Search results
Results From The WOW.Com Content Network
This multi-octave melody is the one given in kepatihan notation, the cipher notation used for gamelan pieces. Lagu is a related term, which is used by Sumarsam and is sometimes translated as "inner melody." [citation needed] It can mean the multi-octave balungan, or a more implicit melody. There is no consensus on the use of either term, and ...
Main page; Contents; Current events; Random article; About Wikipedia; Contact us; Pages for logged out editors learn more
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 ...
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 ).
The bonang is an Indonesian musical instrument used in the Javanese gamelan. [1] It is a collection of small gongs (sometimes called "kettles" or "pots") placed horizontally onto strings in a wooden frame (rancak), either one or two rows wide.
Man playing kenong in a gamelan orchestra (1966) The Kenong is a musical instrument of Indonesia used in the gamelan. [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 ...
A gatra ("embryo" or "semantic unit" [1]) is a unit of melody in Indonesian Javanese gamelan music, analogous to a measure in Western music. It is often considered the smallest unit of a gamelan composition. A gatra consists of a sequence of four beats (keteg), which are filled with notes (or rests, pin) from the balungan.
The three major indigenous genres of gong-chime music prevalent in Southeast Asia includes the gamelan of western Indonesia; the kulintang of the southern Philippines, eastern Indonesia, and eastern Malaysia; and the piphat of Thailand, Cambodia, Laos, and the hsaing waing of Burma. The Cambodian equivalent of the piphat is called pinpeat.