2 20 74 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Korean Drumming Description An account of the resource <h4>P’ungmul nori</h4> P’ungmul nori is one of the oldest and most popular folk arts of Korea deeply rooted in the country’s traditionally agrarian lifestyle and culture. The term consists of pung (literally, “wind”), and mul (literally, “thing” or “object”), with nori meaning “play.” Generally, p’ungmul (sometimes known as nongak) refers to the percussion bands that performed in farming villages on various occasions, festivities, and celebrations, including planting and harvesting seasons, New Year, Full Moon, to invoke blessings and repel evil spirits. But perhaps most importantly, p’ungmul nori is an activity that calls on the collective energy and unity of the community. It stirs up the shinmyong (excited spirit) of the people providing a renewed sense of energy to carry on the difficult tasks of laboring. Instrumentation of p’ungmul groups tends to vary according to region, but the four basic elements of p’ungmul nori are the kkwaenggwari (small gong), changgo (hourglass drum), ching (large gong), and puk (shallow barrel drum). Ensembles will sometimes include the sogo (small frame drum with handle), the nabal (long trumpet), or the taepyongso (conical oboe). In cases where the sogo is present, its player will usually perform acrobatics with a ribbon tied to a headpiece, while the rest of the ensemble dances the steps to a procession. P’ungmul nori traditionally takes place outside in an open space, and while it is considered to be music, it is dance is an integral and inseparable aspect of the whole performance. As such, all members of a p’ungmul group carry their instruments or have them tied to their body, so that dance movements are possible. The kkwaenggwari and ching (small and large gongs) are the most important instruments in the percussion band. The kkwaenggwari is played by the leader who directs the group in changes of rhythm patterns and tempi. The ching, on the other hand, plays a key role in the ensemble by providing the basic beats that unify the performance. Many a p’ungmul musician will attest that if the large gong loses the pulse, the band will fall apart. The changgo, however, can be seen as the feature instrument of p’ungmul and samul nori. It realizes the complete changdan (rhythmic cycle) and carries the most complex rhythm patterns. It is also the only instrument in the ensemble played with both hands. The changgo can reach great levels of virtuosity, especially in samul nori. The puk rounds out the quartet of instruments by providing a strong and consistent pulse. Musicians and scholars believe that p’ungmul music has its origins in shamanism, the indigenous religion of Korea. But it is difficult to say where this influence ends not only because data on the history of this genre is sparse, but also because its evolution has been affected by military music, Buddhism, its role as pure entertainment, and its connections with the itinerant performing troupes (namsadang) of the late Choson Dynasty. The ritualistic aspect of p’ungmul percussion bands was extant in the agricultural and coastal countrysides of Korea until the middle of the 20th century. But this tradition has slowly died out in the wake of modernization, the influence of western religions, an overall decrease in superstitious rituals, and the rise of technology not only in farming materials and equipment, but also in various leisure items that focus more on individual and indoor entertainment. Today, p’ungmul nori remains a source of entertainment and is preserved in festivals, parades, and in performance contexts. It is also an art form that carries the identity of the Korean people, especially in a time where western music seems to have eclipsed much of Korean traditional music. P’ungmul is significant in that it still exists in Korea today. Where as court music died out with the dynasties, and something like p’ansori (narrative folk singing) is to be enjoyed when there is a skilled p’ansori singer available, p’ungmul is an accessible form of music, its musical patterns relatively easy to learn, pick up, and perform. After the military coup in Korea (1961) and throughout the latter half of the 20th century, students across Korean campuses employed p’ungmul as a medium to empower the masses and rally strength in demonstrating against the authoritarian government. Its dynamic, powerful rhythms, and its accessibility to the masses made p’ungmul nori a popular channel and source for provocation, mobilization, energy, and solidarity. In Korea’s culture of survival, p’ungmul has played an important role in rousing the shinmyong and regenerating the spirit of the people. <h4>Samul nori</h4> Samul nori (literally, “play of four things”) may be seen as a modernized adaptation of p’ungmul nori. It first emerged on the stages of Korea in the late 1970s with a tremendous following, under the leadership of Kim Duk Soo who is credited as the leader of this movement. The four instruments in the samul nori genre are the kkwaenggwari, changgo, ching, and puk. Samul nori stems from the p’ungmul tradition, but it is designed mainly for performance and is reserved for highly skilled, professional musicians. Whereas p’ungmul is performed outdoors, in an open space, samul nori is presented in a small space or on a stage (outdoors or indoors). Samul nori performances are often performed in a seated position. P’ungmul music has simpler rhythm patterns that are repeated, and thus accessible to the wide audience. Indeed a “successful” p’ungmul nori invites as many people as possible, as the shinmyong of the group will be more euphoric when there are more people involved. The boundary and space (physical, emotional) between player and audience is minimal in p’ungmul nori, as the larger goal is to achieve a communal high in spirit. P’ungmul performances are not limited to a particular time frame, coming to a close only when the festivities come to a natural end. On the other hand, the genre of samul nori is performed by an average of 4-6 performers who are somewhat distanced from the audience as they showcase a program of extremely complex and technically difficult patterns. Although audiences can certainly sense the shinmyong and participate in the exciting spirit that is generated through such brilliance, samul nori is not conducive to audience participation in the way that p’ungmul nori is. It is not easy, nor is it meant, for onlookers to follow along, in rhythm or dance. Since samul nori is tailored as a staged art, the length of pieces is considerably shorter and the program is set before the show. Although samul nori is not completely without improvisation, its scope is limited in comparison to p’ungmul nori, which is more responsive to audience reactions and the atmosphere created at the time of performance. While p’ungmul nori does not come with a “repertory,” and no two performances or groups would play the same material, samul nori has developed a set or standardized pieces. Samul nori is an urban phenomenon that has been immensely popular with Korean youth. It has sparked renewed interest in traditional art forms among Koreans in the face of Korea’s ever-westernizing musical arena. Contributor An entity responsible for making contributions to the resource Hae Joo Kim (2005) Musical Instrument A sound-making object used for musical performance or in a musical context Alternative title any additional names or spellings for the instrument Janggo, Janggu Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions The changgo is an hourglass drum that is the most widely played of all Korean instruments, and most basic in the sense that it is the one percussion instrument on which a complete changdan (rhythmic cycle) is played out. Its body is usually made of paulownia wood (odong namu), although pottery, metal, ceramic, and plastic bodies also exist, and its heads are made of animal skin. In earlier times, the hourglass-shaped body of the drum was sometimes made by conjoining two or three separated pieces (bowl-shaped parts connected in the middle by a third module), but these days, the body is made of one whole piece. The skins of the changgo are attached to its hollow body by a rope that is looped alternately through the eight metal hooks around the rim of either head. The tension of the drumheads of the changgo can be adjusted by moving leather straps that encase the ensuing V-shape laces. The gungpyon (or pukpyon), usually placed on the left side when the changgo sits horizontally, is covered with cowhide or deer hide, producing a low tone. The chaepyon (right side), is covered with dog hide or horsehide, and usually produces a higher tone. The changgo has been standardized into two types: larger, heavier ones used in court and orchestral music, and smaller, lighter ones used in the genre of p’ungmul nori (farmer’s band music, sometimes known as nongak). Larger changgos may measure over 60 cm (23-24 in) in length and have a diameter of over 30 cm (11½ to 12 in); smaller ones are approximately one third less. Changgos used in court music were usually painted red, the royal color, while changgos used in folk music are the natural wood color as they are rarely painted (except for oil or varnish). Musical, Cultural, and Social Contexts information about the contexts in which the instrument is and its role in culture and society performed (Who plays the instrument? What music do they play? Where, when, why is this instrument played?) With its flexibility in sound production and capacity to produce complex rhythms, the changgo is significant throughout many genres of Korean music. It is the instrument that maintains the changdan (rhythm cycles), the most important element upon which Korean music is based and structured. Much like the piano in western music, the changgo is the most widely used accompanimental instrument in almost every form of court and folk entertainment, music, and dance, and shamanistic music. The only types of music in which the changgo is not normally used are p’ansori, Buddhist music, Confucian shrine music, and military processional music. While the changgo has been an indispensable instrument in providing a rhythmic foundation for many ensembles in Korean traditional music (associated most often with the kkwaenggwari, ching, and puk), it has in the past decades also become known as a “solo” instrument, gaining popularity for the dynamism and virtuosic technique required to play increasingly complicated rhythm patterns. The changgo is sometimes referred to as the sul-changgo when it is performed as a feature instrument, tied to the body as in p’ungmul nori, with accompanying dance movements. Sul-changgo rhythms can be complex, but it is the genre of samul nori (literally, “play of four things”) that helped give the changgo its reputation as a “flashy” instrument. Led by Kim Duk Soo since the late1970s, the genre of samul nori has seen a wide following, especially among Korean youth, as the concert-stage adaptation of traditional p’ungmul. Though it showcases the four basic Korean percussion instruments, the changgo has especially fast patterns that call for a high level of technical proficiency. Historical background information about the origins, history, and development of the instrument The changgo was probably brought into Korea from the Middle East and Central Asia by way of China during the Koryǒ period (918-1392 A.D.), though a recent discovery of a mural painting dating back to the Koguryǒ period of the Three Kingdoms era (658 A.D.) have led some scholars to believe that the drum was in use much earlier. Playing technique methods of playing the instrument, performance practices (how is the instrument played?) In court music and in accompaniment situations, the changgo is played in a seated position on the floor. A thin bamboo stick is used to strike the chaepyon (usually the right side) around the rim of the head, while the gungpyon (left side) is struck in the center of the head with the bare hand. In p’ungmul nori performances, however, a round-headed wooden mallet is used to play on the gungpyon. Some rhythms in p’ungmul nori and samul nori (contemporary concert-hall adaptation of p’ungmul nori) will call for the performer to cross hands and use the wooden mallet to hit the opposite side (chaepyon) of the changgo. As p’ungmul nori is traditionally an outdoor, open-space activity, the changgo in such cases is tied to the player’s body, resting over one side of the hip with long pieces of cloth slung over the shoulder and around the waist.   