1 20 74 https://wesomeka.wesleyan.edu/vim2/files/original/5b95ad43abf4e1d7261ba5b32fe4cdb0.jpg 66e6d2b0c816849263555239d05e77ef https://wesomeka.wesleyan.edu/vim2/files/original/24bad06adc5f3d645c54d8b0a4c8c0b2.jpg b11a34b4034adf0092a50457a3512a28 https://wesomeka.wesleyan.edu/vim2/files/original/b6abebabd7365c49bbc2b082bd7182b6.mp3 8716aefd9874876ac29b73e18aa7bdec 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 Geographic region The geographic region where the instrument is found Java, Indonesia Classification Hornbostel-Sachs, revised by MIMO 321.311 Spike bowl lute: the resonator consists of a natural or carved-out bowl Ensemble The musical group in which an instrument can be found Javanese gamelan Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions Rebab is a two-stringed bowed lute with a heart-shaped body of wood covered with a membrane made of parchment from a cow bladder. Pierced through the body, a long spike made of wood or ivory, or a combination of both, supports the strings at the top and serving as a foot at the bottom. The brass strings are stretched up across the membrane from a point on the leg (just below the body) to the elongated pegs in the upper part of the spike. When the rebab is bowed, the strings must be placed on the top of a little wooden bridge (srenten). The bridge is positioned between the strings and the upper part of the membrane. The bow uses a bunch of horsehairs (or plastic) loosely attached on the bow. In playing the rebab, the player must pull this horse hairs to a particular tension in order to produce desired volume and sound from the 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?) Rebab is one of the leading instruments in the ensemble, especially in the soft style of playing gendhing; it guides the melodic flow of the piece. In the first place, the rebab played the introduction (buka) of the piece, determining the piece, laras, and pathet that will be played by the ensemble. In some pieces, the rebab plays a melodic cues to lead the ensemble to play different section of the piece. More important, the rebab properly expresses the “true” melodic motion of gendhing in its proper melodic register, since it is the only two instruments in the ensemble whose melodic register could constitute the full melodic range of any composition. Historical background information about the origins, history, and development of the instrument It is most likely that rebab is originated from the Middle East, arriving in Indonesia in the period of the expansion of Islam in Indonesia in the 16th century. The incorporation of rebab into the gamelan ensemble happened during the period of the development of gamelan toward the formation of a large ensemble. This formation consisted of combining loud sounding, soft sounding instruments (Kunst), and vocal repertoire into an integrated musical concept (Sumarsam); hence, the development of a full size gamelan ensemble as it is commonly found today and its gendhing repertoire. Rebab became a leading instrument for its vocally inspired melodic delivery; this is because in a large degree vocal music inherently embody in the gendhing in this new musical concept. Geography The continent, region, nation where this instrument originates from Indonesia Materials wood, cow bladder, ivory, brass, horsehairs, plastic Contributors Entry authors Sumarsam (2004) Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/ZyuHG8JXTEA" 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 Rebab bowed chordophone gamelan Java string https://wesomeka.wesleyan.edu/vim2/files/original/16d9d623378cb7efcd57c2d68a510e05.jpg adfabb33fe6082e9acb7b39783a40518 https://wesomeka.wesleyan.edu/vim2/files/original/d72b546464ee8187f70b72d092099f72.jpg c3080c5d393a204807c4b3123ac53eb7 https://wesomeka.wesleyan.edu/vim2/files/original/684a3a1856b82626b41137cbab7b38ef.mp3 20518bb7f7c37babc684c3c20db6ad04 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 Geographic region The geographic region where the instrument is found Indonesia Ensemble The musical group in which an instrument can be found Javanese gamelan Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions <p>The bonang consists of two rows of horizontal gong-kettles with the open side facing down, which is placed on cords stretched over a rectangular wooden-frame. A full gamelan set has two kinds of bonang: bonang barung and bonang panerus; the latter is one octave higher than the former (its lower octave overlaps with the higher octave of bonang barung). Depending on the tuning system, a bonang may have fourteen gong-kettles for pelog (seven in each row), or twelve or ten for slendro (six or five in each row). Some gamelan may also have bonang panembung, a bonang whose octave range is one octave lower than bonang barung.</p> 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?) <p>Bonang barung is one of the leading instruments in the gamelan ensemble. The anticipatory nature of its playing technique can be used as a melodic guide for the ensemble in expressing its melodies. Particularly, the playing style known as pipilan (playing single notes one at a time) leads the flow of the melody, and certain gembyangan (octave playing) are used as a sign for melodies in high octave ranges that are unattainable by the saron. There is another bonang playing technique that requires two bonang, bonang barung and bonang panerus, which creates interlocking melodic patterns using a technique called imbal-imbalan.</p> Historical background information about the origins, history, and development of the instrument <p>Evidence of gong-kettle type instruments can be found in the drawings of these instruments on the walls of old temples. The drawing of gong-kettles on the wall of the 14th-century Panataran temple in East Java is quite revealing. It consists of two small gong-kettles vertically mounted on two side ends of a bar. (This instrument can still be found and played in contemporary Bali). Perhaps there was a period of development from this type of instruments to instruments with gong-kettles resting on a frame with the open side facing down, such as bonang, kethuk-kempyang, and kenong. As gamelan developed into an expansive ensemble, together with the emergence of repertoire that employs wider registers, bonang with wider octave range were constructed to accommodate this development.</p> Geography The continent, region, nation where this instrument originates from Java, Indonesia Contributors Entry authors Sumarsam (2004) Playing technique methods of playing the instrument, performance practices (how is the instrument played?) The bonang is played with two cylindrical sticks, which are padded with cord at the striking end. Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/nZ74P-Rgvyg" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Classification Hornbostel-Sachs, revised by MIMO 111.241.21 (idiophone) Sets of bossed, flat gongs – the vibration is strongest near the vertex – (with flange) and intermediate types 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 Bonang gamelan idiophone Java metallophone https://wesomeka.wesleyan.edu/vim2/files/original/a04c2b37ae73bce7157fce1412273224.jpg 1bd64073083dd3cc3be2d272ade33a84 https://wesomeka.wesleyan.edu/vim2/files/original/40bbba219bc31fe36000a8fd0eadd9ef.jpg 99b172c48c1cfffa6d807eb3a291444a https://wesomeka.wesleyan.edu/vim2/files/original/f6f494a7563cca070a101a98617b8d5d.jpg a7bd224cf1bbae21c8db2ce20880b21d 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 Ensemble The musical group in which an instrument can be found Javanese Gamelan Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions <p>Gender is a metallophone type instrument with bronze keys suspended by cords in a wooden frame, over individual tube resonators for each of its keys.</p> 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?) Gender is one of the leading instruments in the ensemble, especially in soft style of playing gendhing. Played with two mallets in a contrapunctal style, the gender creates to the fullness or sonority of the ensemble. Within the limitation of its melodic range, gender plays melodies in fragmented way: the melodies are presented in a series of melodic patterns commonly called cengkok. The cengkok are closely associated with musical unit of four notes of balungan (gatra). Historical background information about the origins, history, and development of the instrument <p>Historical evidence suggests that metallophone with keys suspended with cord had existed at around the 10^th century (Kunst), perhaps under the name of salunding (Kunst); it had an important role for accompanying wayang. Until today gender is still the most important instrument in accompanying wayang performance.</p> Playing technique methods of playing the instrument, performance practices (how is the instrument played?) The gender is played with two padded disc type mallets. The gender playing technique requires damping the keys. This is done by dampening the key slightly after or at the same time while playing the next key. Geography The continent, region, nation where this instrument originates from Java, Indonesia Contributors Entry authors Sumarsam (2004) Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/PWPImrJZcDA" 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 Gendèr Classification Hornbostel-Sachs, revised by MIMO 111.212 (idiophone) Sets of percussion sticks: several percussion sticks of different pitch are combined to form a single instrument 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 Gender gamelan idiophone Java metallophone https://wesomeka.wesleyan.edu/vim2/files/original/87d4c88ec007d789d643f08adb4672bd.jpg 7650582bc7385a1e48b05d06836b43ab https://wesomeka.wesleyan.edu/vim2/files/original/766a6c04dcd1acf3dda98f88cc2da502.jpg b47128ffa632854382fa526f406d9378 https://wesomeka.wesleyan.edu/vim2/files/original/0709e4d86130f9c467a21b831e0f7394.jpg 4bb1c93ae27e6415fd429318a984388d https://wesomeka.wesleyan.edu/vim2/files/original/be79f1b7c169eddbecdd6ed84a4ae9d4.jpg c030142ee024cf004b324043750e2106 https://wesomeka.wesleyan.edu/vim2/files/original/67e5f7ffb64135680db0b3007557cbf4.mp3 c5a281fb87a6cda51e8c45017566ab9e 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 Geographic region The geographic region where the instrument is found Indonesia Ensemble The musical group in which an instrument can be found Javanese gamelan Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions <p>The saron is a metallophone with six or seven keys that rest on a wooden trough, which also serves as resonator. Three instruments belong to the saron family that employ different sizes and pitch registers: the largest size with the lowest register is called demung; the medium size with a medium octave range, saron barung; and the smallest size and highest register, saron panerus or peking. A full ensemble may have two demung, four saron, and two&nbsp; peking. Another instrument that musically falls in the saron family is slenthem, but physically it is built similar to the gender (i.e. suspended by a cord over tube resonators).</p> 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?) <p>For the most part (with the exception of peking), saron instruments play the melodic skeleton (balungan) of a gendhing within the limitation of their melodic ranges. There are other playing styles through which the saron create interlocking patterns. Unlike the other saron, the peking’s melody anticipates and doubles or quadruples the melody of the melodic skeleton (balungan). In some cases, it paraphrases the balungan.</p> Historical background information about the origins, history, and development of the instrument <p>In the early history of gamelan, a single saron may have been part of a small ensemble. As the gamelan developed into an expansive ensemble, different sizes of saron were added. This development brought about the emergence of new styles of musical practice and repertoire: i.e., the creation of loud pieces in which bonang and saron are featured and performance styles involving the interplay between soft- and loud-playing styles.</p> Geography The continent, region, nation where this instrument originates from Java, Indonesia Contributors Entry authors Sumarsam (2004) Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/FQU7nnOvXGk" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Classification Hornbostel-Sachs, revised by MIMO 111.212 (idiophone) Sets of percussion sticks: several percussion sticks of different pitch are combined to form a single instrument 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 Saron gamelan idiophone Java metallophone https://wesomeka.wesleyan.edu/vim2/files/original/0535a59d92b342c1fc56ab4beffc130d.jpg 987fc612f9c08e07c14db10af83df239 https://wesomeka.wesleyan.edu/vim2/files/original/9e7dfa26d8b3193de4f98cb0b542f04a.jpg 8664b60b25ee2ab481efe6b6e0c27c44 https://wesomeka.wesleyan.edu/vim2/files/original/e7f23f2c58c21d428169e32b0395a848.jpg 5a075b69de29aa23f9e45a497a29c822 https://wesomeka.wesleyan.edu/vim2/files/original/39e9f45e32072e4998304b47c4ee4ce5.jpg e69fcf8e71718f4e690dc6ef6c1a2113 https://wesomeka.wesleyan.edu/vim2/files/original/971b6e69698877da64dc16407d8b3f2d.jpg 9ab8041e0ce23e36a542bef2a85ec31a https://wesomeka.wesleyan.edu/vim2/files/original/6c17b1944f513ceee4a120a13443dc9e.jpg a0f7cc903faf3221c530100f4c8b661d https://wesomeka.wesleyan.edu/vim2/files/original/ab4ff824049291d3691dc55e2e0fa3c7.jpg f3f8e9998f0c59befaf644f749223fdb https://wesomeka.wesleyan.edu/vim2/files/original/e053bbd903f9fccf2e331a6fc281f1f6.mp3 4b171018c49035e795d6b7461ce6305f 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 Geographic region The geographic region where the instrument is found Indonesia Ensemble The musical group in which an instrument can be found Javanese gamelan Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions <p>The kendhang is a two-headed, barrel shaped, asymmetrical drum with heads that are stretched with leather hoops laced in a “Y” pattern.</p> <p>Although not always present, there is another kind of drum called bedhug. It is a large, symmetrical, barrel-shaped drum with two nailed heads of the same diameter. The bedhug is hung on a stand or placed on a wooden frame. It is played with a mallet. It is exclusively played for loud pieces or for accompanying dance.</p> 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?) <p>The kendhang is one of the leading instruments in the gamelan ensemble. It supervises the articulation of temporal flow and density of the music (this is a concept called irama). There are four kinds of kendhang: kendhang ageng, wayangan, ciblon, and ketipung. The size and function of each drum in the ensemble differentiate one drum from the other. The style of playing and the emotive content of a gendhing (or a section of it) determine which kendhang and drumming style the drummer must employ. Kendhang ageng, the largest drum, is used for majestic gendhing (or a section of it), usually in an expansive formal structure (gongan). In combination with ketipung, kendhang ageng is used for pieces with a shorter gongan structure. Kendhang wayangan, the medium size drum, is used to accompany wayang performance. And kendhang ciblon is a more animated drumming style, playing rhythmic patterns associated with dance movements. The interplay and interaction between the playing style of kendhang and the emotive content and playing style of a gendhing is one of the important elements of the ensemble’s performance.