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Gamelan (/ ˈ ɡ æ m ə l æ n /; [2] Balinese: ᬕᬫ᭄ᬩᭂᬮ᭄ᬮᬦ᭄; Javanese: ꦒꦩꦼꦭꦤ꧀, romanized: gamelan (in the ngoko register), ꦒꦁꦱ, gangsa (in the krama register); [3] Sundanese: ᮌᮙᮨᮜᮔ᮪) is the traditional ensemble music of the Javanese, Sundanese, and Balinese peoples of Indonesia, made up ...
The word of Gamelan derived from the term in Javanese: ꦒꦩꦼꦭ꧀, romanized: gamel, which means "hitting" or "striking" refer to playing of percussion instruments or the act of striking with a mallet, + an (noun-forming suffix). [5] [6] [7] While the word of Melayu refer to the Malays which had its correlation to Melayu Kingdom. [8] [9]
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 ...
The gangsa is a metallophone idiophone of the Balinese people of Bali, Indonesia. It is a melodic instrument that is part of a Balinese gamelan gong kebyar.Traditionally, a single gamelan craftsman's workshop would construct, upon commission, a unified and uniquely tuned set of bronze instruments, numbering twenty or more, the sum total of which would constitute a gamelan gong kebyar.
saron gamelan degung barudak Indra Swara Mexico. The saron is a musical instrument of Indonesia, which is used in the gamelan. It normally has seven bronze bars placed on top of a resonating frame (rancak). It is usually about 20 cm (8 in) high, and is played on the floor by a seated performer.
Irama is the term used for tempo in Indonesian gamelan in Java and Bali. It can be used with elaborating instruments. It can be used with elaborating instruments. It is a concept used in Javanese gamelan music, [ 2 ] describing melodic tempo and relationships in density between the balungan , elaborating instruments , and gong structure . [ 3 ]
The pesindhèn may sing together with a gerong (male chorus), but their styles and words will be different. The part of the sindhèn is largely improvised within strict parameters (similar to instrumental cengkok). The sindhèn is also allowed a much freer rhythm, similar to the rebab and suling, instead of the strict rhythm of the gerong.
"Gamelan instruments" is technically redundant since, "The name 'gamelan' actually refers only to the instruments themselves...Javanese have a separate word for the art of playing gamelan instruments..." Lindsay, Jennifer (1992). Javanese Gamelan, p.10. ISBN 0-19-588582-1.