3 20 74 https://wesomeka.wesleyan.edu/vim2/files/original/71d0dffa5eeac257f4840808a2e564aa.jpg f44d44c8b12bf6a53d54e4a28e1b34c7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Javanese Gamelan Description An account of the resource Gamelan is an ensemble consisting of predominantly metallophone and gong type instruments. The instruments produce tones when struck with mallets. The ensemble, in various sizes and forms, can be found in a number of Indonesian islands. In Java and Bali, gamelan has developed into an expansive ensemble, while a variety of smaller ensembles continue to exist. In Java alone, there exist several forms of gamelan ensembles. There are two especially known main gamelan styles: Sundanese (West Javanese) and Javanese gamelan. The following descriptions focus on Central Javanese gamelan. ----- INSTRUMENTS AND THEIR FUNCTIONS IN THE ENSEMBLE Javanese gamelan ensemble is known for its expansive or grandeur ensemble, employing a rich variety of instrument types. In a full set of gamelan, beside metallophones and gongs, there are other types of instruments, including a set of drums (kendhang), bowed- and plucked-strings (rebab and celempung), xylophone (gambang), and a bamboo flute (suling). A “soloist” female singing (sindhen) and male chorus (gerong) are also present in the gamelan ensemble. Each or a group of instruments and singing has a particular function in the ensemble, although there is a degree of flexibility. Generally the instruments may fall into the following three functional groupings: (1) instruments that delineate the structure of the piece; (2) instruments that guide temporal flow in the music; (3) and instruments that carries melodies in both simple and elaborate forms. Instruments in the first category include large and medium hanging gongs (gong ageng and gong suwukan), small size hanging gongs (kempul), large standing gongs (kenong), and a pair of small standing gongs (kethuk-kempyang). The stroke of a large hanging gong marks the end of the main musical unit (gongan), while other gongs (kenong, kempul, and kethuk-kempyang, respectively) subdivide it in the order of its importance. Instruments in the second category are a set of two-headed drums (kendhang). The drumming style is defined by the use of particular kendhang or a combination of them. The drumming may consist of a repeatable, simple rhythmic configuration (kendhang satunggal and kendhang kalih) to elaborate and animated rhythm (kendhang ciblon) that are associated with dance movements. The third category consists of three instrumental groupings: (a) instruments that carries melodic skeleton of the piece (balungan): saron, demung, and slenthem; (b) instruments that carries elaborate form of melodies, encompassing wide melodic registers (rebab, gambang, and singing), medium registers (gender barung) and narrow register (celempung, gender panerus, and suling). Generally, the wider their registers the more importance are their melodic functions; (3) instruments whose functions are to mediate between group a (balungan) and group b (elaborating instruments): bonang barung, bonang panerus, and peking. The anticipatory nature of the melodies of these instruments (especially bonang barung) has earned them the status of melodic guidance of the ensemble. Gamelan instruments can also be grouped according to the volume of the sound they can produced: soft-sounding and loud-sounding instruments. The soft-sounding instrument are positioned in the middle- and side-front to the middle row—rebab, gender, gambang, celempung, suling, slenthem—together with the singers. The loud-sounding instruments are in the side-front, middle, and back rows: bonang, kendhang, a group of saron, ketuk-kempyang, kenong, kempul, gong. Soft-loud category is an important basis for the playing style of gamelan and the ensemble’s interplay. ----- TUNING SYSTEM, PATHET, AND GENDHING A full gamelan set employs two tuning systems, slendro and pelog (thus, the full gamelan is actually a double sets, with the slendro set usually facing to the front and the pelog set to the side). The two sets are never played simultaneously, however. The slendro tuning consists of five notes per octave. The five intervals consist of short and medium steps. The difference between the two intervals is so small, however, that they are often described as equal or nearly equal intervals. The pelog has seven pitches per octave (1 2 3 4 5 6 7), but a gendhing is composed on the basis of the combination of sets of five pitch positions (1 2 3 5 6; 1 2 4 5 6; 2 3 5 6 7). In this sense, pelog is a pentatonic system, employing not only one but three basic five-pitch scales. Unlike slendro, narrow and wide intervals in each of these scales are apparent. Another musical concept associated with tuning system is modal classification called pathet. It is a system of the hierarchical use of tones (and/or different use of scale degrees, especially in pelog), supported by characteristics of instruments or vocal idioms to be used to approach these tones and the register of the tones used in composition. Pathet circumscribes general mood or emotive content of a composition. There are three pathet in each of the tuning systems. Composition in gamelan (gendhing) is determined and arranged by a number of parameters. First, a gendhing is composed in a particular tuning system and pathet. Secondly, a composition is framed in one of the formal structures (gongan). There are a docent formal structures defined in binary way by the stroke of gong, kenong, kempul, and kethuk. Thirdly, the melodies of gendhing are arranged in a metrical unit of four notes (gatra). ----- PERFORMANCE CONTEXTS AND HISTORY Gamelan may be performed independently, i.e., to be listened for its own sake. But gamelan is also an essential accompaniment for theatrical performances, such as dance drama and shadow wayang puppet play. Whether accompanying theatrical forms or not, gamelan is performed in several different contexts, especially in rite-of passages events and communal festivals. As history and technology advance, other contexts are created, including gamelan performance on radio and television stations. From little historical evidence we could find, it is safe to say that smaller ensembles, whether they accompanied singing or not, characterized music ensembles during the early period of Javanese history. In the 16th to 17th century, the ensemble began to develop into larger size. This was achieved by synchronizing loud- and soft-sounding instruments and vocal repertoire into an integrated musical concept. The result was an expansive size of ensemble with its hundreds of repertoire as can be found in today’s gamelan and gamelan practice. Contributor An entity responsible for making contributions to the resource Sumarsam (2004) Musical Instrument A sound-making object used for musical performance or in a musical context Video Embed YouTube video <iframe width="560" height="315" src="https://www.youtube.com/embed/ww1V7om3wUE" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kempul gamelan idiophone Java 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 The kendhang is a two-headed, barrel shaped, asymmetrical drum with heads that are stretched with leather hoops laced in a “Y” pattern. 