1 20 9 https://wesomeka-test.wesleyan.edu/vim2/files/original/f88b2ece5d3a98587f4c1bd9c1a6e3f7.jpg 6aa10c9ac6222678ddddd4114eaa18fa https://wesomeka-test.wesleyan.edu/vim2/files/original/918b5ad1ccca07b38403db86422d0216.jpg 4ea0d76f8e8173d12170ad758e609ef6 https://wesomeka-test.wesleyan.edu/vim2/files/original/f5d604b855cdc6ca4ef1a282c985f6b1.jpg c8100962190656e8dec4383bd5ef1248 https://wesomeka-test.wesleyan.edu/vim2/files/original/fc50fb15b008b652e9f527da8f899ef1.jpg 7da889ab4dd4b68be141027d21b3c620 https://wesomeka-test.wesleyan.edu/vim2/files/original/2a4aff0160745e6ab5b3d5704ebbd49c.jpg a3b40452e8f7e5db537e3977a9fa35e9 https://wesomeka-test.wesleyan.edu/vim2/files/original/0361cfecb9a282411f5854d69872fe8a.jpg 353f952c35ff81007dae8cfe5be8c735 https://wesomeka-test.wesleyan.edu/vim2/files/original/068982ebf985c85c65cb23d274599f00.mp3 e9d3e563f73d5157b511807cc3e15eee Musical Instrument A sound-making object used for musical performance or in a musical context History A historical background about the instrument The name mrdanga appears in the Natyasastra, but the modern instrument is almost certainly different. The application of tuning loads also dates at least to the Natyasastra and may be significantly older. The use of mnemonic syllables to refer to strokes and patterns is also recorded in the Natyasastra and elsewhere. -David Nelson, 2004 Geographic region The geographic region where the instrument is found South India Classification Hornbostel-Sachs, revised by MIMO membranophone Description A brief overview of the instrument Physical description: The mrdangam has two heads attached to a single hollowed-out wooden shell that is wider in the middle than at the ends. The preferred wood is jackwood, although other wood may be used. Two sizes of shell are in current use. Taggu, or lower-pitched drums, are made on shells approximately 24 inches long with openings at the two ends of 6.75 and 7.75 inches respectively, while hecchu, or higher-pitched drums are made on shells approximately 22 inches long, with openings of 6.5 and 7.5 inches at the two ends. Right Head: The right head is made of three layers of animal hide, stitched together with rawhide laces around the circumference of the shell opening. The top and bottom layers are cut out in the center, leaving only the middle layer to stretch uncut across the face of the shell. The bottom layer, usually of calf hide, is cut all the way to the inner edge of the shell. In the center of the middle layer, usually of goatskin, a tuning load is applied. The outermost layer is cut only about 1/8" from the edge of this tuning load, called karunai. This muffles most of the pitches in the overtone series, leaving only the root, octave and fifth as audible. In order to lengthen the decay, pieces of broom straw or fine gravel are inserted between the top and middle layers. The tuning load has two principal components: slag (waste ore left over from metal refining), which is ground to an ultra-fine powder; and boiled rice. The slag powder and rice are mashed together with a small amount of water to form a compound with a consistency similar to that of modeling clay. It is applied to the head in layers, and over a base of dried rice paste. This rice paste layer is given a rough surface as it dries so that the tuning compound will adhere more easily. A pea-sized ball of the compound is spread evenly over the desired area, then rubbed smooth and dry with the polished surface of a rock. As the layer dries, a honeycomb pattern of small, even cracks emerges. These cracks persist as subsequent layers are applied and dried. As the load becomes more substantial (a mrdangam may take up to fifty layers of compound), the network of cracks results in a set of columns of the hardened material, all vibrating together when the drum is struck. The precise number of layers, along with the curvature of its surface, is not fixed. The drum-maker strikes the drum frequently as he creates the black spot, deciding after each layer what the next layer's configuration should be. When the drum reaches the desired pitch, the load is finished. Individual pieces of the spot become loose after a long period of playing, creating an unpleasant buzzing sound. When this happens, it is necessary to replace the tuning load. Left Head: The left head also comprises three layers of hide. The two outermost layers, of heavy cowhide, are stitched together into a stiff frame cut to a maximum distance of two inches from the shell edge. The inner layer, again goatskin, is tied into this frame and then stretched across the shell. Both right and left heads are held in tension by a continuous strap made of water buffalo hide. In recent years this strap is often replaced by nylon webbing. The left head also bears a tuning load, in this case temporary. Custom dictates the use of farina (wheat powder) mixed with water then applied to the center of the dampened goatskin. This load, which gives the head its characteristic bass sound of indeterminate pitch, is applied immediately before playing and may be removed and re-applied several times during a performance. In recent years, some mrdangam players have begun to experiment with other, more durable materials for this tuning load. One of the more successful experiments has been the use of silicone caulk, which often outlasts the right head's tuning load. At this writing, however, most well-known mrdangam players are still using the time-honored farina and water. Materials: Wood, Skin, Clay, Synthetic, Other: slag mixed with boiled rice (for the black spot), farina, silicone caulk or modeling clay (for the left head tuning load), possibly nylon webbing for the head tension strapping. -David Nelson, 2004 Playing technique Methods used to play the instrument Right Hand: Tonal strokes are produced by the fingers of the right hand. Typically the index finger strikes and rebounds from the topmost layer of hide, the middle layer, and /or the edge of the black spot, while the ring finger rests on the edge of the spot. This resting ring finger partially damps the sound, producing a pure pitch. This pitch is used to tune the drum to the other instruments in an ensemble. The same stroke without the damping finger produces a pitch a half step higher. With the damping finger in position, there are at least three distinctly named strokes that are produced by the index finger outside the black spot. Some related strokes, designed for fast playing, are made without damping by quickly alternating the index, middle and ring fingers. In these cases, this quickness of movement eliminates the need for damping. Another tonal stroke involves striking the edge of the black spot with the pinkie finger without rebounding. In this case the pinkie does the striking and damping simultaneously. There is one additional tonal stroke, produced by striking across the face of the drum so that the base of the pinkie damps the spot while the rest of that finger strikes and rebounds from the top layer all the way across the head. The non-pitched strokes are made by striking the black spot itself with one or more fingers. There are at least four of these. In all, there are at least twelve separate right hand strokes. Left Hand: There are essentially three left-hand strokes: a flat-handed slap across the goatskin surface, an open, resonant bass stroke on the outer cowhide frame, and an inflected stroke. The inflected stroke is made by striking all the way across the head with one or more fingertips, then sliding the wrist forward onto the goatskin. This slide, by putting pressure on the skin, tightens it and raises the pitch. Notation: There is no written notation. However, each stroke is named according to a vocabulary of mnemonic syllables, e.g., "ta," "di," "tom," "nam." These syllables are combined to form patterns meant to be spoken while reckoning the tala (metrical cycle) by means of prescribed hand gestures. This simultaneous reciting and clapping called solkattu, functions as an effective kinesthetic notation. Tuning: Primary tuning is done by tightening the water buffalo or nylon strapping that holds the heads in tension. Finer tuning is accomplished by using a heavy, smooth rock and a wooden peg to strike the rawhide braiding around the circumference of the heads. The heads may be slightly tightened or loosened by this method. -David Nelson, 2004 Ensemble The musical group in which an instrument can be found Context: The mrdangam is most often used as the principal rhythmic accompaniment instrument in Karnatak music, the art music of South India. It is also used to accompany bharatanatyam, South Indian classical dance, and performances of bhajans (devotional songs), film soundtracks, and folk music. References A bibliography of sources referenced, and optional recommendations for further information Nelson, David P. 1991. “Mrdangam Mind: the Tani Avartanam in Karnatak Music” Ph.D. dissertation, Wesleyan University. Sankaran, Trichy. 1994. The Rhythmic Principles and Practices of South Indian Drumming. Toronto: Lalith Publishers. