Music Chapter 7

Front 1

Gamelan/gamelan ensemble

Back 1

-accompanies nightly performances of wayang orang

-refers to a set of instruments unified by their tuning\painting or decoration

-metal slab instruments

Front 2

Wayang orang

Back 2

an elaborate type of dance drama from central Java

Front 3

Gong

Back 3

Metal slab instrument, any variety of percussion instrument whose sound producing vibrations are concentrated in the center of the instrument, rather than the edge.

Front 4

Slendro

Back 4

a five tone system, made up of nearly equidistant intervals; normally noted with the numbers 1,2,3,5 and 6 (no 4)

Front 5

Pelog

Back 5

7 tone system, made up of large and small intervals; noted 1,2,3,4,5,6 and 7

Front 6

Gong ageng

Back 6

Largest of the hanging gongs, suspended vertically from a wooden frame; one or two in each gamelan, played with a large padded beater

Front 7

Bonang barung

Back 7

Set of ten, twelve or fourteen kettle gongs resting horizontally in two parallel rows in a wooden frame; one set for eache scale system; played with two padded stick beaters

Front 8

Saron demung

Back 8

Largest member of the saron family; 6 or 7 thick metal keys resting over a trough resonator: usually one or two for each scale system: played with a wooden mallet; called demung

Front 9

Saron barung

Back 9

Like saron barung, but an octave higher; usually from two to four for each scale system; called saron

Front 10

Gender slenthem

Back 10

six or seven thin metal keys suspended by strings over cylindrical resonators made of bamboo or metal; often simply called slenthem

Front 11

Gender barung

Back 11

thirteen or fourteen thin metal keys, suspended over cylindrical resonators: one for slendro, two for pelog, bem (with tones 1,2,3,5,6 in each octave) and barang (with tones 2,3,5,6, and 7 in each octave)

Front 12

Gambang

Back 12

17 to 23 wooden keys resting over a trough resonator; one for slendro, one or two for pelog; if two, like gender barung and gender panerus; if only one, exchange keys enable player to arrange instrument for bem

Front 13

Celempung

Back 13

Zither, usually supported at about a thirty degree angle by four legs, with twenty to twenty-six strings arranged in ten to thirteen 'double courses' (as on a 12 string guitar). plucked with thumbnails

Front 14

Siter

Back 14

smaller Zither, resting on the floor or in a horizontal frame, with from 10 to 26 strings in a single or double courses, one for slendro, one or two for pelog

Front 15

Suling

Back 15

End-blown bamboo flute, one for slendro; one or two for pelog

Front 16

Rebab

Back 16

two string fiddle, one per gamelan

Front 17

Kendhang gendhing

Back 17

Largest of the hand drums; two leather heads, laced onto a barrel shaped shel, one per gamelan

Front 18

Gérong

Back 18

a small male chorus, accompanies the gamelan

Front 19

Pesindhen

Back 19

a female soloist, accompanies the gamelan

Front 20

Loud-playing gamelan

Back 20

-gong ageng

-siyem

-kempul

-kenong

-kethuk

-kempyang

-bonang family

-saron family

-slenthem

-kendhang family

-bedhug

Front 21

soft playing gamelan

Back 21

-gender barung

-gender panerus

-gambang

-celempung

-siter

-suling

-rebab

Front 22

Wayang kulit

Back 22

shadow puppet theater

Front 23

Ramayana

Back 23

epics of indian origin

Front 24

Mahabharata

Back 24

epics of indian origin

Front 25

Gongan

Back 25

a phrase marked off by the sound of either the largest gong (gong ageng) or the slightly smaller gong siyem

Front 26

bubaran

Back 26

meaning 16 beats per gongan, 4 kenong beats per gongan

Front 27

balungan

Back 27

the melodic part usually played on the slenthem and the saron family

Front 28

irama

Back 28

tempo stucture; ratio that defines one of 5 possible levels of balungan subdivision. A level of subdivision of the main melody beat by elaborating instruments

Front 29

pathet

Back 29

three pathet in each of the two scale systems; similar to the Western concept of key

Front 30

kebyar

Back 30

flashy, most popular gamelan gong ensemble in Bali, accompanied by a dance

Front 31

gondang/gordang (N. Sumatra)

Back 31

most celebrated Batak ensembles, variety of percussion and wind, also set of tuned drums

Front 32

dangdut

Back 32

contemporary style in Indonesia, mimics hand drums and also includes electric guitar

Front 33

Pendet

Back 33

devotional dance accompanied by gamelan; stylized dancing; more prominent use of wind instruments in this example

Front 34

Lelong keraton

Back 34

court dance; stylized dance with expressive eye movements(female); listen for suling (flute) and sudden change of tempo

Front 35

Kebyar Trompong”

Back 35

seated dance with gong set; notice hand gestures, facial expressions; performer also plays instrument; listen to easily identifiable phrase lengths;

Front 36

Calonarang

Back 36

dance drama; introduction by gamelan; then entrance of dancers(maidservants); entrance of Matah Gedé (Calonarang); story told throughwords/singing/dancing (similar to western opera); story revolves around anepidemic in the land and the battle between good and evil

Front 37

Kecak

Back 37

is a style of men’s chorus that involves theatrics. It is a relatively newart form, having been developed in the 1930’s. They use their voices to imitate thegamelan ensemble. Originally developed for exorcising demons, now more atourist entertainment. The story line is from the Ramayana (a mythical tex

Front 38

Wayang

Back 38

shadow puppet play. Often used to celebrate weddings; accompanied byfull gamelan; wayang is a nine-hour performance; puppets on the puppeteer’sright represent “good” and those on the left represent “evil”. Puppeteer signalsmusical changes to the ensemble that correspond to action in the play.

Front 39

Gamelan degung

Back 39

is a small (gamelan) court ensemble; origins in west Java; gentler musical style (less raucous) than gamelan slendro; notice vocal quality of singers and use of vibrato

Front 40

Tembang Sunda Cianjuran

Back 40

song with instrumental ensemble; tembag means“poem” or “song”; this example is non-metric (no constant tempo); notice kacapi(zither with metal strings) played with fingernails (on each side of stag

Front 41

Mundinglaya Dikusumah

Back 41

in Pantun style – pantun is the narrative recitation ofancient epic poems from the Mahabharata or Ramayana. Pantun is normallyperformed with kacapi accompaniment

Front 42

“Kidung”

Back 42

Tarawangsa [bowed lute] and kacapi siter (portable box shaped zither)performance. Tarawangsa has “drone” string that is plucked while bowing theother string bows the melody

Front 43

Tablo

Back 43

Celempungan is the name of this type of ensemble that includes thebamboo zither known as celempungan (not shown here). This ensemble includesthe kacapi (zither), singer (pesinden), rebab (bowed lute) and kenda (horizontaldrum). Played are religious and civil ceremonies. Repertoire is derived fromgamelan repertoire.