</p> Historical background information about the origins, history, and development of the instrument <p>It is most likely that the drums existed long before they were part of the present expansive gamelan ensemble. We find drawings of different shapes and sizes of drums on the walls of old monuments and temples, such as the 9^th century Borobudur Buddhist monument in Central Java and the 14^th century Panataran temple in East Java. Among the variety of drums, the asymmetrical barrel shaped drum became a regular part of the gamelan ensemble. Other kinds of drums, such as conical shaped drum, are reserved for special ensembles (i.e., Monggang, Kodhok Ngorek, and Cara Balen).</p> Playing technique methods of playing the instrument, performance practices (how is the instrument played?) Held horizontally on the stand, kendhang is played with bare hands (part of the palm and/or fingers). Commonly, the large head is played with the right hand, the small head with the left hand. Geography The continent, region, nation where this instrument originates from Java, Indonesia Contributors Entry authors Sumarsam (2004) Classification Hornbostel-Sachs, revised by MIMO 211.252.12 (membranophone) Individual double-skin conical drums, both heads played Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/Htzh1EcrlNM" 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 Kendang 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 Kendhang gamelan Java membranophone https://wesomeka.wesleyan.edu/vim2/files/original/7d5ea3d43280c73f073a2641ac12a768.jpg 2a6e682548ede4ba0b6cded2abf57379 https://wesomeka.wesleyan.edu/vim2/files/original/25e0ab23fb68cfaff95ba12dc863e774.jpg d9757ccf58589f163c23f496eb6096a7 https://wesomeka.wesleyan.edu/vim2/files/original/e8512c61083d550acdb0ebd241f62e58.jpg ce16a2f204aeca198af5d9a7ad8bcb21 https://wesomeka.wesleyan.edu/vim2/files/original/7bf80611883a6d84ba866f057f9b2c68.mp3 d8f57de767f355cfb447ad151d6a9e57 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 Geographic region The geographic region where the instrument is found Indonesia Ensemble The musical group in which an instrument can be found Javanese gamelan Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions <p>The gambang is a wooden xylophone with seventeen to twenty-one keys with the range of two octaves or more. The keys rest on a wooden box that also functions as resonator.</p> 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?) <p>The gambang is one of the two instruments that have the widest melodic range (rebab is the other); hence, the melody of gambang can encompass the full melodic range of any composition. Because of this fact and the elaborate and high speed of the gambang playing style, this instrument is considered one of the important instruments in the gamelan ensemble.</p> Historical background information about the origins, history, and development of the instrument <p>Evidence of a gambang type instrument, with either wood or bamboo bars, can be found in the drawings on the walls of old temples, such as in the 9^th century Buddhist Borobudur monument in Central Java and the 14^th century Panataran temple in East Java. The variety and wide distribution of this type of instrument in Java (and all of Indonesia, for that matter) indicate its popularity. The melodic range of these instruments varies, spanning from one octave to more than two-octaves. The choice of a multi-octave gambang to be incorporated into a full set of gamelan may be because of its suitability to accommodate a wider melodic range of gendhing.</p> Playing technique methods of playing the instrument, performance practices (how is the instrument played?) The gambang is played with two disc-type beaters that have long, somewhat flexible horn handles. Most of the time, the gambang plays in octaves (gembyang). Only occasionally a few ornamentational styles of playing may be employed, such as playing kempyung (playing two notes separated by two keys). Geography The continent, region, nation where this instrument originates from Java, Indonesia Contributors Entry authors Sumarsam (2004) Classification Hornbostel-Sachs, revised by MIMO 111.212 (idiophone) Sets of percussion sticks: several percussion sticks of different pitch are combined to form a single instrument Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/xKQ6UTcFP74" 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 Gambang gamelan idiophone Java https://wesomeka.wesleyan.edu/vim2/files/original/fb9af1a3222f68819a52fa6df5b37105.jpg 53f92aa9a27505e963038290a24842bc https://wesomeka.wesleyan.edu/vim2/files/original/aa4acfc9583d2d96575a061a832e0b71.jpg 8fd48b0dd60991c2c0bf2d9711d22b98 https://wesomeka.wesleyan.edu/vim2/files/original/1e9060f5e39445ddbc949d41494cc93b.jpg 1f30fa42396bf01d5d4941099647609c https://wesomeka.wesleyan.edu/vim2/files/original/f3bbd4adec15789ad351d4ebf30d03b3.mp3 9cf3e5a579fa1c3c2d6cce1b522a62ae 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 Geographic region The geographic region where the instrument is found Indonesia Ensemble The musical group in which an instrument can be found Javanese gamelan 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 (the resonator is made from slats) (box zither) Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions <p>The celempung is a type of plucked-zither that is set on four legs with the front legs higher than the two rear legs; hence, the instrument slopes downward toward the player. The celempung has thirteen pairs of strings, which are stretched between the tuning pins at the higher and lower ends of the instrument. The strings rest on the bridge that is placed across the sound board (body of the instrument).</p> 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?) <p>Celempung is a dispensable instrument in the ensemble. If the celempung player is absent, the ensemble can perform without it. In any event, the sound of celempung enriches the total sound of the ensemble. It is most suitable to be played in smaller gamelan ensemble. There is a small ensemble that primarily consists of two or three celempung, supported by kendhang and gong. Commonly, this ensemble is made up of itinerant musicians.</p> Historical background information about the origins, history, and development of the instrument <p>Although evidence of its existence can be found in the early period of Javanese history, plucked-zither type instruments have never had wide distribution in Java. It seems that this instrument never achieved an important position in the development of Javanese music. The limited use of celempung in today’s full gamelan ensemble supports this assertion.</p> Playing technique methods of playing the instrument, performance practices (how is the instrument played?) The celempung is played with thumbnails, while the fingers damp the sound of the strings. Geography The continent, region, nation where this instrument originates from Java, Indonesia Contributors Entry authors Sumarsam (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 Celempung chordophone gamelan Java plucked string 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 Geographic region The geographic region where the instrument is found Indonesia Ensemble The musical group in which an instrument can be found Javanese gamelan Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions <p>The largest hanging gong that has the lowest pitch among the gamelan instruments is called “gong ageng” (ageng means large), with a diameter of around 34 inches. It is hung on a stand. A full gamelan set may have a pair of gongs, although it is also not uncommon for gamelan to have only one gong. There is also medium sized hanging gong, with a diameter of around 24 inches that has the same function as gong ageng; it is called gong suwukan. A full gamelan set has one gong suwukan, although there are also gamelan that have two or more gong suwukan.</p> 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?) <p>The gong ageng or gong suwukan has an important function in the gamelan ensemble. As one of the instruments that delineates the formal structure of a gendhing, the gong marks the end of a longer musical unit; it gives a feeling of balance after the longest melodic section of a gendhing. The importance of the gong in marking the end of a gendhing formal structure leads to the naming of this structure itself as “gongan.”</p> Historical background information about the origins, history, and development of the instrument <p>There is some pictorial evidence of gongs of different sizes on the walls of a number of temples from the 14^th to 15^th century. Reports from travelers, Dutch traders, and officials mention gong manufacturers and gong ensembles in Java in the 16^th and 17^th centuries, including some hand drawings. However, the lack of collaborative evidence prevents us from reconstructing the musical use of gongs at that time. In any event, gongs became important symbols of power and wealth among Javanese rulers. The gong, especially the large gong, maintains its high status when the gamelan ensemble developed into an expansive ensemble. Besides its important function musically, the gong is the most respected instrument in the ensemble. This is because people believe that gamelan endows supernatural powers, and the large gong particularly, is the most supernaturally charged instrument.</p> Playing technique methods of playing the instrument, performance practices (how is the instrument played?) The gong ageng is played with a round, heavily padded beater. Geography The continent, region, nation where this instrument originates from Java, Indonesia Classification Hornbostel-Sachs, revised by MIMO 111.241.21 (idiophone) Sets of bossed, flat gongs (with flange) and intermediate types (the vibration is strongest near the vertex) Contributors Entry authors Sumarsam (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 Gong gamelan idiophone Java https://wesomeka.wesleyan.edu/vim2/files/original/f88b2ece5d3a98587f4c1bd9c1a6e3f7.jpg 6aa10c9ac6222678ddddd4114eaa18fa https://wesomeka.wesleyan.edu/vim2/files/original/918b5ad1ccca07b38403db86422d0216.jpg 4ea0d76f8e8173d12170ad758e609ef6 https://wesomeka.wesleyan.edu/vim2/files/original/f5d604b855cdc6ca4ef1a282c985f6b1.jpg c8100962190656e8dec4383bd5ef1248 https://wesomeka.wesleyan.edu/vim2/files/original/fc50fb15b008b652e9f527da8f899ef1.jpg 7da889ab4dd4b68be141027d21b3c620 https://wesomeka.wesleyan.edu/vim2/files/original/2a4aff0160745e6ab5b3d5704ebbd49c.jpg a3b40452e8f7e5db537e3977a9fa35e9 https://wesomeka.wesleyan.edu/vim2/files/original/0361cfecb9a282411f5854d69872fe8a.jpg 353f952c35ff81007dae8cfe5be8c735 https://wesomeka.wesleyan.edu/vim2/files/original/068982ebf985c85c65cb23d274599f00.mp3 e9d3e563f73d5157b511807cc3e15eee Musical Instrument A sound-making object used for musical performance or in a musical context Geographic region The geographic region where the instrument is found South India Classification Hornbostel-Sachs, revised by MIMO 211.232 (membranophone) Double-skin double-conical drums Playing technique methods of playing the instrument, performance practices (how is the instrument played?) <p><strong>Right Hand:</strong></p> <p>Tonal strokes are produced by the fingers of the right hand. Typically the index finger strikes and rebounds from the topmost layer of hide, the middle layer, and /or the edge of the black spot, while the ring finger rests on the edge of the spot. This resting ring finger partially damps the sound, producing a pure pitch. This pitch is used to tune the drum to the other instruments in an ensemble. The same stroke without the damping finger produces a pitch a half step higher. With the damping finger in position, there are at least three distinctly named strokes that are produced by the index finger outside the black spot. Some related strokes, designed for fast playing, are made without damping by quickly alternating the index, middle and ring fingers. In these cases, this quickness of movement eliminates the need for damping. Another tonal stroke involves striking the edge of the black spot with the pinkie finger without rebounding. In this case the pinkie does the striking and damping simultaneously. There is one additional tonal stroke, produced by striking across the face of the drum so that the base of the pinkie damps the spot while the rest of that finger strikes and rebounds from the top layer all the way across the head.</p> <p>The non-pitched strokes are made by striking the black spot itself with one or more fingers. There are at least four of these. In all, there are at least twelve separate right hand strokes.</p> <p><strong>Left Hand:</strong></p> There are essentially three left-hand strokes: a flat-handed slap across the goatskin surface, an open, resonant bass stroke on the outer cowhide frame, and an inflected stroke. The inflected stroke is made by striking all the way across the head with one or more fingertips, then sliding the wrist forward onto the goatskin. This slide, by putting pressure on the skin, tightens it and raises the pitch. Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions <p>The mrdangam has two heads attached to a single hollowed-out wooden shell that is wider in the middle than at the ends. The preferred wood is jackwood, although other wood may be used. Two sizes of shell are in current use. <em>Taggu, </em>or lower-pitched drums, are made on shells approximately 24 inches long with openings at the two ends of 6.75 and 7.75 inches respectively, while <em>hecchu,</em> or higher-pitched drums are made on shells approximately 22 inches long, with openings of 6.5 and 7.5 inches at the two ends.</p> <p><strong>Right Head:</strong></p> <p>The right head is made of three layers of animal hide, stitched together with rawhide laces around the circumference of the shell opening. The top and bottom layers are cut out in the center, leaving only the middle layer to stretch uncut across the face of the shell. The bottom layer, usually of calf hide, is cut all the way to the inner edge of the shell. In the center of the middle layer, usually of goatskin, a tuning load is applied. The outermost layer is cut only about 1/8" from the edge of this tuning load, called <em>karunai</em>. This muffles most of the pitches in the overtone series, leaving only the root, octave and fifth as audible. In order to lengthen the decay, pieces of broom straw or fine gravel are inserted between the top and middle layers.</p> <p>The tuning load has two principal components: slag (waste ore left over from metal refining), which is ground to an ultra-fine powder; and boiled rice. The slag powder and rice are mashed together with a small amount of water to form a compound with a consistency similar to that of modeling clay. It is applied to the head in layers, and over a base of dried rice paste. This rice paste layer is given a rough surface as it dries so that the tuning compound will adhere more easily. A pea-sized ball of the compound is spread evenly over the desired area, then rubbed smooth and dry with the polished surface of a rock.