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mrdangam India membranophone Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Javanese Gamelan Description An account of the resource Gamelan is an ensemble consisting of predominantly metallophone and gong type instruments. The instruments produce tones when struck with mallets. The ensemble, in various sizes and forms, can be found in a number of Indonesian islands. In Java and Bali, gamelan has developed into an expansive ensemble, while a variety of smaller ensembles continue to exist. In Java alone, there exist several forms of gamelan ensembles. There are two especially known main gamelan styles: Sundanese (West Javanese) and Javanese gamelan. The following descriptions focus on Central Javanese gamelan. ----- INSTRUMENTS AND THEIR FUNCTIONS IN THE ENSEMBLE Javanese gamelan ensemble is known for its expansive or grandeur ensemble, employing a rich variety of instrument types. In a full set of gamelan, beside metallophones and gongs, they are other types of instruments, including a set of drums (kendhang), bowed- and plucked-strings (rebab and celempung), xylophone (gambang), and a bamboo flute (suling). A “soloist” female singing (sindhen) and male chorus (gerong) are also presence in gamelan ensemble. Each or a group of instruments and singing has a particular function in the ensemble, although there is a degree of flexibility. Generally the instruments may fall into the following three functional groupings: (1) instruments that delineate the structure of the piece; (2) instruments that guide temporal flow in the music; (3) and instruments that carries melodies in both simple and elaborate forms. Instruments in the first category include large and medium hanging gongs (gong ageng and gong suwukan), small size hanging gongs (kempul), large standing gongs (kenong), and a pair of small standing gongs (kethuk-kempyang). The stroke of a large hanging gong marks the end of the main musical unit (gongan), while other gongs (kenong, kempul, and kethuk-kempyang, respectively) subdivide it in the order of its importance. Instruments in the second category are a set of two-headed drums (kendhang). The drumming style is defined by the use of particular kendhang or a combination of them. The drumming may consist of a repeatable, simple rhythmic configuration (kendhang satunggal and kendhang kalih) to elaborate and animated rhythm (kendhang ciblon) that are associated with dance movements. The third category consists of three instrumental groupings: (a) instruments that carries melodic skeleton of the piece (balungan): saron, demung, and slenthem; (b) instruments that carries elaborate form of melodies, encompassing wide melodic registers (rebab, gambang, and singing), medium registers (gender barung) and narrow register (celempung, gender panerus, and suling). Generally, the wider their registers the more importance are their melodic functions; (3) instruments whose functions are to mediate between group a (balungan) and group b (elaborating instruments): bonang barung, bonang panerus, and peking. The anticipatory nature of the melodies of these instruments (especially bonang barung) has earned them the status of melodic guidance of the ensemble. Gamelan instruments can also be grouped according to the volume of the sound they can produced: soft-sounding and loud-sounding instruments. The soft-sounding instrument are positioned in the middle- and side-front to the middle row—rebab, gender, gambang, celempung, suling, slenthem—together with the singers. The loud-sounding instruments are in the side-front, middle, and back rows: bonang, kendhang, a group of saron, ketuk-kempyang, kenong, kempul, gong. Soft-loud category is an important basis for the playing style of gamelan and the ensemble’s interplay. ----- TUNING SYSTEM, PATHET, AND GENDHING A full gamelan set employs two tuning systems, slendro and pelog (thus, the full gamelan is actually a double sets, with usually the slendro set faces to the front, the pelog set to the side. The two sets are never played simultaneously, however. The slendro tuning consists of five notes per octave. The five intervals consist of short and medium steps. The difference between the two intervals is so small, however, that they are often described as equal or nearly equal intervals. The pelog has seven pitches per octave (1 2 3 4 5 6 7), but a gendhing is composed on the basis of the combination of sets of five pitch positions (1 2 3 5 6; 1 2 4 5 6; 2 3 5 6 7). In this sense, pelog is a pentatonic system, employing not only one but three basic five-pitch scales. Unlike slendro, narrow and wide intervals in each of these scales are apparent. Another musical concept associated with tuning system is modal classification called pathet. It is a system of the hierarchical use of tones (and/or different use of scale degrees, especially in pelog), supported by characteristics of instruments or vocal idioms to be used to approach these tones and the register of the tones used in composition. Pathet circumscribes general mood or emotive content of a composition. There are three pathet in each of the tuning systems. Composition in gamelan (gendhing) is determined and arranged by a number of parameters. First, a gendhing is composed in a particular tuning system and pathet. Secondly, a composition is framed in one of the formal structures (gongan). There are a docent formal structures defined in binary way by the stroke of gong, kenong, kempul, and kethuk. Thirdly, the melodies of gendhing are arranged in a metrical unit of four notes (gatra). ----- PERFORMANCE CONTEXTS AND HISTORY Gamelan may be performed independently, i.e., to be listened for its own sake. But gamelan is also an essential accompaniment for theatrical performances, such as dance drama and shadow wayang puppet play. Whether accompanying theatrical forms or not, gamelan is performed in several different contexts, especially in rite-of passages events and communal festivals. As history and technology advance, other contexts are created, including gamelan performance on radio and television stations. From little historical evidence we could find, it is safe to say that smaller ensembles, whether they accompanied singing or not, characterized music ensembles during the early period of Javanese history. In the 16th to 17th century, the ensemble began to develop into larger size. This was achieved by synchronizing loud- and soft-sounding instruments and vocal repertoire into an integrated musical concept. The result was an expansive size of ensemble with its hundreds of repertoire as can be found in today’s gamelan and gamelan practice. -Sumarsam, 2004 Musical Instrument A sound-making object used for musical performance or in a musical context Description A brief overview of the instrument Physical description: The largest hanging gong that has the lowest pitch among the gamelan instruments is called “gong ageng” (ageng means large), with a diameter of around 34 inches. It is hung on a stand. The gong ageng is played with a round, heavily padded beater. A full gamelan set may have a pair of gongs, although it is also not uncommon for gamelan to have only one gong. There is also medium sized hanging gong, with a diameter of around 24 inches that has the same function as gong ageng; it is called gong suwukan. A full gamelan set has one gong suwukan, although there are also gamelan that have two or more gong suwukan. Role in the gamelan ensemble: The gong ageng or gong suwukan has an important function in the ensemble. As one of the instruments that delineates the formal structure of a gendhing, the gong marks the end of a longer musical unit; it gives a feeling of balance after the longest melodic section of a gendhing. The importance of the gong in marking the end of a gendhing formal structure leads to the naming of this structure itself as “gongan.” -Sumarsam, 2004 History A historical background about the instrument There is some pictorial evidence of gongs of different sizes on the walls of a number of temples from the 14th to 15th century. Reports from travelers, Dutch traders, and officials mention gong manufacturers and gong ensembles in Java in the 16th and 17th centuries, including some hand drawings. However, the lack of collaborative evidence prevents us from reconstructing the musical use of gongs at that time. In any event, gongs became important symbols of power and wealth among Javanese rulers. The gong, especially the large gong, maintains its high status when the gamelan ensemble developed into an expansive ensemble. Besides its important function musically, the gong is the most respected instrument in the ensemble. This is because people believe that gamelan endows supernatural powers, and the large gong particularly, is the most supernaturally charged instrument. -Sumarsam, 2004 Geographic region The geographic region where the instrument is found Indonesia Ensemble The musical group in which an instrument can be found Javanese gamelan Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gong https://wesomeka-test.wesleyan.edu/vim2/files/original/fb9af1a3222f68819a52fa6df5b37105.jpg 53f92aa9a27505e963038290a24842bc https://wesomeka-test.wesleyan.edu/vim2/files/original/aa4acfc9583d2d96575a061a832e0b71.jpg 8fd48b0dd60991c2c0bf2d9711d22b98 https://wesomeka-test.wesleyan.edu/vim2/files/original/1e9060f5e39445ddbc949d41494cc93b.jpg 1f30fa42396bf01d5d4941099647609c https://wesomeka-test.wesleyan.edu/vim2/files/original/f3bbd4adec15789ad351d4ebf30d03b3.mp3 9cf3e5a579fa1c3c2d6cce1b522a62ae Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Javanese Gamelan Description An account of the resource Gamelan is an ensemble consisting of predominantly metallophone and gong type instruments. The instruments produce tones when struck with mallets. The ensemble, in various sizes and forms, can be found in a number of Indonesian islands. In Java and Bali, gamelan has developed into an expansive ensemble, while a variety of smaller ensembles continue to exist. In Java alone, there exist several forms of gamelan ensembles. There are two especially known main gamelan styles: Sundanese (West Javanese) and Javanese gamelan. The following descriptions focus on Central Javanese gamelan. ----- INSTRUMENTS AND THEIR FUNCTIONS IN THE ENSEMBLE Javanese gamelan ensemble is known for its expansive or grandeur ensemble, employing a rich variety of instrument types. In a full set of gamelan, beside metallophones and gongs, they are other types of instruments, including a set of drums (kendhang), bowed- and plucked-strings (rebab and celempung), xylophone (gambang), and a bamboo flute (suling). A “soloist” female singing (sindhen) and male chorus (gerong) are also presence in gamelan ensemble. Each or a group of instruments and singing has a particular function in the ensemble, although there is a degree of flexibility. Generally the instruments may fall into the following three functional groupings: (1) instruments that delineate the structure of the piece; (2) instruments that guide temporal flow in the music; (3) and instruments that carries melodies in both simple and elaborate forms. Instruments in the first category include large and medium hanging gongs (gong ageng and gong suwukan), small size hanging gongs (kempul), large standing gongs (kenong), and a pair of small standing gongs (kethuk-kempyang). The stroke of a large hanging gong marks the end of the main musical unit (gongan), while other gongs (kenong, kempul, and kethuk-kempyang, respectively) subdivide it in the order of its importance. Instruments in the second category are a set of two-headed drums (kendhang). The drumming style is defined by the use of particular kendhang or a combination of them. The drumming may consist of a repeatable, simple rhythmic configuration (kendhang satunggal and kendhang kalih) to elaborate and animated rhythm (kendhang ciblon) that are associated with dance movements. The third category consists of three instrumental groupings: (a) instruments that carries melodic