Geography The continent, region, nation where this instrument originates from Korea Classification Hornbostel-Sachs, revised by MIMO 211.242.12 Individual double-skin hourglass-shaped drums, both heads played Ensemble The musical group in which an instrument can be found Korean Drumming Ensemble Materials animal skin, paulownia wood, rope, metal Bibliography a list of sources referenced <div class="element-text"> Hahn, Myung-Hee. 1998. A Study of Musical Instruments in Korean Traditional Music, translated by Park, Il-Woo, Seoul: The National Center for Korean Traditional Performing Arts, Ministry of Culture and Tourism. Howard, Keith. 1988. Korean Musical Instruments: A Practical Guide, Seoul, Korea: Se-Kwang Music Publishing Co. --------. 1995. Korean Musical Instruments, New York: Oxford University Press. Killick, Andrew. 2002. “Musical Instruments of Korea.” In The Garland Encyclopedia of World Music, Vol. 7. East Asia: China, Japan, and Korea, edited by Robert Provine, Yoshihiko Tokumaru, and J. Lawrence Witzleben, New York: Routledge, 821-31. Lee, Hye-Ku. 1981. Essays on Traditional Korean Music, translated and edited by Robert Provine, Seoul, Korea: Royal Asiatic Society, Korea Branch. Pratt, Keith. 1987. Korean Music: Its History and Performance, London: Faber Music Ltd. Sŏng, Kyŏng-rin. 1973. “Korean Musical Instruments.” In Survey of Korean Arts: Traditional Music. Seoul, Korea: The National Academy of Arts. </div> Contributors Entry authors Hae Joo Kim (2005) Notation The style of written music that the player reads Traditionally, Korean percussion instruments used a notational system called the Chǒngganbo, which can be traced back to the fifteenth century. The Chǒngganbo is a framework of vertical and horizontal lines that intersect to create small boxes that are read in columns (top to bottom, right to left), with icons or symbols representing various strokes placed within each box, one box being equal to one beat. In ensemble music, one column would carry the notation for one instrument, and one line (i.e. one segment from top to bottom) would denote one rhythmic cycle. Chǒngganbo also allows for subdivision of beats within one box if necessary. The Chǒngganbo system is still in use today, although Korean percussion instruments also use western staff notation. The National Center for Korean Traditional Performing Arts in Korea uses and prints materials in both systems. Video Embed YouTube video <iframe width="560" height="315" src="https://www.youtube.com/embed/rji5sL2HIHs" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Changgo Korea membranophone Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Korean Drumming Description An account of the resource <h4>P’ungmul nori</h4> P’ungmul nori is one of the oldest and most popular folk arts of Korea deeply rooted in the country’s traditionally agrarian lifestyle and culture. The term consists of pung (literally, “wind”), and mul (literally, “thing” or “object”), with nori meaning “play.” Generally, p’ungmul (sometimes known as nongak) refers to the percussion bands that performed in farming villages on various occasions, festivities, and celebrations, including planting and harvesting seasons, New Year, Full Moon, to invoke blessings and repel evil spirits. But perhaps most importantly, p’ungmul nori is an activity that calls on the collective energy and unity of the community. It stirs up the shinmyong (excited spirit) of the people providing a renewed sense of energy to carry on the difficult tasks of laboring. Instrumentation of p’ungmul groups tends to vary according to region, but the four basic elements of p’ungmul nori are the kkwaenggwari (small gong), changgo (hourglass drum), ching (large gong), and puk (shallow barrel drum). Ensembles will sometimes include the sogo (small frame drum with handle), the nabal (long trumpet), or the taepyongso (conical oboe). In cases where the sogo is present, its player will usually perform acrobatics with a ribbon tied to a headpiece, while the rest of the ensemble dances the steps to a procession. P’ungmul nori traditionally takes place outside in an open space, and while it is considered to be music, it is dance is an integral and inseparable aspect of the whole performance. As such, all members of a p’ungmul group carry their instruments or have them tied to their body, so that dance movements are possible. The kkwaenggwari and ching (small and large gongs) are the most important instruments in the percussion band. The kkwaenggwari is played by the leader who directs the group in changes of rhythm patterns and tempi. The ching, on the other hand, plays a key role in the ensemble by providing the basic beats that unify the performance. Many a p’ungmul musician will attest that if the large gong loses the pulse, the band will fall apart. The changgo, however, can be seen as the feature instrument of p’ungmul and samul nori. It realizes the complete changdan (rhythmic cycle) and carries the most complex rhythm patterns. It is also the only instrument in the ensemble played with both hands. The changgo can reach great levels of virtuosity, especially in samul nori. The puk rounds out the quartet of instruments by providing a strong and consistent pulse. Musicians and scholars believe that p’ungmul music has its origins in shamanism, the indigenous religion of Korea. But it is difficult to say where this influence ends not only because data on the history of this genre is sparse, but also because its evolution has been affected by military music, Buddhism, its role as pure entertainment, and its connections with the itinerant performing troupes (namsadang) of the late Choson Dynasty. The ritualistic aspect of p’ungmul percussion bands was extant in the agricultural and coastal countrysides of Korea until the middle of the 20th century. But this tradition has slowly died out in the wake of modernization, the influence of western religions, an overall decrease in superstitious rituals, and the rise of technology not only in farming materials and equipment, but also in various leisure items that focus more on individual and indoor entertainment. Today, p’ungmul nori remains a source of entertainment and is preserved in festivals, parades, and in performance contexts. It is also an art form that carries the identity of the Korean people, especially in a time where western music seems to have eclipsed much of Korean traditional music. P’ungmul is significant in that it still exists in Korea today. Where as court music died out with the dynasties, and something like p’ansori (narrative folk singing) is to be enjoyed when there is a skilled p’ansori singer available, p’ungmul is an accessible form of music, its musical patterns relatively easy to learn, pick up, and perform. After the military coup in Korea (1961) and throughout the latter half of the 20th century, students across Korean campuses employed p’ungmul as a medium to empower the masses and rally strength in demonstrating against the authoritarian government. Its dynamic, powerful rhythms, and its accessibility to the masses made p’ungmul nori a popular channel and source for provocation, mobilization, energy, and solidarity. In Korea’s culture of survival, p’ungmul has played an important role in rousing the shinmyong and regenerating the spirit of the people. <h4>Samul nori</h4> Samul nori (literally, “play of four things”) may be seen as a modernized adaptation of p’ungmul nori. It first emerged on the stages of Korea in the late 1970s with a tremendous following, under the leadership of Kim Duk Soo who is credited as the leader of this movement. The four instruments in the samul nori genre are the kkwaenggwari, changgo, ching, and puk. Samul nori stems from the p’ungmul tradition, but it is designed mainly for performance and is reserved for highly skilled, professional musicians. Whereas p’ungmul is performed outdoors, in an open space, samul nori is presented in a small space or on a stage (outdoors or indoors). Samul nori performances are often performed in a seated position. P’ungmul music has simpler rhythm patterns that are repeated, and thus accessible to the wide audience. Indeed a “successful” p’ungmul nori invites as many people as possible, as the shinmyong of the group will be more euphoric when there are more people involved. The boundary and space (physical, emotional) between player and audience is minimal in p’ungmul nori, as the larger goal is to achieve a communal high in spirit. P’ungmul performances are not limited to a particular time frame, coming to a close only when the festivities come to a natural end. On the other hand, the genre of samul nori is performed by an average of 4-6 performers who are somewhat distanced from the audience as they showcase a program of extremely complex and technically difficult patterns. Although audiences can certainly sense the shinmyong and participate in the exciting spirit that is generated through such brilliance, samul nori is not conducive to audience participation in the way that p’ungmul nori is. It is not easy, nor is it meant, for onlookers to follow along, in rhythm or dance. Since samul nori is tailored as a staged art, the length of pieces is considerably shorter and the program is set before the show. Although samul nori is not completely without improvisation, its scope is limited in comparison to p’ungmul nori, which is more responsive to audience reactions and the atmosphere created at the time of performance. While p’ungmul nori does not come with a “repertory,” and no two performances or groups would play the same material, samul nori has developed a set or standardized pieces. Samul nori is an urban phenomenon that has been immensely popular with Korean youth. It has sparked renewed interest in traditional art forms among Koreans in the face of Korea’s ever-westernizing musical arena. Contributor An entity responsible for making contributions to the resource Hae Joo Kim (2005) Musical Instrument A sound-making object used for musical performance or in a musical context Alternative title any additional names or spellings for the instrument Jing, Taegŭm Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions The ching is the larger of two gongs used in Korean percussion music. It is made of brass and ranges in size from approximately 35 to 40 cm (13½ to 1 ½ in) in diameter, with an inward-sloping rim of approximately 8 to 10 cm (3 to 3½ in) deep. It is approximately 3 mm thick. The size of the ching varies according to its usage: the ching used in p’ungmul nori (farmer’s band music) is usually smaller than the ching used in court, Buddhist, or ritual music, in which cases it is sometimes referred to as the taegŭm (literally, “large metal’), as opposed to the kkwaenggwari, the small gong, which is sometimes known as the sogŭm (“small metal”). In court music, and also in the contemporary genre of samul nori (concert stage-adaptation of p’ungmul nori), the ching can be seen being played in a seated position, sometimes held in one hand by a small cord looped through two holes at the top, or suspended on a wooden frame. In the genre of p’ungmul nori, the ching is carried around by its handle while the player engages in a procession or dance movements with the other percussionists. In the genre of sinawi (shamanic instrumental music), the ching may be held in the hand, not by its handle, allowing for more possibilities in sound quality. The ching is struck with a mallet, the head of which is wrapped in cloth, and thus it produces a soft tone. Musical, Cultural, and Social Contexts information about the contexts in which the instrument is and its role in culture and society performed (Who plays the instrument? What music do they play? Where, when, why is this instrument played?) Although the ching is seemingly the least “active” of Korean percussion instruments, especially compared to the relatively complex patterns played out by the changgo (hourglass drum), kkwaenggwari (small gong), and puk (barrel drum), it carries the vital role of underlining and punctuating the main beats in the cycles of changdan (rhythmic patterns) that give structure to the music. It not only provides a resonant base for the other instruments, its tone also sustains a unity within the ensemble as it “wraps” the sounds of the other instruments. Indeed many p’ungmul nori musicians consider the ching to be the most important instrument in a percussion ensemble. Historical background information about the origins, history, and development of the instrument The ching has probably been in use in Korea longer than the smaller gong (kkwaenggwari). It is featured in many genres of Korean music including shamanic, Confucian, Buddhist, military, and folk musics. In the military context of earlier times, the ching was used to signal retreat during battles. Geography The continent, region, nation where this instrument originates from Korea Classification Hornbostel-Sachs, revised by MIMO 111.241.11 (idiophone) Bossed gongs, flat gongs (with flange) and intermediate types Ensemble The musical group in which an instrument can be found Korean Drumming Ensemble Dimensions The physical measurements of the instrument Diameter: 35 to 40 cm (13½ to 1 ½ in) Inward-sloping rim: 8 to 10 cm (3 to 3½ in) deep Approximately 3 mm thick. Materials Brass Bibliography a list of sources referenced <div class="element-text"> <div class="element-text"> Hahn, Myung-Hee. 1998. A Study of Musical Instruments in Korean Traditional Music, translated by Park, Il-Woo, Seoul: The National Center for Korean Traditional Performing Arts, Ministry of Culture and Tourism. Howard, Keith. 