Gamelan Kecak Bali
Contents. Terminology The word gamelan comes from the word gamel, which may refer to a type of mallet used to strike instruments or the act of striking with a mallet. The term karawitan refers to classical gamelan music and performance practice, and comes from the word rawit, meaning 'intricate' or 'finely worked'. The word derives from the word of origin, rawit, which refers to the sense of smoothness and elegance idealized in Javanese music. Another word from this root, pangrawit, means a person with such sense, and is used as an honorific when discussing esteemed gamelan musicians.
Check out Bali: Gamelan & Kecak by Various artists on Amazon Music. Stream ad-free or purchase CD's and MP3s now on Amazon.com. May 06, 2016 Balinese Hinduism, called Agama Hindu Dharma, originated from Java and is a blend of Shivaism and Buddhism. The theological foundation for the religion.
The high Javanese word for gamelan is gangsa, formed either from the words tembaga and rejasa referring to the materials used in bronze gamelan construction (copper and tin), or tiga and sedasa referring to their proportions (three and ten). Musicians performing musical ensemble, bas-relief of The gamelan predates the that dominated Indonesia in its earliest records and thus represents an indigenous art form. The instruments developed into their current form during the. In contrast to the heavy influence in other art forms, the only obvious in gamelan music is in the Javanese style of singing, and in the themes of the (shadow puppet plays). In Javanese mythology, the gamelan was created by Sang Hyang Guru in 167 (c. AD 230), the god who ruled as king of all Java from a palace on the Maendra mountain in (now ). He needed a signal to summon the gods and thus invented the gong.
For more complex messages, he invented two other gongs, thus forming the original gamelan set. The earliest image of a musical ensemble is found on the 8th century temple, Central Java. Musical instruments such as the bamboo flute, bells, drums in various sizes, lute, and bowed and plucked string instruments were identified in this image.
However it lacks metallophones and xylophones. Nevertheless, the image of this musical ensemble is suggested to be the ancient form of the gamelan. In the palaces of the oldest known ensembles, Gamelan and Gamelan Kodok Ngorek, are apparently from the 12th century. These formed the basis of a 'loud style' of music. In contrast, a 'soft style' developed out of the tradition and is related to the traditions of singing, in a manner often believed to be similar to the chorus that accompanies the modern dance. In the 17th century, these loud and soft styles mixed, and to a large extent the variety of modern gamelan styles of Bali, Java, and Sunda resulted from different ways of mixing these elements. Thus, despite the seeming diversity of styles, many of the same theoretical concepts, instruments, and techniques are shared between the styles.
Instruments A gamelan is a multi-timbre ensemble consisting of, xylophones, flutes, gongs, voices, as well as bowed and plucked strings. The hand-played drum called kendhang controls the tempo and rhythm of pieces as well as transitions from one section to another, while one instrument gives melodic cues to indicate treatment or sections of a piece. Some of the instruments that constitute a gamelan in present-day Central Java are shown here:. Instruments. See also: Varieties of gamelan are distinguished by their collection of instruments and use of voice, tunings, repertoire, style, and cultural context. In general, no two gamelan ensembles are the same, and those that arose in prestigious courts are often considered to have their own style and tuning. Certain styles may also be shared by nearby ensembles, leading to a regional style.
The varieties are generally grouped geographically, with the principal division between the styles favored by the, and peoples. The Madurese also had their own style of gamelan, although it is no longer in use, and the last orchestra is kept at the Sumenep palace. One important style of Sundanese gamelan is, which uses a subset of gamelan instruments with a particular mode of scale. Balinese gamelan is often associated with the virtuosity and rapid changes of tempo and dynamics of, its best-known style. Other popular Balinese styles include, a theatrical dance and music form also known as the 'monkey chant.' Javanese gamelan, largely dominated by the courts of the 19th century central Javanese rulers, each with its own style, is known for a slower, more meditative quality than the gamelan music of Bali.
Javanese gamelan can be made from iron or brass; instruments made of cast bronze are considered the best quality. Outside the main core on and, gamelan has spread through migration and cultural interest, new styles sometimes resulting as well. Comes from the Javanese tradition through Riau-Lingga which later formed its own distinct identity, using fewer instruments tuned in a near-equidistant slendro, and often using a western B ♭ or C as a tuning basis. Javanese emigrants to Suriname play gamelan in a style close to that found in Central Javanese villages.
