By Henry Spiller
A mild advent to the typical song from Southeast Asia's biggest country―both as sound and cultural phenomenon.
• Maps of Southeast Asia, Java, and Bali
• 20+ pictures of musical tools and different subjects
Read or Download Gamelan: The Traditional Sounds of Indonesia (World Music Series) PDF
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Extra resources for Gamelan: The Traditional Sounds of Indonesia (World Music Series)
No damping approach is needed. the variety is nearly 3-1/2 to four octaves. Gendang—set of two-headed, barrel-shaped drums. Rebab—spike mess around with brass strings and a skin-covered resonator, performed with a horsehair bow. not like the opposite gamelan tools, that are a suite and incompatible with tools from different gamelan, all rebab have compatibility with any gamelan. Sundanese rebab avid gamers usually convey their very own tools to performances. a latest rebab is made in order that it may be dismantled and carried in a small briefcase. The rebab strings are tuned to the pitches barang and bem. Pasinden—female vocalist. even if not likely an “instrument,” consistent with se, the pasinden’s vocal half is analogous in many ways to the opposite gamelan tools’ components. a few lady vocalists like to be known as juru kawih. different tools may be additional to this simple ensemble, supplied the tools themselves can be found and extra performers past the middle 9 are there to play them. those not obligatory tools are defined under. Kenong—gong chime with one to 6 huge, high-pitched knobbed gongs laid horizontally over ropes in a body. The gongs are tuned to pitches within the gamelan’s tuning approach. Jengglong—gong chime with 3 to 6 gongs. Jengglong is the same to kenong, however the gongs are flatter and tuned an octave reduce. Peking—metallophone just like saron yet tuned an octave larger. Rincik—gong chime just like bonang yet tuned an octave greater. Kecrek—stack of iron plates that's hit with a wood hammer to make a loud, jangling sound. Ketuk—small gong laid horizontally and hit with a padded stick. determine three. nine indicates musicians on the Kabupaten Bogor taking part in (from left to correct) gambang, gendang, and rebab (the bonang and goong stand is noticeable within the rear). determine three. 10 exhibits saron and panerus (kenong are seen on the right). determine three. eleven exhibits the Rawit staff from Soreang acting with a pasinden. even supposing a lot of those tools are fairly just like their imperative Javanese opposite numbers, the names and building information of a few tools are considerably various. Sundanese name the big gong goong (pronounced go-ong to indicate the instrument’s undulating Gamelan Traditions in West java determine three. nine. (Gamelan salendro tools, left to correct) gambang (in back), gendang, rebab (bonang and gong stand noticeable within the again) (Henry Spiller) determine three. 10. (Gamelan salendro tools, left to correct) saron, panerus, kenong (Henry Spiller) quality); a Sundanese goong is frequently polished to a vibrant sheen, unlike so much Javanese gongs, that are left with the black patina they gather within the forge. Sundanese kempul, by contrast, are frequently left black, whereas Javanese kempul are in most cases glossy. The Sundanese rincik is for all intents and reasons similar to a imperative Javanese bo- 159 160 Gamelan determine three. eleven. LS Rawit workforce from Soreang, with pasinden Lia Mustika (Henry Spiller) nang panerus. The Sundanese note rincik, while utilized to musical tools, capability high-pitched, yet in different contexts it additionally has connotations of delicately falling rain or a creeping vine that intertwines itself with no matter what helps it—appropriate metaphors for the quick, cascading figurations performed on tools known as rincik.