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Gamelan - Wikipedia. Gamelan (. The most common instruments used are metallophones played by mallets and a set of hand- played drums called kendhang which register the beat. Other instruments include xylophones, bamboo flutes, a bowed instrument called a rebab, and even vocalists called sindhen.
For most Indonesians, gamelan is an integral part of Indonesian culture. Another word from this root, pangrawit, means a person with such sense, and is used as an honorific when discussing esteemed gamelan musicians. The high Javanese word for gamelan is gangsa, formed either from the words tembaga and rejasa referring to the materials used in bronze gamelan construction (copper and tin), or tiga and sedasa referring to their proportions (three and ten). The instruments developed into their current form during the Majapahit Empire. AD 2. 30), the god who ruled as king of all Java from a palace on the Maendra mountain in Medang Kamulan (now Mount Lawu). He needed a signal to summon the gods and thus invented the gong. For more complex messages, he invented two other gongs, thus forming the original gamelan set.
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Musical instruments such as the bamboo flute, bells, drums in various sizes, lute, and bowed and plucked string instruments were identified in this image. However it lacks metallophones and xylophones. Nevertheless, the image of this musical ensemble is suggested to be the ancient form of the gamelan. In the palaces of Java the oldest known ensembles, Gamelan Munggang and Gamelan Kodok Ngorek, are apparently from the 1. These formed the basis of a .
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In the 1. 7th century, these loud and soft styles mixed, and to a large extent the variety of modern gamelan styles of Bali, Java, and Sunda resulted from different ways of mixing these elements. Thus, despite the seeming diversity of styles, many of the same theoretical concepts, instruments, and techniques are shared between the styles. The hand- played drum called kendhang controls the tempo and rhythm of pieces as well as transitions from one section to another., while one instrument gives melodic cues to indicate treatment or sections of a piece. Some of the instruments that constitute a gamelan in present- day Central Java are shown here. In general, no two gamelan ensembles are the same, and those that arose in prestigious courts are often considered to have their own style and tuning. Certain styles may also be shared by nearby ensembles, leading to a regional style.
The varieties are generally grouped geographically, with the principal division between the styles favored by the Balinese, Javanese, and Sundanese peoples. The Madurese also had their own style of gamelan, although it is no longer in use, and the last orchestra is kept at the Sumenep palace. Balinese gamelan is often associated with the virtuosity and rapid changes of tempo and dynamics of Gamelan gong kebyar, its best- known style.
Other popular Balinese styles include Kecak, a theatrical dance and music form also known as the . Javanese gamelan can be made from iron or brass; instruments made of cast bronze are considered the best quality. Outside of the main core on Java and Bali, gamelan has spread through migration and cultural interest, new styles sometimes resulting as well. Malay Gamelan comes from the Javanese tradition through Riau- Lingga which later formed its own distinct identity, using fewer instruments tuned in a near- equidistant slendro, and often using a western B.
Javanese emigrants to Suriname play gamelan in a style close to that found in Central Javanese villages. Gamelan is also related to the Filipinokulintang ensemble. TA variety of gamelan can befound in over 2. Indonesia, presenting both traditional and experimental repertoire.
In oral Javanese culture distinctions are made between complete or incomplete, archaic and modern, and large standard and small village gamelan. The various archaic ensembles are distinguished by their unique combinations of instruments and possession of obsolete instruments such as the bell- tree (byong) in the 3- toned gamelan kodhok ngorek. Regionally variable village gamelan are often distinguished from standard gamelan (which have the rebab as the main melodic instrument) by their inclusion of a double- reed wind (selompret, slompret, or sompret) in addition to variable drum and gong components, with some also including the shaken bamboo angklung .
Typically players in the gamelan will be familiar with dance moves and poetry, while dancers are able to play in the ensemble. Gamelan can be performed by itself – in . Certain gamelans are associated with specific rituals, such as the Gamelan Sekaten, which is used in celebration of Mawlid an- Nabi (Muhammad's birthday). In Bali, almost all religious rituals include gamelan performance. Gamelan is also used in the ceremonies of the Catholic church in Indonesia. Certain pieces are also believed to possess magic powers, and can be used to ward off evil spirits. For example, the Pura Pakualaman gamelan performs live on the radio every Minggu Pon (a day in the 3.