</p> <p>As the layer dries, a honeycomb pattern of small, even cracks emerges. These cracks persist as subsequent layers are applied and dried. As the load becomes more substantial (a mrdangam may take up to fifty layers of compound), the network of cracks results in a set of columns of the hardened material, all vibrating together when the drum is struck. The precise number of layers, along with the curvature of its surface, is not fixed. The drum-maker strikes the drum frequently as he creates the black spot, deciding after each layer what the next layer's configuration should be. When the drum reaches the desired pitch, the load is finished. Individual pieces of the spot become loose after a long period of playing, creating an unpleasant buzzing sound. When this happens, it is necessary to replace the tuning load.</p> <p><strong>Left Head:</strong></p> <p>The left head also comprises three layers of hide. The two outermost layers, of heavy cowhide, are stitched together into a stiff frame cut to a maximum distance of two inches from the shell edge. The inner layer, again goatskin, is tied into this frame and then stretched across the shell. Both right and left heads are held in tension by a continuous strap made of water buffalo hide. In recent years this strap is often replaced by nylon webbing.</p> <p>The left head also bears a tuning load, in this case temporary. Custom dictates the use of farina (wheat powder) mixed with water then applied to the center of the dampened goatskin. This load, which gives the head its characteristic bass sound of indeterminate pitch, is applied immediately before playing and may be removed and re-applied several times during a performance. In recent years, some mrdangam players have begun to experiment with other, more durable materials for this tuning load. One of the more successful experiments has been the use of silicone caulk, which often outlasts the right head's tuning load. At this writing, however, most well-known mrdangam players are still using the time-honored farina and water.</p> Historical background information about the origins, history, and development of the instrument The name <em>mrdanga</em> appears in the <em>Natyasastra</em>, but the modern instrument is almost certainly different. The application of tuning loads also dates at least to the <em>Natyasastra</em> and may be significantly older. The use of mnemonic syllables to refer to strokes and patterns is also recorded in the <em>Natyasastra</em> and elsewhere. Tuning Information about the tuning system Primary tuning is done by tightening the water buffalo or nylon strapping that holds the heads in tension. Finer tuning is accomplished by using a heavy, smooth rock and a wooden peg to strike the rawhide braiding around the circumference of the heads. The heads may be slightly tightened or loosened by this method. Geography The continent, region, nation where this instrument originates from South India Materials Wood, Skin, Clay, Synthetic, Other: slag mixed with boiled rice (for the black spot), farina, silicone caulk or modeling clay (for the left head tuning load), possibly nylon webbing for the head tension strapping Date/Era If relevant, the historical time period when the instrument was made unknown (at least 150-200 years) Additional resources recommendations for further information (websites, books, journal articles, etc.) Nelson, David P. 1991. "Mrdangam Mind: the Tani Avartanam in Karnatak Music." Ph.D. dissertation, Wesleyan University.<br /><br />Sankaran, Trichy. 1994. <em>The Rhythmic Principles and Practices of South Indian Drumming</em>. Toronto: Lalith Publishers. Contributors Entry authors David Nelson (2004) Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/9md2ZWDtrzk" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Notation The style of written music that the player reads There is no written notation. However, each stroke is named according to a vocabulary of mnemonic syllables, e.g., "ta," "di," "tom," "nam." These syllables are combined to form patterns meant to be spoken while reckoning the tala (metrical cycle) by means of prescribed hand gestures. This simultaneous reciting and clapping called solkattu, functions as an effective kinesthetic notation. Alternative title any additional names or spellings for the instrument <em>mrdangam</em> preferred over <em>mridangam</em> 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 mrdangam is most often used as the principal rhythmic accompaniment instrument in Karnatak music, the art music of South India. It is also used to accompany <em>bharatanatyam</em>, South Indian classical dance, and performances of bhajans (devotional songs), film soundtracks, and folk music. 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 Mrdangam membranophone South India 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 Tabla Relation A related resource <br /><iframe width="100%" height="315" src="https://www.youtube.com/embed/4zWh6yA2LSw" 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 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 <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/ZAwfz3ZOwu0" 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 Suling https://wesomeka.wesleyan.edu/vim2/files/original/0f17da3e7c422f9035e3218c6f7732b1.jpg c8699f735a4bf2c5dfcd40cfa50d20ab https://wesomeka.wesleyan.edu/vim2/files/original/53eb7c9075bcf826f8e314efb2642620.jpg 8c13eb5d154e02147c31bc5cf0d4c2cd https://wesomeka.wesleyan.edu/vim2/files/original/7c7b9ecc35e9800d2ee3e782a64e5ab5.jpg b635a178165af356926fb2e0750c6916 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 Steel Band Description An account of the resource <h4>Time Period</h4> <p>20^th century – present<br /><br /></p> <h4>Physical Description</h4> <p>The steel pan (or steel drum) is composed of from one to nine 55-gallon steel barrel drums, suspended with stands.&nbsp; The bottom end of the barrel is open, with its skirt (or sides) cut from 6 inches to full length for bass instruments.&nbsp; The top end of the barrel is sunk into a concave shape with notes raised upward by a process of firing, cooling and hammering to generate the base pitch and its overtones.&nbsp; The lower the instrument, the shallower the pan is sunk.&nbsp; Notes are delineated by grooving of various shapes, either circular, “U” or squared.&nbsp;</p> <p>&nbsp;While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker.&nbsp; On each side of the drum, a hole is drilled to suspend it on metal stands with either nylon/ leather straps or aluminum hooks.&nbsp; Earlier steel pans were suspended around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument.&nbsp; Today, this form is considered a subgroup style called “pan round the neck.”&nbsp; The steel pan’s primary accompaniment is the “engine room” composed of car brake iron, shaker (“shak-shak”), scraper (guiro), congas, and drum set.&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;</p> <h4>History</h4> <p>The steel pan originated in Trinidad during the late 1930s as an accompaniment to the Carnival masquerade bands.&nbsp; It was a replacement for the tamboo bamboo (stamping tube) ensembles that were outlawed by British colonial law in 1884.&nbsp; In its crude form as biscuit drums and metal tins, the steel pan performed the popular percussive “call and response” style of the tamboo bamboo bands.&nbsp; During the 1940s the steel pan transformed from a percussive instrument into a tuned instrument, and its tuning procedures were established.&nbsp; The tuner would sink the pan with a hammer, then groove the note layout on the concave face, temper the drum over a fire, and fine-tune the notes.&nbsp; By the 1950s, it developed into a tuned and fully chromatic instrument to perform a wide variety of local (calypso, soca, parang) and international (European orchestral music, Latin dance, and jazz, etc.) musical styles. Today, the steel band orchestra in Trinidad and Tobago’s Carnival performances has approx. 100 players.&nbsp;&nbsp;&nbsp; &nbsp;</p> <p>&nbsp;</p> <h4>Tuning</h4> <p>Instrument ranges and tuning generally mimic those of the Western string orchestra, from tenor (one drum) to bass (six to nine drums) and each instrument usually covers two and a half chromatic octaves.&nbsp; While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. &nbsp;The drums are traditionally shaped by hand, though recent research and technology has devised a mechanical sinking of the drums (called spin sinking) which allows for greater accuracy and consistency in the bowl’s shape.&nbsp; Other innovations include an expansion of instrument range and electronic amplification.</p> <p>&nbsp;&nbsp;&nbsp;</p> <h4>Technique</h4> <p>The steel pan is played with wood or aluminum mallets wrapped with rubber which allows the instrument to resonate.&nbsp; The thickness of the mallet increases with the number of drums and range of instrument.&nbsp; The bass instrument mallets are made with soft rubber sponge balls.&nbsp; Mallet strokes on the pan must quickly move away from the instrument to allow the drum to resonate.&nbsp; In typical play, the higher (or smaller) notes require more force for an equal volume with the lower (and larger) notes.&nbsp; Due to the relatively short length of resonance, sustained pitches are produced by rapid rolls, or alternation of mallets.&nbsp; The brake iron, the steel pan’s main accompaniment, is held in one hand and struck with a metal rod.&nbsp; Together, several brake iron players perform in a “hocketing” fashion to form a steady metronomic accompaniment for the steel pans.</p> <p>&nbsp;</p> <h4>Notation</h4> <p>Music for steel pan is traditionally learned by rote, however, the professionalisation of performers has led to an increased use of Western notation for performance outside of the traditional Carnival context (such as Trinidad’s World Steelband Festival, which features Western orchestral music).&nbsp; Western musicians learning the music typically learn from written transcriptions of Trinidad steel bands or original written compositions.&nbsp;<br /><br /></p> <h4>Context</h4> <p>The steel pan is primarily performed in Carnival festivals throughout the West Indies and the Caribbean diaspora (New York, Toronto and Nottingham England being the most prominent).&nbsp; Of these, Trinidad’s Panorama Steel Band Competition is the largest and most significant.&nbsp; Expansions of the styles of performance and institutionalization of the bands have allowed other festivals to form, such as Trinidad’s World Steelband Festival for the performance of European orchestral music and the Pan Ramajay festival for jazz.&nbsp; Other contexts derive from the steel pan’s earlier technique of suspending the pan around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument.&nbsp; Today, this form is considered a subgroup style called “pan round the neck” which generates its own competitions and audience during Carnival.<br /><br /></p> <h4>References</h4> <p>Blake, F.I.R.&nbsp; <em>The Trinidad &amp; Tobago Steel Pan: History and Evolution</em>.&nbsp; Port of Spain, Trinidad:&nbsp; Published by author.</p> <p>Goddard, George “Sonny.”&nbsp; 1991.&nbsp; <em>Forty Years in the Steelbands, 1939-1979.&nbsp; </em>Port of Spain, Karia Press.</p> <p>Steumpfle, Stephen.&nbsp; 1995.&nbsp; <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>.&nbsp; Philadelphia: Univ. of Pennsylvania Press.</p> <p>Thomas, Jeffrey Todd. 1985.&nbsp; <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em>&nbsp; M.A. Thesis.&nbsp; Middletown, CT:&nbsp; Wesleyan University.</p> Date A point or period of time associated with an event in the lifecycle of the resource <strong>Time Period:&nbsp; </strong>20^th century – present Contributor An entity responsible for making contributions to the resource Amelia Ingram (2004) Relation A related resource <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaUNZKe8k6eMQTeYBENbp3n8" 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 This instrument consists of one drum with the shortest “skirt” or side length of the steel pan family at approx. 12-15 cm (Blake, 106). The notes are “raised” from the concave bowl in a now-standard circle of fifths arrangement. The lowest notes found along the circumference of the bowl are U-shaped, while the higher octave notes are either oval or circular-shaped inside. The tenor pan must be suspended on a stand or rack to allow the drum to resonate and is played with thin rubber mallets. Historical background information about the origins, history, and development of the instrument It is generally accepted that the tenor pan developed from the early “ping pong,” a small zinc pan which could play simple melodies (such as children’s songs, and simple calypso choruses) of three to five notes (Goddard 38, Stuempfle 40). Sometime after the end of WWII, however, it was discovered that the larger 55-gallon oil drums borrowed from the American naval base could produce more notes. By the early 1950s, the tenor became a fully-chromatic instrument. Today, the tenor pan is the primary melodic and virtuosic instrument of the contemporary steel band. It is also the instrument most frequently played solo outside of the traditional steel band context. Tuning Information about the tuning system The tenor has a chromatic range between D4 and G6, with 28 to 30 chromatic notes (Blake, 109). The tenor pan can be found in several styles, dependent upon the individual tuner, including the “open bore” style (in which several holes are drilled into the pan to create a brighter tone) and the over-sized tenor (dubbed the “mega pan”), which extends the lower range for solo performance. Geography The continent, region, nation where this instrument originates from Trinidad and Tobago Ensemble The musical group in which an instrument can be found Steel Pan Ensemble Materials Steel Bibliography a list of sources referenced Blake, F.I.R. <em>The Trinidad &amp; Tobago Steel Pan: History and Evolution</em>. Port of Spain, Trinidad: Published by author.<br /><br />Goddard, George “Sonny.” 1991. <em>Forty Years in the Steelbands, 1939-1979</em>. Port of Spain, Karia Press. <br /><br />Steumpfle, Stephen. 1995. <em>The Steelband Movement: The Forging of a National Art in Trinidad and Tobago</em>. Philadelphia: Univ. of Pennsylvania Press.<br /><br />Thomas, Jeffrey Todd. 1985. <em>A History of Pan and the Evolution of the Steel Band in Trinidad and Tobago</em>. M.A. Thesis. Middletown, CT: Wesleyan University. Additional resources recommendations for further information (websites, books, journal articles, etc.) Pan Trinbago<br /><a href="http://www.pantrinbago.co.tt">http://www.pantrinbago.co.tt</a> Contributors Entry authors Amelia Ingram (2004) Classification Hornbostel-Sachs, revised by MIMO 111.241.12 Gongs with divided surface sounding different pitches Date/Era If relevant, the historical time period when the instrument was made 20th century to present Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/NLKxbpsFgUY" 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 Tenor Pan idiophone metallophone steel pan 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 Steel Band Description An account of the resource <h4>Time Period</h4> <p>20^th century – present<br /><br /></p> <h4>Physical Description</h4> <p>The steel pan (or steel drum) is composed of from one to nine 55-gallon steel barrel drums, suspended with stands.