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. 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 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. Historical background information about the origins, history, and development of the instrument 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 9th century Borobudur Buddhist monument in Central Java and the 14th 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). 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 <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 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Javanese Gamelan Description An account of the resource Gamelan is an ensemble consisting of predominantly metallophone and gong type instruments. The instruments produce tones when struck with mallets. The ensemble, in various sizes and forms, can be found in a number of Indonesian islands. In Java and Bali, gamelan has developed into an expansive ensemble, while a variety of smaller ensembles continue to exist. In Java alone, there exist several forms of gamelan ensembles. There are two especially known main gamelan styles: Sundanese (West Javanese) and Javanese gamelan. The following descriptions focus on Central Javanese gamelan. ----- INSTRUMENTS AND THEIR FUNCTIONS IN THE ENSEMBLE Javanese gamelan ensemble is known for its expansive or grandeur ensemble, employing a rich variety of instrument types. In a full set of gamelan, beside metallophones and gongs, there are other types of instruments, including a set of drums (kendhang), bowed- and plucked-strings (rebab and celempung), xylophone (gambang), and a bamboo flute (suling). A “soloist” female singing (sindhen) and male chorus (gerong) are also present in the gamelan ensemble. Each or a group of instruments and singing has a particular function in the ensemble, although there is a degree of flexibility. Generally the instruments may fall into the following three functional groupings: (1) instruments that delineate the structure of the piece; (2) instruments that guide temporal flow in the music; (3) and instruments that carries melodies in both simple and elaborate forms. Instruments in the first category include large and medium hanging gongs (gong ageng and gong suwukan), small size hanging gongs (kempul), large standing gongs (kenong), and a pair of small standing gongs (kethuk-kempyang). The stroke of a large hanging gong marks the end of the main musical unit (gongan), while other gongs (kenong, kempul, and kethuk-kempyang, respectively) subdivide it in the order of its importance. Instruments in the second category are a set of two-headed drums (kendhang). The drumming style is defined by the use of particular kendhang or a combination of them. The drumming may consist of a repeatable, simple rhythmic configuration (kendhang satunggal and kendhang kalih) to elaborate and animated rhythm (kendhang ciblon) that are associated with dance movements. The third category consists of three instrumental groupings: (a) instruments that carries melodic skeleton of the piece (balungan): saron, demung, and slenthem; (b) instruments that carries elaborate form of melodies, encompassing wide melodic registers (rebab, gambang, and singing), medium registers (gender barung) and narrow register (celempung, gender panerus, and suling). Generally, the wider their registers the more importance are their melodic functions; (3) instruments whose functions are to mediate between group a (balungan) and group b (elaborating instruments): bonang barung, bonang panerus, and peking. The anticipatory nature of the melodies of these instruments (especially bonang barung) has earned them the status of melodic guidance of the ensemble. Gamelan instruments can also be grouped according to the volume of the sound they can produced: soft-sounding and loud-sounding instruments. The soft-sounding instrument are positioned in the middle- and side-front to the middle row—rebab, gender, gambang, celempung, suling, slenthem—together with the singers. The loud-sounding instruments are in the side-front, middle, and back rows: bonang, kendhang, a group of saron, ketuk-kempyang, kenong, kempul, gong. Soft-loud category is an important basis for the playing style of gamelan and the ensemble’s interplay. ----- TUNING SYSTEM, PATHET, AND GENDHING A full gamelan set employs two tuning systems, slendro and pelog (thus, the full gamelan is actually a double sets, with the slendro set usually facing to the front and the pelog set to the side). The two sets are never played simultaneously, however. The slendro tuning consists of five notes per octave. The five intervals consist of short and medium steps. The difference between the two intervals is so small, however, that they are often described as equal or nearly equal intervals. The pelog has seven pitches per octave (1 2 3 4 5 6 7), but a gendhing is composed on the basis of the combination of sets of five pitch positions (1 2 3 5 6; 1 2 4 5 6; 2 3 5 6 7). In this sense, pelog is a pentatonic system, employing not only one but three basic five-pitch scales. Unlike slendro, narrow and wide intervals in each of these scales are apparent. Another musical concept associated with tuning system is modal classification called pathet. It is a system of the hierarchical use of tones (and/or different use of scale degrees, especially in pelog), supported by characteristics of instruments or vocal idioms to be used to approach these tones and the register of the tones used in composition. Pathet circumscribes general mood or emotive content of a composition. There are three pathet in each of the tuning systems. Composition in gamelan (gendhing) is determined and arranged by a number of parameters. First, a gendhing is composed in a particular tuning system and pathet. Secondly, a composition is framed in one of the formal structures (gongan). There are a docent formal structures defined in binary way by the stroke of gong, kenong, kempul, and kethuk. Thirdly, the melodies of gendhing are arranged in a metrical unit