Javanese calendar). The instruments are placed on a platform to one side, which allows the sound to reverberate in the roof space and enhances the acoustics. Gambelan (the Balinese term) are owned by a banjar, nobility or temples and kept in their respective compounds. In case of banjar ownership the instruments are all kept there together because people believe that all the instruments belong to the community as a whole and that no one person has ownership over an instrument. Not only is this where the instruments are stored, but this is also the practice space for the sekaha (Gamelan orchestra group). The open walls allow for the music to flow out into the community where the rest of the people may enjoy it.
Balinese gamelan cannot be heard inside closed rooms, because it easily crosses the threshold of pain. This does not apply to small ensembles like a gamelan gend. When they are working on a new piece, the instructor will lead the group in practice and help the group form the new music as they are practicing. When the instructor creates a new song, he leaves enough open for interpretation that the group can improvise, so the group will write the music as they practice it. There are many styles in Balinese gamelan.
Kebyar is one of the most recent ones. Some Balinese gamelan groups constantly change their music by taking older pieces they know and mixing them together, as well as trying new variations of the music. Their music constantly changes because they believe that music should grow and change; the only exception to this is with their most sacred songs which they do not change. A single new piece of music can take several months before it is completed. Men and women usually perform in separate groups, with the exception in Java of the pesindhen, the female singer who performs with male groups. There are other tuning systems such as degung (exclusive to Sunda, or West Java), and madenda (also known as diatonis, similar to a European natural minor scale). In central Javanese gamelan, sl.
A full gamelan will include a set of instruments in each tuning, and classically only one tuning is used at a time. The precise tuning used differs from ensemble to ensemble, and gives each ensemble its own particular flavour. A set of gamelan instruments will be tuned to the same set of notes, but the tuning will vary from one gamelan to the next, including variations in the size of intervals. Colin Mc. Phee , a Canadian composer who spent much time in Bali, remarked, .
One such ensemble is gamelan Manikasanti, which can play the repertoire of many different ensembles. Balinese gamelan instruments are built in pairs that are tuned slightly apart to produce interference beats, ideally at a consistent speed for all pairs of notes in all registers.
This concept is referred to as . One instrument, tuned slightly higher, is thought of as the . It is thought that this contributes to the .
In the religious ceremonies that contain gamelan, these interference beats are meant to give the listener a feeling of a god's presence or a stepping stone to a meditative state. The scale roughly approximates that of the phrygian mode of the Western major scale (E- E on the white keys of the piano), with the notes EFGBC corresponding to the note positions 1. In the 1. 9th century, however, the kraton (palaces) of Yogyakarta and Surakarta developed distinct notations for transcribing the repertoire.
These were not used to read the music, which was memorized, but to preserve pieces in the court records. The Yogyanese notation is a checkerboard notation, which uses six or seven vertical lines to represent notes of higher pitch in the balungan (melodic framework), and horizontal lines which represent the series of beats, read downward with time. The fourth vertical line and every fourth horizontal line (completing a gatra) are darkened for legibility. Symbols on the left indicate the colotomic or metric structure of gongs and so forth, while specific drum features are notated in symbols to the right. The Solonese notation reads horizontally, like Western notation, but does not use barlines. Instead, note values and rests are squiggled between the notes. Kepatihan notation developed around 1.
Palace in Surakarta, which had become a high- school conservatory. The pitches are numbered (see the articles on the scales slendro and p. Like the palace notation, however, Kepatihan records mostly the balungan part and its metric phrases as marked by a variety of gongs. The other parts are created in real time, and depend on the knowledge each musician has of his instrument, and his awareness of what others are playing; this .
Some ethnomusicologists, trained in European music, may make transcriptions onto a Western staff. This entails particular challenges of tuning and time, sometimes resulting in unusual clefs. The work had been written seven years earlier in 1. The gamelan Debussy heard in it was in the slendro scale and was played by Central Javanese musicians.