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Ketawang Colotomic 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 ( 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 of them ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ladrang Cycle
''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 o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
English Language
English is a West Germanic language of the Indo-European language family, with its earliest forms spoken by the inhabitants of early medieval England. It is named after the Angles, one of the ancient Germanic peoples that migrated to the island of Great Britain. Existing on a dialect continuum with Scots, and then closest related to the Low Saxon and Frisian languages, English is genealogically West Germanic. However, its vocabulary is also distinctively influenced by dialects of France (about 29% of Modern English words) and Latin (also about 29%), plus some grammar and a small amount of core vocabulary influenced by Old Norse (a North Germanic language). Speakers of English are called Anglophones. The earliest forms of English, collectively known as Old English, evolved from a group of West Germanic (Ingvaeonic) dialects brought to Great Britain by Anglo-Saxon settlers in the 5th century and further mutated by Norse-speaking Viking settlers starting in the 8 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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] |
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] |
Musical Form
In music, ''form'' refers to the structure of a musical composition or performance. In his book, ''Worlds of Music'', Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition or variation, the arrangement of the instruments (as in the order of solos in a jazz or bluegrass performance), or the way a symphonic piece is orchestrated", among other factors. It is, "the ways in which a composition is shaped to create a meaningful musical experience for the listener."Kostka, Stefan and Payne, Dorothy (1995). ''Tonal Harmony'', p.152. McGraw-Hill. . These organizational elements may be broken into smaller units called phrases, which express a musical idea but lack sufficient weight to stand alone. Musical form unfolds over time through the expansion and development of these ideas. In tonal harmony, form is articulated pr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Seleh
The ''sèlèh'' note or ''nada seleh'' is an Indonesian music concept used in Javanese gamelan music. In Javanese gamelan music, the ''sèlèh'' note or ''nada seleh'' is the final note of a '' gatra'', or four- beat melodic unit. As such it is the note which serves as the goal for all the various strands of the musical texture.Brinner, Benjamin (2008). ''Music in Central Java'', p.60. . See also * Gamelan * kotekan * Gatra * Colotomy * Slendro * 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 r ... * Music of Java Sources Gamelan theory {{Indonesia-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gatra (music)
A ''gatra'' ("embryo" or "semantic unit") is a unit of melody in Indonesian Javanese gamelan music, analogous to a 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 a second to nearly a min ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lancaran
''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 o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wela
''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 o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Piphat
A ''piphat'' is a kind of ensemble in the classical music of Thailand, which features wind and percussion instruments. It is considered the primary form of ensemble for the interpretation of the most sacred and "high-class" compositions of the Thai classical repertoire, including the Buddhist invocation entitled ''sathukan'' ( th, สาธุการ) as well as the suites called ''phleng rueang''. It is also used to accompany traditional Thai theatrical and dance forms including ''khon'' ( th, โขน) (masked dance-drama), '' lakhon'' (classical dance), and shadow puppet theater. Piphat in the earlier time was called ''phinphat''. It is analogous to its Cambodian musical ensemble of pinpeat and Laotian ensemble of pinphat. Types of ''piphat'' The smallest ''piphat'', called ''piphat khrueang ha'', is composed of six instruments: '' pi nai'' (oboe); '' ranat ek'' (xylophone); '' khong wong yai'' (gong circle); '' taphon'' or other Thai drums; '' glong thad'', a set ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gagaku
is a type of Japanese classical music that was historically used for imperial court music and dances. was developed as court music of the Kyoto Imperial Palace, and its near-current form was established in the Heian period (794-1185) around the 10th century.History of gagaku Nihon gagakukai Today, it is performed by the Board of Ceremonies in the Tokyo Imperial Palace. Gagaku consists of three primary repertoires: #Native Shinto relig ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jaap Kunst
Jaap Kunst (12 August 1891 in Groningen – 7 December 1960 in Amsterdam) was a Dutch musicologist. He is credited with coining the term " ethnomusicology" as a more accurate name for the field then known as comparative musicology. Kunst studied the folk music of the Netherlands and of Indonesia. His published work totals more than 70 texts. Early life Kunst was born in 1891 in Groningen. Both of his parents were musicians, and his father was a music-school teacher. 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, Kunst published the results of his first musical research. Kunst earned a degree in law from the University of Groningen in 1917. and pursued a career in banking and law for the next two years. However, he soon tired of this work. Work in Indonesia In 1 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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