of four notes (gatra). ----- PERFORMANCE CONTEXTS AND HISTORY Gamelan may be performed independently, i.e., to be listened for its own sake. But gamelan is also an essential accompaniment for theatrical performances, such as dance drama and shadow wayang puppet play. Whether accompanying theatrical forms or not, gamelan is performed in several different contexts, especially in rite-of passages events and communal festivals. As history and technology advance, other contexts are created, including gamelan performance on radio and television stations. From little historical evidence we could find, it is safe to say that smaller ensembles, whether they accompanied singing or not, characterized music ensembles during the early period of Javanese history. In the 16th to 17th century, the ensemble began to develop into larger size. This was achieved by synchronizing loud- and soft-sounding instruments and vocal repertoire into an integrated musical concept. The result was an expansive size of ensemble with its hundreds of repertoire as can be found in today’s gamelan and gamelan practice. Contributor An entity responsible for making contributions to the resource Sumarsam (2004) Musical Instrument A sound-making object used for musical performance or in a musical context Video Embed YouTube video <iframe width="560" height="315" src="https://www.youtube.com/embed/24fNVI6ZRPo" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kenong gamelan idiophone Java https://wesomeka.wesleyan.edu/vim2/files/original/aac37a613330a55b04f22f9886400412.jpg 1c38b8f7242812c2f990acf07e4194f3 https://wesomeka.wesleyan.edu/vim2/files/original/7208c66f9f835a78c112025cb62fc769.jpg 1f8950c6d8548fb2972afbeefcb63849 https://wesomeka.wesleyan.edu/vim2/files/original/d787d450b3a5c9da4472b48b491e7bb7.jpg cf08614aeedc45ea38bc7244bacf42c7 https://wesomeka.wesleyan.edu/vim2/files/original/1f74f5d0139c453ad555b7f7d294b83d.jpg 7616a92291729b01beb92e2cabea5e82 https://wesomeka.wesleyan.edu/vim2/files/original/8e50b870acaafdfac7e3f61dcdd1b670.jpg f8613dd8b52d9707be06a8062bcc318e https://wesomeka.wesleyan.edu/vim2/files/original/b910b8395c3179ea73f69c0ac0402713.jpg 887925cec24d4a95244fb9be252510f4 https://wesomeka.wesleyan.edu/vim2/files/original/1d06e3f78e8b599633ed308ec3a504ed.jpg 22cb8a43d23604038eee9f0b7c8f9f6a https://wesomeka.wesleyan.edu/vim2/files/original/4a6222c5ebd8dd83cc8cd29b473ea1b4.jpg 070478165855f4e4b6eae5a8e9ebb9f5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource West African Drumming Relation A related resource <iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaU9av8Bg95wf3lb48xJSePn" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Video Embed YouTube video <iframe width="560" height="315" src="https://www.youtube.com/embed/YncVWsmO-pI" 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 Kidi membranophone Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Korean Drumming Description An account of the resource <h4>P’ungmul nori</h4> P’ungmul nori is one of the oldest and most popular folk arts of Korea deeply rooted in the country’s traditionally agrarian lifestyle and culture. The term consists of pung (literally, “wind”), and mul (literally, “thing” or “object”), with nori meaning “play.” Generally, p’ungmul (sometimes known as nongak) refers to the percussion bands that performed in farming villages on various occasions, festivities, and celebrations, including planting and harvesting seasons, New Year, Full Moon, to invoke blessings and repel evil spirits. But perhaps most importantly, p’ungmul nori is an activity that calls on the collective energy and unity of the community. It stirs up the shinmyong (excited spirit) of the people providing a renewed sense of energy to carry on the difficult tasks of laboring. Instrumentation of p’ungmul groups tends to vary according to region, but the four basic elements of p’ungmul nori are the kkwaenggwari (small gong), changgo (hourglass drum), ching (large gong), and puk (shallow barrel drum). Ensembles will sometimes include the sogo (small frame drum with handle), the nabal (long trumpet), or the taepyongso (conical oboe). In cases where the sogo is present, its player will usually perform acrobatics with a ribbon tied to a headpiece, while the rest of the ensemble dances the steps to a procession. P’ungmul nori traditionally takes place outside in an open space, and while it is considered to be music, it is dance is an integral and inseparable aspect of the whole performance. As such, all members of a p’ungmul group carry their instruments or have them tied to their body, so that dance movements are possible. The kkwaenggwari and ching (small and large gongs) are the most important instruments in the percussion band. The kkwaenggwari is played by the leader who directs the group in changes of rhythm patterns and tempi. The ching, on the other hand, plays a key role in the ensemble by providing the basic beats that unify the performance. Many a p’ungmul musician will attest that if the large gong loses the pulse, the band will fall apart. The changgo, however, can be seen as the feature instrument of p’ungmul and samul nori. It realizes the complete changdan (rhythmic cycle) and carries the most complex rhythm patterns. It is also the only instrument in the ensemble played with both hands. The changgo can reach great levels of virtuosity, especially in samul nori. The puk rounds out the quartet of instruments by providing a strong and consistent pulse. Musicians and scholars believe that p’ungmul music has its origins in shamanism, the indigenous religion of Korea. But it is difficult to say where this influence ends not only because data on the history of this genre is sparse, but also because its evolution has been affected by military music, Buddhism, its role as pure entertainment, and its connections with the itinerant performing troupes (namsadang) of the late Choson Dynasty. The ritualistic aspect of p’ungmul percussion bands was extant in the agricultural and coastal countrysides of Korea until the middle of the 20th century. But this tradition has slowly died out in the wake of modernization, the influence of western religions, an overall decrease in superstitious rituals, and the rise of technology not only in farming materials and equipment, but also in various leisure items that focus more on individual and indoor entertainment. Today, p’ungmul nori remains a source of entertainment and is preserved in festivals, parades, and in performance contexts. It is also an art form that carries the identity of the Korean people, especially in a time where western music seems to have eclipsed much of Korean traditional