&nbsp; The bottom end of the barrel is open, with its skirt (or sides) cut from 6 inches to full length for bass instruments.&nbsp; The top end of the barrel is sunk into a concave shape with notes raised upward by a process of firing, cooling and hammering to generate the base pitch and its overtones.&nbsp; The lower the instrument, the shallower the pan is sunk.&nbsp; Notes are delineated by grooving of various shapes, either circular, “U” or squared.&nbsp;</p> <p>&nbsp;While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker.&nbsp; On each side of the drum, a hole is drilled to suspend it on metal stands with either nylon/ leather straps or aluminum hooks.&nbsp; Earlier steel pans were suspended around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument.&nbsp; Today, this form is considered a subgroup style called “pan round the neck.”&nbsp; The steel pan’s primary accompaniment is the “engine room” composed of car brake iron, shaker (“shak-shak”), scraper (guiro), congas, and drum set.&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;</p> <h4>History</h4> <p>The steel pan originated in Trinidad during the late 1930s as an accompaniment to the Carnival masquerade bands.&nbsp; It was a replacement for the tamboo bamboo (stamping tube) ensembles that were outlawed by British colonial law in 1884.&nbsp; In its crude form as biscuit drums and metal tins, the steel pan performed the popular percussive “call and response” style of the tamboo bamboo bands.&nbsp; During the 1940s the steel pan transformed from a percussive instrument into a tuned instrument, and its tuning procedures were established.&nbsp; The tuner would sink the pan with a hammer, then groove the note layout on the concave face, temper the drum over a fire, and fine-tune the notes.&nbsp; By the 1950s, it developed into a tuned and fully chromatic instrument to perform a wide variety of local (calypso, soca, parang) and international (European orchestral music, Latin dance, and jazz, etc.) musical styles. Today, the steel band orchestra in Trinidad and Tobago’s Carnival performances has approx. 100 players.&nbsp;&nbsp;&nbsp; &nbsp;</p> <p>&nbsp;</p> <h4>Tuning</h4> <p>Instrument ranges and tuning generally mimic those of the Western string orchestra, from tenor (one drum) to bass (six to nine drums) and each instrument usually covers two and a half chromatic octaves.&nbsp; While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. &nbsp;The drums are traditionally shaped by hand, though recent research and technology has devised a mechanical sinking of the drums (called spin sinking) which allows for greater accuracy and consistency in the bowl’s shape.&nbsp; Other innovations include an expansion of instrument range and electronic amplification.</p> <p>&nbsp;&nbsp;&nbsp;</p> <h4>Technique</h4> <p>The steel pan is played with wood or aluminum mallets wrapped with rubber which allows the instrument to resonate.&nbsp; The thickness of the mallet increases with the number of drums and range of instrument.&nbsp; The bass instrument mallets are made with soft rubber sponge balls.&nbsp; Mallet strokes on the pan must quickly move away from the instrument to allow the drum to resonate.&nbsp; In typical play, the higher (or smaller) notes require more force for an equal volume with the lower (and larger) notes.&nbsp; Due to the relatively short length of resonance, sustained pitches are produced by rapid rolls, or alternation of mallets.&nbsp; The brake iron, the steel pan’s main accompaniment, is held in one hand and struck with a metal rod.&nbsp; Together, several brake iron players perform in a “hocketing” fashion to form a steady metronomic accompaniment for the steel pans.</p> <p>&nbsp;</p> <h4>Notation</h4> <p>Music for steel pan is traditionally learned by rote, however, the professionalisation of performers has led to an increased use of Western notation for performance outside of the traditional Carnival context (such as Trinidad’s World Steelband Festival, which features Western orchestral music).&nbsp; Western musicians learning the music typically learn from written transcriptions of Trinidad steel bands or original written compositions.&nbsp;<br /><br /></p> <h4>Context</h4> <p>The steel pan is primarily performed in Carnival festivals throughout the West Indies and the Caribbean diaspora (New York, Toronto and Nottingham England being the most prominent).&nbsp; Of these, Trinidad’s Panorama Steel Band Competition is the largest and most significant.&nbsp; Expansions of the styles of performance and institutionalization of the bands have allowed other festivals to form, such as Trinidad’s World Steelband Festival for the performance of European orchestral music and the Pan Ramajay festival for jazz.&nbsp; Other contexts derive from the steel pan’s earlier technique of suspending the pan around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument.&nbsp; Today, this form is considered a subgroup style called “pan round the neck” which generates its own competitions and audience during Carnival.<br /><br /></p> <h4>References</h4> <p>Blake, F.I.R.&nbsp; <em>The Trinidad &amp; Tobago Steel Pan: History and Evolution</em>.&nbsp; Port of Spain, Trinidad:&nbsp; Published by author.</p> <p>Goddard, George “Sonny.”&nbsp; 1991.&nbsp; <em>Forty Years in the Steelbands, 1939-1979.&nbsp; </em>Port of Spain, Karia Press.</p> <p>Steumpfle, Stephen.&nbsp; 1995.&nbsp; <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>.&nbsp; Philadelphia: Univ. of Pennsylvania Press.</p> <p>Thomas, Jeffrey Todd. 1985.&nbsp; <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em>&nbsp; M.A. Thesis.&nbsp; Middletown, CT:&nbsp; Wesleyan University.</p> Date A point or period of time associated with an event in the lifecycle of the resource <strong>Time Period:&nbsp; </strong>20^th century – present Contributor An entity responsible for making contributions to the resource Amelia Ingram (2004) Relation A related resource <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaUNZKe8k6eMQTeYBENbp3n8" 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 This instrument consists of two drums with a “skirt” or side length of approx 12-16 cm (Blake, 110). The notes are “raised” from the concave bowl in an arrangement that varies the most widely. The lowest notes found along the circumference of the bowl are U-shaped, while the higher octave notes are either oval or circular-shaped inside. The double tenor pans must be suspended on stands or a rack to allow the drums to resonate and are played with moderately thick rubber mallets. Historical background information about the origins, history, and development of the instrument Ellie Mannette, an early innovator for the Invaders steel band, is credited with creating the first double tenor pan. He created this design (along with the double seconds) in an effort to expand the range of notes in the early steel band (Blake, 110). It is used mainly to support the tenor melody while occasionally providing harmonic support. Tuning Information about the tuning system The double tenor has a chromatic range between F3 and B-flat5, with 29 to 30 notes. Its range is one octave below the tenor pan. Geography The continent, region, nation where this instrument originates from Trinidad and Tobago Ensemble The musical group in which an instrument can be found Steel Pan Ensemble Materials Steel Bibliography a list of sources referenced <p>Blake, F.I.R.&nbsp; <em>The Trinidad &amp; Tobago Steel Pan: History and Evolution</em>.&nbsp; Port of Spain, Trinidad:&nbsp; Published by author.</p> <p>Goddard, George “Sonny.”&nbsp; 1991.&nbsp; <em>Forty Years in the Steelbands, 1939-1979.&nbsp; </em>Port of Spain, Karia Press.</p> <p>Steumpfle, Stephen.&nbsp; 1995.&nbsp; <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>.&nbsp; Philadelphia: Univ. of Pennsylvania Press.</p> <p>Thomas, Jeffrey Todd. 1985.&nbsp; <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em>&nbsp; M.A. Thesis.&nbsp; Middletown, CT:&nbsp; Wesleyan University.</p> Additional resources recommendations for further information (websites, books, journal articles, etc.) Pan Trinbago<br /><a href="http://www.pantrinbago.co.tt">http://www.pantrinbago.co.tt</a> Contributors Entry authors Amelia Ingram (2004) Classification Hornbostel-Sachs, revised by MIMO 111.241.22 Sets of gongs with divided surface sounding different pitches Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/4RohC-ONigY" 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 Double Tenor Pan idiophone metallophone steel pan https://wesomeka.wesleyan.edu/vim2/files/original/cfd86fd5542c6ed1a6ba8f2cd55bd817.jpg 9cb52111b06cca77c9b6d2eac279d95b https://wesomeka.wesleyan.edu/vim2/files/original/715d81e8987e38c2efbcd1756a4671fc.jpg abc2a235f4c80fd9bee1b4ee8e2801e9 https://wesomeka.wesleyan.edu/vim2/files/original/5337a21e7fd2206ecb2aba0835a09e15.jpg 4d8852bd32d30e5f7eaede5dc9ed151b 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 Steel Band Description An account of the resource <h4>Time Period</h4> <p>20^th century – present<br /><br /></p> <h4>Physical Description</h4> <p>The steel pan (or steel drum) is composed of from one to nine 55-gallon steel barrel drums, suspended with stands.&nbsp; The bottom end of the barrel is open, with its skirt (or sides) cut from 6 inches to full length for bass instruments.&nbsp; The top end of the barrel is sunk into a concave shape with notes raised upward by a process of firing, cooling and hammering to generate the base pitch and its overtones.&nbsp; The lower the instrument, the shallower the pan is sunk.&nbsp; Notes are delineated by grooving of various shapes, either circular, “U” or squared.&nbsp;</p> <p>&nbsp;While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker.&nbsp; On each side of the drum, a hole is drilled to suspend it on metal stands with either nylon/ leather straps or aluminum hooks.&nbsp; Earlier steel pans were suspended around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument.&nbsp; Today, this form is considered a subgroup style called “pan round the neck.”&nbsp; The steel pan’s primary accompaniment is the “engine room” composed of car brake iron, shaker (“shak-shak”), scraper (guiro), congas, and drum set.&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;</p> <h4>History</h4> <p>The steel pan originated in Trinidad during the late 1930s as an accompaniment to the Carnival masquerade bands.&nbsp; It was a replacement for the tamboo bamboo (stamping tube) ensembles that were outlawed by British colonial law in 1884.&nbsp; In its crude form as biscuit drums and metal tins, the steel pan performed the popular percussive “call and response” style of the tamboo bamboo bands.&nbsp; During the 1940s the steel pan transformed from a percussive instrument into a tuned instrument, and its tuning procedures were established.&nbsp; The tuner would sink the pan with a hammer, then groove the note layout on the concave face, temper the drum over a fire, and fine-tune the notes.&nbsp; By the 1950s, it developed into a tuned and fully chromatic instrument to perform a wide variety of local (calypso, soca, parang) and international (European orchestral music, Latin dance, and jazz, etc.) musical styles. Today, the steel band orchestra in Trinidad and Tobago’s Carnival performances has approx. 100 players.&nbsp;&nbsp;&nbsp; &nbsp;</p> <p>&nbsp;</p> <h4>Tuning</h4> <p>Instrument ranges and tuning generally mimic those of the Western string orchestra, from tenor (one drum) to bass (six to nine drums) and each instrument usually covers two and a half chromatic octaves.&nbsp; While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. &nbsp;The drums are traditionally shaped by hand, though recent research and technology has devised a mechanical sinking of the drums (called spin sinking) which allows for greater accuracy and consistency in the bowl’s shape.&nbsp; Other innovations include an expansion of instrument range and electronic amplification.</p> <p>&nbsp;&nbsp;&nbsp;</p> <h4>Technique</h4> <p>The steel pan is played with wood or aluminum mallets wrapped with rubber which allows the instrument to resonate.&nbsp; The thickness of the mallet increases with the number of drums and range of instrument.&nbsp; The bass instrument mallets are made with soft rubber sponge balls.&nbsp; Mallet strokes on the pan must quickly move away from the instrument to allow the drum to resonate.&nbsp; In typical play, the higher (or smaller) notes require more force for an equal volume with the lower (and larger) notes.&nbsp; Due to the relatively short length of resonance, sustained pitches are produced by rapid rolls, or alternation of mallets.&nbsp; The brake iron, the steel pan’s main accompaniment, is held in one hand and struck with a metal rod.&nbsp; Together, several brake iron players perform in a “hocketing” fashion to form a steady metronomic accompaniment for the steel pans.</p> <p>&nbsp;</p> <h4>Notation</h4> <p>Music for steel pan is traditionally learned by rote, however, the professionalisation of performers has led to an increased use of Western notation for performance outside of the traditional Carnival context (such as Trinidad’s World Steelband Festival, which features Western orchestral music).&nbsp; Western musicians learning the music typically learn from written transcriptions of Trinidad steel bands or original written compositions.&nbsp;<br /><br /></p> <h4>Context</h4> <p>The steel pan is primarily performed in Carnival festivals throughout the West Indies and the Caribbean diaspora (New York, Toronto and Nottingham England being the most prominent).&nbsp; Of these, Trinidad’s Panorama Steel Band Competition is the largest and most significant.&nbsp; Expansions of the styles of performance and institutionalization of the bands have allowed other festivals to form, such as Trinidad’s World Steelband Festival for the performance of European orchestral music and the Pan Ramajay festival for jazz.&nbsp; Other contexts derive from the steel pan’s earlier technique of suspending the pan around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument.&nbsp; Today, this form is considered a subgroup style called “pan round the neck” which generates its own competitions and audience during Carnival.<br /><br /></p> <h4>References</h4> <p>Blake, F.I.R.&nbsp; <em>The Trinidad &amp; Tobago Steel Pan: History and Evolution</em>.&nbsp; Port of Spain, Trinidad:&nbsp; Published by author.</p> <p>Goddard, George “Sonny.”&nbsp; 1991.&nbsp; <em>Forty Years in the Steelbands, 1939-1979.&nbsp; </em>Port of Spain, Karia Press.</p> <p>Steumpfle, Stephen.&nbsp; 1995.&nbsp; <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>.&nbsp; Philadelphia: Univ. of Pennsylvania Press.</p> <p>Thomas, Jeffrey Todd. 1985.&nbsp; <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em>&nbsp; M.A. Thesis.&nbsp; Middletown, CT:&nbsp; Wesleyan University.