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In designing the kebyar duduk dance, I Mario was influenced by recent innovations in Balinese gamelan, which allowed interpretation of the music as well as a fast tempo. This development, known as the gamelan gong kebyar, was manifested early on in legong dances (specifically, kebyar legong), from which I Mario drew his inspiration. [2]
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The first known written reference to the dish is found in a copy of Danishmendname dating back to 1360. [3] Keşkek is documented in Iran and the region of Syria as early as the 15th century; [4] it is still consumed by many today, traditionally during religious festivals, weddings [5] and funerals.
Gamelan is used to accompany all puppet shows, including wayang kulit, wayang golek, wayang klithik, wayang beber, etc. In wayang, the dalang (puppeteer) must have a thorough knowledge of gamelan, as he gives the cues for the music. Gamelan is a complement and supporter of wayang performances, which is still favored by Indonesians.
This is similar to the other cradled gongs in the gamelan, the kethuk, kempyang, and kenong. Bonang may be made of forged bronze , welded and cold-hammered iron , or a combination of metals. In addition to the gong-shaped form of kettles, economical bonang made of hammered iron or brass plates with raised bosses are often found in village ...
The kempyang and ketuk are two instruments in the gamelan ensemble of Indonesia, generally played by the same player, and sometimes played by the same player as the kenong. They are important beat-keepers in the colotomic structure of the gamelan. Depending on the structure, they play different, repeating patterns every gongan. Not all ...
Gamelan in Asian Civilisations Museum, Singapore Calung , consists of multiple bamboo tubes which are struck at the base to produce a woody sound. Karinding , a musical instrument made of a tube of bambu about one foot long and one inch in bore, at the end of which is held a small instrument with a tongue to it .
Instruments in gamelan gong kebyar offer a wide range of pitches and timbres, ranging five octaves from the deepest gongs to the highest key on a gangsa. The high end can be described as "piercing", the low end "booming and sustained," while the drums as "crisp". Kebyar instruments are most often grouped in pairs, or "gendered."