music. P’ungmul is significant in that it still exists in Korea today. Where as court music died out with the dynasties, and something like p’ansori (narrative folk singing) is to be enjoyed when there is a skilled p’ansori singer available, p’ungmul is an accessible form of music, its musical patterns relatively easy to learn, pick up, and perform. After the military coup in Korea (1961) and throughout the latter half of the 20th century, students across Korean campuses employed p’ungmul as a medium to empower the masses and rally strength in demonstrating against the authoritarian government. Its dynamic, powerful rhythms, and its accessibility to the masses made p’ungmul nori a popular channel and source for provocation, mobilization, energy, and solidarity. In Korea’s culture of survival, p’ungmul has played an important role in rousing the shinmyong and regenerating the spirit of the people. <h4>Samul nori</h4> Samul nori (literally, “play of four things”) may be seen as a modernized adaptation of p’ungmul nori. It first emerged on the stages of Korea in the late 1970s with a tremendous following, under the leadership of Kim Duk Soo who is credited as the leader of this movement. The four instruments in the samul nori genre are the kkwaenggwari, changgo, ching, and puk. Samul nori stems from the p’ungmul tradition, but it is designed mainly for performance and is reserved for highly skilled, professional musicians. Whereas p’ungmul is performed outdoors, in an open space, samul nori is presented in a small space or on a stage (outdoors or indoors). Samul nori performances are often performed in a seated position. P’ungmul music has simpler rhythm patterns that are repeated, and thus accessible to the wide audience. Indeed a “successful” p’ungmul nori invites as many people as possible, as the shinmyong of the group will be more euphoric when there are more people involved. The boundary and space (physical, emotional) between player and audience is minimal in p’ungmul nori, as the larger goal is to achieve a communal high in spirit. P’ungmul performances are not limited to a particular time frame, coming to a close only when the festivities come to a natural end. On the other hand, the genre of samul nori is performed by an average of 4-6 performers who are somewhat distanced from the audience as they showcase a program of extremely complex and technically difficult patterns. Although audiences can certainly sense the shinmyong and participate in the exciting spirit that is generated through such brilliance, samul nori is not conducive to audience participation in the way that p’ungmul nori is. It is not easy, nor is it meant, for onlookers to follow along, in rhythm or dance. Since samul nori is tailored as a staged art, the length of pieces is considerably shorter and the program is set before the show. Although samul nori is not completely without improvisation, its scope is limited in comparison to p’ungmul nori, which is more responsive to audience reactions and the atmosphere created at the time of performance. While p’ungmul nori does not come with a “repertory,” and no two performances or groups would play the same material, samul nori has developed a set or standardized pieces. Samul nori is an urban phenomenon that has been immensely popular with Korean youth. It has sparked renewed interest in traditional art forms among Koreans in the face of Korea’s ever-westernizing musical arena. Contributor An entity responsible for making contributions to the resource Hae Joo Kim (2005) Musical Instrument A sound-making object used for musical performance or in a musical context Alternative title any additional names or spellings for the instrument Sogŭm Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions The kkwaenggwari 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 ching (large gong). The kkwaenggwari is sometimes known as the sogŭm, literally “small metal.” Nowadays, the kkwaenngwari is made of a combination of copper and zinc, its tone much clearer when the percentage of copper is higher (60-70%). Kkwaenggwaris with a larger percentage of zinc produce a lower, darker tone that does not resonate as well. 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?) There are two types of kkwaenggwari that are identified as male and female. The su-kkwaenggwari (male) is a higher pitched instrument, while the am-kkwaenggwari (female) produces a smoother, lower-pitched tone. Because of its sound penetration, the su-kkwaenggwari is usually used as the lead instrument in farmer’s band music. The am-kkwaenggwari is sometimes used by the pusoe, the “2nd leader,” and complements the sound of the su-kkwaenggwari that is played by the sangsoe. As a pair, the two kkwaenggwari reflect the principle of ŭm-yang (yin-yang) that represents the balance between dark and light. Historical background information about the origins, history, and development of the instrument The origins of the kkwaenggwari are not certain. However, it seems to have been in use by the time of the unified Silla Dynasty of Korea (668-935 A.D.), though some scholars believe it to have emerged during the Koryŏ period (918-1392 A.D.) The kkwaenggwari is used as the lead instrument in shamanistic music, in p’ungmul nori (farmer’s band music), and in the contemporary concert hall adaptation of p’ungmul nori known as samul nori. Along with the changgo (hourglass drum), ching (large gong), and puk (barrel drum), the kkwaenggwari is one of the four basic instruments in p’ungmul nori and samul nori percussion ensembles. Playing technique methods of playing the instrument, performance practices (how is the instrument played?) The kkwaenggwari 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 kkwaenggwari, 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 ching (large gong), its rhythmic technique and patterns are complex. The lead kkwaenggwari player, known as the sangsoe, 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. 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 Hahn, Myung-Hee. 1998. A Study of Musical Instruments in Korean Traditional Music, translated by Park, Il-Woo, Seoul: The National Center for Korean Traditional Performing Arts, Ministry of Culture and Tourism. Howard, Keith. 1988. Korean Musical Instruments: A Practical Guide, Seoul, Korea: Se-Kwang Music Publishing Co. --------. 1995. Korean Musical Instruments, New York: Oxford University Press. Killick, Andrew. 2002. “Musical Instruments of Korea.” In The Garland Encyclopedia of World Music, Vol. 7. East Asia: China, Japan, and Korea, edited by Robert Provine, Yoshihiko Tokumaru, and J. Lawrence Witzleben, New York: Routledge, 821-31. Lee, Hye-Ku. 1981. Essays on Traditional Korean Music, translated and edited by Robert Provine, Seoul, Korea: Royal Asiatic Society, Korea Branch. Pratt, Keith. 