1988. Korean Musical Instruments: A Practical Guide, Seoul, Korea: Se-Kwang Music Publishing Co. --------. 1995. Korean Musical Instruments, New York: Oxford University Press. Killick, Andrew. 2002. “Musical Instruments of Korea.” In The Garland Encyclopedia of World Music, Vol. 7. East Asia: China, Japan, and Korea, edited by Robert Provine, Yoshihiko Tokumaru, and J. Lawrence Witzleben, New York: Routledge, 821-31. Lee, Hye-Ku. 1981. Essays on Traditional Korean Music, translated and edited by Robert Provine, Seoul, Korea: Royal Asiatic Society, Korea Branch. Pratt, Keith. 1987. Korean Music: Its History and Performance, London: Faber Music Ltd. Sŏng, Kyŏng-rin. 1973. “Korean Musical Instruments.” In Survey of Korean Arts: Traditional Music. Seoul, Korea: The National Academy of Arts. </div> </div> Contributors Entry authors Hae Joo Kim (2005) Notation The style of written music that the player reads Traditionally, Korean percussion instruments used a notational system called the Chǒngganbo, which can be traced back to the fifteenth century. The Chǒngganbo is a framework of vertical and horizontal lines that intersect to create small boxes that are read in columns (top to bottom, right to left), with icons or symbols representing various strokes placed within each box, one box being equal to one beat. In ensemble music, one column would carry the notation for one instrument, and one line (i.e. one segment from top to bottom) would denote one rhythmic cycle. Chǒngganbo also allows for subdivision of beats within one box if necessary. The Chǒngganbo system is still in use today, although Korean percussion instruments also use western staff notation. The National Center for Korean Traditional Performing Arts in Korea uses and prints materials in both systems. Video Embed YouTube video <iframe width="560" height="315" src="https://www.youtube.com/embed/vbQt14TtHWA" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ching idiophone Korea metallophone Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Korean Drumming Description An account of the resource <h4>P’ungmul nori</h4> P’ungmul nori is one of the oldest and most popular folk arts of Korea deeply rooted in the country’s traditionally agrarian lifestyle and culture. The term consists of pung (literally, “wind”), and mul (literally, “thing” or “object”), with nori meaning “play.” Generally, p’ungmul (sometimes known as nongak) refers to the percussion bands that performed in farming villages on various occasions, festivities, and celebrations, including planting and harvesting seasons, New Year, Full Moon, to invoke blessings and repel evil spirits. But perhaps most importantly, p’ungmul nori is an activity that calls on the collective energy and unity of the community. It stirs up the shinmyong (excited spirit) of the people providing a renewed sense of energy to carry on the difficult tasks of laboring. Instrumentation of p’ungmul groups tends to vary according to region, but the four basic elements of p’ungmul nori are the kkwaenggwari (small gong), changgo (hourglass drum), ching (large gong), and puk (shallow barrel drum). Ensembles will sometimes include the sogo (small frame drum with handle), the nabal (long trumpet), or the taepyongso (conical oboe). In cases where the sogo is present, its player will usually perform acrobatics with a ribbon tied to a headpiece, while the rest of the ensemble dances the steps to a procession. P’ungmul nori traditionally takes place outside in an open space, and while it is considered to be music, it is dance is an integral and inseparable aspect of the whole performance. As such, all members of a p’ungmul group carry their instruments or have them tied to their body, so that dance movements are possible. The kkwaenggwari and ching (small and large gongs) are the most important instruments in the percussion band. The kkwaenggwari is played by the leader who directs the group in changes of rhythm patterns and tempi. The ching, on the other hand, plays a key role in the ensemble by providing the basic beats that unify the performance. Many a p’ungmul musician will attest that if the large gong loses the pulse, the band will fall apart. The changgo, however, can be seen as the feature instrument of p’ungmul and samul nori. It realizes the complete changdan (rhythmic cycle) and carries the most complex rhythm patterns. It is also the only instrument in the ensemble played with both hands. The changgo can reach great levels of virtuosity, especially in samul nori. The puk rounds out the quartet of instruments by providing a strong and consistent pulse. Musicians and scholars believe that p’ungmul music has its origins in shamanism, the indigenous religion of Korea. But it is difficult to say where this influence ends not only because data on the history of this genre is sparse, but also because its evolution has been affected by military music, Buddhism, its role as pure entertainment, and its connections with the itinerant performing troupes (namsadang) of the late Choson Dynasty. The ritualistic aspect of p’ungmul percussion bands was extant in the agricultural and coastal countrysides of Korea until the middle of the 20th century. But this tradition has slowly died out in the wake of modernization, the influence of western religions, an overall decrease in superstitious rituals, and the rise of technology not only in farming materials and equipment, but also in various leisure items that focus more on individual and indoor entertainment. Today, p’ungmul nori remains a source of entertainment and is preserved in festivals, parades, and in performance contexts. It is also an art form that carries the identity of the Korean people, especially in a time where western music seems to have eclipsed much of Korean traditional music. P’ungmul is significant in that it still exists in Korea today. Where as court music died out with the dynasties, and something like p’ansori (narrative folk singing) is to be enjoyed when there is a skilled p’ansori singer available, p’ungmul is an accessible form of music, its musical patterns relatively easy to learn, pick up, and perform. After the military coup in Korea (1961) and throughout the latter half of the 20th century, students across Korean campuses employed p’ungmul as a medium to empower the masses and rally strength in demonstrating against the authoritarian government. Its dynamic, powerful rhythms, and its accessibility to the masses made p’ungmul nori a popular channel and source for provocation, mobilization, energy, and solidarity. In Korea’s culture of survival, p’ungmul has played an important role in rousing the shinmyong and regenerating the spirit of the people. <h4>Samul nori</h4> Samul nori (literally, “play of four things”) may be seen as a modernized adaptation of p’ungmul nori. It first emerged on the stages of Korea in the late 1970s with a tremendous following, under the leadership of Kim Duk Soo who is credited as the leader of this movement. The four instruments in the samul nori genre are the kkwaenggwari, changgo, ching, and puk. Samul nori stems from the p’ungmul tradition, but it is designed mainly for performance and is reserved for highly skilled, professional musicians. Whereas p’ungmul is performed outdoors, in an open space, samul nori is presented in a small space or on a stage (outdoors or indoors). Samul nori performances are often performed in a seated position. P’ungmul music has simpler rhythm patterns that are repeated, and thus accessible to the wide audience. Indeed a “successful” p’ungmul nori invites as many people as possible, as the shinmyong of the group will be more euphoric when there are more people involved. The boundary and space (physical, emotional) between player and audience is minimal in p’ungmul nori, as the larger goal is to achieve a communal high in spirit. P’ungmul performances are not limited to a particular time frame, coming to a close only when the festivities come to a natural end. On the other hand, the genre of samul nori is performed by an average of 4-6 performers who are somewhat distanced from the audience as they showcase a program of extremely complex and technically difficult patterns. Although audiences can certainly sense the shinmyong and participate in the exciting spirit that is generated through such brilliance, samul nori is not conducive to audience participation in the way that p’ungmul nori is. It is not easy, nor is it meant, for onlookers to follow along, in rhythm or dance. Since samul nori is tailored as a staged art, the length of pieces is considerably shorter and the program is set before the show. Although samul nori is not completely without improvisation, its scope is limited in comparison to p’ungmul nori, which is more responsive to audience reactions and the atmosphere created at the time of performance. While p’ungmul nori does not come with a “repertory,” and no two performances or groups would play the same material, samul nori has developed a set or standardized pieces. Samul nori is an urban phenomenon that has been immensely popular with Korean youth. It has sparked renewed interest in traditional art forms among Koreans in the face of Korea’s ever-westernizing musical arena. Contributor An entity responsible for making contributions to the resource Hae Joo Kim (2005) Musical Instrument A sound-making object used for musical performance or in a musical context Alternative title any additional names or spellings for the instrument Buk Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions The word puk in Korean is the generic term for the word “drum,” and there are several kinds of puks in Korean music. However, the most common are the p’ungmul puk used in farmer’s band music, and the sori puk used to accompany p’ansori singing (Korean traditional narrative storytelling). The puk is a shallow, double-headed barrel drum with a wooden body made of paulownia or poplar, and heads made of deer hide, horsehide, or cowhide, although cowhide is most common. The size of the puk varies from region to region and according to purpose (sori puks may by larger than the puks used in farmer’s band music), but the heads generally range from 35-40 cm in diameter (13½ to 15½ in). They are approximately 20-25 cm deep (7½ to 9½ in). The skins of p’ansori puks are permanently nailed around the body of the drum, while the skins of the p’ungmul puks are attached to each other by lacing leather strings across the body of the drum. Musical, Cultural, and Social Contexts information about the contexts in which the instrument is and its role in culture and society performed (Who plays the instrument? What music do they play? Where, when, why is this instrument played?) The puk does not play complex rhythms like the changgo, but rather provides a strong, consistent pulse