skeleton of the piece (balungan): saron, demung, and slenthem; (b) instruments that carries elaborate form of melodies, encompassing wide melodic registers (rebab, gambang, and singing), medium registers (gender barung) and narrow register (celempung, gender panerus, and suling). Generally, the wider their registers the more importance are their melodic functions; (3) instruments whose functions are to mediate between group a (balungan) and group b (elaborating instruments): bonang barung, bonang panerus, and peking. The anticipatory nature of the melodies of these instruments (especially bonang barung) has earned them the status of melodic guidance of the ensemble. Gamelan instruments can also be grouped according to the volume of the sound they can produced: soft-sounding and loud-sounding instruments. The soft-sounding instrument are positioned in the middle- and side-front to the middle row—rebab, gender, gambang, celempung, suling, slenthem—together with the singers. The loud-sounding instruments are in the side-front, middle, and back rows: bonang, kendhang, a group of saron, ketuk-kempyang, kenong, kempul, gong. Soft-loud category is an important basis for the playing style of gamelan and the ensemble’s interplay. ----- TUNING SYSTEM, PATHET, AND GENDHING A full gamelan set employs two tuning systems, slendro and pelog (thus, the full gamelan is actually a double sets, with usually the slendro set faces to the front, the pelog set to the side. The two sets are never played simultaneously, however. The slendro tuning consists of five notes per octave. The five intervals consist of short and medium steps. The difference between the two intervals is so small, however, that they are often described as equal or nearly equal intervals. The pelog has seven pitches per octave (1 2 3 4 5 6 7), but a gendhing is composed on the basis of the combination of sets of five pitch positions (1 2 3 5 6; 1 2 4 5 6; 2 3 5 6 7). In this sense, pelog is a pentatonic system, employing not only one but three basic five-pitch scales. Unlike slendro, narrow and wide intervals in each of these scales are apparent. Another musical concept associated with tuning system is modal classification called pathet. It is a system of the hierarchical use of tones (and/or different use of scale degrees, especially in pelog), supported by characteristics of instruments or vocal idioms to be used to approach these tones and the register of the tones used in composition. Pathet circumscribes general mood or emotive content of a composition. There are three pathet in each of the tuning systems. Composition in gamelan (gendhing) is determined and arranged by a number of parameters. First, a gendhing is composed in a particular tuning system and pathet. Secondly, a composition is framed in one of the formal structures (gongan). There are a docent formal structures defined in binary way by the stroke of gong, kenong, kempul, and kethuk. Thirdly, the melodies of gendhing are arranged in a metrical unit of four notes (gatra). ----- PERFORMANCE CONTEXTS AND HISTORY Gamelan may be performed independently, i.e., to be listened for its own sake. But gamelan is also an essential accompaniment for theatrical performances, such as dance drama and shadow wayang puppet play. Whether accompanying theatrical forms or not, gamelan is performed in several different contexts, especially in rite-of passages events and communal festivals. As history and technology advance, other contexts are created, including gamelan performance on radio and television stations. From little historical evidence we could find, it is safe to say that smaller ensembles, whether they accompanied singing or not, characterized music ensembles during the early period of Javanese history. In the 16th to 17th century, the ensemble began to develop into larger size. This was achieved by synchronizing loud- and soft-sounding instruments and vocal repertoire into an integrated musical concept. The result was an expansive size of ensemble with its hundreds of repertoire as can be found in today’s gamelan and gamelan practice. -Sumarsam, 2004 Musical Instrument A sound-making object used for musical performance or in a musical context Description A brief overview of the instrument Physical description: The celempung is a type of plucked-zither that is set on four legs with the front legs higher than the two rear legs; hence, the instrument slopes downward toward the player. The celempung has thirteen pairs of strings, which are stretched between the tuning pins at the higher and lower ends of the instrument. The strings rest on the bridge that is placed across the sound board (body of the instrument). The celempung is played with thumbnails, while the fingers damp the sound of the strings. Role in the gamelan ensemble: Celempung is a dispensable instrument in the ensemble. If the celempung player is absent, the ensemble can perform without it. In any event, the sound of celempung enriches the total sound of the ensemble. It is most suitable to be played in smaller gamelan ensemble. There is a small ensemble that primarily consists of two or three celempung, supported by kendhang and gong. Commonly, this ensemble is made up of itinerant musicians. -Sumarsam, 2004 History A historical background about the instrument Although evidence of its existence can be found in the early period of Javanese history, plucked-zither type instruments have never had wide distribution in Java. It seems that this instrument never achieved an important position in the development of Javanese music. The limited use of celempung in today’s full gamelan ensemble supports this assertion. -Sumarsam, 2004 Geographic region The geographic region where the instrument is found Indonesia Ensemble The musical group in which an instrument can be found Javanese gamelan Classification Hornbostel-Sachs, revised by MIMO chordophone Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Celempung gamelan Java string https://wesomeka-test.wesleyan.edu/vim2/files/original/7d5ea3d43280c73f073a2641ac12a768.jpg 2a6e682548ede4ba0b6cded2abf57379 https://wesomeka-test.wesleyan.edu/vim2/files/original/7bf80611883a6d84ba866f057f9b2c68.mp3 d8f57de767f355cfb447ad151d6a9e57 https://wesomeka-test.wesleyan.edu/vim2/files/original/34dc6594ac20d80642bf157793bc69bb.mov f92b611803f601830b134141c700b4d2 https://wesomeka-test.wesleyan.edu/vim2/files/original/25e0ab23fb68cfaff95ba12dc863e774.jpg d9757ccf58589f163c23f496eb6096a7 https://wesomeka-test.wesleyan.edu/vim2/files/original/e8512c61083d550acdb0ebd241f62e58.jpg ce16a2f204aeca198af5d9a7ad8bcb21 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Javanese Gamelan Description An account of the resource Gamelan is an ensemble consisting of predominantly metallophone and gong type instruments. The instruments produce tones when struck with mallets. The ensemble, in various sizes and forms, can be found in a number of Indonesian islands. In Java and Bali, gamelan has developed into an expansive ensemble, while a variety of smaller ensembles continue to exist. In Java alone, there exist several forms of gamelan ensembles. There are two especially known main gamelan styles: Sundanese (West Javanese) and Javanese gamelan. The following descriptions focus on Central Javanese gamelan. ----- INSTRUMENTS AND THEIR FUNCTIONS IN THE ENSEMBLE Javanese gamelan ensemble is known for its expansive or grandeur ensemble, employing a rich variety of instrument types. In a full set of gamelan, beside metallophones and gongs, they are other types of instruments, including a set of drums (kendhang), bowed- and plucked-strings (rebab and celempung), xylophone (gambang), and a bamboo flute (suling). A “soloist” female singing (sindhen) and male chorus (gerong) are also presence in gamelan ensemble. Each or a group of instruments and singing has a particular function in the ensemble, although there is a degree of flexibility. Generally the instruments may fall into the following three functional groupings: (1) instruments that delineate the structure of the piece; (2) instruments that guide temporal flow in the music; (3) and instruments that carries melodies in both simple and elaborate forms. Instruments in the first category include large and medium hanging gongs (gong ageng and gong suwukan), small size hanging gongs (kempul), large standing gongs (kenong), and a pair of small standing gongs (kethuk-kempyang). The stroke of a large hanging gong marks the end of the main musical unit (gongan), while other gongs (kenong, kempul, and kethuk-kempyang, respectively) subdivide it in the order of its importance. Instruments in the second category are a set of two-headed drums (kendhang). The drumming style is defined by the use of particular kendhang or a combination of them. The drumming may consist of a repeatable, simple rhythmic configuration (kendhang satunggal and kendhang kalih) to elaborate and animated rhythm (kendhang ciblon) that are associated with dance movements. The third category consists of three instrumental groupings: (a) instruments that carries melodic skeleton of the piece (balungan): saron, demung, and slenthem; (b) instruments that carries elaborate form of melodies, encompassing wide melodic registers (rebab, gambang, and singing), medium registers (gender barung) and narrow register (celempung, gender panerus, and suling). Generally, the wider their registers the more importance are their melodic functions; (3) instruments whose functions are to mediate between group a (balungan) and group b (elaborating instruments): bonang barung, bonang panerus, and peking. The anticipatory nature of the melodies of these instruments (especially bonang barung) has earned them the status of melodic guidance of the ensemble. Gamelan instruments can also be grouped according to the volume of the sound they can produced: soft-sounding and loud-sounding instruments. The soft-sounding instrument are positioned in the middle- and side-front to the middle row—rebab, gender, gambang, celempung, suling, slenthem—together with the singers. The loud-sounding instruments are in the side-front, middle, and back rows: bonang, kendhang, a group of saron, ketuk-kempyang, kenong, kempul, gong. Soft-loud category is an important basis for the playing style of gamelan and the ensemble’s interplay. ----- TUNING SYSTEM, PATHET, AND GENDHING A full gamelan set employs two tuning systems, slendro and pelog (thus, the full gamelan is actually a double sets, with usually the slendro set faces to the front, the pelog set to the side. The two sets are