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Gambang (instrument)
A gambang, properly called a gambang kayu ('wooden gambang') is a xylophone-like instrument used in Indonesian gamelan and kulintang ensembles. It has wooden bars (''wilah'') in contrast to the metallic ones of the more typical metallophones in a gamelan. A largely obsolete instrument, the gambang gangsa, is a similar instrument made with metal bars. Gambang kayu The bars of the instrument are made of a hardwood, often teak though many other species are used: ironwood (''kayu besi''), '' merbau'' (Borneo teak), jackfruit, ''ramin'', ''rawan'', ''Artocarpus'' species, etc. The bars are mounted on a deep wooden case that serves as a resonator. Instruments typically have 17-21 keys that are easily removed, and are kept in place by having a hole through which a nail is placed. Generally a full gamelan has two sets, one gambang pelog and the other one gambang slendro. A pair of long thin mallets (''tabuh''), made of flexible water buffalo horn tipped with felt, are used to play the in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Percussion Instrument
A percussion instrument is a musical instrument that is sounded by being struck or scraped by a beater including attached or enclosed beaters or rattles struck, scraped or rubbed by hand or struck against another similar instrument. Excluding zoomusicological instruments and the human voice, the percussion family is believed to include the oldest musical instruments.'' The Oxford Companion to Music'', 10th edition, p.775, In spite of being a very common term to designate instruments, and to relate them to their players, the percussionists, percussion is not a systematic classificatory category of instruments, as described by the scientific field of organology. It is shown below that percussion instruments may belong to the organological classes of ideophone, membranophone, aerophone and cordophone. The percussion section of an orchestra most commonly contains instruments such as the timpani, snare drum, bass drum, tambourine, belonging to the membranophones, an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dampening
Damping is an influence within or upon an oscillatory system that has the effect of reducing or preventing its oscillation. In physical systems, damping is produced by processes that dissipate the energy stored in the oscillation. Examples include viscous drag (a liquid's viscosity can hinder an oscillatory system, causing it to slow down; see viscous damping) in mechanical systems, resistance in electronic oscillators, and absorption and scattering of light in optical oscillators. Damping not based on energy loss can be important in other oscillating systems such as those that occur in biological systems and bikes (ex. Suspension (mechanics)). Not to be confused with friction, which is a dissipative force acting on a system. Friction can cause or be a factor of damping. The damping ratio is a dimensionless measure describing how oscillations in a system decay after a disturbance. Many systems exhibit oscillatory behavior when they are disturbed from their position of s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gangsa
A gangsa is a type of metallophone which is used mainly in Balinese and Javanese Gamelan music in Indonesia. In Balinese gong kebyar styles, there are two types of gangsa typically used: the smaller, higher pitched and the larger . Each instrument consists of several tuned metal bars (either iron or bronze) each placed over an individual resonator. The bars are hit with a wooden , each producing a different pitch. Duration of sound intensity and sound quality factors are generally accomplished by damping the vibration of the bar with the fingers of the free hand. Balinese gong , as with other metallophones in gong ensembles, are played in neighboring pairs with interlocking, rapid-tempo parts that elaborate on the melody of a piece of music (see Kotekan); these pairs are tuned to be dissonant and create certain wavelengths of sympathetic vibrations to create a shimmering tone (see Ombak) that travels long distances. The gangsa is very similar to the old and the . The same wor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pathet
Pathet ( jv, ꦥꦛꦼꦠ꧀, translit=Pathet, also patet) is an organizing concept in central Javanese gamelan music in Indonesia. It is a system of tonal hierarchies in which some notes are emphasized more than others. The word means '"to damp, or to restrain from" in Javanese. ''Pathet'' is "a limitation on the player's choice of variation, so that while in one ''pathet'' a certain note may be prominent, in another it must be avoided, or used only for special effect. Awareness of such limitations, and exploration of variation within them reflects a basic philosophical aim of gamelan music, and indeed all art in central Java, namely, the restraint and refinement of one's own behaviour." Javanese often give poetic explanations of pathet, such as "Pathet is the couch or bed of a melody." In essence, a pathet indicates which notes are stressed in the melody, especially at the end of phrases ( seleh), as well as determines which elaborations ( cengkok and sekaran) are appropria ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cadence (music)