1987. Korean Music: Its History and Performance, London: Faber Music Ltd. Sŏng, Kyŏng-rin. 1973. “Korean Musical Instruments.” In Survey of Korean Arts: Traditional Music. Seoul, Korea: The National Academy of Arts. Contributors Entry authors Hae Joo Kim (2005) Notation The style of written music that the player reads Traditionally, Korean percussion instruments used a notational system called the Chǒngganbo, which can be traced back to the fifteenth century. The Chǒngganbo is a framework of vertical and horizontal lines that intersect to create small boxes that are read in columns (top to bottom, right to left), with icons or symbols representing various strokes placed within each box, one box being equal to one beat. In ensemble music, one column would carry the notation for one instrument, and one line (i.e. one segment from top to bottom) would denote one rhythmic cycle. Chǒngganbo also allows for subdivision of beats within one box if necessary. The Chǒngganbo system is still in use today, although Korean percussion instruments also use western staff notation. The National Center for Korean Traditional Performing Arts in Korea uses and prints materials in both systems. Video Embed YouTube video <iframe width="560" height="315" src="https://www.youtube.com/embed/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 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource West African Drumming Relation A related resource <iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaU9av8Bg95wf3lb48xJSePn" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Video Embed YouTube video <iframe width="560" height="315" src="https://www.youtube.com/embed/a8BRsacMD8k" 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 Konkoni membranophone Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource West African Drumming Relation A related resource <iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaU9av8Bg95wf3lb48xJSePn" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Video Embed YouTube video <iframe width="560" height="315" src="https://www.youtube.com/embed/KI36rQFRmH8" 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 Luna membranophone 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?) Right Hand: 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. 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. Left Hand: 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 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. Taggu, 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 hecchu, 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. Right Head: 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 karunai. 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. 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. 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. Left Head: 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. 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. Historical background information about the origins, history, and development of the instrument The name mrdanga appears in the Natyasastra, but the modern instrument is almost certainly different. The application of tuning loads also dates at least to the Natyasastra and may be significantly older. The use of mnemonic syllables to refer to strokes and patterns is also recorded in the Natyasastra 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. Sankaran, Trichy. 1994. The Rhythmic Principles and Practices of South Indian Drumming. Toronto: Lalith Publishers. Contributors Entry authors David Nelson (2004) Video Embed YouTube video <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 mrdangam preferred over mridangam 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 bharatanatyam, 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 https://wesomeka.wesleyan.edu/vim2/files/original/7c78e0ff5a86a290299ed3c30d0813f1.jpg 988342a125a37f66c72849482ca7c20f https://wesomeka.wesleyan.edu/vim2/files/original/74690e1fc44d92eecc5e3e03f471569c.jpg 58f305ddffae55224d7713c0828f1fdf https://wesomeka.wesleyan.edu/vim2/files/original/11d94b20fbfc00bec7d61abc71317ea8.jpg f1721893fbaadf8d567e0936395ff85b https://wesomeka.wesleyan.edu/vim2/files/original/cda6b652a2c85270cb9bbe3e281082be.jpg 1a7128d9c08b78e204c91ae8cd1ff483 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/wCQMQKuiGIc" 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 Ney aerophone https://wesomeka.wesleyan.edu/vim2/files/original/25477c33f78e63179582445c8bd65e78.jpg 0c0a7b087ba544af1a5b43f8944ade24 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 Batá Drumming Relation A related resource <iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaXBTEp1_aJsKEJbTLt78oPG" 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/h99UO7JJois" 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 Okonkolo membranophone https://wesomeka.wesleyan.edu/vim2/files/original/fc21a8908d411352a06760cdc5d63fa4.jpg 37601f7ade5438a76ca1bfebccf566a2 https://wesomeka.wesleyan.edu/vim2/files/original/9706ff0f590f0e06ba014effadc86436.jpg cbb3f5585567a84f8824ccd7e84bee7c 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/zYvqRJmk3yE" 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 Pandeiro idiophone membranophone https://wesomeka.wesleyan.edu/vim2/files/original/4243d5a10a4d8cb77ebf5f1235892eb0.jpg a241e8c991992c4bd8f70e2a5cbe0fd4 https://wesomeka.wesleyan.edu/vim2/files/original/9c65e181f8550e388545868221b1fd95.jpg 3873bf02dedacfe3d019addb52f8797a 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/iynOQZwx38I" 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 Parai Tappu membranophone Musical Instrument A sound-making object used for musical performance or in a musical context Video Embed YouTube video <iframe width="560" height="315" src="https://www.youtube.com/embed/e91hPIspfww" 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 Patsi membranophone https://wesomeka.wesleyan.edu/vim2/files/original/557841ec1c73c19340aa614bb63b7a97.jpg 69a7c8c0e53b55b84e402c085eaadf76 https://wesomeka.wesleyan.edu/vim2/files/original/cf59403c8dacfee6599320d9b130f222.jpg 79aaae29174e989f0badcced88029521 https://wesomeka.wesleyan.edu/vim2/files/original/dec3006d4d43f7e4ae78c48609c6b0c3.jpg 573a131c3b37f5fcf84bf77471c3781f 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/7uubvLF5Q-s" 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 Piano chordophone https://wesomeka.wesleyan.edu/vim2/files/original/2e36bb15c340ece137332531de069405.jpg 