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45:, which is an ending piece played while the audience departs. In Western concert performances, it is often played as an
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85:, possibly the most famous, is in pélog pathet barang and has a lancaran structure.
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49:. It is often one of the pieces students learn early in their studies.
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is a well known 20th century composition for
Balinese Gamelan in the
53:
137:
The
Nuclear Theme as a Determinant of Patet in Javanese Music
93:
The
Nuclear Theme as a Determinant of Patet in Javanese Music
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pathet sanga and nem. It can also be played as either a
139:. New York: Da Capo, 1977. Pages 185-187 and 243–244.
129:. Reissued edition. New York: Nonesuch 79719–2, 2003.
33:, the name means "Golden Rain") is a composition for
95:. He adduces it in his theory of the importance of
99:contours in its variation in different pathet.
52:The piece can be played in a wide variety of
37:which is popular in Central Java, especially
8:
105:, which also means "Golden Rain" in modern
91:offers an analysis of the ladrang in
7:
14:
172:University of Wisconsin–Madison
79:The recording of the piece on
1:
60:pathet barang and nem, and
204:
18:
188:Compositions for gamelan
82:Javanese Court Gamelan
19:For other uses, see
127:Java: Court Gamelan
29:(sometimes written
16:Gamelan composition
195:
123:Brown, Robert E.
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168:Pura Pakualaman
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72:, with related
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144:External links
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150:Transcription
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170:gamelan and
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133:Hood, Mantle
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78:
56:, including
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89:Mantle Hood
21:Golden rain
164:Recordings
117:References
107:Indonesian
41:. It is a
39:Yogyakarta
125:Notes to
103:Hujan Mas
31:Hudan Mas
182:Category
154:balungan
74:balungan
66:lancaran
27:Udan Mas
174:gamelan
113:style.
97:cadence
70:ladrang
62:sléndro
43:bubaran
35:gamelan
158:bonang
111:kebyar
54:pathet
47:encore
160:parts
68:or a
58:pélog
156:and
166:of
152:of
184::
135:.
76:.
23:.
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