never played simultaneously, however. The slendro tuning consists of five notes per octave. The five intervals consist of short and medium steps. The difference between the two intervals is so small, however, that they are often described as equal or nearly equal intervals. The pelog has seven pitches per octave (1 2 3 4 5 6 7), but a gendhing is composed on the basis of the combination of sets of five pitch positions (1 2 3 5 6; 1 2 4 5 6; 2 3 5 6 7). In this sense, pelog is a pentatonic system, employing not only one but three basic five-pitch scales. Unlike slendro, narrow and wide intervals in each of these scales are apparent. Another musical concept associated with tuning system is modal classification called pathet. It is a system of the hierarchical use of tones (and/or different use of scale degrees, especially in pelog), supported by characteristics of instruments or vocal idioms to be used to approach these tones and the register of the tones used in composition. Pathet circumscribes general mood or emotive content of a composition. There are three pathet in each of the tuning systems. Composition in gamelan (gendhing) is determined and arranged by a number of parameters. First, a gendhing is composed in a particular tuning system and pathet. Secondly, a composition is framed in one of the formal structures (gongan). There are a docent formal structures defined in binary way by the stroke of gong, kenong, kempul, and kethuk. Thirdly, the melodies of gendhing are arranged in a metrical unit of four notes (gatra). ----- PERFORMANCE CONTEXTS AND HISTORY Gamelan may be performed independently, i.e., to be listened for its own sake. But gamelan is also an essential accompaniment for theatrical performances, such as dance drama and shadow wayang puppet play. Whether accompanying theatrical forms or not, gamelan is performed in several different contexts, especially in rite-of passages events and communal festivals. As history and technology advance, other contexts are created, including gamelan performance on radio and television stations. From little historical evidence we could find, it is safe to say that smaller ensembles, whether they accompanied singing or not, characterized music ensembles during the early period of Javanese history. In the 16th to 17th century, the ensemble began to develop into larger size. This was achieved by synchronizing loud- and soft-sounding instruments and vocal repertoire into an integrated musical concept. The result was an expansive size of ensemble with its hundreds of repertoire as can be found in today’s gamelan and gamelan practice. -Sumarsam, 2004 Musical Instrument A sound-making object used for musical performance or in a musical context Description A brief overview of the instrument Physical description and technique: The gambang is a wooden xylophone with seventeen to twenty-one keys with the range of two octaves or more. The keys rest on a wooden box that also functions as resonator. The gambang is played with two disc-type beaters that have long, somewhat flexible horn handles. Most of the time, the gambang plays in octaves (gembyang). Only occasionally a few ornamentational styles of playing may be employed, such as playing kempyung (playing two notes separated by two keys). Role in the gamelan ensemble: The gambang is one of the two instruments that have the widest melodic range (rebab is the other); hence, the melody of gambang can encompass the full melodic range of any composition. Because of this fact and the elaborate and high speed of the gambang playing style, this instrument is considered one of the important instruments in the ensemble. -Sumarsam, 2004 History A historical background about the instrument Evidence of a gambang type instrument, with either wood or bamboo bars, can be found in the drawings on the walls of old temples, such as in the 9th century Buddhist Borobudur monument in Central Java and the 14th century Panataran temple in East Java. The variety and wide distribution of this type of instrument in Java (and all of Indonesia, for that matter) indicate its popularity. The melodic range of these instruments varies, spanning from one octave to more than two-octaves. The choice of a multi-octave gambang to be incorporated into a full set of gamelan may be because of its suitability to accommodate a wider melodic range of gendhing. -Sumarsam, 2004 Geographic region The geographic region where the instrument is found Indonesia Ensemble The musical group in which an instrument can be found Javanese gamelan Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gambang https://wesomeka-test.wesleyan.edu/vim2/files/original/0535a59d92b342c1fc56ab4beffc130d.jpg 987fc612f9c08e07c14db10af83df239 https://wesomeka-test.wesleyan.edu/vim2/files/original/9e7dfa26d8b3193de4f98cb0b542f04a.jpg 8664b60b25ee2ab481efe6b6e0c27c44 https://wesomeka-test.wesleyan.edu/vim2/files/original/e7f23f2c58c21d428169e32b0395a848.jpg 5a075b69de29aa23f9e45a497a29c822 https://wesomeka-test.wesleyan.edu/vim2/files/original/39e9f45e32072e4998304b47c4ee4ce5.jpg e69fcf8e71718f4e690dc6ef6c1a2113 https://wesomeka-test.wesleyan.edu/vim2/files/original/e053bbd903f9fccf2e331a6fc281f1f6.mp3 4b171018c49035e795d6b7461ce6305f https://wesomeka-test.wesleyan.edu/vim2/files/original/971b6e69698877da64dc16407d8b3f2d.jpg 9ab8041e0ce23e36a542bef2a85ec31a https://wesomeka-test.wesleyan.edu/vim2/files/original/6c17b1944f513ceee4a120a13443dc9e.jpg a0f7cc903faf3221c530100f4c8b661d https://wesomeka-test.wesleyan.edu/vim2/files/original/ab4ff824049291d3691dc55e2e0fa3c7.jpg f3f8e9998f0c59befaf644f749223fdb https://wesomeka-test.wesleyan.edu/vim2/files/original/9296fd668ff40f89e5b4f6054e16fa5b.JPG 717db0721a65d528b95be8e609d4ba03 https://wesomeka-test.wesleyan.edu/vim2/files/original/81b3fbdc985126c284bf462c83311128.JPG 65a017204ea153a4817d84304efadb89 https://wesomeka-test.wesleyan.edu/vim2/files/original/00833186a6207123de7ace8d988a4e20.JPG fc035eaf90fad59f09b71107c538190c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Javanese Gamelan Description An account of the resource Gamelan is an ensemble consisting of predominantly metallophone and gong type instruments. The instruments produce tones when struck with mallets. The ensemble, in various sizes and forms, can be found in a number of Indonesian islands. In Java and Bali, gamelan has developed into an expansive ensemble, while a variety of smaller ensembles continue to exist. In Java alone, there exist several forms of gamelan ensembles. There are two especially known main gamelan styles: Sundanese (West Javanese) and Javanese gamelan. The following descriptions focus on Central Javanese gamelan. ----- INSTRUMENTS AND THEIR FUNCTIONS IN THE ENSEMBLE Javanese gamelan ensemble is known for its expansive or grandeur ensemble, employing a rich variety of instrument types. In a full set of gamelan, beside metallophones and gongs, they are other types of instruments, including a set of drums (kendhang), bowed- and plucked-strings (rebab and celempung), xylophone (gambang), and a bamboo flute (suling). A “soloist” female singing (sindhen) and male chorus (gerong) are also presence in gamelan ensemble. Each or a group of instruments and singing has a particular function in the ensemble, although there is a degree of flexibility. Generally the instruments may fall into the following three functional groupings: (1) instruments that delineate the structure of the piece; (2) instruments that guide temporal flow in the music; (3) and instruments that carries melodies in both simple and elaborate forms. Instruments in the first category include large and medium hanging gongs (gong ageng and gong suwukan), small size hanging gongs (kempul), large standing gongs (kenong), and a pair of small standing gongs (kethuk-kempyang). The stroke of a large hanging gong marks the end of the main musical unit (gongan), while other gongs (kenong, kempul, and kethuk-kempyang, respectively) subdivide it in the order of its importance. Instruments in the second category are a set of two-headed drums (kendhang). The drumming style is defined by the use of particular kendhang or a combination of them. The drumming may consist of a repeatable, simple rhythmic configuration (kendhang satunggal and kendhang kalih) to elaborate and animated rhythm (kendhang ciblon) that are associated with dance movements. The third category consists of three instrumental groupings: (a) instruments that carries melodic skeleton of the piece (balungan): saron, demung, and slenthem; (b) instruments that carries elaborate form of melodies, encompassing wide melodic registers (rebab, gambang, and singing), medium registers (gender barung) and narrow register (celempung, gender panerus, and suling). Generally, the wider their registers the more importance are their melodic functions; (3) instruments whose functions are to mediate between group a (balungan) and group b (elaborating instruments): bonang barung, bonang panerus, and peking. The anticipatory nature of the melodies of these instruments (especially bonang barung) has earned them the status of melodic guidance of the ensemble. Gamelan instruments can also be grouped according to the volume of the sound they can produced: soft-sounding and loud-sounding instruments. The soft-sounding instrument are positioned in the middle- and side-front to the middle row—rebab, gender, gambang, celempung, suling, slenthem—together with the singers. The loud-sounding instruments are in the side-front, middle, and back rows: bonang, kendhang, a group of saron, ketuk-kempyang, kenong, kempul, gong. Soft-loud category is an important basis for the playing style of gamelan and the ensemble’s interplay. ----- TUNING SYSTEM, PATHET, AND GENDHING A full gamelan set employs two tuning systems, slendro and pelog (thus, the full gamelan is actually a double sets, with usually the slendro set faces to the front, the pelog set to the side. The two sets are never played simultaneously, however. The slendro tuning consists of five notes per octave. The five intervals consist of short and medium steps. The difference between the two intervals is so small, however, that they are often described as equal or nearly equal intervals. The pelog has seven pitches per octave (1 2 3 4 5 6 7), but a gendhing is composed on the basis of the combination of sets of five pitch positions (1 2 3 5 6; 1 2 4 5 6; 2 3 5 6 7). In this sense, pelog is a pentatonic system, employing not only one but three basic five-pitch scales. Unlike slendro, narrow and wide intervals in each of these scales are