throughout a performance. It is one of the four basic percussion instruments in Korea. Playing technique methods of playing the instrument, performance practices (how is the instrument played?) The puk is played with a bare stick made of birch wood. In p’ansori accompaniment, the puk is situated vertically on the floor while the player (known as the gosu) is in a seated position striking one head with the bare palm and the other with the drumstick. Ornamental patterns and accentuated beats are played out on the top, over the rim of the drum. In p’ansori performances, the gosu customarily shouts out cries of encouragement know as chuimsae, to complement and support the singer as the tale unfolds. In p’ungmul nori, the puk is usually tied to the body of the player with a sash slung across the shoulder, and like the changgo, is carried around to facilitate walking and dancing. The puk in p’ungmul music is played with the stick in one hand while the other hand braces the drum against the body. Though it is rare, there are regions in Korea where the puk is sometimes played like the changgo, with two sticks. Geography The continent, region, nation where this instrument originates from Korea Classification Hornbostel-Sachs, revised by MIMO 211.222.12 Individual double-skin barrel drums, both heads played Ensemble The musical group in which an instrument can be found Korean Drumming Ensemble Dimensions The physical measurements of the instrument Diameter: 35-40 cm (13½ to 15½ in) Width: 20-25 cm (7½ to 9½ in) Materials Body: paulownia or poplar wood Drum heads: cowhide (most popular), deer hide, or horsehide Bibliography a list of sources referenced <div class="element-text"> <div class="element-text"> <div class="element-text"> Hahn, Myung-Hee. 1998. A Study of Musical Instruments in Korean Traditional Music, translated by Park, Il-Woo, Seoul: The National Center for Korean Traditional Performing Arts, Ministry of Culture and Tourism. Howard, Keith. 1988. Korean Musical Instruments: A Practical Guide, Seoul, Korea: Se-Kwang Music Publishing Co. --------. 1995. Korean Musical Instruments, New York: Oxford University Press. Killick, Andrew. 2002. “Musical Instruments of Korea.” In The Garland Encyclopedia of World Music, Vol. 7. East Asia: China, Japan, and Korea, edited by Robert Provine, Yoshihiko Tokumaru, and J. Lawrence Witzleben, New York: Routledge, 821-31. Lee, Hye-Ku. 1981. Essays on Traditional Korean Music, translated and edited by Robert Provine, Seoul, Korea: Royal Asiatic Society, Korea Branch. Pratt, Keith. 1987. Korean Music: Its History and Performance, London: Faber Music Ltd. Sŏng, Kyŏng-rin. 1973. “Korean Musical Instruments.” In Survey of Korean Arts: Traditional Music. Seoul, Korea: The National Academy of Arts. </div> </div> </div> Contributors Entry authors Hae Joo Kim (2005) Notation The style of written music that the player reads Traditionally, Korean percussion instruments used a notational system called the Chǒngganbo, which can be traced back to the fifteenth century. The Chǒngganbo is a framework of vertical and horizontal lines that intersect to create small boxes that are read in columns (top to bottom, right to left), with icons or symbols representing various strokes placed within each box, one box being equal to one beat. In ensemble music, one column would carry the notation for one instrument, and one line (i.e. one segment from top to bottom) would denote one rhythmic cycle. Chǒngganbo also allows for subdivision of beats within one box if necessary. The Chǒngganbo system is still in use today, although Korean percussion instruments also use western staff notation. The National Center for Korean Traditional Performing Arts in Korea uses and prints materials in both systems. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Puk Korea membranophone Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chinese Music Ensemble Relation A related resource <iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaXuTQ8zGQrB_FmTX-XEC-Jw" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Alternative title any additional names or spellings for the instrument Dizi Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions The di, a transverse bamboo flute of the Han Chinese, is one of the most popular wind instruments used in various Chinese music genres such as folk, traditional theater (xiqu), and modern orchestral music. Through different periods and among various musical genres and regional dialects the di is also commonly known as the dizi, hengdi, zhudi, hengchui, and the chui. The di is made from bamboo and has twelve open holes. Along the upper surface, there is an embouchure hole, a membrane hole, six finger holes (three for each hand) and two auxiliary tone holes. On the underside there are two tuning holes which may be decorated with a string or tassel. The membrane hole is covered by a piece of dimo, a thin membrane usually taken from the inner side of a reed. With a well-adjusted membrane the di can produce a specific buzzing or nasal timbre, a distinct characteristic which cannot be found in other types of flutes. Since the 1930s, some new types of di have been designed for special purposes. For instance, the xingzhudi (“new bamboo flute,” a flute with eleven finger holes without a membrane hole) and the giajiandi (a keyed flute with a membrane) were created for playing accurate equal-tempered scale pitches in modern Chinese orchestras, since the addition of holes or keys can help the flutist play semitones more easily. Musical, Cultural, and Social Contexts information about the contexts in which the instrument is and its role in culture and society performed (Who plays the instrument? What music do they play? Where, when, why is this instrument played?) The di is one of the most widely used instruments in Chinese culture. It has been used in court and military music, and continues to be used in folk music and opera music ensembles as an important leading instrument since ancient times. The di has also been used for many different occasions such as celebrations, wedding ceremonies, funerals, festivals, private or public banquets, and accompanying singing or dancing. Di music was a very popular entertainment not only for ordinary people but for many ancient scholars. One can find numerous examples from Tan and Sun poetry and other literature mentioning the performance or aesthetics of di music. In the course of the twentieth century, the di was gradually elevated as a solo instrument in concert music compositions and began to play an important role in modern Chinese orchestras. In the past two or three decades, the di started to be involved in various music genres such as popular music, rock, jazz, TV dramas, and avant garde music. Meanwhile, the di has been used by some contemporary composers to represent “Chinese-ness” or a kind of Chinese folk identity. Historical background information about the origins, history, and development of the instrument There are many suggestions regarding the origin of the di. Some scholars assert that the di was imported from Xiyu (which now encompasses the Xingjiang province and part of Central Asia) during the Han dynasty (206 BC–220 AD). Others endeavor to trace its history back to an earlier period by historical documents and archaeological evidence. According to archaeologists’ recent discoveries, the oldest transverse bone flutes found in Wuyang County of the Henan province date back approximately 8,000 years. Archaeologists also found some forty bone flutes from 7,000 years ago during the Hemudu discovery, which was a site of Hemudu culture (formed in early Chinese Neolithic Age) discovered in Hemudu Village of Yuyao County, Zhejiang Province in 1973. (See Hemudu Site Museum’s website: http://www.hemudusite.com/index.html) Some writers claim that, according to the ancient history book Shiji, the origin of the di can be traced back to 2698 BC. However, the first reliable documented Chinese transverse flute is the chi, which was used in the court music of the Zhou dynasty (1122-221 BC). As noted above, during the Han dynasty, the hengchui was imported from Xiyu and played in outdoor military ensembles. From the sixth century, transverse flutes became more commonly known as hengdi and later were employed in Tang (618–907) court entertainment ensembles. The first membraned transverse flute, qixingguan (lit. “seven stars tube”), was mentioned in the early twelfth-century treatise Yueshu. During the Ming dynasty (1368–1644) and Qin dynasty (1644–1911), the di, now known as the qudi and the bangdi, became a popular and leading instrument in kunqu and bangzi operas, as well as other traditional ensemble genres. Since the late 1920s, the modern di has experienced dramatic changes because of “the movement of national music improvement” advocated by Liu Tianhua (1895-1932). The roughly equidistant finger holes on the di were repositioned to adopt the equal-tempered scale and new techniques have been further developed to adjust to westernized musical ideas and modern compositions. Furthermore, the performance context of the di has been expanded from the core member of an ensemble to one of the most popular solo instruments today. (For detailed history, see also Thrasher 2005, 1978) Playing technique methods of playing the instrument, performance practices (how is the instrument played?) The techniques of the di can be categorized into three kinds: blowing, fingering and tonguing. Blowing is the fundamental technique—long and even breathing is the first step for di performers. Circular breathing, timbre changing and a variety of vibrato types are other frequently used blowing techniques. Fingering techniques include rapid-and-clear finger movement, trills, glissandi, tremoli, portamenti, and half-holing, among others. The basic tonguing techniques are flutter-tonguing and different kinds of staccati such as single-, double-, and triple-tonguing. (See also Lau 1991) The use and combination of these techniques are based on the styles (ex. Folk, Silk and Bamboo or Operatic), schools (ex. Southern or Northern) and regions (ex. Shangshi province or Hebei province) of the di repertoire. However, contemporary conservatory-trained performers are generally required to integrate all techniques to achieve certain musical goals so that modern composers can freely apply these techniques according to their specific needs.  Tuning Information about the tuning system The contemporary di is tuned to the equal-tempered scale and produced in varied keys, lengths, and sizes. The most common di, which is usually the first di for beginners, is the qudi (key of D), or the bangdi (key of G). Based on the six-hole construction, performers can easily play a heptatonic scale by using basic fingering skills; however, professional performers and experienced amateurs can also play all twelve semitones within an octave by using a half-holing technique. The average range of the di is about two octaves, but it can be over two and a half octaves when played by skilled performers. Geography The continent, region, nation where this instrument originates from China, Han people Classification Hornbostel-Sachs, revised by MIMO 421.121.12 Open side-blown flutes with fingerholes Ensemble The musical group in which an instrument can be found Chinese Music Ensemble Materials Bamboo, reed Bibliography a list of sources referenced Thrasher, Alan R. ‘Di’, Grove Music Online ed. L. Macy (Accessed August 13 2005), <a href="http://www.grovemusic.com">http://www.grovemusic.com</a> -------  1978 “The Transverse Flute in Traditional Chinese Music.” Asian Music 10(1): 92-114. Lau, Frederick. 