</p> Date A point or period of time associated with an event in the lifecycle of the resource <strong>Time Period:&nbsp; </strong>20^th century – present Contributor An entity responsible for making contributions to the resource Amelia Ingram (2004) Relation A related resource <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaUNZKe8k6eMQTeYBENbp3n8" 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 <p>This instrument consists of two drums with a “skirt” or side length of approx. 15-18cm (Blake, 111).&nbsp; The notes are “raised” from the concave bowls of each drum, and produce a slightly lower voice (than the double tenor) due to the longer skirt.&nbsp; The lowest notes found along the circumference of the bowl are U-shaped, while the higher octave notes are either oval or circular-shaped inside.&nbsp; The double second pans must be suspended on stands or a rack to allow the drums to resonate and are played with moderately thick rubber mallets.&nbsp;</p> Historical background information about the origins, history, and development of the instrument <p>The double second was designed by Ellie Mannette of the Invaders Steelband.&nbsp; It has the dual use of supporting the melody as well as playing upper portions of the harmony in a standardized accompaniment rhythm. &nbsp;Along with the <em>quadrophonics</em>, its rhythm historically derived from the <em>cuatro</em>, a four-string guitar used in <em>parang</em> (a Venezuelan-influenced musical genre performed at Christmas) (Steumpfle, 43).&nbsp;</p> Tuning Information about the tuning system <p>The double second has a chromatic range between F3 and C#6, with 30 notes.&nbsp; Pan tuner Ellie Mannette’s original design for the double second, known as “Invaders styling” has become the standard for this instrument (Blake, 111). &nbsp;The arrangement of notes allows for easy formation of chordal patterns.</p> Geography The continent, region, nation where this instrument originates from Trinidad and Tobago Ensemble The musical group in which an instrument can be found Steel Pan Ensemble Materials Steel Date/Era If relevant, the historical time period when the instrument was made 20th century to present Bibliography a list of sources referenced <p>Blake, F.I.R.&nbsp; <em>The Trinidad &amp; Tobago Steel Pan: History and Evolution</em>.&nbsp; Port of Spain, Trinidad:&nbsp; Published by author.</p> <p>Goddard, George “Sonny.”&nbsp; 1991.&nbsp; <em>Forty Years in the Steelbands, 1939-1979.&nbsp; </em>Port of Spain, Karia Press.</p> <p>Steumpfle, Stephen.&nbsp; 1995.&nbsp; <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>.&nbsp; Philadelphia: Univ. of Pennsylvania Press.</p> <p>Thomas, Jeffrey Todd. 1985.&nbsp; <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em>&nbsp; M.A. Thesis.&nbsp; Middletown, CT:&nbsp; Wesleyan University.</p> Additional resources recommendations for further information (websites, books, journal articles, etc.) <p>Pan Trinbago<br /><a href="http://www.pantrinbago.co.tt">http://www.pantrinbago.co.tt</a></p> Contributors Entry authors Amelia Ingram (2004) Classification Hornbostel-Sachs, revised by MIMO 111.241.22 Sets of gongs with divided surface sounding different pitches Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/ZCfaaGXehpU" 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 Double Second Pan idiophone metallophone steel pan https://wesomeka.wesleyan.edu/vim2/files/original/0612e532094ffe2cf99fc3fdceea908d.jpg 526f734d2e01f0696090e6aa170ef463 https://wesomeka.wesleyan.edu/vim2/files/original/e4d3b14159cabad28762bb5ae9d18cae.jpg f730b913c10a503aa26f72149798c6ed https://wesomeka.wesleyan.edu/vim2/files/original/1a6da0c489f9ba94857eae2f307f0ce6.jpg 6dcb472cbb19fb259f806df88dcadf94 https://wesomeka.wesleyan.edu/vim2/files/original/8be897f6f693aceab5b0df533e413407.jpg c95ed65ac15ce8590548ed13b70c238f 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 Steel Band Description An account of the resource <h4>Time Period</h4> <p>20^th century – present<br /><br /></p> <h4>Physical Description</h4> <p>The steel pan (or steel drum) is composed of from one to nine 55-gallon steel barrel drums, suspended with stands.&nbsp; The bottom end of the barrel is open, with its skirt (or sides) cut from 6 inches to full length for bass instruments.&nbsp; The top end of the barrel is sunk into a concave shape with notes raised upward by a process of firing, cooling and hammering to generate the base pitch and its overtones.&nbsp; The lower the instrument, the shallower the pan is sunk.&nbsp; Notes are delineated by grooving of various shapes, either circular, “U” or squared.&nbsp;</p> <p>&nbsp;While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker.&nbsp; On each side of the drum, a hole is drilled to suspend it on metal stands with either nylon/ leather straps or aluminum hooks.&nbsp; Earlier steel pans were suspended around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument.&nbsp; Today, this form is considered a subgroup style called “pan round the neck.”&nbsp; The steel pan’s primary accompaniment is the “engine room” composed of car brake iron, shaker (“shak-shak”), scraper (guiro), congas, and drum set.&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;</p> <h4>History</h4> <p>The steel pan originated in Trinidad during the late 1930s as an accompaniment to the Carnival masquerade bands.&nbsp; It was a replacement for the tamboo bamboo (stamping tube) ensembles that were outlawed by British colonial law in 1884.&nbsp; In its crude form as biscuit drums and metal tins, the steel pan performed the popular percussive “call and response” style of the tamboo bamboo bands.&nbsp; During the 1940s the steel pan transformed from a percussive instrument into a tuned instrument, and its tuning procedures were established.&nbsp; The tuner would sink the pan with a hammer, then groove the note layout on the concave face, temper the drum over a fire, and fine-tune the notes.&nbsp; By the 1950s, it developed into a tuned and fully chromatic instrument to perform a wide variety of local (calypso, soca, parang) and international (European orchestral music, Latin dance, and jazz, etc.) musical styles. Today, the steel band orchestra in Trinidad and Tobago’s Carnival performances has approx. 100 players.&nbsp;&nbsp;&nbsp; &nbsp;</p> <p>&nbsp;</p> <h4>Tuning</h4> <p>Instrument ranges and tuning generally mimic those of the Western string orchestra, from tenor (one drum) to bass (six to nine drums) and each instrument usually covers two and a half chromatic octaves.&nbsp; While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. &nbsp;The drums are traditionally shaped by hand, though recent research and technology has devised a mechanical sinking of the drums (called spin sinking) which allows for greater accuracy and consistency in the bowl’s shape.&nbsp; Other innovations include an expansion of instrument range and electronic amplification.</p> <p>&nbsp;&nbsp;&nbsp;</p> <h4>Technique</h4> <p>The steel pan is played with wood or aluminum mallets wrapped with rubber which allows the instrument to resonate.&nbsp; The thickness of the mallet increases with the number of drums and range of instrument.&nbsp; The bass instrument mallets are made with soft rubber sponge balls.&nbsp; Mallet strokes on the pan must quickly move away from the instrument to allow the drum to resonate.&nbsp; In typical play, the higher (or smaller) notes require more force for an equal volume with the lower (and larger) notes.&nbsp; Due to the relatively short length of resonance, sustained pitches are produced by rapid rolls, or alternation of mallets.&nbsp; The brake iron, the steel pan’s main accompaniment, is held in one hand and struck with a metal rod.&nbsp; Together, several brake iron players perform in a “hocketing” fashion to form a steady metronomic accompaniment for the steel pans.</p> <p>&nbsp;</p> <h4>Notation</h4> <p>Music for steel pan is traditionally learned by rote, however, the professionalisation of performers has led to an increased use of Western notation for performance outside of the traditional Carnival context (such as Trinidad’s World Steelband Festival, which features Western orchestral music).&nbsp; Western musicians learning the music typically learn from written transcriptions of Trinidad steel bands or original written compositions.&nbsp;<br /><br /></p> <h4>Context</h4> <p>The steel pan is primarily performed in Carnival festivals throughout the West Indies and the Caribbean diaspora (New York, Toronto and Nottingham England being the most prominent).&nbsp; Of these, Trinidad’s Panorama Steel Band Competition is the largest and most significant.&nbsp; Expansions of the styles of performance and institutionalization of the bands have allowed other festivals to form, such as Trinidad’s World Steelband Festival for the performance of European orchestral music and the Pan Ramajay festival for jazz.&nbsp; Other contexts derive from the steel pan’s earlier technique of suspending the pan around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument.&nbsp; Today, this form is considered a subgroup style called “pan round the neck” which generates its own competitions and audience during Carnival.<br /><br /></p> <h4>References</h4> <p>Blake, F.I.R.&nbsp; <em>The Trinidad &amp; Tobago Steel Pan: History and Evolution</em>.&nbsp; Port of Spain, Trinidad:&nbsp; Published by author.</p> <p>Goddard, George “Sonny.”&nbsp; 1991.&nbsp; <em>Forty Years in the Steelbands, 1939-1979.&nbsp; </em>Port of Spain, Karia Press.</p> <p>Steumpfle, Stephen.&nbsp; 1995.&nbsp; <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>.&nbsp; Philadelphia: Univ. of Pennsylvania Press.</p> <p>Thomas, Jeffrey Todd. 1985.&nbsp; <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em>&nbsp; M.A. Thesis.&nbsp; Middletown, CT:&nbsp; Wesleyan University.</p> Date A point or period of time associated with an event in the lifecycle of the resource <strong>Time Period:&nbsp; </strong>20^th century – present Contributor An entity responsible for making contributions to the resource Amelia Ingram (2004) Relation A related resource <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaUNZKe8k6eMQTeYBENbp3n8" 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 <p>This instrument consists of four pans arranged in pairs, with two in a typical horizontal arrangement and two suspended vertically in front. &nbsp;The lowest notes found along the circumference of the bowl are U-shaped, while the higher octave notes are either oval or circular-shaped inside. Their “skirt” or side length is approx. 12-16 cm and they are played with moderately thick rubber mallets.</p> Historical background information about the origins, history, and development of the instrument <p>The quadrophonics (or sometimes called “quads”) was invented by Rudolph Charles to cover the entire upper range of the ensemble (Blake, 119).&nbsp; According to another scholar, tuner Neville Jules developed a “quatro” pan in the late 1940s, however, one might theorize that his was an early version of the four-cello (Steumpfle, 43).&nbsp; Nevertheless, both theories point to the influence of the <em>cuatro </em>guitar, a four-stringed instrument used in local Venezuelan-influenced <em>parang </em>music.&nbsp; The quadrophonics have the most versatile function in the steel band, from melodic and harmonic support to countermelody, and thus require the more skilled players.&nbsp;</p> Tuning Information about the tuning system The quadrophonics pan has a larger range than most instruments in the family, with 36 notes between B2 and Bb5 (Blake, 119). The arrangement of notes is loosely similar to that of the double seconds, with the notes split between upper and lower drums. Geography The continent, region, nation where this instrument originates from Trinidad and Tobago Ensemble The musical group in which an instrument can be found Steel Pan Ensemble Materials Steel Date/Era If relevant, the historical time period when the instrument was made 20th century to present Bibliography a list of sources referenced <p>Blake, F.I.R.&nbsp; <em>The Trinidad &amp; Tobago Steel Pan: History and Evolution</em>.&nbsp; Port of Spain, Trinidad:&nbsp; Published by author.</p> <p>Goddard, George “Sonny.”&nbsp; 1991.&nbsp; <em>Forty Years in the Steelbands, 1939-1979.&nbsp; </em>Port of Spain, Karia Press.</p> <p>Steumpfle, Stephen.&nbsp; 1995.&nbsp; <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>.&nbsp; Philadelphia: Univ. of Pennsylvania Press.</p> <p>Thomas, Jeffrey Todd. 1985.&nbsp; <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em>&nbsp; M.A. Thesis.&nbsp; Middletown, CT:&nbsp; Wesleyan University.</p> Additional resources recommendations for further information (websites, books, journal articles, etc.) <p>Pan Trinbago<br /><a href="http://www.pantrinbago.co.tt">http://www.pantrinbago.co.tt</a></p> Contributors Entry authors Amelia Ingram (2004) Classification Hornbostel-Sachs, revised by MIMO 111.241.22 Sets of gongs with divided surface sounding different pitches Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/ZpKFWa3qkxY" 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 Quadrophonics idiophone metallophone steel pan https://wesomeka.wesleyan.edu/vim2/files/original/a868ffcf6a7be7c12f5512bf69f82ca1.jpg 20709d7791f75857b39ca69f20951ede https://wesomeka.wesleyan.edu/vim2/files/original/0dea7297f6876f19cab09bf2ace3b5f3.jpg 4d0cf08089f3c3230b03dea031ce2ba4 https://wesomeka.wesleyan.edu/vim2/files/original/9d8fdd73fae83a5c00fc06916efadf2a.jpg a9bce9ecfd0a495e73630bf0e28aaed3 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 Steel Band Description An account of the resource <h4>Time Period</h4> <p>20^th century – present<br /><br /></p> <h4>Physical Description</h4> <p>The steel pan (or steel drum) is composed of from one to nine 55-gallon steel barrel drums, suspended with stands.&nbsp; The bottom end of the barrel is open, with its skirt (or sides) cut from 6 inches to full length for bass instruments.&nbsp; The top end of the barrel is sunk into a concave shape with notes raised upward by a process of firing, cooling and hammering to generate the base pitch and its overtones.&nbsp; The lower the instrument, the shallower the pan is sunk.&nbsp; Notes are delineated by grooving of various shapes, either circular, “U” or squared.&nbsp;</p> <p>&nbsp;While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker.&nbsp; On each side of the drum, a hole is drilled to suspend it on metal stands with either nylon/ leather straps or aluminum hooks.&nbsp; Earlier steel pans were suspended around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument.&nbsp; Today, this form is considered a subgroup style called “pan round the neck.”&nbsp; The steel pan’s primary accompaniment is the “engine room” composed of car brake iron, shaker (“shak-shak”), scraper (guiro), congas, and drum set.&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;</p> <h4>History</h4> <p>The steel pan originated in Trinidad during the late 1930s as an accompaniment to the Carnival masquerade bands.&nbsp; It was a replacement for the tamboo bamboo (stamping tube) ensembles that were outlawed by British colonial law in 1884.