Gamelan is also related to the ensemble. TA variety of gamelan can befound in over 25 countries outside Indonesia, presenting both traditional and experimental repertoire. In oral Javanese culture distinctions are made between complete or incomplete, archaic and modern, and large standard and small village gamelan. The various archaic ensembles are distinguished by their unique combinations of instruments and possession of obsolete instruments such as the bell-tree ( byong) in the 3-toned gamelan kodhok ngorek. Regionally variable village gamelan are often distinguished from standard gamelan (which have the rebab as the main melodic instrument) by their inclusion of a double-reed wind ( selompret, slompret, or sompret) in addition to variable drum and gong components, with some also including the shaken bamboo angklung. Cultural context. Further information: Gamelan music is traditionally not notated and began as an.
In the 19th century, however, the kraton (palaces) of and developed distinct notations for transcribing the repertoire. These were not used to read the music, which was memorized, but to preserve pieces in the court records. The Yogyanese notation is a checkerboard notation, which uses six or seven vertical lines to represent notes of higher pitch in the (melodic framework), and horizontal lines which represent the series of beats, read downward with time.
The fourth vertical line and every fourth horizontal line (completing a ) are darkened for legibility. Symbols on the left indicate the of gongs and so forth, while specific drum features are notated in symbols to the right. The Solonese notation reads horizontally, like Western notation, but does not use barlines. Instead, note values and rests are squiggled between the notes. Today this notation is relatively rare, and has been replaced by, which is a cipher system. Kepatihan notation developed around 1900 at the Palace in Surakarta, which had become a high-school conservatory.
The pitches are numbered (see the articles on the scales and for an explanation of how), and are read across with dots below or above the numbers indicating the register, and lines above notes showing time values; In vocal notation, there are also brackets under groups of notes to indicate melisma. Like the palace notation, however, Kepatihan records mostly the balungan part and its metric phrases as marked by a variety of gongs. The other parts are created in real time, and depend on the knowledge each musician has of his instrument, and his awareness of what others are playing; this 'realization' is sometimes called 'garap.' Some teachers have also devised certain notations, generally using kepatihan principles, for the (melodic patterns) of the.
Some ethnomusicologists, trained in European music, may make transcriptions onto a Western staff. This entails particular challenges of tuning and time, sometimes resulting in unusual. Influence on Western music.
(April 3, 2008). Longman Pronunciation Dictionary (3rd ed.). Pearson Longman. ^ Sumarsam (1998). Bramantyo Prijosusilo, ' 2013-01-15 at the., The Jakarta Globe, 22 February 2011. ^ Lindsay, Jennifer (1992).
Javanese Gamelan, p.10. Lindsay (1992), p.35. The Embassy of the Republic of Indonesia, Bulletin for National Museum of Canada (Ottawa: April 1961), p.2, cited in Donald A. The Gamelan Music of Java and Bali: An Artistic Anomaly Complementary to Primary Tonal Theoretical Systems. Lincoln: University of Nebraska Press, 1965. Warsodiningrat, Serat Weda Pradangga.
Cited in Roth, A. New Compositions for Javanese Gamelan. University of Durham, Doctoral Thesis, 1986. Roth, 4–8. Drummond, Barry. Ben Jordan (10 June 2002).
Archived from on 12 November 2013. Across Madura Strait: the dynamics of an insular society, edited by Kees van Dijk, Huub de Jonge and Elly Touwen-Bouwsma. Kartomi, Margaret (1990). On Concepts and Classifications of Musical Instruments. University of Chicago Press, p. 91. For a discussion of dance in Central Java in, see Ganug Nugroho Adi, ', The Jakarta Post, 30 May 2012.
Broughton, Simon, et al., eds. World Music: The Rough Guide. London: The Rough Guides, 1994. Page 419–420.
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^ Broughton, 421. Roth, 17. ', BaliPusa.de. (German).
Ganug Nugroho Adi, ', The Jakarta Post, 7 June 2012; Ganug Nugroho Adi, ', The Jakarta Post, 11 July 2012. Colin McPhee, Music in Bali. New Haven, CT: Yale University Press, 1966. ' from Connexions.com retrieved. Sumarsan.
Gamelan: cultural interaction and musical development in central Java. University of Chicago Press, 2nd Edition, 1996. Lindsay, Jennifer. Javanese Gamelan. Oxford: Oxford University Press, 1979.
