1743:
1059:
107:
43:
143:
1042:, this instrument consists of 12 kettles mounted horizontally in a row on a frame. It is played by four musicians, each taking responsibility for 2 to 4 of its kettles. The players, who sit in a row, are split into two groups, the first consisting of the first and third players in the row, and the second consisting of the second and fourth players. Both people in the same group play the same part, but doubled an octave apart. The parts of group one and of group two, when played together, are
1737:
1493:
811:. The ugals play a combination of gangsa parts and cues, melodic solos, and the underlying melody with flourishes. The first, front ugal cues and plays elements of the polos interlocking gangsa part (the part that plays more often on the beat), and if there is a second ugal, it plays elements of the sangsih part (gangsa notes more often off the beat).
735:, or trunk of the tree) of a piece of music. The explosive feeling of the gong kebyar style derives mainly from the dynamic range of these instruments, whose bright, sharp tones can sound anywhere from soft and sweet to extremely loud and aggressive. Each gendered male/female pair of gangsa is also divided into two interlocking melodic parts,
1479:
904:
1011:. The kettles are arranged from low to high, left to right. They are generally played with a wooden mallet wrapped in string on one end (to soften the attack) or the end of the mallet, which is bare, finished wood. Mallets are held one in each hand as extensions of pointed index fingers. There are four conventional strikes:
958:, means 'big' in Balinese. Because it is the largest of the gongs, it is considered to be the most sacred instrument in kebyar. It is never damped, always allowed to decay. Because of its deep tone, it penetrates through the ensemble and can be heard for miles. It is struck with a large, padded mallet.
798:
in the kebyar ensemble, and it is usually female. It is played by one of the leaders of the ensemble. A second, male ugal is sometimes used. The ugal is taller than the other gangsa, and the player sits on a short stool, so as to allow the player to cue the ensemble visually with ease. The instrument
1363:
There is no standard pitch in any
Balinese music. Generally speaking, all instruments in a gamelan gong kebyar ensemble are made and tuned at the same time. Each ensemble is tuned to itself, making it nearly impossible to remove an instrument from one ensemble to use it in another and have it match
1264:
Pronounced /t͡ʃeŋ t͡ʃeŋ/, this instrument consists of several small, overlapping cymbals tied to a frame. The frame is often carved to look like an animal, most commonly a turtle, as a mythic turtle is said to carry the island of Bali on its back. The player holds a pair of matching cymbals with
1189:
is a double-headed drum of jackfruit wood and cowhide. The exterior is shaped like a truncated cone while the negative space of the interior is sculpted like an hourglass. This shape and the cinching action of hide straps creates two distinct, approximate tunings in one drum. Like most gamelan
688:. The high end can be described as "piercing", the low end "booming and sustained," while the drums as "crisp". Kebyar instruments are most often grouped in pairs, or "gendered." Each pair consists of a male and female instrument, the female being slightly larger and slightly lower in pitch.
1451:("new compositions") are the primary type of instrumental music in gamelan gong kebyar. Characterized by a succession of passages featuring each instrumental group, they were, "rhapsodic," and, "loosely constructed," at the beginning of the 20th century but became increasingly standardized.
713:. The mallet differs in hardness depending on the instrument and its range. The keys are arranged from low to high, left to right. The key is struck with the hammer in one hand, and damped with the finger and second knuckle of the other hand. The keys can be played in one of three ways:
1081:, it consists of 10 kettles, with a range of two octaves. It is played by only one person, and that person may be a leader of the ensemble who sits on a short stool, playing the main melodic line. The trompong is also played by a dancer in dance pieces such as Kebyar Trompong and
1344:, sometimes reaching pitches on a septatonic scale. It has only two strings tuned a Western fourth apart which never touch the unfretted fingerboard. This allows the player to change notes by pressing down on the string, bending the string sideways, sliding, or changing strings.
707:, with bronze keys resting on suspended chords, over bamboo resonators. The instruments often have ornately carved wooden frames. The gangsa section in gamelan gong kebyar is the largest section, consisting of 13-14 players. Gangsa instruments are played with a mallet, called a
1410:
notes nearly a quarter-tone apart. A gendered pair of gangsa will play interlocking kotekan melodies, such that in each pair one interlocking part (polos or sangsih) is on the female and the other on the male instrument. The second pair of that instrument (e.g.,
922:, and are played with a large, cloth-coated, rubber-padded spherical mallet. The jegogan plays the deepest tuned notes in the ensemble, typically playing key notes in the underlying melody of a piece of music instead of every note of that melody.
1367:
Almost every instrument in a kebyar ensemble is paired with a male and female counterpart. Each instrument in a pair is tuned differently from its counterpart, one higher and one lower. Played at the same time, the higher instrument (known as
763:
These instruments are the highest sounding in the kebyar ensemble, with its highest note being around C7. It has ten keys, and a range of two octaves, and is played with a wooden hammer. Players often sit on the floor to play this instrument.