&nbsp; In its crude form as biscuit drums and metal tins, the steel pan performed the popular percussive “call and response” style of the tamboo bamboo bands.&nbsp; During the 1940s the steel pan transformed from a percussive instrument into a tuned instrument, and its tuning procedures were established.&nbsp; The tuner would sink the pan with a hammer, then groove the note layout on the concave face, temper the drum over a fire, and fine-tune the notes.&nbsp; By the 1950s, it developed into a tuned and fully chromatic instrument to perform a wide variety of local (calypso, soca, parang) and international (European orchestral music, Latin dance, and jazz, etc.) musical styles. Today, the steel band orchestra in Trinidad and Tobago’s Carnival performances has approx. 100 players.&nbsp;&nbsp;&nbsp; &nbsp;</p> <p>&nbsp;</p> <h4>Tuning</h4> <p>Instrument ranges and tuning generally mimic those of the Western string orchestra, from tenor (one drum) to bass (six to nine drums) and each instrument usually covers two and a half chromatic octaves.&nbsp; While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. &nbsp;The drums are traditionally shaped by hand, though recent research and technology has devised a mechanical sinking of the drums (called spin sinking) which allows for greater accuracy and consistency in the bowl’s shape.&nbsp; Other innovations include an expansion of instrument range and electronic amplification.</p> <p>&nbsp;&nbsp;&nbsp;</p> <h4>Technique</h4> <p>The steel pan is played with wood or aluminum mallets wrapped with rubber which allows the instrument to resonate.&nbsp; The thickness of the mallet increases with the number of drums and range of instrument.&nbsp; The bass instrument mallets are made with soft rubber sponge balls.&nbsp; Mallet strokes on the pan must quickly move away from the instrument to allow the drum to resonate.&nbsp; In typical play, the higher (or smaller) notes require more force for an equal volume with the lower (and larger) notes.&nbsp; Due to the relatively short length of resonance, sustained pitches are produced by rapid rolls, or alternation of mallets.&nbsp; The brake iron, the steel pan’s main accompaniment, is held in one hand and struck with a metal rod.&nbsp; Together, several brake iron players perform in a “hocketing” fashion to form a steady metronomic accompaniment for the steel pans.</p> <p>&nbsp;</p> <h4>Notation</h4> <p>Music for steel pan is traditionally learned by rote, however, the professionalisation of performers has led to an increased use of Western notation for performance outside of the traditional Carnival context (such as Trinidad’s World Steelband Festival, which features Western orchestral music).&nbsp; Western musicians learning the music typically learn from written transcriptions of Trinidad steel bands or original written compositions.&nbsp;<br /><br /></p> <h4>Context</h4> <p>The steel pan is primarily performed in Carnival festivals throughout the West Indies and the Caribbean diaspora (New York, Toronto and Nottingham England being the most prominent).&nbsp; Of these, Trinidad’s Panorama Steel Band Competition is the largest and most significant.&nbsp; Expansions of the styles of performance and institutionalization of the bands have allowed other festivals to form, such as Trinidad’s World Steelband Festival for the performance of European orchestral music and the Pan Ramajay festival for jazz.&nbsp; Other contexts derive from the steel pan’s earlier technique of suspending the pan around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument.&nbsp; Today, this form is considered a subgroup style called “pan round the neck” which generates its own competitions and audience during Carnival.<br /><br /></p> <h4>References</h4> <p>Blake, F.I.R.&nbsp; <em>The Trinidad &amp; Tobago Steel Pan: History and Evolution</em>.&nbsp; Port of Spain, Trinidad:&nbsp; Published by author.</p> <p>Goddard, George “Sonny.”&nbsp; 1991.&nbsp; <em>Forty Years in the Steelbands, 1939-1979.&nbsp; </em>Port of Spain, Karia Press.</p> <p>Steumpfle, Stephen.&nbsp; 1995.&nbsp; <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>.&nbsp; Philadelphia: Univ. of Pennsylvania Press.</p> <p>Thomas, Jeffrey Todd. 1985.&nbsp; <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em>&nbsp; M.A. Thesis.&nbsp; Middletown, CT:&nbsp; Wesleyan University.</p> Date A point or period of time associated with an event in the lifecycle of the resource <strong>Time Period:&nbsp; </strong>20^th century – present Contributor An entity responsible for making contributions to the resource Amelia Ingram (2004) Relation A related resource <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaUNZKe8k6eMQTeYBENbp3n8" 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 This instrument consists of two pans with a “skirt” or side length of approx 45 cm. The lowest notes found along the circumference of the bowl are U-shaped, while the higher octave notes are either oval or circular-shaped inside. The guitar pans must be suspended on stands or a rack to allow the drums to resonate and are played with thick rubber mallets. Historical background information about the origins, history, and development of the instrument The middle range guitar pans were designed to support the melody played by the “frontline” or upper range pans (such as the tenor, double tenor and double second pans). The guitar pans are used to support the lower portions of the harmony by “strumming” chordal accompaniment as well as playing simple countermelody. Tuning Information about the tuning system The double guitar pans have an average of 20 notes with the chromatic range falling between C3 and G#4. The triple guitar (not found in our collection) has 27 notes with a chromatic range falling between B-flat2 and C5. Geography The continent, region, nation where this instrument originates from Trinidad and Tobago Ensemble The musical group in which an instrument can be found Steel Pan Ensemble Materials Steel Date/Era If relevant, the historical time period when the instrument was made 20th century to present Bibliography a list of sources referenced <p>Blake, F.I.R.&nbsp; <em>The Trinidad &amp; Tobago Steel Pan: History and Evolution</em>.&nbsp; Port of Spain, Trinidad:&nbsp; Published by author.</p> <p>Goddard, George “Sonny.”&nbsp; 1991.&nbsp; <em>Forty Years in the Steelbands, 1939-1979.&nbsp; </em>Port of Spain, Karia Press.</p> <p>Steumpfle, Stephen.&nbsp; 1995.&nbsp; <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>.&nbsp; Philadelphia: Univ. of Pennsylvania Press.</p> <p>Thomas, Jeffrey Todd. 1985.&nbsp; <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em>&nbsp; M.A. Thesis.&nbsp; Middletown, CT:&nbsp; Wesleyan University.</p> Additional resources recommendations for further information (websites, books, journal articles, etc.) Pan Trinbago<br /><a href="http://www.pantrinbago.co.tt">http://www.pantrinbago.co.tt</a> Contributors Entry authors Amelia Ingram (2004) Classification Hornbostel-Sachs, revised by MIMO 111.241.22 Sets of gongs with divided surface sounding different pitches Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/X3iso1NC6Ug" 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 Guitar Pan idiophone metallophone steel pan https://wesomeka.wesleyan.edu/vim2/files/original/e67ee9096e1673461e183fa280b68e02.jpg 0107204d953a3e7976b36cfab2db7526 https://wesomeka.wesleyan.edu/vim2/files/original/60a8afca3fba0e3fed51d86610eb266d.jpg 27371214d46d29a8551e0ff88e75d36d https://wesomeka.wesleyan.edu/vim2/files/original/fa53a0a24c75bf78b0ed0cbfc62cfc88.jpg 2e79b53b035aec3c9541191c400afd9e 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 Steel Band Description An account of the resource <h4>Time Period</h4> <p>20^th century – present<br /><br /></p> <h4>Physical Description</h4> <p>The steel pan (or steel drum) is composed of from one to nine 55-gallon steel barrel drums, suspended with stands.&nbsp; The bottom end of the barrel is open, with its skirt (or sides) cut from 6 inches to full length for bass instruments.&nbsp; The top end of the barrel is sunk into a concave shape with notes raised upward by a process of firing, cooling and hammering to generate the base pitch and its overtones.&nbsp; The lower the instrument, the shallower the pan is sunk.&nbsp; Notes are delineated by grooving of various shapes, either circular, “U” or squared.&nbsp;</p> <p>&nbsp;While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker.&nbsp; On each side of the drum, a hole is drilled to suspend it on metal stands with either nylon/ leather straps or aluminum hooks.&nbsp; Earlier steel pans were suspended around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument.&nbsp; Today, this form is considered a subgroup style called “pan round the neck.”&nbsp; The steel pan’s primary accompaniment is the “engine room” composed of car brake iron, shaker (“shak-shak”), scraper (guiro), congas, and drum set.&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;</p> <h4>History</h4> <p>The steel pan originated in Trinidad during the late 1930s as an accompaniment to the Carnival masquerade bands.&nbsp; It was a replacement for the tamboo bamboo (stamping tube) ensembles that were outlawed by British colonial law in 1884.&nbsp; In its crude form as biscuit drums and metal tins, the steel pan performed the popular percussive “call and response” style of the tamboo bamboo bands.&nbsp; During the 1940s the steel pan transformed from a percussive instrument into a tuned instrument, and its tuning procedures were established.&nbsp; The tuner would sink the pan with a hammer, then groove the note layout on the concave face, temper the drum over a fire, and fine-tune the notes.&nbsp; By the 1950s, it developed into a tuned and fully chromatic instrument to perform a wide variety of local (calypso, soca, parang) and international (European orchestral music, Latin dance, and jazz, etc.) musical styles. Today, the steel band orchestra in Trinidad and Tobago’s Carnival performances has approx. 100 players.&nbsp;&nbsp;&nbsp; &nbsp;</p> <p>&nbsp;</p> <h4>Tuning</h4> <p>Instrument ranges and tuning generally mimic those of the Western string orchestra, from tenor (one drum) to bass (six to nine drums) and each instrument usually covers two and a half chromatic octaves.&nbsp; While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. &nbsp;The drums are traditionally shaped by hand, though recent research and technology has devised a mechanical sinking of the drums (called spin sinking) which allows for greater accuracy and consistency in the bowl’s shape.&nbsp; Other innovations include an expansion of instrument range and electronic amplification.</p> <p>&nbsp;&nbsp;&nbsp;</p> <h4>Technique</h4> <p>The steel pan is played with wood or aluminum mallets wrapped with rubber which allows the instrument to resonate.&nbsp; The thickness of the mallet increases with the number of drums and range of instrument.&nbsp; The bass instrument mallets are made with soft rubber sponge balls.&nbsp; Mallet strokes on the pan must quickly move away from the instrument to allow the drum to resonate.&nbsp; In typical play, the higher (or smaller) notes require more force for an equal volume with the lower (and larger) notes.&nbsp; Due to the relatively short length of resonance, sustained pitches are produced by rapid rolls, or alternation of mallets.&nbsp; The brake iron, the steel pan’s main accompaniment, is held in one hand and struck with a metal rod.&nbsp; Together, several brake iron players perform in a “hocketing” fashion to form a steady metronomic accompaniment for the steel pans.</p> <p>&nbsp;</p> <h4>Notation</h4> <p>Music for steel pan is traditionally learned by rote, however, the professionalisation of performers has led to an increased use of Western notation for performance outside of the traditional Carnival context (such as Trinidad’s World Steelband Festival, which features Western orchestral music).&nbsp; Western musicians learning the music typically learn from written transcriptions of Trinidad steel bands or original written compositions.&nbsp;<br /><br /></p> <h4>Context</h4> <p>The steel pan is primarily performed in Carnival festivals throughout the West Indies and the Caribbean diaspora (New York, Toronto and Nottingham England being the most prominent).&nbsp; Of these, Trinidad’s Panorama Steel Band Competition is the largest and most significant.&nbsp; Expansions of the styles of performance and institutionalization of the bands have allowed other festivals to form, such as Trinidad’s World Steelband Festival for the performance of European orchestral music and the Pan Ramajay festival for jazz.&nbsp; Other contexts derive from the steel pan’s earlier technique of suspending the pan around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument.&nbsp; Today, this form is considered a subgroup style called “pan round the neck” which generates its own competitions and audience during Carnival.<br /><br /></p> <h4>References</h4> <p>Blake, F.I.R.&nbsp; <em>The Trinidad &amp; Tobago Steel Pan: History and Evolution</em>.&nbsp; Port of Spain, Trinidad:&nbsp; Published by author.</p> <p>Goddard, George “Sonny.”&nbsp; 1991.&nbsp; <em>Forty Years in the Steelbands, 1939-1979.&nbsp; </em>Port of Spain, Karia Press.</p> <p>Steumpfle, Stephen.&nbsp; 1995.&nbsp; <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>.&nbsp; Philadelphia: Univ. of Pennsylvania Press.</p> <p>Thomas, Jeffrey Todd. 1985.&nbsp; <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em>&nbsp; M.A. Thesis.&nbsp; Middletown, CT:&nbsp; Wesleyan University.</p> Date A point or period of time associated with an event in the lifecycle of the resource <strong>Time Period:&nbsp; </strong>20^th century – present Contributor An entity responsible for making contributions to the resource Amelia Ingram (2004) Relation A related resource <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaUNZKe8k6eMQTeYBENbp3n8" 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 The cello pans consist of either three or four drums with a “skirt” or side length of approx 45 cm (Blake, 114). The lowest notes found along the circumference of the bowl are U-shaped, while the higher octave notes are either oval or circular-shaped inside. The cello pans must be suspended on stands or a rack to allow the drums to resonate and are played with thick rubber mallets. The Wesleyan Collection currently owns the “triple cello” instruments. Historical background information about the origins, history, and development of the instrument The cello instruments are utilized mostly as a “strumming” instrument for the lower portions of harmony, as well as countermelody. Tuning Information about the tuning system The triple cello notes have an average of 24 chromatic notes falling between B2 and D5 (Blake, 114). The “four cello” has a range between G2 to C#5. Geography The continent, region, nation where this instrument originates from Trinidad and Tobago Ensemble The musical group in which an instrument can be found Steel Pan Ensemble Materials Steel Date/Era If relevant, the historical time period when the instrument was made 20th century to present Bibliography a list of sources referenced <p>Blake, F.I.R.