2002. "Instruments: Dizi and Xiao." In The Garland Encyclopedia of World Music, Vol. 7. East Asia: China, Japan, and Korea, ed. by Robert Provine, Yoshihiko Tokumaru, and J. Lawrence Witzleben, New York: Routledge, 183-86. ------- 1991 Music and Musicians of the Traditional Chinese ‘Dizi’ in the People’s Republic of China. DMA Diss.: University of Illinois at Urbana-Champaign. Contributors Entry authors Po-Wei Weng (2005) Notation The style of written music that the player reads In the ensembles of traditional folk music and xiqu, the gongchepu (Chinese character notation) was the dominant notation system used by di performers, as well as other traditional instruments. Nevertheless, di music was mostly taught orally by teachers’ demonstration and personalized melodic improvisation is very much encouraged. Today, most di performers use cipher notation and professional musicians can use staff notation as well, especially when performing in modern Chinese orchestras and playing contemporary compositions Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Di aerophone China https://wesomeka.wesleyan.edu/vim2/files/original/0379e9b6f77291d71091520b7798ff16.jpg 69d0d77978f8cfa82536686f1dc1cf40 https://wesomeka.wesleyan.edu/vim2/files/original/cc88f0017514e2aa33ffd104ce0ae20d.jpg fc49741de6d54aa756efe682d7d06349 https://wesomeka.wesleyan.edu/vim2/files/original/3e58d0cb8864cce349ba434207c8cb10.jpg 91c67a1ea6f5ecee823a93ec3da999c1 https://wesomeka.wesleyan.edu/vim2/files/original/bd3248bb1aab35ee74c51e7292ba8210.jpg 1080339dddcfad4fa9529d7119fc1d04 https://wesomeka.wesleyan.edu/vim2/files/original/76e013c177d09fd87ebc816597a2929c.jpg 31c76725af963dae4a4da912c02e3856 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource West African Drumming Relation A related resource <iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaU9av8Bg95wf3lb48xJSePn" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Geography The continent, region, nation where this instrument originates from Akan people, southern Ghana Classification Hornbostel-Sachs, revised by MIMO 211.26 Goblet-shaped drums: The body consists of a main section which is either cup shaped or cylindrical, and a slender stem Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Apentemma Africa Ghana membranophone https://wesomeka.wesleyan.edu/vim2/files/original/bd2a7b4f1fa8a0bbaec34f60e4e274de.jpg f33b61b921bf74f5ef0ca62954abc42b https://wesomeka.wesleyan.edu/vim2/files/original/78cc6495f95611886ff19dec3ffea977.jpg 39172806748b351c255c54d686de71cd https://wesomeka.wesleyan.edu/vim2/files/original/4874536a51991e0b1a374f9ad6a6cc6c.jpg ac036402a897b2c7aca8c87b0683791a https://wesomeka.wesleyan.edu/vim2/files/original/55d271318a0bf960e70f469943a0024b.jpg 1e71203f0b2a2ed2b1b624c80bbd7d87 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource West African Drumming Relation A related resource <iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaU9av8Bg95wf3lb48xJSePn" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Classification Hornbostel-Sachs, revised by MIMO 322.112 Open arched harps - Wachsmann type 2: the tanged neck fits tightly into a hole at the narrow end of the resonator ‘like a cork in a bottle’ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Arch Harp Africa chordophone https://wesomeka.wesleyan.edu/vim2/files/original/e2a2833f03eb4ec9effea3f8cd38e031.jpg ebc2d0d152b960c122b4e95460879366 https://wesomeka.wesleyan.edu/vim2/files/original/5cbc2d2cae4f416b93156b5082da4d6a.jpg d5675714d5b37a3b5ccfbe4dc7963530 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource West African Drumming Relation A related resource <iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaU9av8Bg95wf3lb48xJSePn" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Classification Hornbostel-Sachs, revised by MIMO 111.242.11 Resting bells: the cup is placed on the palm of the hand or on a cushion; its mouth faces upwards Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Atoke Africa idiophone https://wesomeka.wesleyan.edu/vim2/files/original/9399f7bf556ce0251a7a173591b682ee.jpg 5d44ebdc8770a0fc186e3d2b29165fcc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource West African Drumming Relation A related resource <iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaU9av8Bg95wf3lb48xJSePn" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Geography The continent, region, nation where this instrument originates from Africa, Ghana, Ewe people Classification Hornbostel-Sachs, revised by MIMO 211.221.1 Individual single-skin barrel drums: The diameter is larger at the middle than at the ends; the body is curvilinear Ensemble The musical group in which an instrument can be found West African Drumming Video Embed YouTube video <iframe width="560" height="315" src="https://www.youtube.com/embed/QWPruKwpquo" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Atsimevu Africa membranophone https://wesomeka.wesleyan.edu/vim2/files/original/c09f307ce58c69b0933f5b83735cbbd7.jpg 47c5ba2f3a10b5419cd12f16bedfb0d6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource West African Drumming Relation A related resource <iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaU9av8Bg95wf3lb48xJSePn" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Geography The continent, region, nation where this instrument originates from Africa Video Embed YouTube video <iframe width="560" height="315" src="https://www.youtube.com/embed/f-ZCgnLQpp4" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Atumpan Africa membranophone https://wesomeka.wesleyan.edu/vim2/files/original/44341798da56a826ba7f2e7e19a47b9a.jpg a3b9af0f54fc4c824c189ac12afa1ee2 https://wesomeka.wesleyan.edu/vim2/files/original/8d48b4da254ebd59647ed516c6738e27.jpg d2571a744c196975544ed0806ae55d14 https://wesomeka.wesleyan.edu/vim2/files/original/d1c86901ce0cc6899474884854cb85df.jpg 74cd27115e815d450ff05cf289df02cf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource West African Drumming Relation A related resource <iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaU9av8Bg95wf3lb48xJSePn" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Geography The continent, region, nation where this instrument originates from Africa, Ghana, Ewe people Classification Hornbostel-Sachs, revised by MIMO 112.13 Vessel rattles: Rattling objects enclosed in a vessel strike against each other or against the walls of the vessel, or usually against both Video Embed YouTube video <iframe width="560" height="315" src="https://www.youtube.com/embed/Cp-TcNauNjk" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Axatse Africa idiophone https://wesomeka.wesleyan.edu/vim2/files/original/7de2c5dec8696e627009d3b1176bf92a.jpg 7bf1edf6c35cb8cf80ec072b13e586b7 https://wesomeka.wesleyan.edu/vim2/files/original/7c25cf70851ad8d2ddff7514a5a68390.jpg ca532a389accf62be180304a64644867 https://wesomeka.wesleyan.edu/vim2/files/original/1c4bb336a4e4adf1a51f5d57cfaa50f1.JPG 2f502ce0971bf57667bb3b8bedc58a44 https://wesomeka.wesleyan.edu/vim2/files/original/24ce6aaa506e134eccf0d38b2f960a79.JPG 4903ac3f83ac2fc2838cf78e498700ba Musical Instrument A sound-making object used for musical performance or in a musical context Alternative title any additional names or spellings for the instrument Saz Geography The continent, region, nation where this instrument originates from Turkey Classification Hornbostel-Sachs, revised by MIMO 321.321 (chordophone) necked bowl lute: the handle is attached to or carved from the resonator, like a neck; the resonator consists of a natural or carved-out bowl. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bağlama chordophone Turkey https://wesomeka.wesleyan.edu/vim2/files/original/83637dda52c4e451f1d8b2fe0dd98ede.jpg 983e439183016119919763b760f39361 https://wesomeka.wesleyan.edu/vim2/files/original/b78332f67058b269a17e430967e6e7a1.jpg 549f6fb160a6acd896aa3b95e85739e9 https://wesomeka.wesleyan.edu/vim2/files/original/d5c466a37229e683907c2b123aae93c2.jpg 4a8ee6a680b2d0f45c0fc3e8223e791e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource West African Drumming Relation A related resource <iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaU9av8Bg95wf3lb48xJSePn" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Geography The continent, region, nation where this instrument originates from Africa Classification Hornbostel-Sachs, revised by MIMO 111.222 (idiophone) set of percussion plaques: the instrument is struck either with a non-sonorous object (hand, stick, striker) or against a non-sonorous object (human body, the ground) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Balafon Africa idiophone Musical Instrument A sound-making object used for musical performance or in a musical context Alternative title any additional names or spellings for the instrument Gayageum, Kayagŭm Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions The kayagum is a 12-string half-tube plucked zither supported by 12 movable bridges. Howard (1988) offers a good description of the kayagum: "Strings run from pegs beneath the top end of the instrument, over a low fixed bridge curved to match the body, across individual movable bridges made from hard wood, to looped cords. Reserve string is held in coils behind each cord loop and the cords themselves are anchored to the horns." There are basically two types of kayagum: popkum (lit. law zither) and sanjo (lit. scattered melodies) kayagum. These two kayagum are differentiated in terms of size, construction, and context. The popkum, the larger one (160 cm long by 30 cm wide by 10 cm high), is also called p'ungnyu (lit. elegance) kayagum or chongak (lit. right music) kayagum. It is associated with court and literati ensembles. Its body is made from a single piece of paulownia wood and the twelve strings are made from raw silk. The sanjo kayagum, the smaller one (about 142 cm long by 23 cm wide by 10 cm high), is associated with folk music genres and thus is believed to have evolved in the 19th century with the emergence of sanjo (improvisational solo instrumental music). Unlike popkum, the sanjo kayagum has the soundboard of paulownia and has a harder wood such as chestnut for the sides and the back. The closer spacing of the strings and the shorter length of the sanjo kayagum facilitates the technique required for the faster passages of sanjo (Clark 2001). Nowadays, people have experimented with kayagum using steel and nylon strings and sometimes 13, 17, 18, 21, 22, 25 strings. Musical, Cultural, and Social Contexts information about the contexts in which the instrument is and its role in culture and society performed (Who plays the instrument? What music do they play? Where, when, why is this instrument played?) Before the birth of sanjo, the kayagum tended to be used in the repertories of the court orchestra such as yominlak, p'yongjohoesang and in the repertories of the string ensemble such as yongsanhoesang, ch'onyonmanse, and bohosa, and be usually performed for leisure among the aristocracy under the name of changak. In the folk music scenes, the kayagum has been used in sinawi (instrumental improvisational music which grew out of the shamanic ritual performance in southern regions), kayagum sanjo and kayagum pyongch'ang (performance accompanying singing). With the contribution of the kayagum player Kim Ch'angjo in the late Choson Dynasty (AD 14~20C), sanjo was developed and popularized with a high improvisational artistry of sinawi and with a variety of changdan (rhythmic phrase) and melodic patterns of the narrative vocal genre p'ansori. The kayagum can be proven to be the fittest instrument to play the sanjo form of music given the fact that the melodies and rhythms of the kayagum sanjo are the most technically sophisticated in comparison with the sanjo played by other instruments, and that tanmori, a very fast changdan, is found only in kayagum sanjo (Hwang 2002). In contemporary music contexts, kayagum is not only played for traditional repertoires of changak and folk music, but it is one of the most favored instruments for ch'angjak kukak (newly-composed Korean traditional music) with the pioneer of Hwang Byungki and is modernized to the extent that the kayagum quartet performs the classical repertoires such as Vivaldi's "Four Seasons."<o:p></o:p> Playing technique methods of playing the instrument, performance practices (how is the instrument played?) The performer, sitting in a cross-legged position, puts the head of the kayagum on his or her right knee. He or she plucks and flicks the strings with the index and middle fingers, and the thumb of the right hand, and presses down the strings to the left of the movable bridges with the left hand (Clark 2001). While other Asian zithers such as the Chinese zheng, Japanese koto, Mongolian yatga, and Vietnamese dan tranh are played with the picks or plectra, the wide vibrato and pitch-bending characteristics of kayagum are achieved by pressing and pulling the string with the bare fingers. Killick (2002) describes the vibrato of the kayagum as "a sound that is warmer, more intimate, and less bright than that of most similar instruments," and Clark as "comparatively deep, wide and round." The various techniques of plucking and pressing produces nonghyon (lit. vibrating strings), the micro-tonal shading and subtle vibrato, and yo-um (lit. remaining sound), the "after-tone", which are the key aesthetics of Korean music. <o:p></o:p> Geography The continent, region, nation where this instrument originates from Korea Classification Hornbostel-Sachs, revised by MIMO 314.122 (chordophone) True board zither (the plane of the strings is parallel with that of the string bearer) with resonator box (box zither), the resonator is made from slats. Materials Strings: silk Body: paulownia wood Bibliography a list of sources referenced Clark, Jocelyn. 