1006:
Kettle gongs are round, bronze, and pitched. They are often mounted horizontally on suspended chords as part of a frame. Positioned this way, there is an opening on the bottom, slightly beveled bow on top, and a protruding center called the
784:, two male and two female. These instruments also have ten keys, a range of two octaves, and are played with a wooden mallet, but are exactly one octave lower than kantilan. Players often sit on the floor to play this instrument.
1142:, it is a very small kettle, about 5 inches in diameter, either set on its own stand or held in the hands. It, too, is played with a cord wrapped stick. It plays every second beat of the tempo, usually alternating with the
839:). This instrument, like jegog, also requires long resonating bamboo tubes so is often played while sitting on a small stool, and consists of one female/male pair. These instruments have a range of one octave, in between
649:
Following their invasion of the island, Dutch occupiers responded to international criticism by building cultural institutions. They sponsored these competitions until
Japanese forces ended their rule in World War II.
918:(shortened to "jegog" in everyday speech) in kebyar, one male and one female. These instruments have a range of one fifth, and are one octave below jublag. The keys are considerably larger than those of other
1406:
might be tuned slightly higher to 228 Hz. Some kebyar ensembles are tuned so that the numban ensemble is tuned so that the beats are significantly faster for higher frequencies, with the lowest
658:
In addition to island-wide arts competitions, gamelan gong kebyar has become an essential part of modern Bali Hindu ceremonies. They are required for annual birthday ceremonies for temples,
646:
Gamelan gong kebyar was first documented to exist in North Bali in the early 1900s. The first public performance was in
December 1915 at a gamelan gong competition in Jagaraga, North Bali.
1434:
of
Buleleng, North Bali characterized by long, maximum-volume notes simultaneously struck by the whole ensemble, freely ringing glissandi, dramatic tempo changes, and rhythmic triplets.
1122:
are small kettles set over cords strung on a boxlike stand. They are mainly used as tempo keeping instruments. They are usually played with a cord wrapped stick like those of the
1430:
Its namesake refers to the explosive, predominantly unmetered section marking the introduction and some transitions of kebyar compositions. The compositional style derives from
1417:) uses the opposite arrangement, so that there is one instrument of each gender playing each part: female polos, male sangsih, female sangsih, and male polos, for full balance.
855:
are also commonly found in Bali (though gong kebyar ensembles typically do not use notes 4 and 7, using only the pelog selisir scale). It usually plays at submultiples of the
1102:
is a small kettle held in the lap or arm and struck on the boss by a mallet with a soft round head. It plays the beats of the gong cycle and acts somewhat like a metronome.
1390:, creating an overall shimmering, pulsating quality. The female instrument is tuned lower, while the male instrument is tuned higher. For example, one note on a female
1920:
805:
and usually with additional ornamentations so the leader's sometimes theatrical cues actively catch the light. Its notes are an octave lower than those of the
1236:
part is the most complex in gong kebyar, drawing from a rich lexicon of rapid-fire, syncopated patterns to fit the mood and progression of pitched music. The
543:
930:
Gongs come in different sizes, and provide a structure for phrasing for the music by repeating a four or eight beat pattern. This pattern is called the
1085:. Because of the size of the instrument, the melodies are composed to allow one to slowly shift one's position to reach the extremes of its range.
664:, as well as major holidays as accompaniment for sacred dances. They are also appropriate for the class of rituals centered around human life,
974:
as it has very similar qualities, but is just higher in pitch (about an octave and a fifth higher). It is struck with a large, padded mallet.
720:
Strike the key, and damp immediately prior to, or simultaneous with, the striking of the next note in the melody. This is especially good for
2235:
1547:
2240:
1322:
have retained the complete septatonic tuning of court gamelan and can access tones in the pitch gaps of keyed instruments for effect.
1642:
1574:
86:
64:
1611:
1467:, the largest gong, marks the end of gongan, the smaller gongs mark the 4th or 8th beat and the smallest gongs outline the pulse.
536:
1364:
pitch. In any ensemble, however, instruments are gendered, and their individual tuning depends on that instrument's gender.
799:
also has 10 keys, with a range of two octaves, and is played with a hard wooden mallet, slightly larger than the other
529:
1265:
bamboo or textile handles, striking the stationary cymbals in quick, even succession or in asymmetrical accents with
1077:. When it is used, however, it is positioned in front of the ensemble, facing the audience. Constructed similarly to
1229:
player typically tops the hierarchy of the ensemble, setting tempi and aurally cuing transitions like a conductor.