&nbsp; <em>The Trinidad &amp; Tobago Steel Pan: History and Evolution</em>.&nbsp; Port of Spain, Trinidad:&nbsp; Published by author.</p> <p>Goddard, George “Sonny.”&nbsp; 1991.&nbsp; <em>Forty Years in the Steelbands, 1939-1979.&nbsp; </em>Port of Spain, Karia Press.</p> <p>Steumpfle, Stephen.&nbsp; 1995.&nbsp; <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>.&nbsp; Philadelphia: Univ. of Pennsylvania Press.</p> <p>Thomas, Jeffrey Todd. 1985.&nbsp; <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em>&nbsp; M.A. Thesis.&nbsp; Middletown, CT:&nbsp; Wesleyan University.</p> Additional resources recommendations for further information (websites, books, journal articles, etc.) Pan Trinbago<br /><a href="http://www.pantrinbago.co.tt">http://www.pantrinbago.co.tt</a> Contributors Entry authors Amelia Ingram (2004) Classification Hornbostel-Sachs, revised by MIMO 111.241.22 Sets of gongs with divided surface sounding different pitches Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/ESwjgTG4kgo" 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 Cello Pan idiophone metallophone steel pan https://wesomeka.wesleyan.edu/vim2/files/original/71b317f024a333139e0d0ba04f3376ef.jpg 255d12fe815799260a4efad664004c2c https://wesomeka.wesleyan.edu/vim2/files/original/b8480d01282460f9ace1858d4ae179ab.jpg 76157db0a5c1d1a3d18422f684e79d1a 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 Steel Band Description An account of the resource <h4>Time Period</h4> <p>20^th century – present<br /><br /></p> <h4>Physical Description</h4> <p>The steel pan (or steel drum) is composed of from one to nine 55-gallon steel barrel drums, suspended with stands.&nbsp; The bottom end of the barrel is open, with its skirt (or sides) cut from 6 inches to full length for bass instruments.&nbsp; The top end of the barrel is sunk into a concave shape with notes raised upward by a process of firing, cooling and hammering to generate the base pitch and its overtones.&nbsp; The lower the instrument, the shallower the pan is sunk.&nbsp; Notes are delineated by grooving of various shapes, either circular, “U” or squared.&nbsp;</p> <p>&nbsp;While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker.&nbsp; On each side of the drum, a hole is drilled to suspend it on metal stands with either nylon/ leather straps or aluminum hooks.&nbsp; Earlier steel pans were suspended around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument.&nbsp; Today, this form is considered a subgroup style called “pan round the neck.”&nbsp; The steel pan’s primary accompaniment is the “engine room” composed of car brake iron, shaker (“shak-shak”), scraper (guiro), congas, and drum set.&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;</p> <h4>History</h4> <p>The steel pan originated in Trinidad during the late 1930s as an accompaniment to the Carnival masquerade bands.&nbsp; It was a replacement for the tamboo bamboo (stamping tube) ensembles that were outlawed by British colonial law in 1884.&nbsp; In its crude form as biscuit drums and metal tins, the steel pan performed the popular percussive “call and response” style of the tamboo bamboo bands.&nbsp; During the 1940s the steel pan transformed from a percussive instrument into a tuned instrument, and its tuning procedures were established.&nbsp; The tuner would sink the pan with a hammer, then groove the note layout on the concave face, temper the drum over a fire, and fine-tune the notes.&nbsp; By the 1950s, it developed into a tuned and fully chromatic instrument to perform a wide variety of local (calypso, soca, parang) and international (European orchestral music, Latin dance, and jazz, etc.) musical styles. Today, the steel band orchestra in Trinidad and Tobago’s Carnival performances has approx. 100 players.&nbsp;&nbsp;&nbsp; &nbsp;</p> <p>&nbsp;</p> <h4>Tuning</h4> <p>Instrument ranges and tuning generally mimic those of the Western string orchestra, from tenor (one drum) to bass (six to nine drums) and each instrument usually covers two and a half chromatic octaves.&nbsp; While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. &nbsp;The drums are traditionally shaped by hand, though recent research and technology has devised a mechanical sinking of the drums (called spin sinking) which allows for greater accuracy and consistency in the bowl’s shape.&nbsp; Other innovations include an expansion of instrument range and electronic amplification.</p> <p>&nbsp;&nbsp;&nbsp;</p> <h4>Technique</h4> <p>The steel pan is played with wood or aluminum mallets wrapped with rubber which allows the instrument to resonate.&nbsp; The thickness of the mallet increases with the number of drums and range of instrument.&nbsp; The bass instrument mallets are made with soft rubber sponge balls.&nbsp; Mallet strokes on the pan must quickly move away from the instrument to allow the drum to resonate.&nbsp; In typical play, the higher (or smaller) notes require more force for an equal volume with the lower (and larger) notes.&nbsp; Due to the relatively short length of resonance, sustained pitches are produced by rapid rolls, or alternation of mallets.&nbsp; The brake iron, the steel pan’s main accompaniment, is held in one hand and struck with a metal rod.&nbsp; Together, several brake iron players perform in a “hocketing” fashion to form a steady metronomic accompaniment for the steel pans.</p> <p>&nbsp;</p> <h4>Notation</h4> <p>Music for steel pan is traditionally learned by rote, however, the professionalisation of performers has led to an increased use of Western notation for performance outside of the traditional Carnival context (such as Trinidad’s World Steelband Festival, which features Western orchestral music).&nbsp; Western musicians learning the music typically learn from written transcriptions of Trinidad steel bands or original written compositions.&nbsp;<br /><br /></p> <h4>Context</h4> <p>The steel pan is primarily performed in Carnival festivals throughout the West Indies and the Caribbean diaspora (New York, Toronto and Nottingham England being the most prominent).&nbsp; Of these, Trinidad’s Panorama Steel Band Competition is the largest and most significant.&nbsp; Expansions of the styles of performance and institutionalization of the bands have allowed other festivals to form, such as Trinidad’s World Steelband Festival for the performance of European orchestral music and the Pan Ramajay festival for jazz.&nbsp; Other contexts derive from the steel pan’s earlier technique of suspending the pan around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument.&nbsp; Today, this form is considered a subgroup style called “pan round the neck” which generates its own competitions and audience during Carnival.<br /><br /></p> <h4>References</h4> <p>Blake, F.I.R.&nbsp; <em>The Trinidad &amp; Tobago Steel Pan: History and Evolution</em>.&nbsp; Port of Spain, Trinidad:&nbsp; Published by author.</p> <p>Goddard, George “Sonny.”&nbsp; 1991.&nbsp; <em>Forty Years in the Steelbands, 1939-1979.&nbsp; </em>Port of Spain, Karia Press.</p> <p>Steumpfle, Stephen.&nbsp; 1995.&nbsp; <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>.&nbsp; Philadelphia: Univ. of Pennsylvania Press.</p> <p>Thomas, Jeffrey Todd. 1985.&nbsp; <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em>&nbsp; M.A. Thesis.&nbsp; Middletown, CT:&nbsp; Wesleyan University.</p> Date A point or period of time associated with an event in the lifecycle of the resource <strong>Time Period:&nbsp; </strong>20^th century – present Contributor An entity responsible for making contributions to the resource Amelia Ingram (2004) Relation A related resource <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaUNZKe8k6eMQTeYBENbp3n8" 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 There are four types of bass instruments in the contemporary steel band: the tenor, 6, 9, or 12-bass. The tenor bass has four full-skirted barrel drums, while the other basses have six, nine or twelve drums. The collection has the 6-bass only. The “core” four or six barrels of the bass are elevated on six-inch padded wood or metal stands to allow the drums to resonate. All bass are played with mallets made with a soft sponge rubber ball on one end. The additional drums in the 9- or 12-bass instruments are suspended horizontally on racks near the front two drums. These allow for additional volume and an expanded lower range. Historical background information about the origins, history, and development of the instrument The bass pan developed from the early “boom” instrument, made from a large biscuit drum (Goddard, 38). While its early predecessor was mostly utilized for its percussive beat, the contemporary bass pans play bass lines and countermelodies with other lower instruments. The design credited as the forerunner to the recently standardized bass was produced by Neville Jules in 1948 (Blake, 117). Tuning Information about the tuning system The bass family has a total chromatic range between E1 and F#4. The tenor bass has a range between F2 and F#4, while the 6-bass standard range is between A1 and F3, the 9-bass is between G1 and C4 and the 12-bass is between E1 and Eb4 (Blake, 116-117). Each pan has three to four notes. Geography The continent, region, nation where this instrument originates from Trinidad and Tobago Ensemble The musical group in which an instrument can be found Steel Pan Ensemble Materials Steel Date/Era If relevant, the historical time period when the instrument was made 20th century to present Bibliography a list of sources referenced <p>Blake, F.I.R.&nbsp; <em>The Trinidad &amp; Tobago Steel Pan: History and Evolution</em>.&nbsp; Port of Spain, Trinidad:&nbsp; Published by author.</p> <p>Goddard, George “Sonny.”&nbsp; 1991.&nbsp; <em>Forty Years in the Steelbands, 1939-1979.&nbsp; </em>Port of Spain, Karia Press.</p> <p>Steumpfle, Stephen.&nbsp; 1995.&nbsp; <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>.&nbsp; Philadelphia: Univ. of Pennsylvania Press.</p> <p>Thomas, Jeffrey Todd. 1985.&nbsp; <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em>&nbsp; M.A. Thesis.&nbsp; Middletown, CT:&nbsp; Wesleyan University.</p> Additional resources recommendations for further information (websites, books, journal articles, etc.) Pan Trinbago<br /><a href="http://www.pantrinbago.co.tt">http://www.pantrinbago.co.tt</a> Contributors Entry authors Amelia Ingram (2004) Classification Hornbostel-Sachs, revised by MIMO 111.241.12 Gongs with divided surface sounding different pitches Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/1xfhMpkoQE0" 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 Bass Pan idiophone metallophone steel pan 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 Steel Band Description An account of the resource <h4>Time Period</h4> <p>20^th century – present<br /><br /></p> <h4>Physical Description</h4> <p>The steel pan (or steel drum) is composed of from one to nine 55-gallon steel barrel drums, suspended with stands.&nbsp; The bottom end of the barrel is open, with its skirt (or sides) cut from 6 inches to full length for bass instruments.&nbsp; The top end of the barrel is sunk into a concave shape with notes raised upward by a process of firing, cooling and hammering to generate the base pitch and its overtones.&nbsp; The lower the instrument, the shallower the pan is sunk.&nbsp; Notes are delineated by grooving of various shapes, either circular, “U” or squared.&nbsp;</p> <p>&nbsp;While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker.&nbsp; On each side of the drum, a hole is drilled to suspend it on metal stands with either nylon/ leather straps or aluminum hooks.&nbsp; Earlier steel pans were suspended around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument.&nbsp; Today, this form is considered a subgroup style called “pan round the neck.”&nbsp; The steel pan’s primary accompaniment is the “engine room” composed of car brake iron, shaker (“shak-shak”), scraper (guiro), congas, and drum set.&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;</p> <h4>History</h4> <p>The steel pan originated in Trinidad during the late 1930s as an accompaniment to the Carnival masquerade bands.&nbsp; It was a replacement for the tamboo bamboo (stamping tube) ensembles that were outlawed by British colonial law in 1884.&nbsp; In its crude form as biscuit drums and metal tins, the steel pan performed the popular percussive “call and response” style of the tamboo bamboo bands.&nbsp; During the 1940s the steel pan transformed from a percussive instrument into a tuned instrument, and its tuning procedures were established.&nbsp; The tuner would sink the pan with a hammer, then groove the note layout on the concave face, temper the drum over a fire, and fine-tune the notes.&nbsp; By the 1950s, it developed into a tuned and fully chromatic instrument to perform a wide variety of local (calypso, soca, parang) and international (European orchestral music, Latin dance, and jazz, etc.) musical styles. Today, the steel band orchestra in Trinidad and Tobago’s Carnival performances has approx. 100 players.&nbsp;&nbsp;&nbsp; &nbsp;</p> <p>&nbsp;</p> <h4>Tuning</h4> <p>Instrument ranges and tuning generally mimic those of the Western string orchestra, from tenor (one drum) to bass (six to nine drums) and each instrument usually covers two and a half chromatic octaves.&nbsp; While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. &nbsp;The drums are traditionally shaped by hand, though recent research and technology has devised a mechanical sinking of the drums (called spin sinking) which allows for greater accuracy and consistency in the bowl’s shape.&nbsp; Other innovations include an expansion of instrument range and electronic amplification.</p> <p>&nbsp;&nbsp;&nbsp;</p> <h4>Technique</h4> <p>The steel pan is played with wood or aluminum mallets wrapped with rubber which allows the instrument to resonate.&nbsp; The thickness of the mallet increases with the number of drums and range of instrument.&nbsp; The bass instrument mallets are made with soft rubber sponge balls.&nbsp; Mallet strokes on the pan must quickly move away from the instrument to allow the drum to resonate.&nbsp; In typical play, the higher (or smaller) notes require more force for an equal volume with the lower (and larger) notes.&nbsp; Due to the relatively short length of resonance, sustained pitches are produced by rapid rolls, or alternation of mallets.&nbsp; The brake iron, the steel pan’s main accompaniment, is held in one hand and struck with a metal rod.&nbsp; Together, several brake iron players perform in a “hocketing” fashion to form a steady metronomic accompaniment for the steel pans.</p> <p>&nbsp;</p> <h4>Notation</h4> <p>Music for steel pan is traditionally learned by rote, however, the professionalisation of performers has led to an increased use of Western notation for performance outside of the traditional Carnival context (such as Trinidad’s World Steelband Festival, which features Western orchestral music).&nbsp; Western musicians learning the music typically learn from written transcriptions of Trinidad steel bands or original written compositions.&nbsp;<br /><br /></p> <h4>Context</h4> <p>The steel pan is primarily performed in Carnival festivals throughout the West Indies and the Caribbean diaspora (New York, Toronto and Nottingham England being the most prominent).