In Western musical theory, a cadence (Latin ''cadentia'', "a falling") is the end of a phrase in which the melody or harmony creates a sense of full or partial resolution, especially in music of the 16th century onwards. Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', pp. 105-106. . A harmonic cadence is a progression of two or more chords that concludes a phrase, section, or piece of music. A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase. A cadence can be labeled "weak" or "strong" depending on the impression of finality it gives. While cadences are usually classified by specific chord or melodic progressions, the use of such progressions does not necessarily constitute a cadence—there must be a sense of closure, as at the end of a phrase. Harmonic rhythm plays an important part in determining where a cadence occurs. Cadences are strong indicators of the tonic or central pitch of a pas ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mantle Hood
Mantle Hood (June 24, 1918 – July 31, 2005) was an American ethnomusicologist. Among other areas, he specialized in studying gamelan music from Indonesia. Hood pioneered, in the 1950s and 1960s, a new approach to the study of music, and the creation of the first American university program devoted to ethnomusicology, at the University of California, Los Angeles (UCLA). He was known for a suggestion, somewhat novel at the time, that his students learn to play the music they were studying. Biography Born and raised in Springfield, Illinois, Hood studied piano as a child and played clarinet and tenor saxophone in regional jazz clubs in his teens. Despite his talent as a musician, he had no plans to make it his profession. He moved to Los Angeles in the 1930s and wrote pulp fiction while employed as a draftsman in the aeronautical industry. After Army service in Europe during World War II, he returned to Los Angeles. He enrolled in the School of Agriculture at the Universi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Borobudur
Borobudur, also transcribed Barabudur ( id, Candi Borobudur, jv, ꦕꦤ꧀ꦝꦶꦧꦫꦧꦸꦝꦸꦂ, Candhi Barabudhur) is a 9th-century Mahayana Buddhist temple in Magelang Regency, not far from the town of Muntilan, in Central Java, Indonesia. It is the world's largest Buddhist temple. The temple consists of nine stacked platforms, six square and three circular, topped by a central dome. It is decorated with 2,672 relief panels and originally 504 Buddha statues. The central dome is surrounded by 72 Buddha statues, each seated inside a perforated stupa. Built in the 9th century during the reign of the Sailendra Dynasty, the temple design follows Javanese Buddhist architecture, which blends the Indonesian indigenous tradition of ancestor worship and the Buddhist concept of attaining nirvāṇa. The temple demonstrates the influences of Gupta art that reflects India's influence on the region, yet there are enough indigenous scenes and elements incorporated to make Bo ... [...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] |
Elaborating Instrument
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 g ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cengkok
Céngkok ( jv, ꦕꦺꦁꦏꦺꦴꦏ꧀, translit=Céngkok) (old orthography: ''tjengkok'') are patterns played by the elaborating instruments used in Indonesian Javanese gamelan. They are melodic formula that lead to a '' sèlèh'',Brinner, Benjamin (2008). ''Music in Central Java'', p.157. . following the rules of the ''pathet'' of the piece. The most elaborate ''cengkok'' repertoire is that of the '' gendér barung''. The '' gambang'' and '' siter'', on the other hand, do not have such formalized sets of ''cengkok'', and therefore may vary more from performer to performer. Most ''cengkok'' derive from the vocal repertoire, and many have names that originally came from lyrics, like the well-known " Ayu kuning". They may incorporate pre-existent melodic patterns through a process of centonization. See also * Gamelan * Seleh * Sekaran * Pathet * Music of Indonesia * Music of Java The Music of Java embraces a wide variety of styles, both traditional and contemporary, refl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dhalang
The dhalang or dalang ( jv, dhalang; id, dalang) is the puppeteer in an Indonesian ''wayang'' performance. In a performance of ''wayang kulit'', the dalang sits behind a screen (''kelir'') made of white cotton stretched on a wooden frame. Above his head, hanging from beams attached to the top of the screen, is the lamp (''blencong''), which projects the shadows onto the screen. In front of the dhalang is a stage (''debog''), traditionally made from the trunk of a banana tree, into which the sharpened control rods of the puppets can be pushed to keep them in position during the performance. To his left is the puppet chest (''kotak''), and to his right is the puppet chest's lid, on which the puppets sit ready for use. In addition to moving the puppets and speaking their lines, the dalang is also responsible for giving cues to the gamelan. This is done principally by playing the kepyak, a metal plate or set of plates played with his foot, or by rapping on the puppet chest (''kota ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