1058:
178:
1849:
462:
379:
198:
106:
57:
51:
2230:
142:
68:
1819:
1794:
1635:
1387:
329:
309:
1130:. The kettle is struck on the boss while damped with the other hand to produce a sharper, dryer sound.
472:
2075:
1221:
have a set of onomatopoetic spoken syllables for each stroke producing a total of 14 types of sound.
620:
452:
2200:
2195:
1885:
1015:
On the boss with the stringed part of the mallet, and immediately released to let it vibrate freely.
709:
512:
507:
502:
497:
467:
258:
1915:
1714:
721:
517:
2042:
2037:
2032:
2027:
2022:
1980:
1970:
1910:
1875:
1774:
1769:
1305:
570:
487:
203:
164:
1880:
1859:
1844:
1799:
1570:
1543:
1516:
1074:
492:
384:
374:
314:
1537:
1890:
1834:
1759:
1726:
1628:
1498:
1377:
589:
582:
477:
394:
369:
1296:
come in a variety of sizes, from a piccolo-like < 1 ft to a breathy 5 ft. The
1900:
1854:
1839:
1789:
1615:
1166:
is a small kettle with a recessed boss, held on the lap and played with a hard stick. The
1024:
On the bow of the kettle with the wood tip of the mallet, but pressed to damp any ringing.
482:
304:
253:
233:
120:
731:
The gangsa instruments play elaborate ornamentations (flowers) on the underlying melody (
1308:
to allow the pitch to be sustained into a constant tone. A peculiar quality of
Balinese
887:
do not play full kebyar sequences, for example. This instrument is one octave above the
1925:
1809:
1784:
1779:
1608:
1562:
1352:
419:
294:
2224:
1824:
1814:
1704:
1316:, is a combined vibrato from irregular flexing of the jaw and working of the tongue.
1021:
On the bow of the kettle with the wood tip of the mallet, and allowed to ring freely.
704:
592:
560:
457:
447:
389:
364:
334:
324:
188:
183:
31:
1340:
as it is often drowned out by the metallophones. Its melodic line is similar to the
111:
Women gamelan played on opposite sides of a large open stage while dancers performed
1905:
1597:
1484:
1082:
1062:
1018:
On the boss with the stringed part of the mallet but pressed to damp any vibration.
608:
223:
2190:
2185:
1459:
The music is divided into 4 beat groups, this whole rhythmic cycle is called the
1355:. The player's thumb applies pressure directly on the hairs to control tension.
604:
228:
747:, which permits extremely rapid, virtuosic, and complex patterns to be played.
1958:
1474:
1464:
1460:
414:
279:
213:
1073:
is not usually used in kebyar, as it is associated with older genres such as
2064:
409:
354:
349:
339:
248:
243:
156:
130:
2085:
2080:
1225:
are played with either bare hands only or bare hands plus one mallet. The
577:
means "to flare up or burst open", and refers to the explosive changes in
2049:
1990:
1942:
1895:
1829:
1764:
1709:
612:
359:
274:
238:
218:
2155:
2150:
2145:
2140:
2135:
2054:
1699:
1690:
1680:
1670:
1651:
1506:
1185:
744:
677:
635:
567:
399:
344:
299:
208:
152:
17:
2205:
2180:
2162:
2109:
2015:
2010:
2005:
2000:
1975:
1965:
1675:
1288:
834:
685:
676:
Instruments in gamelan gong kebyar offer a wide range of pitches and
660:
631:
627:
624:
404:
289:
284:
903:
2130:
2125:
2102:
2097:
2092:
1721:
1695:
1685:
1665:
1511:
1397:
1336:
is a spike fiddle played with a bow. It is only sometimes used in
1332:
1057:
902:
681:
616:
600:
578:
193:
1953:
1567:
Gamelan Gong Kebyar: The Art of
Twentieth-Century Balinese Music
1539:
Gamelan Gong Kebyar: The Art of
Twentieth-Century Balinese Music
794:
564:
148:
1624:
1602:
Music in Bali: A Study in Form & Instrumental Music in Bali
1300:
section doubles and ornaments the melody; the highest register
883:
part includes some ornamentations and flourishes; however, the
36:
755:
There are four kantilan in kebyar, two male and two female.
1620:
851:. Some have five keys (1, 2, 3, 5, and 6) but seven key
1412:
1401:
1391:
1381:
1149:
1143:
1117:
1111:
846:
840:
832:
826:
820:
806:
800:
779:
773:
1592:
Music in Bali: Experiencing Music, Expressing
Culture
1372:
or "inhaler") and the lower instrument (known as the
1240:
drummer is responsible for filling in an appropriate
727:
Strike while damping. This gets a dry, pitched click.