apparent. Another musical concept associated with tuning system is modal classification called pathet. It is a system of the hierarchical use of tones (and/or different use of scale degrees, especially in pelog), supported by characteristics of instruments or vocal idioms to be used to approach these tones and the register of the tones used in composition. Pathet circumscribes general mood or emotive content of a composition. There are three pathet in each of the tuning systems. Composition in gamelan (gendhing) is determined and arranged by a number of parameters. First, a gendhing is composed in a particular tuning system and pathet. Secondly, a composition is framed in one of the formal structures (gongan). There are a docent formal structures defined in binary way by the stroke of gong, kenong, kempul, and kethuk. Thirdly, the melodies of gendhing are arranged in a metrical unit of four notes (gatra). ----- PERFORMANCE CONTEXTS AND HISTORY Gamelan may be performed independently, i.e., to be listened for its own sake. But gamelan is also an essential accompaniment for theatrical performances, such as dance drama and shadow wayang puppet play. Whether accompanying theatrical forms or not, gamelan is performed in several different contexts, especially in rite-of passages events and communal festivals. As history and technology advance, other contexts are created, including gamelan performance on radio and television stations. From little historical evidence we could find, it is safe to say that smaller ensembles, whether they accompanied singing or not, characterized music ensembles during the early period of Javanese history. In the 16th to 17th century, the ensemble began to develop into larger size. This was achieved by synchronizing loud- and soft-sounding instruments and vocal repertoire into an integrated musical concept. The result was an expansive size of ensemble with its hundreds of repertoire as can be found in today’s gamelan and gamelan practice. -Sumarsam, 2004 Musical Instrument A sound-making object used for musical performance or in a musical context Description A brief overview of the instrument Physical description: The kendhang is a two-headed, barrel shaped, asymmetrical drum with heads that are stretched with leather hoops laced in a “Y” pattern. Held horizontally on the stand, kendhang is played with bare hands (part of the palm and/or fingers). Commonly, the large head is played with the right hand, the small head with the left hand. Although not always present, there is another kind of drum called bedhug. It is a large, symmetrical, barrel-shaped drum with two nailed heads of the same diameter. The bedhug is hung on a stand or placed on a wooden frame. It is played with a mallet. It is exclusively played for loud pieces or for accompanying dance. Role in the gamelan ensemble: The kendhang is one of the leading instruments in the ensemble. It supervises the articulation of temporal flow and density of the music (this is a concept called irama). There are four kinds of kendhang: kendhang ageng, wayangan, ciblon, and ketipung. The size and function of each drum in the ensemble differentiate one drum from the other. The style of playing and the emotive content of a gendhing (or a section of it) determine which kendhang and drumming style the drummer must employ. Kendhang ageng, the largest drum, is used for majestic gendhing (or a section of it), usually in an expansive formal structure (gongan). In combination with ketipung, kendhang ageng is used for pieces with a shorter gongan structure. Kendhang wayangan, the medium size drum, is used to accompany wayang performance. And kendhang ciblon is a more animated drumming style, playing rhythmic patterns associated with dance movements. The interplay and interaction between the playing style of kendhang and the emotive content and playing style of a gendhing is one of the important elements of the ensemble’s performance. -Sumarsam, 2004 History A historical background about the instrument It is most likely that the drums existed long before they were part of the present expansive gamelan ensemble. We find drawings of different shapes and sizes of drums on the walls of old monuments and temples, such as the 9th century Borobudur Buddhist monument in Central Java and the 14th century Panataran temple in East Java. Among the variety of drums, the asymmetrical barrel shaped drum became a regular part of the gamelan ensemble. Other kinds of drums, such as conical shaped drum, are reserved for special ensembles (i.e., Monggang, Kodhok Ngorek, and Cara Balen). -Sumarsam, 2004 Geographic region The geographic region where the instrument is found Indonesia Ensemble The musical group in which an instrument can be found Javanese gamelan Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kendhang https://wesomeka-test.wesleyan.edu/vim2/files/original/87d4c88ec007d789d643f08adb4672bd.jpg 7650582bc7385a1e48b05d06836b43ab https://wesomeka-test.wesleyan.edu/vim2/files/original/766a6c04dcd1acf3dda98f88cc2da502.jpg b47128ffa632854382fa526f406d9378 https://wesomeka-test.wesleyan.edu/vim2/files/original/0709e4d86130f9c467a21b831e0f7394.jpg 4bb1c93ae27e6415fd429318a984388d https://wesomeka-test.wesleyan.edu/vim2/files/original/be79f1b7c169eddbecdd6ed84a4ae9d4.jpg c030142ee024cf004b324043750e2106 https://wesomeka-test.wesleyan.edu/vim2/files/original/67e5f7ffb64135680db0b3007557cbf4.mp3 c5a281fb87a6cda51e8c45017566ab9e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Javanese Gamelan Description An account of the resource Gamelan is an ensemble consisting of predominantly metallophone and gong type instruments. The instruments produce tones when struck with mallets. The ensemble, in various sizes and forms, can be found in a number of Indonesian islands. In Java and Bali, gamelan has developed into an expansive ensemble, while a variety of smaller ensembles continue to exist. In Java alone, there exist several forms of gamelan ensembles. There are two especially known main gamelan styles: Sundanese (West Javanese) and Javanese gamelan. The following descriptions focus on Central Javanese gamelan. ----- INSTRUMENTS AND THEIR FUNCTIONS IN THE ENSEMBLE Javanese gamelan ensemble is known for its expansive or grandeur ensemble, employing a rich variety of instrument types. In a full set of gamelan, beside metallophones and gongs, they are other types of instruments, including a set of drums (kendhang), bowed- and plucked-strings (rebab and celempung), xylophone (gambang), and a bamboo flute (suling). A “soloist” female singing (sindhen) and male chorus (gerong) are also presence in gamelan ensemble. Each or a group of instruments and singing has a particular function in the ensemble, although there is a degree of flexibility. Generally the instruments may fall into the following three functional groupings: (1) instruments that delineate the structure of the piece; (2) instruments that guide temporal flow in the music; (3) and instruments that carries melodies in both simple and elaborate forms. Instruments in the first category include large and medium hanging gongs (gong ageng and gong suwukan), small size hanging gongs (kempul), large standing gongs (kenong), and a pair of small standing gongs (kethuk-kempyang). The stroke of a large hanging gong marks the end of the main musical unit (gongan), while other gongs (kenong, kempul, and kethuk-kempyang, respectively) subdivide it in the order of its importance. Instruments in the second category are a set of two-headed drums (kendhang). The drumming style is defined by the use of particular kendhang or a combination of them. The drumming may consist of a repeatable, simple rhythmic configuration (kendhang satunggal and kendhang kalih) to elaborate and animated rhythm (kendhang ciblon) that are associated with dance movements. The third category consists of three instrumental groupings: (a) instruments that carries melodic skeleton of the piece (balungan): saron, demung, and slenthem; (b) instruments that carries elaborate form of melodies, encompassing wide melodic registers (rebab, gambang, and singing), medium registers (gender barung) and narrow register (celempung, gender panerus, and suling). Generally, the wider their registers the more importance are their melodic functions; (3) instruments whose functions are to mediate between group a (balungan) and group b (elaborating instruments): bonang barung, bonang panerus, and peking. The anticipatory nature of the melodies of these instruments (especially bonang barung) has earned them the status of melodic guidance of the ensemble. Gamelan instruments can also be grouped according to the volume of the sound they can produced: soft-sounding and loud-sounding instruments. The soft-sounding instrument are positioned in the middle- and side-front to the middle row—rebab, gender, gambang, celempung, suling, slenthem—together with the singers. The loud-sounding instruments are in the side-front, middle, and back rows: bonang, kendhang, a group of saron, ketuk-kempyang, kenong, kempul, gong. Soft-loud category is an important basis for the playing style of gamelan and the ensemble’s interplay. ----- TUNING SYSTEM, PATHET, AND GENDHING A full gamelan set employs two tuning systems, slendro and pelog (thus, the full gamelan is actually a double sets, with usually the slendro set faces to the front, the pelog set to the side. The two sets are never played simultaneously, however. The slendro tuning consists of five notes per octave. The five intervals consist of short and medium steps. The difference between the two intervals is so small, however, that they are often described as equal or nearly equal intervals. The pelog has seven pitches per octave (1 2 3 4 5 6 7), but a gendhing is composed on the basis of the combination of sets of five pitch positions (1 2 3 5 6; 1 2 4 5 6; 2 3 5 6 7). In this sense, pelog is a pentatonic system, employing not only one but three basic five-pitch scales. Unlike slendro, narrow and wide intervals in each of these scales are apparent. Another musical concept associated with tuning system is modal classification called pathet. It is a system of the hierarchical use of tones (and/or different use of scale degrees, especially in pelog), supported by characteristics of instruments or vocal idioms to be used to approach these tones and the register of the tones used in composition. Pathet circumscribes general mood or emotive content of a composition. There are three pathet in each of the tuning systems. Composition in gamelan (gendhing) is