&nbsp; Of these, Trinidad’s Panorama Steel Band Competition is the largest and most significant.&nbsp; Expansions of the styles of performance and institutionalization of the bands have allowed other festivals to form, such as Trinidad’s World Steelband Festival for the performance of European orchestral music and the Pan Ramajay festival for jazz.&nbsp; Other contexts derive from the steel pan’s earlier technique of suspending the pan around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument.&nbsp; Today, this form is considered a subgroup style called “pan round the neck” which generates its own competitions and audience during Carnival.<br /><br /></p> <h4>References</h4> <p>Blake, F.I.R.&nbsp; <em>The Trinidad &amp; Tobago Steel Pan: History and Evolution</em>.&nbsp; Port of Spain, Trinidad:&nbsp; Published by author.</p> <p>Goddard, George “Sonny.”&nbsp; 1991.&nbsp; <em>Forty Years in the Steelbands, 1939-1979.&nbsp; </em>Port of Spain, Karia Press.</p> <p>Steumpfle, Stephen.&nbsp; 1995.&nbsp; <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>.&nbsp; Philadelphia: Univ. of Pennsylvania Press.</p> <p>Thomas, Jeffrey Todd. 1985.&nbsp; <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em>&nbsp; M.A. Thesis.&nbsp; Middletown, CT:&nbsp; Wesleyan University.</p> Date A point or period of time associated with an event in the lifecycle of the resource <strong>Time Period:&nbsp; </strong>20^th century – present Contributor An entity responsible for making contributions to the resource Amelia Ingram (2004) Relation A related resource <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaUNZKe8k6eMQTeYBENbp3n8" 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 The engine room is comprised of a “core” set of instruments, including the brake iron (discarded car brake drums), shak-shak (shaker), scratcher (a metal guiro), toc-toc (claves), cowbell, and bottle and spoon. In addition, the contemporary steel band also includes drum set, congas, and occasional other instruments as part of the engine room. The brake iron is played with a metal rod to produce a high-pitched sound. Historical background information about the origins, history, and development of the instrument The engine room has its origins in early tamboo bamboo groups, which would use the brake iron and bottle and spoon as their primary accompaniment. “Mussel Rat” of Gonzales Place tamboo bamboo band is credited with introducing the brake iron in the mid-1930s (Blake, 120). The early steel bands adopted this tradition since many musicians transferred to the steel band when the tamboo bamboo was outlawed from Carnival (Goddard, 38). Tuning Information about the tuning system The engine room percussion are generally non-tuned, although most brake irons are arranged in sets of lower and higher-pitched instruments for musical effect. Congas are also tuned in a standard fourths or fifths tuning. Geography The continent, region, nation where this instrument originates from Trinidad and Tobago Ensemble The musical group in which an instrument can be found Steel Pan Ensemble Materials Steel Date/Era If relevant, the historical time period when the instrument was made 20th century to present Bibliography a list of sources referenced <p>Blake, F.I.R.&nbsp; <em>The Trinidad &amp; Tobago Steel Pan: History and Evolution</em>.&nbsp; Port of Spain, Trinidad:&nbsp; Published by author.</p> <p>Goddard, George “Sonny.”&nbsp; 1991.&nbsp; <em>Forty Years in the Steelbands, 1939-1979.&nbsp; </em>Port of Spain, Karia Press.</p> <p>Steumpfle, Stephen.&nbsp; 1995.&nbsp; <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>.&nbsp; Philadelphia: Univ. of Pennsylvania Press.</p> <p>Thomas, Jeffrey Todd. 1985.&nbsp; <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em>&nbsp; M.A. Thesis.&nbsp; Middletown, CT:&nbsp; Wesleyan University.</p> Additional resources recommendations for further information (websites, books, journal articles, etc.) Pan Trinbago<br /><a href="http://www.pantrinbago.co.tt">http://www.pantrinbago.co.tt</a> Contributors Entry authors Amelia Ingram (2004) Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/299VrbpnFIk" 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 Engine Room idiophone steel pan 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><em>P’ungmul nori</em> 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 <em>pung</em> (literally, “wind”), and <em>mul</em> (literally, “thing” or “object”), with <em>nori</em> meaning “play.” Generally, <em>p’ungmul</em> (sometimes known as <em>nongak</em>) 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, <em>p’ungmul nori</em> is an activity that calls on the collective energy and unity of the community. It stirs up the <em>shinmyong</em> (excited spirit) of the people providing a renewed sense of energy to carry on the difficult tasks of laboring.</p> <p>Instrumentation of <em>p’ungmul</em> groups tends to vary according to region, but the four basic elements of <em>p’ungmul nori</em> are the <em>kkwaenggwari</em> (small gong), <em>changgo</em> (hourglass drum), <em>ching</em> (large gong), and <em>puk</em> (shallow barrel drum). Ensembles will sometimes include the <em>sogo</em> (small frame drum with handle), the <em>nabal</em> (long trumpet), or the <em>taepyongso</em> (conical oboe). In cases where the <em>sogo</em> 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. <em>P’ungmul nori</em> 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 <em>p’ungmul</em> group carry their instruments or have them tied to their body, so that dance movements are possible.</p> <p>The <em>kkwaenggwari</em> and <em>ching</em> (small and large gongs) are the most important instruments in the percussion band. The <em>kkwaenggwari</em> 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 <em>p’ungmul</em> musician will attest that if the large gong loses the pulse, the band will fall apart. The <em>changgo</em>, however, can be seen as the feature instrument of <em>p’ungmul</em> and <em>samul nori</em>. It realizes the complete <em>changdan</em> (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 <em>samul nori</em>. The <em>puk</em> rounds out the quartet of instruments by providing a strong and consistent pulse.</p> <p>Musicians and scholars believe that <em>p’ungmul</em> 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 (<em>namsadang</em>) of the late Choson Dynasty.</p> <p>The ritualistic aspect of <em>p’ungmul</em> percussion bands was extant in the agricultural and coastal countrysides of Korea until the middle of the 20^th 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.</p> <p>Today, <em>p’ungmul nori</em> 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. <em>P’ungmul</em> is significant in that it still exists in Korea today. Where as court music died out with the dynasties, and something like <em>p’ansori</em> (narrative folk singing) is to be enjoyed when there is a skilled <em>p’ansori</em> singer available, <em>p’ungmul</em> is an accessible form of music, its musical patterns relatively easy to learn, pick up, and perform.</p> <p>After the military coup in Korea (1961) and throughout the latter half of the 20^th century, students across Korean campuses employed <em>p’ungmul</em> 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 <em>p’ungmul nori</em> 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 <em>shinmyong</em> and regenerating the spirit of the people.</p> <p></p> <h4>Samul nori</h4> <p><em>Samul nori</em> (literally, “play of four things”) may be seen as a modernized adaptation of <em>p’ungmul nori</em>. 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 <em>samul nori</em> genre are the <em>kkwaenggwari</em>, <em>changgo</em>, <em>ching</em>, and <em>puk</em>. <em>Samul nori</em> stems from the <em>p’ungmul</em> tradition, but it is designed mainly for performance and is reserved for highly skilled, professional musicians.</p> <p>Whereas <em>p’ungmul</em> is performed outdoors, in an open space, <em>samul nori</em> is presented in a small space or on a stage (outdoors or indoors). <em>Samul nori</em> performances are often performed in a seated position. <em>P’ungmul</em> music has simpler rhythm patterns that are repeated, and thus accessible to the wide audience. Indeed a “successful” <em>p’ungmul nori</em> invites as many people as possible, as the <em>shinmyong</em> 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 <em>p’ungmul nori</em>, as the larger goal is to achieve a communal high in spirit. <em>P’ungmul</em> performances are not limited to a particular time frame, coming to a close only when the festivities come to a natural end.</p> <p>On the other hand, the genre of <em>samul nori</em> 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 <em>shinmyong</em> and participate in the exciting spirit that is generated through such brilliance, <em>samul nori</em> is not conducive to audience participation in the way that <em>p’ungmul nori</em> is. It is not easy, nor is it meant, for onlookers to follow along, in rhythm or dance. Since <em>samul nori</em> is tailored as a staged art, the length of pieces is considerably shorter and the program is set before the show. Although <em>samul nori</em> is not completely without improvisation, its scope is limited in comparison to <em>p’ungmul nori</em>, which is more responsive to audience reactions and the atmosphere created at the time of performance. While <em>p’ungmul nori</em> does not come with a “repertory,” and no two performances or groups would play the same material, <em>samul nori</em> has developed a set or standardized pieces.</p> <p><em>Samul nori</em> 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.</p> 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 Sogŭm Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions <p>The <em>kkwaenggwari</em> is a small, brass gong that has a diameter of approximately 19 to 22 cm (7½ to 8½ in), and a rim of approximately 3 to 4 cm (1½ in). It is played with a wooden mallet with a bare wooden disc attached at the tip. The length of the mallet may vary, depending on the purpose of the music, but it is thinner than the mallet used for the <em>ching</em> (large gong). The <em>kkwaenggwari</em> is sometimes known as the <em>sogŭm</em>, literally “small metal.” Nowadays, the <em>kkwaenngwari</em> is made of a combination of copper and zinc, its tone much clearer when the percentage of copper is higher (60-70%). <em>Kkwaenggwaris</em> with a larger percentage of zinc produce a lower, darker tone that does not resonate as well.</p> 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?) <p>There are two types of <em>kkwaenggwari</em> that are identified as male and female. The <em>su-kkwaenggwari </em>(male) is a higher pitched instrument, while the <em>am-kkwaenggwari</em> (female) produces a smoother, lower-pitched tone. Because of its sound penetration, the <em>su-kkwaenggwari</em> is usually used as the lead instrument in farmer’s band music. The <em>am-kkwaenggwari</em> is sometimes used by the <em>pusoe</em>, the “2^nd leader,” and complements the sound of the <em>su-kkwaenggwari</em> that is played by the <em>sangsoe</em>. As a pair, the two <em>kkwaenggwari</em> reflect the principle of <em>ŭm-yang</em> (yin-yang) that represents the balance between dark and light.</p> Historical background information about the origins, history, and development of the instrument <p>The origins of the <em>kkwaenggwari</em> are not certain. However, it seems to have been in use by the time of the unified <em>Silla</em> Dynasty of Korea (668-935 A.D.), though some scholars believe it to have emerged during the <em>Koryŏ</em> period (918-1392 A.D.) The <em>kkwaenggwari</em> is used as the lead instrument in shamanistic music, in <em>p’ungmul nori</em> (farmer’s band music), and in the contemporary concert hall adaptation of <em>p’ungmul nori</em> known as <em>samul nori</em>.</p> <p>Along with the <em>changgo</em> (hourglass drum), <em>ching</em> (large gong), and <em>puk</em> (barrel drum), the <em>kkwaenggwari</em> is one of the four basic instruments in <em>p’ungmul nori</em> and <em>samul nori</em> percussion ensembles.</p> Playing technique methods of playing the instrument, performance practices (how is the instrument played?) <p>The <em>kkwaenggwari</em> is held in one hand with varying grips (loose or firm) that allow for a contrast in tone and articulation as it is struck with the mallet. In addition to varying the grip of the <em>kkwaenggwari</em>, the player can also manipulate tone production by damping the gong with the middle, ring, and pinky fingers, which produces different sounds that mark rhythmic cycles and signal changes in rhythm patterns as well as tempi. Unlike the <em>ching</em> (large gong), its rhythmic technique and patterns are complex. The lead <em>kkwaenggwari</em> player, known as the <em>sangsoe</em>, functions as the head of an ensemble (usually a percussion ensemble) and leads the others in the accompanying dance movements as well as the music.</p> Geography The continent, region, nation where this instrument originates from Korea Classification Hornbostel-Sachs, revised by MIMO 111.241.1 (Individual) gongs Ensemble The musical group in which an instrument can be found Korean Drumming Ensemble Dimensions The physical measurements of the instrument Diameter: 19 to 22 cm (7½ to 8½ in) Rim: 3 to 4 cm (1½ in) Materials Brass, or copper and zinc Bibliography a list of sources referenced <p>Hahn, Myung-Hee. 1998. <em>A Study of Musical Instruments in Korean Traditional Music</em>, translated by Park, Il-Woo, Seoul: The National Center for Korean Traditional Performing Arts, Ministry of Culture and Tourism.</p> <p>Howard, Keith. 1988. <em>Korean Musical Instruments: A Practical Guide</em>, Seoul, Korea: Se-Kwang Music Publishing Co.</p> <p>--------. 1995. <em>Korean Musical Instruments</em>, New York: Oxford University Press.</p> <p>Killick, Andrew. 2002. “Musical Instruments of Korea.” In <em>The Garland Encyclopedia of </em><em>World Music, Vol. 7. East Asia: China, Japan, and Korea,</em> edited by Robert Provine, Yoshihiko Tokumaru, and J. Lawrence Witzleben, New York: Routledge, 821-31.</p> <p>Lee, Hye-Ku. 1981. <em>Essays on Traditional Korean Music</em>, translated and edited by Robert Provine, Seoul, Korea: Royal Asiatic Society, Korea Branch.</p> <p>Pratt, Keith. 1987. <em>Korean Music: Its History and Performance</em>, London: Faber Music Ltd.</p> <p>Sŏng, Kyŏng-rin. 1973. “Korean Musical Instruments.” In <em>Survey of Korean Arts: </em><em>Traditional Music</em>. Seoul, Korea: The National Academy of Arts.</p> 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 <em>Chǒngganbo</em>, which can be traced back to the fifteenth century. The <em>Chǒngganbo</em> 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. <em>Chǒngganbo</em> also allows for subdivision of beats within one box if necessary. The <em>Chǒngganbo</em> 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 <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/Z8DaHEFRFbM" 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 Kkwaenggwari idiophone Korea