990:. It is struck with a harder mallet than either the
986:, this is much smaller and higher in pitch than the
2171:
2118:
2063:
1989:
1941:
1934:
1868:
1750:
1658:
1286:One of the two instruments able to bend pitch, the
1050:has both melodic and non-melodic percussive roles.
717:
Strike the key, and let resonate until sound fades.
126:
116:
603:scale), and is characterized by brilliant sounds,
1444:
1210:, resulting in a more resonant, booming timbre.
1170:plays accents to important parts of the rhythm.
859:; the keys are struck more frequently than the
1636:
1304:has the freest rein to improvise. The player
694:section in this article for more information.
537:
8:
1569:, pp. 371–372. University of Chicago Press.
1542:. University of Chicago Press. p. 451.
1351:is deeper and held underhand like that of a
1347:Unlike a Western string bow, the bow of the
1089:Individual horizontal hand held kettle gongs
998:, which allows it to have a sharper attack.
99:
1604:. New Haven, London: Yale University Press.
1938:
1643:
1629:
1621:
1194:are paired: the larger, lead part female,
544:
530:
434:
428:
137:
27:Indonesian traditional musical instruments
1463:. The gongs divide gongan into sections,
87:Learn how and when to remove this message
1206:are carved straighter than those in the
680:, ranging five octaves from the deepest
50:This article includes a list of general
1528:
1241:
1043:
599:(tones 1, 2, 3, 5, and 6 of the 7-tone
439:
266:
170:
819:Higher in pitch than the jegog is the
691:
151:(gong ageng, gong suwukan, kempul) of
98:
1248:players may sit facing the same way,
1029:Frame mounted horizontal kettle gongs
863:and usually less frequently than the
703:Most instruments in kebyar are keyed
7:
1594:. New York: Oxford University Press.
950:is the deepest, and most resonant.
743:(mostly plays off the beat) during
739:(mostly plays on the beat) and the
654:Religious and cultural significance
56:it lacks sufficient corresponding
25:
1741:
1735:
1491:
1477:
934:. Gongs are mounted vertically.
926:Vertically suspended gong family
607:, sudden and gradual changes in
588:Gong kebyar music is based on a
141:
105:
41:
931:
801:
1921:List of U.S. gamelan ensembles
1217:used for pitched instruments,
1:
623:, and complex, complementary
585:characteristic of the style.
2236:Gamelan ensembles and genres
1609:Instruments for Gamelan Bali
1413:
1402:
1392:
1382:
1292:is a vertical bamboo flute.
1150:
1144:
1118:
1112:
891:and overlaps tones with the
847:
841:
833:
827:
821:
807:
780:
774:
1214:
758:
2257:
2241:Sacred musical instruments
1312:, distinct from Sundanese
1202:. The surfaces inside the
1174:Primary rhythm instruments
29:
1733:
1376:or "exhaler"), produce a
966:A medium-sized gong, the
942:Also referred to as just
104:
1850:Semar pegulingan gamelan
1536:Tenzer, Michael (2000).
831:; see related xylophone
792:There is often only one
684:to the highest key on a
30:Not to be confused with
1277:Soft melody instruments
875:part is often the full
71:more precise citations.
1445:
1396:might be tuned to 220
1198:, and the other male,
1066:
911:
1820:Joged bumbung gamelan
1795:Gender wayang gamelan
1388:sympathetic resonance
1215:syllables for pitches
1061:
906:
954:, sometimes written
772:There are also four
761:within this article.
759:gendered instruments
668:, such as weddings.
1916:Gamelan Son of Lion
1805:Gong kebyar gamelan
1715:Gendhing structures
970:is very similar to
557:Gamelan gong kebyar
101:
100:Gamelan gong kebyar
1911:Gamelan Sekar Jaya
1876:K. P. H. Notoprojo
1860:Surakartan gamelan
1775:Beleganjur gamelan
1770:Bebonangan gamelan
1614:2012-11-03 at the
1067:
1002:Kettle gong family
982:Also known as the
912:
722:interlocking parts
571:music of Indonesia
165:Music of Indonesia
2218:
2217:
2214:
2213:
1845:Selunding gamelan
1800:Gong gede gamelan
1590:Gold, L. (2005).