determined and arranged by a number of parameters. First, a gendhing is composed in a particular tuning system and pathet. Secondly, a composition is framed in one of the formal structures (gongan). There are a docent formal structures defined in binary way by the stroke of gong, kenong, kempul, and kethuk. Thirdly, the melodies of gendhing are arranged in a metrical unit of four notes (gatra). ----- PERFORMANCE CONTEXTS AND HISTORY Gamelan may be performed independently, i.e., to be listened for its own sake. But gamelan is also an essential accompaniment for theatrical performances, such as dance drama and shadow wayang puppet play. Whether accompanying theatrical forms or not, gamelan is performed in several different contexts, especially in rite-of passages events and communal festivals. As history and technology advance, other contexts are created, including gamelan performance on radio and television stations. From little historical evidence we could find, it is safe to say that smaller ensembles, whether they accompanied singing or not, characterized music ensembles during the early period of Javanese history. In the 16th to 17th century, the ensemble began to develop into larger size. This was achieved by synchronizing loud- and soft-sounding instruments and vocal repertoire into an integrated musical concept. The result was an expansive size of ensemble with its hundreds of repertoire as can be found in today’s gamelan and gamelan practice. -Sumarsam, 2004 Musical Instrument A sound-making object used for musical performance or in a musical context Description A brief overview of the instrument Physical description: The saron is a metallophone with six or seven keys that rest on a wooden trough, which also serves as resonator. Three instruments belong to the saron family that employ different sizes and pitch registers: the largest size with the lowest register is called demung; the medium size with a medium octave range, saron barung; and the smallest size and highest register, saron panerus or peking. A full ensemble may have two demung, four saron, and two peking. Another instrument that musically falls in the saron family is slenthem, but physically it is built similar to the gender (i.e. suspended by a cord over tube resonators). Role in the gamelan ensemble: For the most part (with the exception of peking), saron instruments play the melodic skeleton (balungan) of a gendhing within the limitation of their melodic ranges. There are other playing styles through which the saron create interlocking patterns. Unlike the other saron, the peking’s melody anticipates and doubles or quadruples the melody of the melodic skeleton (balungan). In some cases, it paraphrases the balungan. -Sumarsam, 2004 History A historical background about the instrument In the early history of gamelan, a single saron may have been part of a small ensemble. As the gamelan developed into an expansive ensemble, different sizes of saron were added. This development brought about the emergence of new styles of musical practice and repertoire: i.e., the creation of loud pieces in which bonang and saron are featured and performance styles involving the interplay between soft- and loud-playing styles. -Sumarsam, 2004 Geographic region The geographic region where the instrument is found Indonesia Ensemble The musical group in which an instrument can be found Javanese gamelan Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saron gamelan Java metallophone https://wesomeka-test.wesleyan.edu/vim2/files/original/a04c2b37ae73bce7157fce1412273224.jpg 1bd64073083dd3cc3be2d272ade33a84 https://wesomeka-test.wesleyan.edu/vim2/files/original/4cbcabd57fbc0091bc6a9e044b08b755.mp4 4712fb0f41819dc2f6e71868f2c79f1f https://wesomeka-test.wesleyan.edu/vim2/files/original/40bbba219bc31fe36000a8fd0eadd9ef.jpg 99b172c48c1cfffa6d807eb3a291444a https://wesomeka-test.wesleyan.edu/vim2/files/original/f6f494a7563cca070a101a98617b8d5d.jpg a7bd224cf1bbae21c8db2ce20880b21d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Javanese Gamelan Description An account of the resource Gamelan is an ensemble consisting of predominantly metallophone and gong type instruments. The instruments produce tones when struck with mallets. The ensemble, in various sizes and forms, can be found in a number of Indonesian islands. In Java and Bali, gamelan has developed into an expansive ensemble, while a variety of smaller ensembles continue to exist. In Java alone, there exist several forms of gamelan ensembles. There are two especially known main gamelan styles: Sundanese (West Javanese) and Javanese gamelan. The following descriptions focus on Central Javanese gamelan. ----- INSTRUMENTS AND THEIR FUNCTIONS IN THE ENSEMBLE Javanese gamelan ensemble is known for its expansive or grandeur ensemble, employing a rich variety of instrument types. In a full set of gamelan, beside metallophones and gongs, they are other types of instruments, including a set of drums (kendhang), bowed- and plucked-strings (rebab and celempung), xylophone (gambang), and a bamboo flute (suling). A “soloist” female singing (sindhen) and male chorus (gerong) are also presence in gamelan ensemble. Each or a group of instruments and singing has a particular function in the ensemble, although there is a degree of flexibility. Generally the instruments may fall into the following three functional groupings: (1) instruments that delineate the structure of the piece; (2) instruments that guide temporal flow in the music; (3) and instruments that carries melodies in both simple and elaborate forms. Instruments in the first category include large and medium hanging gongs (gong ageng and gong suwukan), small size hanging gongs (kempul), large standing gongs (kenong), and a pair of small standing gongs (kethuk-kempyang). The stroke of a large hanging gong marks the end of the main musical unit (gongan), while other gongs (kenong, kempul, and kethuk-kempyang, respectively) subdivide it in the order of its importance. Instruments in the second category are a set of two-headed drums (kendhang). The drumming style is defined by the use of particular kendhang or a combination of them. The drumming may consist of a repeatable, simple rhythmic configuration (kendhang satunggal and kendhang kalih) to elaborate and animated rhythm (kendhang ciblon) that are associated with dance movements. The third category consists of three instrumental groupings: (a) instruments that carries melodic skeleton of the piece (balungan): saron, demung, and slenthem; (b) instruments that carries elaborate form of melodies, encompassing wide melodic registers (rebab, gambang, and singing), medium registers (gender barung) and narrow register (celempung, gender panerus, and suling). Generally, the wider their registers the more importance are their melodic functions; (3) instruments whose functions are to mediate between group a (balungan) and group b (elaborating instruments): bonang barung, bonang panerus, and peking. The anticipatory nature of the melodies of these instruments (especially bonang barung) has earned them the status of melodic guidance of the ensemble. Gamelan instruments can also be grouped according to the volume of the sound they can produced: soft-sounding and loud-sounding instruments. The soft-sounding instrument are positioned in the middle- and side-front to the middle row—rebab, gender, gambang, celempung, suling, slenthem—together with the singers. The loud-sounding instruments are in the side-front, middle, and back rows: bonang, kendhang, a group of saron, ketuk-kempyang, kenong, kempul, gong. Soft-loud category is an important basis for the playing style of gamelan and the ensemble’s interplay. ----- TUNING SYSTEM, PATHET, AND GENDHING A full gamelan set employs two tuning systems, slendro and pelog (thus, the full gamelan is actually a double sets, with usually the slendro set faces to the front, the pelog set to the side. The two sets are never played simultaneously, however. The slendro tuning consists of five notes per octave. The five intervals consist of short and medium steps. The difference between the two intervals is so small, however, that they are often described as equal or nearly equal intervals. The pelog has seven pitches per octave (1 2 3 4 5 6 7), but a gendhing is composed on the basis of the combination of sets of five pitch positions (1 2 3 5 6; 1 2 4 5 6; 2 3 5 6 7). In this sense, pelog is a pentatonic system, employing not only one but three basic five-pitch scales. Unlike slendro, narrow and wide intervals in each of these scales are apparent. Another musical concept associated with tuning system is modal classification called pathet. It is a system of the hierarchical use of tones (and/or different use of scale degrees, especially in pelog), supported by characteristics of instruments or vocal idioms to be used to approach these tones and the register of the tones used in composition. Pathet circumscribes general mood or emotive content of a composition. There are three pathet in each of the tuning systems. Composition in gamelan (gendhing) is determined and arranged by a number of parameters. First, a gendhing is composed in a particular tuning system and pathet. Secondly, a composition is framed in one of the formal structures (gongan). There are a docent formal structures defined in binary way by the stroke of gong, kenong, kempul, and kethuk. Thirdly, the melodies of gendhing are arranged in a metrical unit of four notes (gatra). ----- PERFORMANCE CONTEXTS AND HISTORY Gamelan may be performed independently, i.e., to be listened for its own sake. But gamelan is also an essential accompaniment for theatrical performances, such as dance drama and shadow wayang puppet play. Whether accompanying theatrical forms or not, gamelan is performed in several different contexts, especially in rite-of passages events and communal festivals. As history and technology advance, other contexts are created, including gamelan performance on radio and television stations. From little historical evidence we could find, it is safe to say that smaller ensembles, whether they accompanied singing or not, characterized music ensembles during the early period of Javanese history. In the 16th to 17th century, the ensemble began to develop into larger size. This was achieved by synchronizing loud- and soft-sounding instruments and vocal repertoire into an integrated musical concept. The result was an expansive size of ensemble with its hundreds of repertoire as can be found in today’s gamelan and gamelan practice. -Sumarsam, 