1 20 6 Musical Instrument A sound-making object used for musical performance or in a musical context Video Embed YouTube video <iframe width="560" height="315" src="https://www.youtube.com/embed/lQE8GW2jREk" 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 Dulcimer, plucked chordophone plucked string https://wesomeka.wesleyan.edu/vim2/files/original/f6b6ccd06dc2dbb40b9ae54ac37655b4.JPG b3e9b4783766120f01f9b07bdfd4a7de https://wesomeka.wesleyan.edu/vim2/files/original/9bc855b7d095efc032746ff232d8bf5e.JPG 617589a8f2151095c6241f2b3007a83d https://wesomeka.wesleyan.edu/vim2/files/original/bc39b3a1cbc07186c59b06b97b36b2c9.JPG 68a054a8fa573c8cc39bfa8e5a75251b Musical Instrument A sound-making object used for musical performance or in a musical context Video Embed YouTube video <iframe width="560" height="315" src="https://www.youtube.com/embed/pnh2O2--ZM8" 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 Mountain dulcimer Geography The continent, region, nation where this instrument originates from United States 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 Dulcimer, Appalachian chordophone plucked string United States https://wesomeka.wesleyan.edu/vim2/files/original/a01feb8f40fd6e49f08cfe86fece488c.JPG 5f1b33dc4e32de96866064b406842b36 https://wesomeka.wesleyan.edu/vim2/files/original/a4a874dc47094bdb98243905fafb64ce.JPG 95aaa171e2afcfea3820b8b35258f7d7 https://wesomeka.wesleyan.edu/vim2/files/original/7bce21a583c6e9c53a903e5b09106777.JPG fe72cbf230a644f83732fcb21b90cae6 https://wesomeka.wesleyan.edu/vim2/files/original/d71a3326e2dcdb171519b660aad5e6ce.JPG abe548991b10f0c05d0db23ae233a628 https://wesomeka.wesleyan.edu/vim2/files/original/d5fc020d45c462006fd3fc1ab2956d70.JPG 6cdfe42267ab9b2b8e1e96f2e4301ba3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chinese Music Ensemble Relation A related resource <iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaXuTQ8zGQrB_FmTX-XEC-Jw" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Video Embed YouTube video <iframe width="560" height="315" src="https://www.youtube.com/embed/JR-oYh1W624" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Alternative title any additional names or spellings for the instrument Ruan Geography The continent, region, nation where this instrument originates from China Ensemble The musical group in which an instrument can be found Chinese Music Ensemble Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Daruan China chordophone plucked string Musical Instrument A sound-making object used for musical performance or in a musical context Video Embed YouTube video <iframe width="560" height="315" src="https://www.youtube.com/embed/-2FxGfHT9UM" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Berimbau chordophone plucked string Musical Instrument A sound-making object used for musical performance or in a musical context Alternative title any additional names or spellings for the instrument Gayageum, Kayagŭm Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions The kayagum is a 12-string half-tube plucked zither supported by 12 movable bridges. Howard (1988) offers a good description of the kayagum: "Strings run from pegs beneath the top end of the instrument, over a low fixed bridge curved to match the body, across individual movable bridges made from hard wood, to looped cords. Reserve string is held in coils behind each cord loop and the cords themselves are anchored to the horns." There are basically two types of kayagum: popkum (lit. law zither) and sanjo (lit. scattered melodies) kayagum. These two kayagum are differentiated in terms of size, construction, and context. The popkum, the larger one (160 cm long by 30 cm wide by 10 cm high), is also called p'ungnyu (lit. elegance) kayagum or chongak (lit. right music) kayagum. It is associated with court and literati ensembles. Its body is made from a single piece of paulownia wood and the twelve strings are made from raw silk. The sanjo kayagum, the smaller one (about 142 cm long by 23 cm wide by 10 cm high), is associated with folk music genres and thus is believed to have evolved in the 19th century with the emergence of sanjo (improvisational solo instrumental music). Unlike popkum, the sanjo kayagum has the soundboard of paulownia and has a harder wood such as chestnut for the sides and the back. The closer spacing of the strings and the shorter length of the sanjo kayagum facilitates the technique required for the faster passages of sanjo (Clark 2001). Nowadays, people have experimented with kayagum using steel and nylon strings and sometimes 13, 17, 18, 21, 22, 25 strings. Musical, Cultural, and Social Contexts information about the contexts in which the instrument is and its role in culture and society performed (Who plays the instrument? What music do they play? Where, when, why is this instrument played?) Before the birth of sanjo, the kayagum tended to