1549:978-0-226-79283-5
1446:Tabuh kreasi baru
1438:Tabuh kreasi baru
1400:, while the male
1359:Tuning and gender
1306:circular breathes
1242:interlocking part
699:Keyed instruments
554:
553:
435:
429:
136:
135:
97:
96:
89:
16:(Redirected from
2248:
2156:Kendang ketipung
2016:Bonang panembung
1939:
1891:Rahayu Supanggah
1835:Salendro gamelan
1830:Munggang gamelan
1765:Angklung gamelan
1760:American gamelan
1745:
1744:
1739:
1738:
1727:Gamelan notation
1645:
1638:
1631:
1622:
1578:
1560:
1554:
1553:
1533:
1501:
1499:Indonesia portal
1496:
1495:
1494:
1487:
1482:
1481:
1480:
1448:
1416:
1405:
1395:
1385:
1153:
1147:
1121:
1115:
1075:gamelan gong gdé
850:
844:
838:
830:
824:
810:
804:
803:
783:
777:
634:patterns called
546:
539:
532:
463:Moluccan Islands
395:Gordang sambilan
380:Semar pegulingan
147:Various hanging
145:
138:
109:
102:
92:
85:
81:
78:
72:
67:this article by
58:inline citations
45:
44:
37:
21:
2256:
2255:
2251:
2250:
2249:
2247:
2246:
2245:
2221:
2220:
2219:
2210:
2173:
2167:
2146:Kendang gending
2114:
2068:
2059:
1993:
1985:
1946:
1930:
1901:I Nyoman Windha
1864:
1855:Siteran gamelan
1840:Sekaten gamelan
1790:Gambang gamelan
1752:
1746:
1742:
1740:
1736:
1731:
1654:
1649:
1616:Wayback Machine
1587:
1585:Further reading
1582:
1581:
1563:Tenzer, Michael
1561:
1557:
1550:
1535:
1534:
1530:
1525:
1497:
1492:
1490:
1483:
1478:
1476:
1473:
1457:
1440:
1428:
1423:
1361:
1328:
1284:
1279:
1262:
1181:
1176:
1160:
1136:
1108:
1106:Kempli or kajar
1096:
1091:
1056:
1036:
1031:
1004:
980:
964:
940:
928:
901:
817:
790:
770:
753:
751:Gangsa kantilan
701:
674:
656:
644:
550:
234:Gambang kromong
159:
112:
93:
82:
76:
73:
63:Please help to
62:
46:
42:
35:
28:
23:
22:
15:
12:
11:
5:
2254:
2252:
2244:
2243:
2238:
2233:
2223:
2222:
2216:
2215:
2212:
2211:
2209:
2208:
2203:
2198:
2193:
2188:
2183:
2177:
2175:
2169:
2168:
2166:
2165:
2160:
2159:
2158:
2153:
2151:Kendang ciblon
2148:
2138:
2133:
2128:
2122:
2120:
2116:
2115:
2113:
2112:
2107:
2106:
2105:
2095:
2090:
2089:
2088:
2086:Gender panerus
2078:
2072:
2070:
2061:
2060:
2058:
2057:
2052:
2047:
2046:
2045:
2040:
2035:
2030:
2020:
2019:
2018:
2013:
2011:Bonang panerus
2008:
1997:
1995:
1987:
1986:
1984:
1983:
1978:
1973:
1968:
1963:
1962:
1961:
1950:
1948:
1936:
1932:
1931:
1929:
1928:
1926:Michael Tenzer
1923:
1918:
1913:
1908:
1903:
1898:
1893:
1888:
1886:Martopangrawit
1883:
1878:
1872:
1870:
1866:
1865:
1863:
1862:
1857:
1852:
1847:
1842:
1837:
1832:
1827:
1822:
1817:
1812:
1810:Gong Si Bolong
1807:
1802:
1797:
1792:
1787:
1785:Gadhon gamelan
1782:
1780:Degung gamelan
1777:
1772:
1767:
1762:
1756:
1754:
1748:
1747:
1734:
1732:
1730:
1729:
1724:
1719:
1718:
1717:
1707:
1702:
1693:
1688:
1683:
1678:
1673:
1668:
1662:
1660:
1656:
1655:
1650:
1648:
1647:
1640:
1633:
1625:
1619:
1618:
1605:
1595:
1586:
1583:
1580:
1579:
1555:
1548:
1527:
1526:
1524:
1521:
1520:
1519:
1514:
1509:
1503:
1502:
1488:
1472:
1469:
1456:
1453:
1439:
1436:
1427:
1424:
1422:
1419:
1360:
1357:
1353:viola da gamba
1327:
1324:
1283:
1280:
1278:
1275:
1261:
1258:
1213:Much like the
1180:
1177:
1175:
1172:
1159:
1156:
1135:
1132:
1107:
1104:
1095:
1092:
1090:
1087:
1055:
1052:
1038:Also spelled,