9517a9d385de3c44056ab32e6a958191 https://wesomeka.wesleyan.edu/vim2/files/original/33d03df9af0d2d6240be86cda003258a.jpg 86281c24e00536e30fe239d62a3acd92 https://wesomeka.wesleyan.edu/vim2/files/original/d10345b57109a5f099a9c0793efc5fa2.jpg 0ef396353cbbca84d845fa8c7ba1bdef https://wesomeka.wesleyan.edu/vim2/files/original/2d889fc766c5e13c97972155d2c1ab99.jpg 29ed2ea2cead92234697e040c1955a9c https://wesomeka.wesleyan.edu/vim2/files/original/6eadcd6a02fae59f41a67f0067506b74.jpg e7ee2e96a9fbb4b69be7136e17785579 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/JXujzX2lhTw" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> <iframe width="560" height="315" src="https://www.youtube.com/embed/yADgqH1qe3k" 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 Prepared Piano chordophone Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Korean Drumming Description An account of the resource <h4>P’ungmul nori</h4> P’ungmul nori is one of the oldest and most popular folk arts of Korea deeply rooted in the country’s traditionally agrarian lifestyle and culture. The term consists of pung (literally, “wind”), and mul (literally, “thing” or “object”), with nori meaning “play.” Generally, p’ungmul (sometimes known as nongak) refers to the percussion bands that performed in farming villages on various occasions, festivities, and celebrations, including planting and harvesting seasons, New Year, Full Moon, to invoke blessings and repel evil spirits. But perhaps most importantly, p’ungmul nori is an activity that calls on the collective energy and unity of the community. It stirs up the shinmyong (excited spirit) of the people providing a renewed sense of energy to carry on the difficult tasks of laboring. Instrumentation of p’ungmul groups tends to vary according to region, but the four basic elements of p’ungmul nori are the kkwaenggwari (small gong), changgo (hourglass drum), ching (large gong), and puk (shallow barrel drum). Ensembles will sometimes include the sogo (small frame drum with handle), the nabal (long trumpet), or the taepyongso (conical oboe). In cases where the sogo is present, its player will usually perform acrobatics with a ribbon tied to a headpiece, while the rest of the ensemble dances the steps to a procession. P’ungmul nori traditionally takes place outside in an open space, and while it is considered to be music, it is dance is an integral and inseparable aspect of the whole performance. As such, all members of a p’ungmul group carry their instruments or have them tied to their body, so that dance movements are possible. The kkwaenggwari and ching (small and large gongs) are the most important instruments in the percussion band. The kkwaenggwari is played by the leader who directs the group in changes of rhythm patterns and tempi. The ching, on the other hand, plays a key role in the ensemble by providing the basic beats that unify the performance. Many a p’ungmul musician will attest that if the large gong loses the pulse, the band will fall apart. The changgo, however, can be seen as the feature instrument of p’ungmul and samul nori. It realizes the complete changdan (rhythmic cycle) and carries the most complex rhythm patterns. It is also the only instrument in the ensemble played with both hands. The changgo can reach great levels of virtuosity, especially in samul nori. The puk rounds out the quartet of instruments by providing a strong and consistent pulse. Musicians and scholars believe that p’ungmul music has its origins in shamanism, the indigenous religion of Korea. But it is difficult to say where this influence ends not only because data on the history of this genre is sparse, but also because its evolution has been affected by military music, Buddhism, its role as pure entertainment, and its connections with the itinerant performing troupes (namsadang) of the late Choson Dynasty. The ritualistic aspect of p’ungmul percussion bands was extant in the agricultural and coastal countrysides of Korea until the middle of the 20th century. But this tradition has slowly died out in the wake of modernization, the influence of western religions, an overall decrease in superstitious rituals, and the rise of technology not only in farming materials and equipment, but also in various leisure items that focus more on individual and indoor entertainment. Today, p’ungmul nori remains a source of entertainment and is preserved in festivals, parades, and in performance contexts. It is also an art form that carries the identity of the Korean people, especially in a time where western music seems to have eclipsed much of Korean traditional music. P’ungmul is significant in that it still exists in Korea today. Where as court music died out with the dynasties, and something like p’ansori (narrative folk singing) is to be enjoyed when there is a skilled p’ansori singer available, p’ungmul is an accessible form of music, its musical patterns relatively easy to learn, pick up, and perform. After the military coup in Korea (1961) and throughout the latter half of the 20th century, students across Korean campuses employed p’ungmul as a medium to empower the masses and rally strength in demonstrating against the authoritarian government. Its dynamic, powerful rhythms, and its accessibility to the masses made p’ungmul nori a popular channel and source for provocation, mobilization, energy, and solidarity. In Korea’s culture of survival, p’ungmul has played an important role in rousing the shinmyong and regenerating the spirit of the people. <h4>Samul nori</h4> Samul nori (literally, “play of four things”) may be seen as a modernized adaptation of p’ungmul nori. It first emerged on the stages of Korea in the late 1970s with a tremendous following, under the leadership of Kim Duk Soo who is credited as the leader of this movement. The four instruments in the samul nori genre are the kkwaenggwari, changgo, ching, and puk. Samul nori stems from the p’ungmul tradition, but it is designed mainly for performance and is reserved for highly skilled, professional musicians. Whereas p’ungmul is performed outdoors, in an open space, samul nori is presented in a small space or on a stage (outdoors or indoors). Samul nori performances are often performed in a seated position. P’ungmul music has simpler rhythm patterns that are repeated, and thus accessible to the wide audience. Indeed a “successful” p’ungmul nori invites as many people as possible, as the shinmyong of the group will be more euphoric when there are more people involved. The boundary and space (physical, emotional) between player and audience is minimal in p’ungmul nori, as the larger goal is to achieve a communal