2001. CD Liner Note to Hwang Byungki Kayagum Masterpieces Series. Seoul, Korea: C & L Music Inc. Howard, Keith. 1988. Korean Musical Instruments: A Practical Guide. Seoul, Korea: Se-Kwang Music Publishing Co. 163–90 Hwang, Byungki. 2002. "Sanjo," in The Garland Encyclopedia of World Music, Volume 7, East Asia: China, Japan and Korea. Edited by Robert C. Provine, Yoshiko Tokumaru and J. Lawrence Witzleben. New York and London: Routledge. Killick, Andrew P. 2002. "Musical Instruments of Korea," in The Garland Encyclopedia of World Music, Volume 7, East Asia: China, Japan and Korea. Edited by Robert C. Provine, Yoshiko Tokumaru and J. Lawrence Witzleben. New York and London: Routledge. Discography Choi, Moon-jin. 2001. Pyeongjohoesang Gayageum Jeongak II. Seoul, Korea: Jigu Records. Hwang, Pyong-gi. Music from Korea. Vol. one, The Kayakeum. Honolulu: East-West Center. Hwang, Byungki. 2001. Kayagum Masterpieces. Vol. 1~4. Seoul, Korea: C & L Music Inc. Kim, Chukpa. 1985. Korean Kayagum Music Sanjo. Tokyo, Japan: King Records. Song, Kum-yon Chi & Song-ja. 1986. Music of the Kayagum. Tokyo: JVC World Sounds. Various Artists. 1995. Korea: Music of Kayagum. Wea/Sire/Discovery/Ant Tokyo. Contributors Entry authors Yoonjah Choi (2004) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kayagum chordophone Korea plucked string https://wesomeka.wesleyan.edu/vim2/files/original/e0f7acd3ee95af607d3881f9b8ff1f17.JPG 6e4416544bbe457e7a795ab0b6073fdc https://wesomeka.wesleyan.edu/vim2/files/original/b46af790676d2bd486f2c0b376a95a5e.JPG f460bab64087197f8cb5b04faeddc918 https://wesomeka.wesleyan.edu/vim2/files/original/2d3ca1d534f79fc1014a51918cc9a841.JPG 9c30b10af899802d8d76ab068e262183 https://wesomeka.wesleyan.edu/vim2/files/original/bd8773529c5afdc1ab7cacfb8b7f36b3.jpg a715e54bf616583a27a24e5f28c8fa30 https://wesomeka.wesleyan.edu/vim2/files/original/96b0540453bb90242d778c1cf33b0504.jpg ba81d1dec30286d362096a72e850e86c https://wesomeka.wesleyan.edu/vim2/files/original/da525d72d84f4d1859396d23b0a7701b.jpg b80ec24ec9227e12082973cd782604f5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chinese Music Ensemble Relation A related resource <iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaXuTQ8zGQrB_FmTX-XEC-Jw" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions Erhu is a medium-high ranged Chinese two-stringed fiddle. The structure of the modern erhu was regularized in the 1920s by Liu Tianhua (1895-1932), the pioneering musician and composer in modern Chinese erhu and pipa music. Erhu consists of a body (qin tong), a shaft (qin gan), two tuning pegs (xuan zhou), a tight loop of string (qian jin), and a tiny bridge (xuan ma). Erhu’s body (13 cm long) can be made of padouk wood (hong mu), red sandalwood (zi tan), or ebony wood (wu mu). Its shape is usually hexagonal, with round or octagonal regional variations. Its front (8.8 cm in diameter) is covered with snakeskin, while the back is closed with a piece of pierced wood or bone (yin chuang). The shaft (78 cm long) is made of the same wood as the body. Its top is called the head of the instrument (qin tou), and is either carved in the form of a dragon’s head or a half moon. Two tuning pegs are set in the upper section of the shaft, while the lower end of the shaft is fixed onto the body. Qian jin is made of a tight loop of soft silk string which encircles the shaft and strings. Together with the bridge, qian jin sets the appropriate vibrating length of the strings (38 or 39 to 41 cm). Erhu’s bow is made of reed (jiang wei zhu, 76 cm) strung with horsehair or nylon. The bow hairs are inserted between the two strings that are made of silk (in the past), steel, or steel wrapped with nylon.  Musical, Cultural, and Social Contexts information about the contexts in which the instrument is and its role in culture and society performed (Who plays the instrument? What music do they play? Where, when, why is this instrument played?) Erhu was not a court instrument, since it did not appear until the Song and Yuan dynasties when large court entertainment ensembles were in decline. Until the first part of the twentieth century, erhu had been used widely in accompanying singing and opera performances as an important instrument. It was also an instrument used by street musicians and beggars. Therefore, erhu was always a folk instrument, closely related to people’s everyday musical lives. In addition, in the late Qing dynasty, erhu gradually became a major instrument in urban folk ensembles in southern China, which added its connection to members of the literati circle, who participated in these urban folk ensembles. In the course of the twentieth century, erhu was gradually elevated as a solo instrument and as “China’s violin” by conservatory trained musicians and composers in concert music compositions, while it was still used as an important accompanying instrument in opera performances. In the past twenty years, rock musicians, pop bands, and avant-garde music composers have all used erhu in their music as an emblem of Chinese-ness and folk roots. Gaohu is a high-pitched two-stringed fiddle. A newer invention, used mostly in Cantonese music ensembles. It has a very similar structure as the erhu, but its body is slightly smaller and it has no back close piece. Historical background information about the origins, history, and development of the instrument Today’s erhu probably evolved from several different kinds of stringed instruments. Erhu was historically known as huqin (lit. “barbarian’s stringed instrument”), indicating its northern association. Hu was a derogatory word for northern ethnic tribes. The term huqin was first mentioned in the Song dynasty (960-1279). Earlier on, the reference to ji qin first appeared in the Tang dynasty (618-907). Ji Kang (223-263), a famous literati musician, was attributed as its creator. Later, the reference to xi qin, named after a northern nomadic tribe Xi, first appeared in Song dynasty (960-1279). These two instruments were both first described as plucked string instruments, and later as having two strings and being played by pressuring the strings with a strip of bamboo, suggesting that the earliest Chinese bowed instruments were derived from plucked stringed instruments. These various instruments were perhaps assimilated over a long historical period. Eventually in the Yuan dynasty (1279-1368), under the Mongolian’s rule, both the description of huqin in writing and the portrayal of huqin in painting came to resemble today’s erhu. In the Ming dynasty (1368-1644), qian jin appeared and in the Qing dynasty (1644-1911), a number of variants of huqin came into use, such as jing hu (Peking opera two-stringed fiddle). Huqin, therefore became a generic term for a very large number of bowed instruments. It is not known for sure when and how the term erhu appeared. It most possibly originated in the early twentieth century when Liu Tianhua composed 10 erhu solo pieces, using some Western classical music compositional techniques. Liu Tianhua’s effort left a significant impact on modern Chinese music history, and especially on erhu. In the twentieth century, equated to violin, erhu became a primary instrument for solo, duo, or concerto forms, and the leading instrument in both small regional ensembles and the modern Chinese instrumental orchestra. Playing technique methods of playing the instrument, performance practices (how is the instrument played?) In playing, erhu is held upright by the left hand, its body sits on the player’s left thigh. The fingers of the left hand stop the strings, while the right hand and arm operate the bow. By pushing the wood of the bow outward or pulling the bow hair inward with right hand fingers, the player produces sound from one of the two strings. Bowing techniques include long bow (chang gong), short bow (duan gong), tremolo (chan gong), and others. In modern erhu performance, the left hand moves to several positions. Left hand techniques, which often distinguish the special sound characteristics of erhu, include vibrato (rou yin), glissando (hua yin), appoggiatura (da yin), and others. Notation The style of written music that the player reads Erhu does not have its own notational system. When accompanying singing and opera performance before the mid twentieth century, erhu musicians played from memory, with some degrees of improvisation on melodic ornamentations. In a few cases, gong che pu (note name notation) was used for small folk ensemble repertory, whose instruments included erhu. Today, almost all erhu performers use cipher notation, which has been widely adopted by Chinese traditional instrumentalists since the mid twentieth century. Conservatory trained musicians sometimes use staff notation as well, especially when performing contemporary avant-garde pieces. Tuning Information about the tuning system The two strings of erhu are tuned in a fifth, most often with d1 and a1 or c1 and g1, sometimes g and d1 or a and e1, with a range of three octaves (d1 to d4). Geography The continent, region, nation where this instrument originates from China Classification Hornbostel-Sachs, revised by MIMO 321.313 (chordophone) Spike tube lute: the handle passes diametrically through the walls of a tube Ensemble The musical group in which an instrument can be found Chinese Music Ensemble Materials Wood, snakeskin, reed, horsehair or nylon, silk, steel Bibliography a list of sources referenced Jonathan Stock, 1996. Musical Creativity in Twentieth-Century China: Abing, His Music, and Its Changing Meanings. Rochester, NY: University of Rochester Press.  Terrence Liu, 2002. "Erhu." In The Garland Encyclopedia of World Music, Vol. 7. East Asia: China, Japan, and Korea, ed. by Robert  Provine, Yoshihiko Tokumaru, and J. Lawrence Witzleben, New York: Routledge, 175-8.  Su Zheng, 2002. "Musical Instruments." In The Garland Encyclopedia of World Music, Vol. 7. East Asia: China, Japan, and Korea, ed. by Robert  Provine, Yoshihiko Tokumaru, and J. Lawrence Witzleben, New York: Routledge, 79-83. Video Embed YouTube video <iframe width="560" height="315" src="https://www.youtube.com/embed/7MThMPSaBs0" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Erhu bowed string China chordophone Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chinese Music Ensemble Relation A related resource <iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaXuTQ8zGQrB_FmTX-XEC-Jw" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions Gaohu is a high-pitched Chinese two-stringed fiddle, a member of the huqin family (see erhu). Its structure is very similar to the erhu, except the gaohu’s body is slightly smaller and has no back close piece (yin chuang). In the second half of the twentieth century, some musicians have added a small bamboo tube inside the gaohu’s body, making the sound in the high position even brighter. The gaohu pictured here is one such instrument. Musical, Cultural, and Social Contexts information about the contexts in which the instrument is and its role in culture and society performed (Who plays the instrument? What music do they play? Where, when, why is this instrument played?) Closely related to the Guangdong province, the gaohu, with its distinct timbre, is associated with a distinct regional identity. It is used mostly in Cantonese music ensemble, Chaozhou music ensemble, as well as in accompanying Cantonese opera and Chao opera. In addition, it is also used as a solo instrument and as “first violin” in the modern Chinese instrumental orchestra. Historical background information about the origins, history, and development of the instrument The gaohu is a rather recent invention derived from erhu. It was created in the 1920s by Lu Wencheng (1898-1981), a well-known Cantonese music musician and composer. Lu changed the original silk strings to steel strings, and also adopted the playing position of holding the gaohu’s body in between the knees.  