1035:
1032:
1030:
1027:
1026:
1025:
1022:
1019:
1016:
1003:
1000:
979:
976:
963:
960:
939:
936:
927:
924:
914:There are two
900:
897:
816:
813:
802:gangsa panguls
789:
786:
769:
766:
752:
749:
729:
728:
725:
718:
710:panggul gangsa
700:
697:
673:
670:
655:
652:
643:
640:
559:is a style or
552:
551:
549:
548:
541:
534:
526:
523:
522:
521:
520:
515:
510:
505:
500:
495:
490:
485:
480:
475:
470:
465:
460:
455:
450:
442:
441:
440:Regional music
437:
436:
431:
430:
425:
424:
423:
422:
420:Tifa totobuang
417:
412:
407:
402:
397:
392:
387:
382:
377:
372:
367:
362:
357:
352:
347:
342:
337:
332:
327:
322:
317:
312:
307:
302:
297:
292:
287:
282:
277:
269:
268:
267:Specific forms
264:
263:
262:
261:
259:Tapanuli ogong
256:
251:
246:
241:
236:
231:
226:
221:
216:
211:
206:
201:
196:
191:
186:
181:
173:
172:
168:
167:
161:
160:
146:
134:
133:
128:
124:
123:
118:
114:
113:
110:
95:
94:
49:
47:
40:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2253:
2242:
2239:
2237:
2234:
2232:
2231:Music of Bali
2229:
2228:
2226:
2207:
2204:
2202:
2199:
2197:
2194:
2192:
2189:
2187:
2184:
2182:
2179:
2178:
2176:
2170:
2164:
2161:
2157:
2154:
2152:
2149:
2147:
2144:
2143:
2142:
2139:
2137:
2134:
2132:
2129:
2127:
2124:
2123:
2121:
2117:
2111:
2108:
2104:
2101:
2100:
2099:
2096:
2094:
2091:
2087:
2084:
2083:
2082:
2079:
2077:
2074:
2073:
2071:
2066:
2062:
2056:
2053:
2051:
2048:
2044:
2041:
2039:
2036:
2034:
2033:Saron panerus
2031:
2029:
2026:
2025:
2024:
2021:
2017:
2014:
2012:
2009:
2007:
2006:Bonang barung
2004:
2003:
2002:
1999:
1998:
1996:
1992:
1988:
1982:
1979:
1977:
1974:
1972:
1969:
1967:
1964:
1960:
1957:
1956:
1955:
1952:
1951:
1949:
1947:phrase-making
1944:
1940:
1937:
1933:
1927:
1924:
1922:
1919:
1917:
1914:
1912:
1909:
1907:
1904:
1902:
1899:
1897:
1894:
1892:
1889:
1887:
1884:
1882:
1879:
1877:
1874:
1873:
1871:
1867:
1861:
1858:
1856:
1853:
1851:
1848:
1846:
1843:
1841:
1838:
1836:
1833:
1831:
1828:
1826:
1825:Malay gamelan
1823:
1821:
1818:
1816:
1815:Jegog gamelan
1813:
1811:
1808:
1806:
1803:
1801:
1798:
1796:
1793:
1791:
1788:
1786:
1783:
1781:
1778:
1776:
1773:
1771:
1768:
1766:
1763:
1761:
1758:
1757:
1755:
1749:
1728:
1725:
1723:
1720:
1716:
1713:
1712:
1711:
1708:
1706:
1703:
1701:
1697:
1694:
1692:
1689:
1687:
1684:
1682:
1679:
1677:
1674:
1672:
1669:
1667:
1664:
1663:
1661:
1657:
1653:
1646:
1641:
1639:
1634:
1632:
1627:
1626:
1623:
1617:
1613:
1610:
1606:
1603:
1599:
1596:
1593:
1589:
1588:
1584:
1576:
1575:9780226792835
1572:
1568:
1564:
1559:
1556:
1551:
1545:
1541:
1540:
1532:
1529:
1522:
1518:
1515:
1513:
1510:
1508:
1505:
1504:
1500:
1489:
1486:
1475:
1470:
1468:
1466:
1462:
1454:
1452:
1450:
1449:
1447:
1437:
1435:
1433:
1432:kebyar legong
1425:
1420:
1418:
1415:
1409:
1404:
1403:gangsa pemadé
1399:
1394:
1393:gangsa pemadé
1389:
1384:
1379:
1375:
1371:
1365:
1358:
1356:
1354:
1350:
1345:
1343:
1339:
1335:
1334:
1325:
1323:
1321:
1317:
1315:
1311:
1307:
1303:
1299:
1295:
1291:
1290:
1281:
1276:
1274:
1272:
1268:
1259:
1257:
1255:
1252:in front and
1251:
1247:
1243:
1239:
1235:
1230:
1228:
1227:kendang wadon
1224:
1220:
1216:
1211:
1209:
1205:
1204:kendang wadon
1201:
1197:
1193:
1190:instruments,
1188:
1187:
1178:
1173:
1171:
1169:
1165:
1157:
1155:
1152:
1146:
1141:
1138:Also written
1133:
1131:
1129:
1125:
1120:
1114:
1105:
1103:
1101:
1093:
1088:
1086:
1084:
1080:
1076:
1072:
1064:
1060:
1053:
1051:
1049:
1045:
1041:
1033:
1028:
1023:
1020:
1017:
1014:
1013:
1012:
1010:
1001:
999:
997:
993:
989:
985:
977:
975:
973:
969:
961:
959:
957:
953:
949:
945:
937:
935:
933:
925:
923:
921:
917:
910:
905:
898:
896:
894:
890:
886:
882:
878:
874:
870:
867:(playing the
866:
862:
858:
854:
849:
843:
837:
836:
829:
823:
814:
812:
809:
808:gangsa pemadé
797:
796:
787:
785:
782:
776:
768:Gangsa pemadé
767:
765:
762:
760:
750:
748:
746:
742:
738:
734:
726:
723:
719:
716:
715:
714:
712:
711:
706:
705:metallophones
698:
696:
695:
693:
687:
683:
679:
671:
669:
667:
666:Putra Manusia
663:
662:
653:
651:
647:
641:
639:
637:
633:
629:
626:
622:
618:
614:
610:
606:
602:
598:
597:pelog selisir
594:
591:
586:
584:
580:
576:
572:
569:
566:
562:
558:
547:
542:
540:
535:
533:
528:
527:
525:
524:
519:
516:
514:
511:
509:
506:
504:
501:
499:
496:
494:
491:
489:
486:
484:
481:
479:
476:
474:
471:
469:
466:
464:
461:
459:
456:
454:
451:
449:
446:
445:
444:
443:
438:
433:
432:
427:
426:
421:
418:
416:
413:
411:
408:
406:
403:
401:
398:
396:
393:
391:
390:Gendang beleq
388:
386:
383:
381:
378:
376:
373:
371:
368:
366:
365:Kurung-kurung
363:
361:
358:
356:
353:
351:
348:
346:
343:
341:
338:
336:
333:
331:
330:Joged bumbung
328:
326:
323:
321:
318:
316:
313:
311:
310:Gender Wayang
308:
306:
303:
301:
298:
296:
293:
291:
288:
286:
283:
281:
278:
276:
273:
272:
271:
270:
265:
260:
257:
255:
252:
250:
247:
245:
242:
240:
237:
235:
232:
230:
227:
225:
222:
220:
217:
215:
212:
210:
207:
205:
202:
200:
197:
195:
192:
190:
189:Tembang sunda
187:
185:
184:Kecapi suling
182:
180:
177:
176:
175:
174:
169:
166:
163:
162:
158:
154:
150:
144:
140:
139:
132:
129:
125:
122:
119:
115:
108:
103:
91:
88:
80:
70:
66:
60:
59:
53:
48:
39:
38:
33:
32:Kebyar-Kebyar
19:
2043:Saron demung
2038:Saron barung
2028:Saron peking
1906:Evan Ziporyn
1804:
1751:Genres &
1607:Bill Remus,
1601:
1591:
1566:
1558:
1538:
1531:
1485:Music portal
1458:
1443:
1442:
1441:
1431:
1429:
1421:Kebyar music
1407:
1373:
1369:
1366:
1362:
1348:
1346:
1341:
1337:
1331:
1329:
1319:
1318:
1313:
1309:
1301:
1297:
1293:
1287:
1285:
1270:
1266:
1263:
1253:
1249:
1245:
1237:
1233:
1231:
1226:
1222:
1218:
1212:
1207:
1203:
1199:
1195:
1191:
1184:
1182:
1167:
1163:
1161:
1139:
1137:
1127:
1123:
1109:
1099:
1097:
1083:Kebyar duduk
1078:
1070:
1068:
1063:Kebyar duduk
1047:
1044:interlocking
1039:
1037:
1008:
1005:
995:
991:
987:
983:
981:
971:
967:
965:
955:
951:
947:
943:
941:
929:
919:
915:
913:
908:
892:
888:
884:
880:
876:
872:
868:
864:
860:
856:
852:
818:
793:
791:
771:
756:
754:
740:
736:
732:
730:
708:
702:
689:
675:
665:
659:
657:
648:
645:
625:interlocking
621:articulation
609:sound colour
605:syncopations
596:
587:
574:
556:
555:
319:
224:Langgam jawa
83:
74:
55:
2069:elaborating
1935:Instruments
672:Instruments
493:Minangkabau
320:Gong kebyar
229:Celempungan
117:Inventor(s)
69:introducing
2225:Categories
2172:Vocals and
1959:Gong ageng
1881:Nartosabdo
1598:McPhee, C.
