali. Other instruments include xylophones, bamboo flutes, a bowed instrument called a ''rebab'', a zither-like instrument ''siter'' (in Javanese ensemble) and vocalists named '' sindhen'' (female) or ''gerong'' (male).Sumarsam (1998)''Introduction to Javanese Gamelan'' Middletown. Although the popularity of gamelan has declined since the introduction of pop music, gamelan is still commonly played in many traditional ceremonies and other modern activities in Indonesia, b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gamelan
Gamelan () ( jv, ꦒꦩꦼꦭꦤ꧀, su, ᮌᮙᮨᮜᮔ᮪, ban, ᬕᬫᭂᬮᬦ᭄) 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 by mallets and a set of hand-played drums called '' kendhang/Kendang'', which register the beat. The kemanak (a banana-shaped idiophone) and gangsa (another metallophone) are commonly used gamelan instruments in Bali. Other instruments include xylophones, bamboo flutes, a bowed instrument called a ''rebab'', a zither-like instrument ''siter'' (in Javanese ensemble) and vocalists named '' sindhen'' (female) or ''gerong'' (male).Sumarsam (1998)''Introduction to Javanese Gamelan'' Middletown. Although the popularity of gamelan has declined since the introduction of pop music, gamelan is still commonly played in many traditional ceremonies and other modern activities in Indonesia, b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Of Indonesia
As it is a country with many different tribes and ethnic groups, the music of Indonesia ( id, Musik Indonesia) itself is also very diverse, coming in hundreds of different forms and styles. Every region have 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 music are often accompanied by their 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 popula ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Colotomy
''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 ( jv, italic=yes, bentuk), also known as ''gendhing'' structure. There are a number of different structures, which differ greatly in length and complexity; however, all ... [...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 experie ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gamelan Notation
Notation plays a relatively minor role in the oral traditions of Indonesian gamelan but, in Java and Bali, several systems of gamelan notation were devised beginning at the end of the 19th century, initially for archival purposes. Kepatihan Kepatihan is a type of cipher musical notation that was devised for notation of the Indonesian gamelan. History The system was devised around 1900 at the ''Kepatihan'' (the Grand Vizier's compound) in Surakarta, and was based upon the Galin-Paris-Chevé system, imported in the nineteenth century by Christian missionaries to allow the notation of hymns. It superseded several other notation systems of Javanese origin devised around the same time. Notation The pitches of the seven-tone pélog tuning system are designated by the numbers 1, 2, 3, 4, 5, 6, and 7; while the five-tone slendro pitches are notated as 1, 2, 3, 5, and 6. The octaves are noted by dots above and below the numbers, as in Chinese jianpu, although of course the pitc ... [...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.Wasist ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Saron Barung
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 dem ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Saron Panerus Irama
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Saron Panerus
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 dem ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tempo
In musical terminology, tempo ( Italian, 'time'; plural ''tempos'', or ''tempi'' from the Italian plural) is the speed or pace of a given piece. In classical music, tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and is usually measured in beats per minute (or bpm). In modern classical compositions, a " metronome mark" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will typically simply be stated in BPM. Tempo may be separated from articulation and meter, or these aspects may be indicated along with tempo, all contributing to the overall texture. While the ability to hold a steady tempo is a vital skill for a musical performer, tempo is changeable. Depending on the genre of a piece of music and the performers' interpretation, a piece may be played with slight tempo rubato or drastic variances. In ensembles, the tempo is ofte ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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