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Panerusan Instruments
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 gamelan. The n ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ladrang Cycle Balungan
''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 the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
String Instrument
String instruments, stringed instruments, or chordophones are musical instruments that produce sound from vibrating strings when a performer plays or sounds the strings in some manner. Musicians play some string instruments by plucking the strings with their fingers or a plectrum—and others by hitting the strings with a light wooden hammer or by rubbing the strings with a bow. In some keyboard instruments, such as the harpsichord, the musician presses a key that plucks the string. Other musical instruments generate sound by striking the string. With bowed instruments, the player pulls a rosined horsehair bow across the strings, causing them to vibrate. With a hurdy-gurdy, the musician cranks a wheel whose rosined edge touches the strings. Bowed instruments include the string section instruments of the orchestra in Western classical music (violin, viola, cello and double bass) and a number of other instruments (e.g., viols and gambas used in early music from the Baro ... [...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 appropriate. I ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Imbal
''Imbal'' () or ''imbalan'' (''imbal-imbalan'', ''demung imbal'') is a technique used in Indonesian Javanese gamelan. It refers to a rapid alternation of a melodic line between instruments, in a way similar to hocket in medieval music or ''kotekan'' in Balinese gamelan. "A style of playing in which two identical or similar instruments play interlocking parts forming a single repetitive melodic pattern." In Javanese gamelan, it is used especially for the '' sarons'' and the ''bonangs''. On the ''bonangs'', an ''imbal'' pattern is divided between the ''bonang panerus'' and ''bonang barung'', in the octave or so of range that both instruments have. When played on ''sarons'', generally two of the same instrument are used. Both ''bonang'' and ''saron'' patterns generally are made of scalar passages that end on the ''seleh'' at the end of the '' gatra''. Each key is dampened as soon as the other instrument plays, and it allows the melody to be played faster or more smoothly than is p ... [...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 gendhi ... [...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 gamelan. Th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bonang Barung
The bonang is an Indonesian musical instrument used in the Javanese gamelan. It is a collection of small gongs (sometimes called "kettles" or "pots") placed horizontally onto strings in a wooden frame (''rancak''), either one or two rows wide. All of the kettles have a central boss, but around it the lower-pitched ones have a flattened head, while the higher ones have an arched one. Each is tuned to a specific pitch in the appropriate scale; thus there are different bonang for pelog and slendro. They are typically hit with padded sticks (''tabuh''). This is similar to the other cradled gongs in the gamelan, the kethuk, kempyang, and kenong. Bonang may be made of forged bronze, welded and cold-hammered iron, or a combination of metals. In addition to the gong-shaped form of kettles, economical bonang made of hammered iron or brass plates with raised bosses are often found in village gamelan, in Suriname-style gamelan, and in some American gamelan. In central Javanese gamelan th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Javanese Language
Javanese (, , ; , Aksara Jawa: , Pegon: , IPA: ) is a Malayo-Polynesian language spoken by the Javanese people from the central and eastern parts of the island of Java, Indonesia. There are also pockets of Javanese speakers on the northern coast of western Java. It is the native language of more than 98 million people. Javanese is the largest of the Austronesian languages in number of native speakers. It has several regional dialects and a number of clearly distinct status styles. Its closest relatives are the neighboring languages such as Sundanese, Madurese, and Balinese. Most speakers of Javanese also speak Indonesian for official and commercial purposes as well as a means to communicate with non-Javanese-speaking Indonesians. There are speakers of Javanese in Malaysia (concentrated in the West Coast part of the states of Selangor and Johor) and Singapore. Javanese is also spoken by traditional immigrant communities of Javanese descent in Suriname, Sri Lanka an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Patet
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 appropriate. I ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sekaran
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 gamelan. The n ... [...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, reflectin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melodic Formula
Melody type or type-melody is a set of melodic formulas, figures, and patterns. Term and typical meanings "Melody type" is a fundamental notion for understanding a nature of Western and non-Western musical modes, according to Harold Powers' seminal article "Mode" in the first edition of the ''New Grove Dictionary of Music and Musicians'' . Melody types are used in the composition of an enormous variety of music, especially non-Western and early Western music. Such music is generally composed by a process of centonization, either freely (i.e. improvised) or in a fixed pattern. "Melody type" as used by the ethnomusicologist Mark is defined as a "group of melodies that are related, in that they all contain similar modal procedures and characteristic rhythmic and melodic contours or patterns". Most cultures which compose music in this way organize the patterns into distinct melody types. These are often compared to modern Western scales, but they in fact represent much more ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