high in spirit. P’ungmul performances are not limited to a particular time frame, coming to a close only when the festivities come to a natural end. On the other hand, the genre of samul nori is performed by an average of 4-6 performers who are somewhat distanced from the audience as they showcase a program of extremely complex and technically difficult patterns. Although audiences can certainly sense the shinmyong and participate in the exciting spirit that is generated through such brilliance, samul nori is not conducive to audience participation in the way that p’ungmul nori is. It is not easy, nor is it meant, for onlookers to follow along, in rhythm or dance. Since samul nori is tailored as a staged art, the length of pieces is considerably shorter and the program is set before the show. Although samul nori is not completely without improvisation, its scope is limited in comparison to p’ungmul nori, which is more responsive to audience reactions and the atmosphere created at the time of performance. While p’ungmul nori does not come with a “repertory,” and no two performances or groups would play the same material, samul nori has developed a set or standardized pieces. Samul nori is an urban phenomenon that has been immensely popular with Korean youth. It has sparked renewed interest in traditional art forms among Koreans in the face of Korea’s ever-westernizing musical arena. Contributor An entity responsible for making contributions to the resource Hae Joo Kim (2005) Musical Instrument A sound-making object used for musical performance or in a musical context Alternative title any additional names or spellings for the instrument Buk Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions The word puk in Korean is the generic term for the word “drum,” and there are several kinds of puks in Korean music. However, the most common are the p’ungmul puk used in farmer’s band music, and the sori puk used to accompany p’ansori singing (Korean traditional narrative storytelling). The puk is a shallow, double-headed barrel drum with a wooden body made of paulownia or poplar, and heads made of deer hide, horsehide, or cowhide, although cowhide is most common. The size of the puk varies from region to region and according to purpose (sori puks may by larger than the puks used in farmer’s band music), but the heads generally range from 35-40 cm in diameter (13½ to 15½ in). They are approximately 20-25 cm deep (7½ to 9½ in). The skins of p’ansori puks are permanently nailed around the body of the drum, while the skins of the p’ungmul puks are attached to each other by lacing leather strings across the body of the drum. Musical, Cultural, and Social Contexts information about the contexts in which the instrument is and its role in culture and society performed (Who plays the instrument? What music do they play? Where, when, why is this instrument played?) The puk does not play complex rhythms like the changgo, but rather provides a strong, consistent pulse throughout a performance. It is one of the four basic percussion instruments in Korea. Playing technique methods of playing the instrument, performance practices (how is the instrument played?) The puk is played with a bare stick made of birch wood. In p’ansori accompaniment, the puk is situated vertically on the floor while the player (known as the gosu) is in a seated position striking one head with the bare palm and the other with the drumstick. Ornamental patterns and accentuated beats are played out on the top, over the rim of the drum. In p’ansori performances, the gosu customarily shouts out cries of encouragement know as chuimsae, to complement and support the singer as the tale unfolds. In p’ungmul nori, the puk is usually tied to the body of the player with a sash slung across the shoulder, and like the changgo, is carried around to facilitate walking and dancing. The puk in p’ungmul music is played with the stick in one hand while the other hand braces the drum against the body. Though it is rare, there are regions in Korea where the puk is sometimes played like the changgo, with two sticks. Geography The continent, region, nation where this instrument originates from Korea Classification Hornbostel-Sachs, revised by MIMO 211.222.12 Individual double-skin barrel drums, both heads played Ensemble The musical group in which an instrument can be found Korean Drumming Ensemble Dimensions The physical measurements of the instrument Diameter: 35-40 cm (13½ to 15½ in) Width: 20-25 cm (7½ to 9½ in) Materials Body: paulownia or poplar wood Drum heads: cowhide (most popular), deer hide, or horsehide Bibliography a list of sources referenced <div class="element-text"> <div class="element-text"> <div class="element-text"> Hahn, Myung-Hee. 1998. A Study of Musical Instruments in Korean Traditional Music, translated by Park, Il-Woo, Seoul: The National Center for Korean Traditional Performing Arts, Ministry of Culture and Tourism. Howard, Keith. 1988. Korean Musical Instruments: A Practical Guide, Seoul, Korea: Se-Kwang Music Publishing Co. --------. 1995. Korean Musical Instruments, New York: Oxford University Press. Killick, Andrew. 2002. “Musical Instruments of Korea.” In The Garland Encyclopedia of World Music, Vol. 7. East Asia: China, Japan, and Korea, edited by Robert Provine, Yoshihiko Tokumaru, and J. Lawrence Witzleben, New York: Routledge, 821-31. Lee, Hye-Ku. 1981. Essays on Traditional Korean Music, translated and edited by Robert Provine, Seoul, Korea: Royal Asiatic Society, Korea Branch. Pratt, Keith. 1987. Korean Music: Its History and Performance, London: Faber Music Ltd. Sŏng, Kyŏng-rin. 1973. “Korean Musical Instruments.” In Survey of Korean Arts: Traditional Music. Seoul, Korea: The National Academy of Arts. </div> </div> </div> Contributors Entry authors Hae Joo Kim (2005) Notation The style of written music that the player reads Traditionally, Korean percussion instruments used a notational system called the Chǒngganbo, which can be traced back to the fifteenth century. The Chǒngganbo is a framework of vertical and horizontal lines that intersect to create small boxes that are read in columns (top to bottom, right to left), with icons or symbols representing various strokes placed within each box, one box being equal to one beat. In ensemble music, one column would carry the notation for one instrument, and one line (i.e. one segment from top to bottom) would denote one rhythmic cycle. Chǒngganbo also allows for subdivision of beats within one box if necessary. The Chǒngganbo system is still in use today, although Korean percussion instruments also use western staff notation. The National Center for Korean Traditional Performing Arts in Korea uses and prints materials in both systems. