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[1] [2] It is a kind of gong and is placed on its side. It has the same length and width. Thus, it is similar to the bonang, kempyang, and ketuk, which are also cradled gongs. Kenongs are generally much larger than the aforementioned instruments. However, the kenong has a considerably higher pitch.
Kendhang ageng, kendhang gede (krama/ngoko, similar to gong ageng in usage), or kendhang gendhing is the largest kendang, which usually has the deepest tone. It is played by itself in the kendhang satunggal (lit. "single drum") style, which is used for the most solemn or majestic pieces or parts of pieces.
It consists of a set of a double row of gong chimes known as the totobuang (similar to set of bonang gong chimes) and a set of tifa drums. It can also include a large gong. [1] The name comes from the instruments' collaboration. The ensemble can accompany the Maluku Island's Sawat Lenso dance. [2] [3]
A gong chime is a generic term for a set of small, high-pitched bossed pot gongs. The gongs are ordinarily placed in order of pitch, with the boss upward on cords held in a low wooden frame. The frames can be rectangular or circular (the latter are sometimes called "gong circles"), and may have one or two rows of gongs.
Ladrang form on the balugan instruments. GONG = gong ageng Play approximation without colotomy ⓘ 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.
The Bugis people, also known as Buginese, are an Austronesian ethnic group – the most numerous of the three major linguistic and ethnic groups of South Sulawesi (the others being Makassarese and Torajan), in the south-western province of Sulawesi, third-largest island of Indonesia. The Bugis in 1605 converted to Islam from Animism. [5]
The Bugis are found almost solely along the coast, to which they have evidently migrated in order to trade with Luwu's indigenous peoples. It is clear both from archaeological and textual sources that Luwu was a Bugis-led coalition of various ethnic groups, united by trade relationships and by the ability of the Datu' (ruler) of Luwu to enforce ...
The original Bugis language, in which also the production is sung, is now only understood by fewer than 100 people [2] but so far only parts of it have been translated into Indonesian and no complete English language version exists either. [1] The majority of La Galigo manuscripts still existent can be found in Indonesia and the Netherlands.