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Colotomic
''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 colotomi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ladrang Cycle
''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] |
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 (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 complexity; however, all of them have ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gong Suwukan
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.Wasis ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kepatihan 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 the 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 pi ... [...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] |
Kempyang And 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] |
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] |
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] |
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] |
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] |
