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His over 250 compositions include numerous light gamelan pieces (lagu dolanan) and experimental works (kreasi baru), including many which are prominent in the gamelan repertory. He revived several moribund or extinct art forms from Yogyakarta history, including wayang gedhog.
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 gong kebyar is a style or genre of Balinese gamelan music of Indonesia. Kebyar means "to flare up or burst open", [ 1 ] and refers to the explosive changes in tempo and dynamics characteristic of the style.
In Gamelan gong kebyar, Kotekan is usually played on the higher-pitched gangsa and reyong as embellishment to the main melody played on the calung and ugal. The busy upper registers of the gamelan are the domain of the gangsas and reyong. These instruments spin out kotekan, the crackling ornamental fireworks of Balinese music. Kotekan is ...
Gamelan semar pegulingan is an old variety of the Balinese gamelan. Dating back from around the 17th century, the style is sweeter and more reserved than the more popular and progressive Gamelan Gong Kebyar. Semar pegulingan is derived from the ancient flute ensemble gamelan gambuh which utilizes a 7 tone scale.
The instruments in the gamelan angklung are tuned to a 5-tone slendro scale, although most ensembles use a four-tone mode of the five-tone scale played on instruments with four keys. An exception is the five-tone angklung from the north of Bali, which is what as many as seven keys. [ 20 ]
Within Gamelan, the kendang is smaller than the bedug, which is placed inside a frame, hit with a beater, but used less frequently. The kendang usually has the function of keeping the tempo ( laya ) while changing the density ( irama ), and signaling some of the transitions ( paralihan ) to sections and the end of the piece ( suwuk ).
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 ]