Playing technique methods of playing the instrument, performance practices (how is the instrument played?) In playing, the gaohu is held in between the knees to reduce the unwanted noise. The Gaohu’s tembre, high and focused, makes it suitable for lyrical, quick or ornamented melodies. For its bowing and left hand techniques, see erhu. Notation The style of written music that the player reads see erhu Tuning Information about the tuning system It’s tuning, a1-e2 or g1-d2, is a fifth or a fourth higher than that of erhu. The gaohu has a range of three octaves as well (a1 to e4 or g1 to d4). Geography The continent, region, nation where this instrument originates from China Classification Hornbostel-Sachs, revised by MIMO 321.313 (chordophone) Spike tube lute: the handle passes diametrically through the walls of a tube Ensemble The musical group in which an instrument can be found Chinese Music Ensemble Materials Wood, snakeskin, reed, horsehair or nylon, silk, steel Bibliography a list of sources referenced Jonathan Stock, 1996. Musical Creativity in Twentieth-Century China: Abing, His Music, and Its Changing Meanings. Rochester, NY: University of Rochester Press. Terrence Liu, 2002. "Erhu." In The Garland Encyclopedia of World Music, Vol. 7. East Asia: China, Japan, and Korea, ed. by Robert  Provine, Yoshihiko Tokumaru, and J. Lawrence Witzleben, New York: Routledge, 175-8. Su Zheng, 2002. "Musical Instruments." In The Garland Encyclopedia of World Music, Vol. 7. East Asia: China, Japan, and Korea, ed. by Robert  Provine, Yoshihiko Tokumaru, and J. Lawrence Witzleben, New York: Routledge, 79-83. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gaohu bowed string China chordophone https://wesomeka.wesleyan.edu/vim2/files/original/71d0dffa5eeac257f4840808a2e564aa.jpg f44d44c8b12bf6a53d54e4a28e1b34c7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Javanese Gamelan Description An account of the resource Gamelan is an ensemble consisting of predominantly metallophone and gong type instruments. The instruments produce tones when struck with mallets. The ensemble, in various sizes and forms, can be found in a number of Indonesian islands. In Java and Bali, gamelan has developed into an expansive ensemble, while a variety of smaller ensembles continue to exist. In Java alone, there exist several forms of gamelan ensembles. There are two especially known main gamelan styles: Sundanese (West Javanese) and Javanese gamelan. The following descriptions focus on Central Javanese gamelan. ----- INSTRUMENTS AND THEIR FUNCTIONS IN THE ENSEMBLE Javanese gamelan ensemble is known for its expansive or grandeur ensemble, employing a rich variety of instrument types. In a full set of gamelan, beside metallophones and gongs, there are other types of instruments, including a set of drums (kendhang), bowed- and plucked-strings (rebab and celempung), xylophone (gambang), and a bamboo flute (suling). A “soloist” female singing (sindhen) and male chorus (gerong) are also present in the gamelan ensemble. Each or a group of instruments and singing has a particular function in the ensemble, although there is a degree of flexibility. Generally the instruments may fall into the following three functional groupings: (1) instruments that delineate the structure of the piece; (2) instruments that guide temporal flow in the music; (3) and instruments that carries melodies in both simple and elaborate forms. Instruments in the first category include large and medium hanging gongs (gong ageng and gong suwukan), small size hanging gongs (kempul), large standing gongs (kenong), and a pair of small standing gongs (kethuk-kempyang). The stroke of a large hanging gong marks the end of the main musical unit (gongan), while other gongs (kenong, kempul, and kethuk-kempyang, respectively) subdivide it in the order of its importance. Instruments in the second category are a set of two-headed drums (kendhang). The drumming style is defined by the use of particular kendhang or a combination of them. The drumming may consist of a repeatable, simple rhythmic configuration (kendhang satunggal and kendhang kalih) to elaborate and animated rhythm (kendhang ciblon) that are associated with dance movements. The third category consists of three instrumental groupings: (a) instruments that carries melodic skeleton of the piece (balungan): saron, demung, and slenthem; (b) instruments that carries elaborate form of melodies, encompassing wide melodic registers (rebab, gambang, and singing), medium registers (gender barung) and narrow register (celempung, gender panerus, and suling). Generally, the wider their registers the more importance are their melodic functions; (3) instruments whose functions are to mediate between group a (balungan) and group b (elaborating instruments): bonang barung, bonang panerus, and peking. The anticipatory nature of the melodies of these instruments (especially bonang barung) has earned them the status of melodic guidance of the ensemble. Gamelan instruments can also be grouped according to the volume of the sound they can produced: soft-sounding and loud-sounding instruments. The soft-sounding instrument are positioned in the middle- and side-front to the middle row—rebab, gender, gambang, celempung, suling, slenthem—together with the singers. The loud-sounding instruments are in the side-front, middle, and back rows: bonang, kendhang, a group of saron, ketuk-kempyang, kenong, kempul, gong. Soft-loud category is an important basis for the playing style of gamelan and the ensemble’s interplay. ----- TUNING SYSTEM, PATHET, AND GENDHING A full gamelan set employs two tuning systems, slendro and pelog (thus, the full gamelan is actually a double sets, with the slendro set usually facing to the front and the pelog set to the side). The two sets are never played simultaneously, however. The slendro tuning consists of five notes per octave. The five intervals consist of short and medium steps. The difference between the two intervals is so small, however, that they are often described as equal or nearly equal intervals. The pelog has seven pitches per octave (1 2 3 4 5 6 7), but a gendhing is composed on the basis of the combination of sets of five pitch positions (1 2 3 5 6; 1 2 4 5 6; 2 3 5 6 7). In this sense, pelog is a pentatonic system, employing not only one but three basic five-pitch scales. Unlike slendro, narrow and wide intervals in each of these scales are apparent. Another musical concept associated with tuning system is modal classification called pathet. It is a system of the hierarchical use of tones (and/or different use of scale degrees, especially in pelog), supported by characteristics of instruments or vocal idioms to be used to approach these tones and the register of the tones used in composition. Pathet circumscribes general mood or emotive content of a composition. There are three pathet in each of the tuning systems. Composition in gamelan (gendhing) is determined and arranged by a number of parameters. First, a gendhing is composed in a particular tuning system and pathet. Secondly, a composition is framed in one of the formal structures (gongan). There are a docent formal structures defined in binary way by the stroke of gong, kenong, kempul, and kethuk. Thirdly, the melodies of gendhing are arranged in a metrical unit of four notes (gatra). ----- PERFORMANCE CONTEXTS AND HISTORY Gamelan may be performed independently, i.e., to be listened for its own sake. But gamelan is also an essential accompaniment for theatrical performances, such as dance drama and shadow wayang puppet play. Whether accompanying theatrical forms or not, gamelan is performed in several different contexts, especially in rite-of passages events and communal festivals. As history and technology advance, other contexts are created, including gamelan performance on radio and television stations. From little historical evidence we could find, it is safe to say that smaller ensembles, whether they accompanied singing or not, characterized music ensembles during the early period of Javanese history. In the 16th to 17th century, the ensemble began to develop into larger size. This was achieved by synchronizing loud- and soft-sounding instruments and vocal repertoire into an integrated musical concept. The result was an expansive size of ensemble with its hundreds of repertoire as can be found in today’s gamelan and gamelan practice. Contributor An entity responsible for making contributions to the resource Sumarsam (2004) Musical Instrument A sound-making object used for musical performance or in a musical context Video Embed YouTube video <iframe width="560" height="315" src="https://www.youtube.com/embed/ww1V7om3wUE" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kempul gamelan idiophone Java Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Javanese Gamelan Description An account of the resource Gamelan is an ensemble consisting of predominantly metallophone and gong type instruments. The instruments produce tones when struck with mallets. The ensemble, in various sizes and forms, can be found in a number of Indonesian islands. In Java and Bali, gamelan has developed into an expansive ensemble, while a variety of smaller ensembles continue to exist. In Java alone, there exist several forms of gamelan ensembles. There are two especially known main gamelan styles: Sundanese (West Javanese) and Javanese gamelan. The following descriptions focus on Central Javanese gamelan. ----- INSTRUMENTS AND THEIR FUNCTIONS IN THE ENSEMBLE Javanese gamelan ensemble is known for its expansive or grandeur ensemble, employing a rich variety of instrument types. In a full set of gamelan, beside metallophones and gongs, there are other types of instruments, including a set of drums (kendhang), bowed- and plucked-strings (rebab and celempung), xylophone (gambang), and a bamboo flute (suling). A “soloist” female singing (sindhen) and male chorus (gerong) are also present in the gamelan ensemble. Each or a group of instruments and singing has a particular function in the ensemble, although there is a degree of flexibility. Generally the instruments may fall into the following three functional groupings: (1) instruments that delineate the structure of the piece; (2) instruments that guide temporal flow in the music; (3) and instruments that carries melodies in both simple and elaborate forms. Instruments in the first category include large and medium hanging gongs (gong ageng and gong suwukan), small size hanging gongs (kempul), large standing gongs (kenong), and a pair of small standing gongs (kethuk-kempyang). The stroke of a large hanging gong marks the end of the main musical unit (gongan), while other gongs (kenong, kempul, and kethuk-kempyang, respectively) subdivide it in the order of its importance. Instruments in the second category are a set of two-headed drums (kendhang). The drumming style is defined by the use of particular kendhang or a combination of them. The drumming may consist of a repeatable, simple rhythmic configuration (kendhang satunggal and kendhang kalih) to elaborate and animated rhythm (kendhang ciblon) that are associated with dance movements. The third category consists of three instrumental groupings: (a) instruments that carries melodic skeleton of the piece (balungan): saron, demung, and slenthem; (b) instruments that carries elaborate form of melodies, encompassing wide melodic registers (rebab, gambang, and singing), medium registers (gender barung) and narrow register (celempung, gender panerus, and suling). Generally, the wider their registers the more importance are their melodic functions; (3) instruments whose functions are to mediate between group a (balungan) and group b (elaborating instruments): bonang barung, bonang panerus, and peking. The anticipatory nature of the melodies of these instruments (especially bonang barung) has earned them the status of melodic guidance of the ensemble. Gamelan instruments can also be grouped according to the volume of the sound they can produced: soft-sounding and loud-sounding instruments. The