For example, in Sorrell, Neil. A Guide to the Gamelan. United Kingdom: Faber and Faber, 1990.
Neil Sorrell. A Guide to the Gamelan.
Sejarah Tari Kecak Bali
London: Faber and Faber, 2000. Pages 2–7 discuss the incident, about which much remains uncertain. In particular, it is unknown whether they played the instruments that the received in 1887, which would be substantially different from their ordinary set, or if they brought their own set.
Neil Sorrell. A Guide to the Gamelan. London: Faber and Faber, 2000. Although the five notes of the slendro set are closest in pitch to a, this scale would have been familiar from other folk sources, as it is a common scale worldwide. It is the equally tempered whole-tone scale that is more analogous of the exotic slendro scale. Orledge, Robert Satie the Composer (Music in the Twentieth Century)Cambridge University Press (October 26, 1990). ' 2014-03-07 at the.'
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Atlantis: The Lost Empire—Supplemental Material (DVD). Disc 2 of 2 (Collector's ed.). Burbank, CA: Walt Disney Studios Home Entertainment. Further reading Balinese gamelan. Balinese Music (1991) by,. Included is an excellent sampler CD of Balinese Music.
Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese Music (2000) by Michael Tenzer, and. Music in Bali (1966). New Haven, CT: Yale University Press.
Music in Bali: Experiencing Music, Expressing Culture (2007) by Lisa Gold, Oxford University Press, New York, (paper) Javanese gamelan. Gamelan: Cultural Interaction and Musical Development in Central Java (1995) by, (cloth) (paper). Music in Central Java: Experiencing Music, Expressing Culture (2007) by Benjamin Brinner, Oxford University Press, New York, (paper). Music in Java: History Its Theory and Its Technique (1949/1973) edited by,. An appendix of this book includes some statistical data on intervals in scales used by gamelans. A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan (2005) by Richard Pickvance, Jaman Mas Books, London,.
Kartomi, Margaret J. Eastman Studies in Music #15; The Gamelan Digul and the Prison Camp Musician Who Built It: An Australian Link with the Indonesian Revolution (hardcover, bibliography, index, with CD) format= requires url=.
University of Rochester Press. When the prison camp at Tanah Merah, on the Digul river in West Papua, was evacuated by the Dutch in 1943, the prisoners brought with them to Australia a gamelan they had constructed. Shadow Music of Java produced by Karl Signell, Rounder CD 5060. External links Wikimedia Commons has media related to. by Qehn, Javanese gamelan only. written in 2005. Most links do not work as of January 2017.
Bali Gamelan & Kecak Music
– by John Noise Manis.
Recorded in Bali, May - October 1987. Originally released in 1989. The songs and performers on this release are mostly - but not always - based on region (in Bali), style of piece, name of gamelan and finally what the piece is called.
For example, song 4 appears on the insert as: 4. Genggong Batur Sari, Batuan - Lagu Kodok (Frog Song) From this can be worked out the style is Genggong (Jew's Harp), recorded in Batuan village and the title is Lagu Kodok.
However, song 5 is given as: 5. Gamelan Salunding, Tenganan - Gending Sekar Gadung From this it can be assumed the collective gamelan is called Gamelan Salunding, which is from Tanganan. And the piece is called Gending etc. For song 8, the kecak is not so much a title but a specific chant - the Ramayana Monkey Chant. Song 3 is simply a Jew's Harp duet. However, as others are more difficult to work out, the following explanatory notes are added regarding the music (and text) on the disc. Complete listings are as follows: 1.
Opening Parade, Bali Arts Festival - (June 13, 1987) 2. Gamelan Gong Sekaha Sadha Budaya - Gending Kebyar Kosalya Arini 3.
Tari Kecak Bali
Genggong Duet - Sekar Sungsang 4. Genggong Batur Sari, Batuan - Lagu Kodok (Frog Song) 5. Gamelan Salunding, Tenganan - Gending Sekar Gadung 6. Sadha Budaya Gamelan Gong Suling - Tabuh Teluh 7. Gender Wayang, Sukawati - Sulendro 8.
Sekaha Ganda Sari, Bona - Kecak 9. Gamelan Gong Kebyar Sekolah Tinggi Seni Indonesia, Den Pasar - Baris.