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Puk Korea membranophone 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> 20th century – present <h4>Physical Description</h4> The steel pan (or steel drum) is composed of from one to nine 55-gallon steel barrel drums, suspended with stands.  The bottom end of the barrel is open, with its skirt (or sides) cut from 6 inches to full length for bass instruments.  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.  The lower the instrument, the shallower the pan is sunk.  Notes are delineated by grooving of various shapes, either circular, “U” or squared.   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.  On each side of the drum, a hole is drilled to suspend it on metal stands with either nylon/ leather straps or aluminum hooks.  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.  Today, this form is considered a subgroup style called “pan round the neck.”  The steel pan’s primary accompaniment is the “engine room” composed of car brake iron, shaker (“shak-shak”), scraper (guiro), congas, and drum set.      <h4>History</h4> The steel pan originated in Trinidad during the late 1930s as an accompaniment to the Carnival masquerade bands.  It was a replacement for the tamboo bamboo (stamping tube) ensembles that were outlawed by British colonial law in 1884.  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.  During the 1940s the steel pan transformed from a percussive instrument into a tuned instrument, and its tuning procedures were established.  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.  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.        <h4>Tuning</h4> 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.  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.  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.  Other innovations include an expansion of instrument range and electronic amplification.     <h4>Technique</h4> The steel pan is played with wood or aluminum mallets wrapped with rubber which allows the instrument to resonate.  The thickness of the mallet increases with the number of drums and range of instrument.  The bass instrument mallets are made with soft rubber sponge balls.  Mallet strokes on the pan must quickly move away from the instrument to allow the drum to resonate.  In typical play, the higher (or smaller) notes require more force for an equal volume with the lower (and larger) notes.  Due to the relatively short length of resonance, sustained pitches are produced by rapid rolls, or alternation of mallets.  The brake iron, the steel pan’s main accompaniment, is held in one hand and struck with a metal rod.  Together, several brake iron players perform in a “hocketing” fashion to form a steady metronomic accompaniment for the steel pans.   <h4>Notation</h4> 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).  Western musicians learning the music typically learn from written transcriptions of Trinidad steel bands or original written compositions.  <h4>Context</h4> 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).  Of these, Trinidad’s Panorama Steel Band Competition is the largest and most significant.  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.  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.  Today, this form is considered a subgroup style called “pan round the neck” which generates its own competitions and audience during Carnival. <h4>References</h4> Blake, F.I.R.  The Trinidad & Tobago Steel Pan: History and Evolution.  Port of Spain, Trinidad:  Published by author. Goddard, George “Sonny.”  1991.  Forty Years in the Steelbands, 1939-1979.  Port of Spain, Karia Press. Steumpfle, Stephen.  1995.  The Steelband Movement: The Forging of a National Art in Trinidad and Tobago.  Philadelphia: Univ. of Pennsylvania Press. Thomas, Jeffrey Todd. 1985.  A History of Pan and the Evolution of the Steel Band in Trinidad and Tobago.  M.A. Thesis.  Middletown, CT:  Wesleyan University. Date A point or period of time associated with an event in the lifecycle of the resource Time Period:  20th century – present Contributor An entity responsible for making contributions to the resource Amelia Ingram (2004) Relation A related resource <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 four pans arranged in pairs, with two in a typical horizontal arrangement and two suspended vertically in front.  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. Historical background information about the origins, history, and development of the instrument The quadrophonics (or sometimes called “quads”) was invented by Rudolph Charles to cover the entire upper range of the ensemble (Blake, 119).  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).  Nevertheless, both theories point to the influence of the cuatro guitar, a four-stringed instrument used in local Venezuelan-influenced parang music.  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.  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 Blake, F.I.R.  The Trinidad & Tobago Steel Pan: History and Evolution.  Port of Spain, Trinidad:  Published by author. Goddard, George “Sonny.”  1991.  Forty Years in the Steelbands, 1939-1979.  Port of Spain, Karia Press. Steumpfle, Stephen.  1995.  The Steelband Movement: The Forging of a National Art in Trinidad and Tobago.  Philadelphia: Univ. of Pennsylvania Press. Thomas, Jeffrey Todd. 1985.  A History of Pan and the Evolution of the Steel Band in Trinidad and Tobago.  M.A. Thesis.  Middletown, CT:  Wesleyan University. Additional resources recommendations for further information (websites, books, journal articles, etc.) Pan Trinbago <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 <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/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 <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 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/R2xK9MzA3s8" 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 Riq, Rik 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 Riqq idiophone membranophone https://wesomeka.wesleyan.edu/vim2/files/original/d0f1f7c2a0433b0cca25631a917840d1.jpg bda94eddf7ae1e8e963f8cadf0b7b011 https://wesomeka.wesleyan.edu/vim2/files/original/53b031b72fda0f18ab5b0672ec50bab9.jpg aac30ba7dea9908ca6d2bfc1bfaa521f https://wesomeka.wesleyan.edu/vim2/files/original/e62001dfd4047252927a2d07c92c9e00.jpg 6d41e7c3070deeb51efaa74bd8296bab 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/p3wXHY98UT0" 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 Sarod chordophone