soft-sounding instrument are positioned in the middle- and side-front to the middle row—rebab, gender, gambang, celempung, suling, slenthem—together with the singers. The loud-sounding instruments are in the side-front, middle, and back rows: bonang, kendhang, a group of saron, ketuk-kempyang, kenong, kempul, gong. Soft-loud category is an important basis for the playing style of gamelan and the ensemble’s interplay. ----- TUNING SYSTEM, PATHET, AND GENDHING A full gamelan set employs two tuning systems, slendro and pelog (thus, the full gamelan is actually a double sets, with the slendro set usually facing to the front and the pelog set to the side). The two sets are never played simultaneously, however. The slendro tuning consists of five notes per octave. The five intervals consist of short and medium steps. The difference between the two intervals is so small, however, that they are often described as equal or nearly equal intervals. The pelog has seven pitches per octave (1 2 3 4 5 6 7), but a gendhing is composed on the basis of the combination of sets of five pitch positions (1 2 3 5 6; 1 2 4 5 6; 2 3 5 6 7). In this sense, pelog is a pentatonic system, employing not only one but three basic five-pitch scales. Unlike slendro, narrow and wide intervals in each of these scales are apparent. Another musical concept associated with tuning system is modal classification called pathet. It is a system of the hierarchical use of tones (and/or different use of scale degrees, especially in pelog), supported by characteristics of instruments or vocal idioms to be used to approach these tones and the register of the tones used in composition. Pathet circumscribes general mood or emotive content of a composition. There are three pathet in each of the tuning systems. Composition in gamelan (gendhing) is determined and arranged by a number of parameters. First, a gendhing is composed in a particular tuning system and pathet. Secondly, a composition is framed in one of the formal structures (gongan). There are a docent formal structures defined in binary way by the stroke of gong, kenong, kempul, and kethuk. Thirdly, the melodies of gendhing are arranged in a metrical unit of four notes (gatra). ----- PERFORMANCE CONTEXTS AND HISTORY Gamelan may be performed independently, i.e., to be listened for its own sake. But gamelan is also an essential accompaniment for theatrical performances, such as dance drama and shadow wayang puppet play. Whether accompanying theatrical forms or not, gamelan is performed in several different contexts, especially in rite-of passages events and communal festivals. As history and technology advance, other contexts are created, including gamelan performance on radio and television stations. From little historical evidence we could find, it is safe to say that smaller ensembles, whether they accompanied singing or not, characterized music ensembles during the early period of Javanese history. In the 16th to 17th century, the ensemble began to develop into larger size. This was achieved by synchronizing loud- and soft-sounding instruments and vocal repertoire into an integrated musical concept. The result was an expansive size of ensemble with its hundreds of repertoire as can be found in today’s gamelan and gamelan practice. Contributor An entity responsible for making contributions to the resource Sumarsam (2004) Musical Instrument A sound-making object used for musical performance or in a musical context Video Embed YouTube video <iframe width="560" height="315" src="https://www.youtube.com/embed/24fNVI6ZRPo" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kenong gamelan idiophone Java https://wesomeka.wesleyan.edu/vim2/files/original/8067fb24a1445b4ea6acc29ae305bde9.jpg 659ba8119e1656ab82d0dbf5645dc9ca https://wesomeka.wesleyan.edu/vim2/files/original/ca7c31b5ee41621726a0d42dffc879d4.jpg 5d2867c9c955f9efdc0fe70da994a306 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Javanese Gamelan Description An account of the resource Gamelan is an ensemble consisting of predominantly metallophone and gong type instruments. The instruments produce tones when struck with mallets. The ensemble, in various sizes and forms, can be found in a number of Indonesian islands. In Java and Bali, gamelan has developed into an expansive ensemble, while a variety of smaller ensembles continue to exist. In Java alone, there exist several forms of gamelan ensembles. There are two especially known main gamelan styles: Sundanese (West Javanese) and Javanese gamelan. The following descriptions focus on Central Javanese gamelan. ----- INSTRUMENTS AND THEIR FUNCTIONS IN THE ENSEMBLE Javanese gamelan ensemble is known for its expansive or grandeur ensemble, employing a rich variety of instrument types. In a full set of gamelan, beside metallophones and gongs, there are other types of instruments, including a set of drums (kendhang), bowed- and plucked-strings (rebab and celempung), xylophone (gambang), and a bamboo flute (suling). A “soloist” female singing (sindhen) and male chorus (gerong) are also present in the gamelan ensemble. Each or a group of instruments and singing has a particular function in the ensemble, although there is a degree of flexibility. Generally the instruments may fall into the following three functional groupings: (1) instruments that delineate the structure of the piece; (2) instruments that guide temporal flow in the music; (3) and instruments that carries melodies in both simple and elaborate forms. Instruments in the first category include large and medium hanging gongs (gong ageng and gong suwukan), small size hanging gongs (kempul), large standing gongs (kenong), and a pair of small standing gongs (kethuk-kempyang). The stroke of a large hanging gong marks the end of the main musical unit (gongan), while other gongs (kenong, kempul, and kethuk-kempyang, respectively) subdivide it in the order of its importance. Instruments in the second category are a set of two-headed drums (kendhang). The drumming style is defined by the use of particular kendhang or a combination of them. The drumming may consist of a repeatable, simple rhythmic configuration (kendhang satunggal and kendhang kalih) to elaborate and animated rhythm (kendhang ciblon) that are associated with dance movements. The third category consists of three instrumental groupings: (a) instruments that carries melodic skeleton of the piece (balungan): saron, demung, and slenthem; (b) instruments that carries elaborate form of melodies, encompassing wide melodic registers (rebab, gambang, and singing), medium registers (gender barung) and narrow register (celempung, gender panerus, and suling). Generally, the wider their registers the more importance are their melodic functions; (3) instruments whose functions are to mediate between group a (balungan) and group b (elaborating instruments): bonang barung, bonang panerus, and peking. The anticipatory nature of the melodies of these instruments (especially bonang barung) has earned them the status of melodic guidance of the ensemble. Gamelan instruments can also be grouped according to the volume of the sound they can produced: soft-sounding and loud-sounding instruments. The soft-sounding instrument are positioned in the middle- and side-front to the middle row—rebab, gender, gambang, celempung, suling, slenthem—together with the singers. The loud-sounding instruments are in the side-front, middle, and back rows: bonang, kendhang, a group of saron, ketuk-kempyang, kenong, kempul, gong. Soft-loud category is an important basis for the playing style of gamelan and the ensemble’s interplay. ----- TUNING SYSTEM, PATHET, AND GENDHING A full gamelan set employs two tuning systems, slendro and pelog (thus, the full gamelan is actually a double sets, with the slendro set usually facing to the front and the pelog set to the side). The two sets are never played simultaneously, however. The slendro tuning consists of five notes per octave. The five intervals consist of short and medium steps. The difference between the two intervals is so small, however, that they are often described as equal or nearly equal intervals. The pelog has seven pitches per octave (1 2 3 4 5 6 7), but a gendhing is composed on the basis of the combination of sets of five pitch positions (1 2 3 5 6; 1 2 4 5 6; 2 3 5 6 7). In this sense, pelog is a pentatonic system, employing not only one but three basic five-pitch scales. Unlike slendro, narrow and wide intervals in each of these scales are apparent. Another musical concept associated with tuning system is modal classification called pathet. It is a system of the hierarchical use of tones (and/or different use of scale degrees, especially in pelog), supported by characteristics of instruments or vocal idioms to be used to approach these tones and the register of the tones used in composition. Pathet circumscribes general mood or emotive content of a composition. There are three pathet in each of the tuning systems. Composition in gamelan (gendhing) is determined and arranged by a number of parameters. First, a gendhing is composed in a particular tuning system and pathet. Secondly, a composition is framed in one of the formal structures (gongan). There are a docent formal structures defined in binary way by the stroke of gong, kenong, kempul, and kethuk. Thirdly, the melodies of gendhing are arranged in a metrical unit of four notes (gatra). ----- PERFORMANCE CONTEXTS AND HISTORY Gamelan may be performed independently, i.e., to be listened for its own sake. But gamelan is also an essential accompaniment for theatrical performances, such as dance drama and shadow wayang puppet play. Whether accompanying theatrical forms or not, gamelan is performed in several different contexts, especially in rite-of passages events and communal festivals. As history and technology advance, other contexts are created, including gamelan performance on radio and television stations. From little historical evidence we could find, it is safe to say that smaller ensembles, whether they accompanied singing or not, characterized music ensembles during the early period of Javanese history. In the 16th to 17th century, the ensemble began to develop into larger size. This was achieved by synchronizing loud- and soft-sounding instruments and vocal repertoire into an integrated musical concept. The result was an expansive size of ensemble with its hundreds of repertoire as can be found in today’s gamelan and gamelan practice. Contributor An entity responsible for making contributions to the resource Sumarsam (2004) Musical Instrument A sound-making object used for musical performance or in a musical context Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bedhug gamelan Java membranophone Musical Instrument A sound-making object used for musical performance or in a musical context Video Embed YouTube video <iframe width="560" height="315" src="https://www.youtube.com/embed/-2FxGfHT9UM" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Berimbau chordophone plucked string https://wesomeka.wesleyan.edu/vim2/files/original/a01feb8f40fd6e49f08cfe86fece488c.JPG 5f1b33dc4e32de96866064b406842b36 https://wesomeka.wesleyan.edu/vim2/files/original/a4a874dc47094bdb98243905fafb64ce.JPG 95aaa171e2afcfea3820b8b35258f7d7 https://wesomeka.wesleyan.edu/vim2/files/original/7bce21a583c6e9c53a903e5b09106777.JPG fe72cbf230a644f83732fcb21b90cae6 https://wesomeka.wesleyan.edu/vim2/files/original/d71a3326e2dcdb171519b660aad5e6ce.JPG abe548991b10f0c05d0db23ae233a628 https://wesomeka.wesleyan.edu/vim2/files/original/d5fc020d45c462006fd3fc1ab2956d70.JPG 6cdfe42267ab9b2b8e1e96f2e4301ba3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chinese Music Ensemble Relation A related resource <iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaXuTQ8zGQrB_FmTX-XEC-Jw" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Video Embed YouTube video <iframe width="560" height="315" src="https://www.youtube.com/embed/JR-oYh1W624" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Alternative title any additional names or spellings for the instrument Ruan Geography The continent, region, nation where this instrument originates from China Ensemble The musical group in which an instrument can be found Chinese Music Ensemble Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Daruan China chordophone plucked string