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Pasindhèn
A pasindhèn ( jv, ꦥꦱꦶꦤ꧀ꦝꦺꦤ꧀, translit=pasindhèn, pesindhèn) (informally ) is an Indonesian female solo singer who sings with a gamelan. They may perform in dance, wayang or ''klenèngan'' (pure music or "concert") performances. The ''pesindhèn'' may sing together with a gerong (male chorus), but their styles and words will be different. The part of the ''sindhèn'' is largely improvised within strict parameters (similar to instrumental cengkok). The ''sindhèn'' is also allowed a much freer rhythm, similar to the rebab and suling, instead of the strict rhythm of the gerong. Sindhen can also refer to the choir of male and female singers used to accompany the bedhaya and serimpi court dances. In this usage, ''pesindhen'' refers to the individual members of the choir. History The original term for ''pasindhèn'' was ''waranggana'', and the women were exclusively background singers for ''wayang'' and ''klenèngan'' performances. This word was derived from rongge ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wayang
, also known as ( jv, ꦮꦪꦁ, translit=wayang), is a traditional form of puppet theatre play originating from the Indonesian island of Java. refers to the entire dramatic show. Sometimes the leather puppet itself is referred to as . Performances of wayang puppet theatre are accompanied by a '' gamelan'' orchestra in Java, and by ''gender wayang'' in Bali. The dramatic stories depict mythologies, such as episodes from the Hindu epics the ''Ramayana'' and the ''Mahabharata'', as well as local adaptations of cultural legends. Traditionally, a is played out in a ritualized midnight-to-dawn show by a ''dalang'', an artist and spiritual leader; people watch the show from both sides of the screen. performances are still very popular among Indonesians, especially in the islands of Java and Bali. performances are usually held at certain rituals, certain ceremonies, certain events, and even tourist attractions. In ritual contexts, puppet shows are used for prayer rituals (held in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ronggeng
Ronggeng ( jv, ꦫꦺꦴꦁꦒꦺꦁ, translit=ronggèng) is a type of Javanese dance in which couples exchange poetic verses as they dance to the music of a rebab or violin and a gong. Ronggeng might have originated from Java in Indonesia. Ronggeng probably has existed in Java since ancient time, the bas reliefs in Karmawibhanga section on eighth century Borobudur displays the scene of travelling entertainment troupe with musicians and female dancers. In Java, a traditional ronggeng performance features a traveling dance troupe that travels from village to village. The dance troop consists of one or several professional female dancers, accompanied by a group of musicians playing musical instruments: rebab and gong. The term "ronggeng" also applied for this female dancers. During a ronggeng performance, the female professional dancers are expected to invite some male audiences or clients to dance with them as a couple with the exchange of some tips money for the female dancer, g ... [...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] |
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] |
Keplok
Keplok is a style of clapping used in Javanese gamelan. The clapping is in a specific interlocking rhythmic pattern and is performed by the gerong when they are not singing. It is usually associated with the lively ciblon (Surakarta) or batangan (Yogyakarta) drumming. Usually one person claps on the on-beats while another claps on the off-beats, and then another pair clap a similar pattern at half the tempo. This interlocking pattern is similar to the 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 ''kotek ... patterns played on the saron. Keplok is often performed along with senggakan. Further reading *Pickvance, Richard (2005). ''A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan'', p. 213. . Gamelan instruments Gamelan theory Body percussion {{I ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gerongan
''Gerong'' ( jv, ꦒꦼꦫꦺꦴꦁ, translit=gerong) is the Javanese verb meaning "to sing in a chorus." ''Penggerong'' is the proper name of a member of the chorus, but often the word gerong is used to refer to the unison male chorus that sings with the gamelan. The chorus or the melody may also be called the gerongan. The gerong generally sings in distinct sections of a gamelan composition. Certain standard texts in Javanese poetic meters of various structures are used in many compositions; some are based in Javanese poetic forms known as macapat. Some pieces have specific texts written for them, but this is often a special treatment. Female singers are referred to as ''pesindhen'', and may sing in a separate group, a combined group with the men, or as a solo female voice, with or without a male chorus. A gerong part is different from that of a single female singer sindhen, in that the chorus must sing together, and is generally more connected to the steady pulse of the under ... [...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] |