be used in the repertories of the court orchestra such as yominlak, p'yongjohoesang and in the repertories of the string ensemble such as yongsanhoesang, ch'onyonmanse, and bohosa, and be usually performed for leisure among the aristocracy under the name of changak. In the folk music scenes, the kayagum has been used in sinawi (instrumental improvisational music which grew out of the shamanic ritual performance in southern regions), kayagum sanjo and kayagum pyongch'ang (performance accompanying singing). With the contribution of the kayagum player Kim Ch'angjo in the late Choson Dynasty (AD 14~20C), sanjo was developed and popularized with a high improvisational artistry of sinawi and with a variety of changdan (rhythmic phrase) and melodic patterns of the narrative vocal genre p'ansori. The kayagum can be proven to be the fittest instrument to play the sanjo form of music given the fact that the melodies and rhythms of the kayagum sanjo are the most technically sophisticated in comparison with the sanjo played by other instruments, and that tanmori, a very fast changdan, is found only in kayagum sanjo (Hwang 2002). In contemporary music contexts, kayagum is not only played for traditional repertoires of changak and folk music, but it is one of the most favored instruments for ch'angjak kukak (newly-composed Korean traditional music) with the pioneer of Hwang Byungki and is modernized to the extent that the kayagum quartet performs the classical repertoires such as Vivaldi's "Four Seasons."<o:p></o:p> Playing technique methods of playing the instrument, performance practices (how is the instrument played?) The performer, sitting in a cross-legged position, puts the head of the kayagum on his or her right knee. He or she plucks and flicks the strings with the index and middle fingers, and the thumb of the right hand, and presses down the strings to the left of the movable bridges with the left hand (Clark 2001). While other Asian zithers such as the Chinese zheng, Japanese koto, Mongolian yatga, and Vietnamese dan tranh are played with the picks or plectra, the wide vibrato and pitch-bending characteristics of kayagum are achieved by pressing and pulling the string with the bare fingers. Killick (2002) describes the vibrato of the kayagum as "a sound that is warmer, more intimate, and less bright than that of most similar instruments," and Clark as "comparatively deep, wide and round." The various techniques of plucking and pressing produces nonghyon (lit. vibrating strings), the micro-tonal shading and subtle vibrato, and yo-um (lit. remaining sound), the "after-tone", which are the key aesthetics of Korean music. <o:p></o:p> Geography The continent, region, nation where this instrument originates from Korea Classification Hornbostel-Sachs, revised by MIMO 314.122 (chordophone) True board zither (the plane of the strings is parallel with that of the string bearer) with resonator box (box zither), the resonator is made from slats. Materials Strings: silk Body: paulownia wood Bibliography a list of sources referenced Clark, Jocelyn. 2001. CD Liner Note to Hwang Byungki Kayagum Masterpieces Series. Seoul, Korea: C & L Music Inc. Howard, Keith. 1988. Korean Musical Instruments: A Practical Guide. Seoul, Korea: Se-Kwang Music Publishing Co. 163–90 Hwang, Byungki. 2002. "Sanjo," in The Garland Encyclopedia of World Music, Volume 7, East Asia: China, Japan and Korea. Edited by Robert C. Provine, Yoshiko Tokumaru and J. Lawrence Witzleben. New York and London: Routledge. Killick, Andrew P. 2002. "Musical Instruments of Korea," in The Garland Encyclopedia of World Music, Volume 7, East Asia: China, Japan and Korea. Edited by Robert C. Provine, Yoshiko Tokumaru and J. Lawrence Witzleben. New York and London: Routledge. Discography Choi, Moon-jin. 2001. Pyeongjohoesang Gayageum Jeongak II. Seoul, Korea: Jigu Records. Hwang, Pyong-gi. Music from Korea. Vol. one, The Kayakeum. Honolulu: East-West Center. Hwang, Byungki. 2001. Kayagum Masterpieces. Vol. 1~4. Seoul, Korea: C & L Music Inc. Kim, Chukpa. 1985. Korean Kayagum Music Sanjo. Tokyo, Japan: King Records. Song, Kum-yon Chi & Song-ja. 1986. Music of the Kayagum. Tokyo: JVC World Sounds. Various Artists. 1995. Korea: Music of Kayagum. Wea/Sire/Discovery/Ant Tokyo. Contributors Entry authors Yoonjah Choi (2004) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kayagum chordophone Korea plucked string https://wesomeka.wesleyan.edu/vim2/files/original/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 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). 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?) 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. Historical background information about the origins, history, and development of the instrument 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. 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