1523:References
1465:gong ageng
1455:Gong cycle
1374:pengumbang
932:gong cycle
879:while the
415:Tarawangsa
280:Beleganjur
214:Campursari
77:March 2009
52:references
2201:Senggakan
2119:Unpitched
2103:Celempung
2065:Panerusan
1994:or melody
1943:Colotomic
1869:Musicians
1753:ensembles
1517:Selunding
1260:Ceng-ceng
1151:tawa tawa
1100:tawa tawa
1094:Tawa tawa
992:gong gedé
972:gong gedé
948:gong gedé
938:Gong gedé
590:five-tone
483:Sundanese
410:Talempong
385:Surakarta
375:Selunding
355:Kulintang
350:Kolintang
340:Karinding
315:Gong gede
249:Pop Sunda
244:Jaipongan
179:Classical
157:Indonesia
131:Indonesia
127:Developed
2191:Pesinden
2186:Sindenan
2181:Gerongan
2174:clapping
1991:Balungan
1971:Kempyang
1896:Sumarsam
1710:Colotomy
1612:Archived
1600:(1966).
1565:(2000).
1471:See also
1380:effect (
1370:pengisep
1256:behind.
1134:Kelenang
1128:trompong
1071:trompong
1054:Trompong
978:Klentong
690:See the
632:rhythmic
613:dynamics
583:dynamics
565:Balinese
518:Acehnese
513:Buginese
508:Ambonese
473:Sulawesi
370:Salendro
360:Kuriding
275:Angklung
239:Tanjidor
219:Kroncong
199:Pop Indo
121:Balinese
2141:Kendang
2136:Kemanak
2076:Gambang
2055:Slentho
2050:Slentem
1700:kotekan
1691:Sekaran
1681:Cengkok
1671:Slendro
1652:Gamelan
1507:Gamelan
1378:beating
1267:kendang
1246:Kendang
1234:kendang
1223:Kendang
1219:kendang
1192:kendang
1186:kendang
1179:Kendang
1140:klenang
916:jegogan
909:jegogan
899:Jegogan
889:jegogan
871:). The
861:jegogan
828:chalung
745:kotekan
741:sangsih
678:timbres
642:History
636:kotekan
628:melodic
595:called
568:gamelan
478:Sumatra
400:Saluang
345:Kendang
305:Gambang
300:Gamelan
209:Dangdut
204:Hip hop
153:Gamelan
65:improve
2206:Keplok
2163:Kepyak
2110:Suling
2081:Gender
2001:Bonang
1976:Kenong
1966:Kempul
1698:&
1676:Pathet
1659:Theory
1573:
1546:
1461:gongan
1426:Kebyar
1414:pemade
1342:suling
1338:kebyar
1320:Suling
1314:suling
1310:suling
1302:suling
1298:suling
1294:Suling
1289:suling
1282:Suling
1271:reyong
1254:lanang
1238:lanang
1208:lanang
1200:lanang
1145:kempli
1124:reyong
1113:kempli
1079:reyong
1065:dancer
1048:reyong
1046:. The
1034:Reyong
996:kempur
988:kempur
984:kemong
968:kempur
962:Kempur
920:gangsa
885:jublag
873:jublag
853:jublag
842:pemadé
835:calung
822:jublag
815:Jublag
781:kebyar
775:pemadé
692:tuning
686:gangsa
661:odalan
575:Kebyar
503:Dayaks
498:Bataks
453:Borneo
405:Suling
335:Melayu
295:Degung
290:Gambus
285:Calung
171:Genres
54:, but
18:Kebyar
2131:Kecer
2126:Bedug
2098:Siter
2093:Rebab
2023:Saron
1981:Ketuk
1722:Irama
1705:Gatra
1696:Imbal
1686:Seleh
1666:Pelog
1512:Jegog
1408:jegog
1386:) by
1383:ombak
1349:rebab
1333:rebab
1326:Rebab
1250:wadon
1196:wadon
1168:kajar
1164:kajar
1158:Kajar
1119:kajar
1040:reong
877:pokok
869:pokok
857:pokok
737:polos
733:pokok
682:gongs
617:tempo
601:pelog
593:scale
579:tempo
561:genre
488:Malay
468:Papua
325:Jegog
194:Kecak
149:Gongs
2196:Alok
1954:Gong
1571:ISBN
1544:ISBN
1330:The
1232:The
1183:The
1162:The
1126:and
1116:and
1110:The
1098:The
1069:The
1009:boss
952:Gede
944:gong
893:ugal
881:ugal
865:ugal
848:ugal
845:and
825:(or
795:ugal
788:Ugal
757:See
630:and
619:and
581:and
458:Java
448:Bali
254:Rock
1269:or
1148:or
994:or
956:gde
778:in
573:.
563:of
155:in
2227::
2067:or
1945:or
1398:Hz
1273:.
1244:.
1154:.
946:,
907:A
895:.
638:.
615:,
611:,
1644:e
1637:t
1630:v
1577:.
1552:.
724:.
545:e
538:t
531:v
90:)
84:(
79:)
75:(
61:.
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