Bedhaya
The bedhaya (also written as bedoyo, beḍaya and various other transliterations) ( jv, ꦧꦼꦝꦪ, translit=Bedhaya) is a sacred, ritualised Javanese dance of Java, Indonesia, associated with the royal palaces of Yogyakarta and Surakarta. Along with the srimpi, the bedhaya epitomized the elegant ( jv, ꦲꦭꦸꦱ꧀, translit=alus) character of the royal court and became an important symbol of the ruler's power. The bedhaya has different forms in the two court cities, the ''bedhaya Ketawang'' in Surakarta (Solo) and the ''bedhaya Semang'' in Yogyakarta, the latter of which has not been performed for more than 20 years. The Solonese dance continues to be performed once per year on the second day of the Javanese month of Ruwah (May), to commemorate the ascension of the current Susuhunan (prince) of Surakarta. Nine females, relatives or wives of the Susuhunan, perform the dance before a private audience. An invitation to anyone outside of the inner circle of the court is a cons ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Serimpi
The Srimpi ( jv, ꦱꦿꦶꦩ꧀ꦥꦶ, translit=Srimpi) (also written as Serimpi) is a ritualised dance of Java, Indonesia, associated with the royal palaces of Yogyakarta and Surakarta. The ''srimpi'' dance is one of the classical dances of Central Java. Along with the '' bedhaya'', ''srimpi'' epitomised the elegant ( jv, script=Latn, alus) character of the royal Javanese court, becoming a symbol of the ruler's power as well as the refinement of Javanese culture. Form and movement The ''srimpi'' dance is usually performed by four female dancers, however other numbers such as two, six or eight dancers is also possible, depending on the type of ''srimpi'' being performed. Similarity in looks, height and body type among dancers is preferred to achieve better aesthetics. ''Srimpi'' demonstrate soft, slow and graceful movements, highly stylised hand positions, stances and body poses, coupled with the shoulder-baring '' kemben'' outfit, to describe elegance, modesty, refinement, be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Indonesia
Indonesia, officially the Republic of Indonesia, is a country in Southeast Asia and Oceania between the Indian and Pacific oceans. It consists of over 17,000 islands, including Sumatra, Java, Sulawesi, and parts of Borneo and New Guinea. Indonesia is the world's largest archipelagic state and the 14th-largest country by area, at . With over 275 million people, Indonesia is the world's fourth-most populous country and the most populous Muslim-majority country. Java, the world's most populous island, is home to more than half of the country's population. Indonesia is a presidential republic with an elected legislature. It has 38 provinces, of which nine have special status. The country's capital, Jakarta, is the world's second-most populous urban area. Indonesia shares land borders with Papua New Guinea, East Timor, and the eastern part of Malaysia, as well as maritime borders with Singapore, Vietnam, Thailand, the Philippines, Australia, Palau, and India ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Suling
The suling or seruling ( Sundanese: ) is a musical instrument of the Sundanese people in western Java, Indonesia. It is used in the Degung ensemble. Bamboo ring flute can also be found in Southeast Asian, especially in Brunei, Indonesia, Malaysia, the Philippines and Singapore. Construction Sulings are made mainly of "tamiang" bamboo (''Schizostachyum blumei'', Nees), a long, thin-walled bamboo tube. The mouthpiece of the suling is circled with a thin band made of rattan near a small hole. Playing method There are two factors that affect a fine suling's tone: #Fingering position. #Speed of the airflow blown by the mouth. The fingering position changes the wavelength of sound resonance inside the suling's body. Depending on the distance of nearest hole to the suling's head, different notes can be produced. The airflow speed also can modify the tone's frequency. A note with twice frequency can be produced mostly by blowing the air into suling's head's hole with twice speed. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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