2004 Musical Instrument A sound-making object used for musical performance or in a musical context Description A brief overview of the instrument Gender is a metallophone type instrument with bronze keys suspended by cords in a wooden frame, over individual tube resonators for each of its keys. It is played with two padded disc type mallets. The gender playing technique requires damping the keys. This is done by dampening the key slightly after or at the same time while playing the next key. Gender is one of the leading instruments in the ensemble, especially in soft style of playing gendhing. Played with two mallets in a contrapunctal style, the gender creates to the fullness or sonority of the ensemble. Within the limitation of its melodic range, gender plays melodies in fragmented way: the melodies are presented in a series of melodic patterns commonly called cengkok. The cengkok are closely associated with musical unit of four notes of balungan (gatra). Historical evidence suggests that metallophone with keys suspended with cord had existed at around the 10th century (Kunst), perhaps under the name of salunding (Kunst); it had an important role for accompanying wayang. Until today gender is still the most important instrument in accompanying wayang performance. Ensemble The musical group in which an instrument can be found Javanese Gamelan Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gender gamelan Java metallophone https://wesomeka-test.wesleyan.edu/vim2/files/original/684a3a1856b82626b41137cbab7b38ef.mp3 20518bb7f7c37babc684c3c20db6ad04 https://wesomeka-test.wesleyan.edu/vim2/files/original/0081ec9b305de22d7ae8c3ff39f59789.mp4 c1ff55cefb4506bb5fd97311de835589 https://wesomeka-test.wesleyan.edu/vim2/files/original/16d9d623378cb7efcd57c2d68a510e05.jpg adfabb33fe6082e9acb7b39783a40518 https://wesomeka-test.wesleyan.edu/vim2/files/original/d72b546464ee8187f70b72d092099f72.jpg c3080c5d393a204807c4b3123ac53eb7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Javanese Gamelan Description An account of the resource Gamelan is an ensemble consisting of predominantly metallophone and gong type instruments. The instruments produce tones when struck with mallets. The ensemble, in various sizes and forms, can be found in a number of Indonesian islands. In Java and Bali, gamelan has developed into an expansive ensemble, while a variety of smaller ensembles continue to exist. In Java alone, there exist several forms of gamelan ensembles. There are two especially known main gamelan styles: Sundanese (West Javanese) and Javanese gamelan. The following descriptions focus on Central Javanese gamelan. ----- INSTRUMENTS AND THEIR FUNCTIONS IN THE ENSEMBLE Javanese gamelan ensemble is known for its expansive or grandeur ensemble, employing a rich variety of instrument types. In a full set of gamelan, beside metallophones and gongs, they are other types of instruments, including a set of drums (kendhang), bowed- and plucked-strings (rebab and celempung), xylophone (gambang), and a bamboo flute (suling). A “soloist” female singing (sindhen) and male chorus (gerong) are also presence in gamelan ensemble. Each or a group of instruments and singing has a particular function in the ensemble, although there is a degree of flexibility. Generally the instruments may fall into the following three functional groupings: (1) instruments that delineate the structure of the piece; (2) instruments that guide temporal flow in the music; (3) and instruments that carries melodies in both simple and elaborate forms. Instruments in the first category include large and medium hanging gongs (gong ageng and gong suwukan), small size hanging gongs (kempul), large standing gongs (kenong), and a pair of small standing gongs (kethuk-kempyang). The stroke of a large hanging gong marks the end of the main musical unit (gongan), while other gongs (kenong, kempul, and kethuk-kempyang, respectively) subdivide it in the order of its importance. Instruments in the second category are a set of two-headed drums (kendhang). The drumming style is defined by the use of particular kendhang or a combination of them. The drumming may consist of a repeatable, simple rhythmic configuration (kendhang satunggal and kendhang kalih) to elaborate and animated rhythm (kendhang ciblon) that are associated with dance movements. The third category consists of three instrumental groupings: (a) instruments that carries melodic skeleton of the piece (balungan): saron, demung, and slenthem; (b) instruments that carries elaborate form of melodies, encompassing wide melodic registers (rebab, gambang, and singing), medium registers (gender barung) and narrow register (celempung, gender panerus, and suling). Generally, the wider their registers the more importance are their melodic functions; (3) instruments whose functions are to mediate between group a (balungan) and group b (elaborating instruments): bonang barung, bonang panerus, and peking. The anticipatory nature of the melodies of these instruments (especially bonang barung) has earned them the status of melodic guidance of the ensemble. Gamelan instruments can also be grouped according to the volume of the sound they can produced: soft-sounding and loud-sounding instruments. The soft-sounding instrument are positioned in the middle- and side-front to the middle row—rebab, gender, gambang, celempung, suling, slenthem—together with the singers. The loud-sounding instruments are in the side-front, middle, and back rows: bonang, kendhang, a group of saron, ketuk-kempyang, kenong, kempul, gong. Soft-loud category is an important basis for the playing style of gamelan and the ensemble’s interplay. ----- TUNING SYSTEM, PATHET, AND GENDHING A full gamelan set employs two tuning systems, slendro and pelog (thus, the full gamelan is actually a double sets, with usually the slendro set faces to the front, the pelog set to the side. The two sets are never played simultaneously, however. The slendro tuning consists of five notes per octave. The five intervals consist of short and medium steps. The difference between the two intervals is so small, however, that they are often described as equal or nearly equal intervals. The pelog has seven pitches per octave (1 2 3 4 5 6 7), but a gendhing is composed on the basis of the combination of sets of five pitch positions (1 2 3 5 6; 1 2 4 5 6; 2 3 5 6 7). In this sense, pelog is a pentatonic system, employing not only one but three basic five-pitch scales. Unlike slendro, narrow and wide intervals in each of these scales are apparent. Another musical concept associated with tuning system is modal classification called pathet. It is a system of the hierarchical use of tones (and/or different use of scale degrees, especially in pelog), supported by characteristics of instruments or vocal idioms to be used to approach these tones and the register of the tones used in composition. Pathet circumscribes general mood or emotive content of a composition. There are three pathet in each of the tuning systems. Composition in gamelan (gendhing) is determined and arranged by a number of parameters. First, a gendhing is composed in a particular tuning system and pathet. Secondly, a composition is framed in one of the formal structures (gongan). There are a docent formal structures defined in binary way by the stroke of gong, kenong, kempul, and kethuk. Thirdly, the melodies of gendhing are arranged in a metrical unit of four notes (gatra). ----- PERFORMANCE CONTEXTS AND HISTORY Gamelan may be performed independently, i.e., to be listened for its own sake. But gamelan is also an essential accompaniment for theatrical performances, such as dance drama and shadow wayang puppet play. Whether accompanying theatrical forms or not, gamelan is performed in several different contexts, especially in rite-of passages events and communal festivals. As history and technology advance, other contexts are created, including gamelan performance on radio and television stations. From little historical evidence we could find, it is safe to say that smaller ensembles, whether they accompanied singing or not, characterized music ensembles during the early period of Javanese history. In the 16th to 17th century, the ensemble began to develop into larger size. This was achieved by synchronizing loud- and soft-sounding instruments and vocal repertoire into an integrated musical concept. The result was an expansive size of ensemble with its hundreds of repertoire as can be found in today’s gamelan and gamelan practice. -Sumarsam, 2004 Musical Instrument A sound-making object used for musical performance or in a musical context Geographic region The geographic region where the instrument is found Indonesia Description A brief overview of the instrument Physical description: The bonang consists of two rows of horizontal gong-kettles with the open side facing down, which is placed on cords stretched over a rectangular wooden-frame. The bonang is played with two cylindrical sticks, which are padded with cord at the striking end. A full gamelan set has two kinds of bonang: bonang barung and bonang panerus; the latter is one octave higher than the former (its lower octave overlaps with the higher octave of bonang barung). Depending on the tuning system, a bonang may have fourteen gong-kettles for pelog (seven in each row), or twelve or ten for slendro (six or five in each row). Some gamelan may also have bonang panembung, a bonang whose octave range is one octave lower than bonang barung. Role in the gamelan ensemble: Bonang barung is one of the leading instruments in the ensemble. The anticipatory nature of its playing technique can be used as a melodic guide for the ensemble in expressing its melodies. Particularly, the playing style known as pipilan (playing single notes one at a time) leads the flow of the melody, and certain gembyangan (octave playing) are used as a sign for melodies in high octave ranges that are unattainable by the saron. There is another bonang playing technique that requires two bonang, bonang barung and bonang panerus, which creates interlocking melodic patterns using a technique called imbal-imbalan. -Sumarsam, 2004 History A historical background about the instrument Evidence of gong-kettle type instruments can be found in the drawings of these instruments on the walls of old temples. The drawing of gong-kettles on the wall of the 14th-century Panataran temple in East Java is quite revealing. It consists of two small gong-kettles vertically mounted on two side ends of a bar. (This instrument can still be found and played in contemporary Bali). Perhaps there was a period of development from this type of instruments to instruments with gong-kettles resting on a frame with the open side facing down, such as bonang, kethuk-kempyang, and kenong. As gamelan developed into an expansive ensemble, together with the emergence of repertoire that employs wider registers, bonang with wider octave range were constructed to accommodate this development. -Sumarsam, 2004 Ensemble The musical group in which an instrument can be found Javanese gamelan Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bonang gamelan Java metallophone https://wesomeka-test.wesleyan.edu/vim2/files/original/24bad06adc5f3d645c54d8b0a4c8c0b2.jpg b11a34b4034adf0092a50457a3512a28 https://wesomeka-test.wesleyan.edu/vim2/files/original/b6abebabd7365c49bbc2b082bd7182b6.mp3 8716aefd9874876ac29b73e18aa7bdec https://wesomeka-test.wesleyan.edu/vim2/files/original/a82376679c4871ac2fb3b1a916f09155.mov 44be0a819eb2e796d20f7be1a9701f3f https://wesomeka-test.wesleyan.edu/vim2/files/original/5b95ad43abf4e1d7261ba5b32fe4cdb0.jpg 66e6d2b0c816849263555239d05e77ef https://wesomeka-test.wesleyan.edu/vim2/files/original/fbf64c59399f0c44a4f8b364da522d05.mov 48ca6a23929b025ff36d11617afe20b9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Javanese Gamelan Description An account of the resource Gamelan is an ensemble consisting of predominantly metallophone and gong type instruments. The instruments produce tones when struck with mallets. The ensemble, in various sizes and forms, can be found in a number of Indonesian islands. In Java and Bali, gamelan has developed into an expansive ensemble, while a variety of smaller ensembles continue to exist. In Java alone, there exist several forms of gamelan ensembles. There are two especially known main gamelan styles: Sundanese (West Javanese) and Javanese gamelan. The following descriptions focus on Central Javanese gamelan. ----- INSTRUMENTS AND THEIR FUNCTIONS IN THE ENSEMBLE Javanese gamelan ensemble is known for its expansive or grandeur ensemble, employing a rich variety of instrument types. In a full set of gamelan, beside metallophones and gongs, they are other types of instruments, including a set of drums (kendhang), bowed- and plucked-strings (rebab and celempung), xylophone (gambang), and a bamboo flute (suling). A “soloist” female singing (sindhen) and male chorus (gerong) are also presence in gamelan ensemble. Each or a group of instruments and singing has a particular function in the ensemble, although there is a degree of flexibility. Generally the instruments may fall into the following three functional groupings: (1) instruments that delineate the structure of the piece; (2) instruments that guide temporal flow in the music; (3) and instruments that carries melodies in both simple and elaborate forms. Instruments in the first category include large and medium hanging gongs (gong ageng and gong suwukan), small size hanging gongs (kempul), large standing gongs (kenong), and a pair of small standing gongs (kethuk-kempyang). The stroke of a large hanging gong marks the end of the main musical unit (gongan), while other gongs (kenong, kempul, and kethuk-kempyang, respectively) subdivide it in the order of its importance. Instruments in the second category are a set of two-headed drums (kendhang). The drumming style is defined by the use of particular kendhang or a combination of them. The drumming may consist of a repeatable, simple rhythmic configuration (kendhang satunggal and kendhang kalih) to elaborate and animated rhythm (kendhang ciblon) that are associated with dance movements. The third category consists of three instrumental groupings: (a) instruments that carries melodic skeleton of the piece (balungan): saron, demung, and slenthem; (b) instruments that carries elaborate form of melodies, encompassing wide melodic registers (rebab, gambang, and singing), medium registers (gender barung) and narrow register (celempung, gender panerus, and suling). Generally, the wider their registers the more importance are their melodic functions; (3) instruments whose functions are to mediate between group a (balungan) and group b (elaborating instruments): bonang barung, bonang panerus, and peking. The anticipatory nature of the melodies of these instruments (especially bonang barung) has earned them the status of melodic guidance of the ensemble. Gamelan instruments can also be grouped according to the volume of the sound they can produced: soft-sounding and loud-sounding instruments. The soft-sounding instrument are positioned in the middle- and side-front to the middle row—rebab, gender, gambang, celempung, suling, slenthem—together with the singers. The loud-sounding instruments are in the side-front, middle, and back rows: bonang, kendhang, a group of saron, ketuk-kempyang, kenong, kempul, gong. Soft-loud category is an important basis for the playing style of gamelan and the ensemble’s interplay. ----- TUNING SYSTEM, PATHET, AND GENDHING A full gamelan set employs two tuning systems, slendro and pelog (thus, the full gamelan is actually a double sets, with usually the slendro set faces to the front, the pelog set to the side. The two sets are never played simultaneously, however. The slendro tuning consists of five notes per octave. The five intervals consist of short and medium steps. The difference between the two intervals is so small, however, that they are often described as equal or nearly equal intervals. The pelog has seven pitches per octave (1 2 3 4 5 6 7), but a gendhing is composed on the basis of the combination of sets of five pitch positions (1 2 3 5 6; 1 2 4 5 6; 2 3 5 6 7). In this sense, pelog is a pentatonic system, employing not only one but three basic five-pitch scales. Unlike slendro, narrow and wide intervals in each of these scales are apparent. Another musical concept associated with tuning system is modal classification called pathet. It is a system of the hierarchical use of tones (and/or different use of scale degrees, especially in pelog), supported by characteristics of instruments or vocal idioms to be used to approach these tones and the register of the tones used in composition. Pathet circumscribes general mood or emotive content of a composition. There are three pathet in each of the tuning systems. Composition in gamelan (gendhing) is determined and arranged by a number of parameters. First, a gendhing is composed in a particular tuning system and pathet. Secondly, a composition is framed in one of the formal structures (gongan). There are a docent formal structures defined in binary way by the stroke of gong, kenong, kempul, and kethuk. Thirdly, the melodies of gendhing are arranged in a metrical unit of four notes (gatra). ----- PERFORMANCE CONTEXTS AND HISTORY Gamelan may be performed independently, i.e., to be listened for its own sake. But gamelan is also an essential accompaniment for theatrical performances, such as dance drama and shadow wayang puppet play. Whether accompanying theatrical forms or not, gamelan is performed in several different contexts, especially in rite-of passages events and communal festivals. As history and technology advance, other contexts are created, including gamelan performance on radio and television stations. From little historical evidence we could find, it is safe to say that smaller ensembles, whether they accompanied singing or not, characterized music ensembles during the early period of Javanese history. In the 16th to 17th century, the ensemble began to develop into larger size. This was achieved by synchronizing loud- and soft-sounding instruments and vocal repertoire into an integrated musical concept. The result was an expansive size of ensemble with its hundreds of repertoire as can be found in today’s gamelan and gamelan practice. -Sumarsam, 2004 Musical Instrument A sound-making object used for musical performance or in a musical context Geographic region The geographic region where the instrument is found Java, Indonesia Classification Hornbostel-Sachs, revised by MIMO Bowed string Ensemble The musical group in which an instrument can be found Gamelan Description A brief overview of the instrument Rebab is a two-stringed bowed lute with a heart-shaped body of wood covered with a membrane made of parchment from a cow bladder. Pierced through the body, a long spike made of wood or ivory, or a combination of both, supports the strings at the top and serving as a foot at the bottom. The brass strings are stretched up across the membrane from a point on the leg (just below the body) to the elongated pegs in the upper part of the spike. When the rebab is bowed, the strings must be placed on the top of a little wooden bridge (srenten). The bridge is positioned between the strings and the upper part of the membrane. The bow uses a bunch of horsehairs (or plastic) loosely attached on the bow. In playing the rebab, the player must pull this horse hairs to a particular tension in order to produce desired volume and sound from the strings. Rebab is one of the leading instruments in the ensemble, especially in the soft style of playing gendhing; it guides the melodic flow of the piece. In the first place, the rebab played the introduction (buka) of the piece, determining the piece, laras, and pathet that will be played by the ensemble. In some pieces, the rebab plays a melodic cues to lead the ensemble to play different section of the piece. More important, the rebab properly expresses the “true” melodic motion of gendhing in its proper melodic register, since it is the only two instruments in the ensemble whose melodic register could constitute the full melodic range of any composition. It is most likely that rebab is originated from the Middle East, arriving in Indonesia in the period of the expansion of Islam in Indonesia in the 16th century. The incorporation of rebab into the gamelan ensemble happened during the period of the development of gamelan toward the formation of a large ensemble. This formation consisted of combining loud sounding, soft sounding instruments (Kunst), and vocal repertoire into an integrated musical concept (Sumarsam); hence, the development of a full size gamelan ensemble as it is commonly found today and its gendhing repertoire. Rebab became a leading instrument for its vocally inspired melodic delivery; this is because in a large degree vocal music inherently embody in the gendhing in this new musical concept. -Sumarsam, 2004 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rebab bowed gamelan Java string