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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Javanese Gamelan
Description
An account of the resource
Gamelan is an ensemble consisting of predominantly metallophone and gong type instruments. The instruments produce tones when struck with mallets. The ensemble, in various sizes and forms, can be found in a number of Indonesian islands. In Java and Bali, gamelan has developed into an expansive ensemble, while a variety of smaller ensembles continue to exist. In Java alone, there exist several forms of gamelan ensembles. There are two especially known main gamelan styles: Sundanese (West Javanese) and Javanese gamelan. The following descriptions focus on Central Javanese gamelan.
-----
INSTRUMENTS AND THEIR FUNCTIONS IN THE ENSEMBLE
Javanese gamelan ensemble is known for its expansive or grandeur ensemble, employing a rich variety of instrument types. In a full set of gamelan, beside metallophones and gongs, there are other types of instruments, including a set of drums (kendhang), bowed- and plucked-strings (rebab and celempung), xylophone (gambang), and a bamboo flute (suling). A “soloist” female singing (sindhen) and male chorus (gerong) are also present in the gamelan ensemble.
Each or a group of instruments and singing has a particular function in the ensemble, although there is a degree of flexibility. Generally the instruments may fall into the following three functional groupings: (1) instruments that delineate the structure of the piece; (2) instruments that guide temporal flow in the music; (3) and instruments that carries melodies in both simple and elaborate forms.
Instruments in the first category include large and medium hanging gongs (gong ageng and gong suwukan), small size hanging gongs (kempul), large standing gongs (kenong), and a pair of small standing gongs (kethuk-kempyang). The stroke of a large hanging gong marks the end of the main musical unit (gongan), while other gongs (kenong, kempul, and kethuk-kempyang, respectively) subdivide it in the order of its importance. Instruments in the second category are a set of two-headed drums (kendhang). The drumming style is defined by the use of particular kendhang or a combination of them. The drumming may consist of a repeatable, simple rhythmic configuration (kendhang satunggal and kendhang kalih) to elaborate and animated rhythm (kendhang ciblon) that are associated with dance movements.
The third category consists of three instrumental groupings: (a) instruments that carries melodic skeleton of the piece (balungan): saron, demung, and slenthem; (b) instruments that carries elaborate form of melodies, encompassing wide melodic registers (rebab, gambang, and singing), medium registers (gender barung) and narrow register (celempung, gender panerus, and suling). Generally, the wider their registers the more importance are their melodic functions; (3) instruments whose functions are to mediate between group a (balungan) and group b (elaborating instruments): bonang barung, bonang panerus, and peking. The anticipatory nature of the melodies of these instruments (especially bonang barung) has earned them the status of melodic guidance of the ensemble.
Gamelan instruments can also be grouped according to the volume of the sound they can produced: soft-sounding and loud-sounding instruments. The soft-sounding instrument are positioned in the middle- and side-front to the middle row—rebab, gender, gambang, celempung, suling, slenthem—together with the singers. The loud-sounding instruments are in the side-front, middle, and back rows: bonang, kendhang, a group of saron, ketuk-kempyang, kenong, kempul, gong. Soft-loud category is an important basis for the playing style of gamelan and the ensemble’s interplay.
-----
TUNING SYSTEM, PATHET, AND GENDHING
A full gamelan set employs two tuning systems, slendro and pelog (thus, the full gamelan is actually a double sets, with the slendro set usually facing to the front and the pelog set to the side). The two sets are never played simultaneously, however. The slendro tuning consists of five notes per octave. The five intervals consist of short and medium steps. The difference between the two intervals is so small, however, that they are often described as equal or nearly equal intervals. The pelog has seven pitches per octave (1 2 3 4 5 6 7), but a gendhing is composed on the basis of the combination of sets of five pitch positions (1 2 3 5 6; 1 2 4 5 6; 2 3 5 6 7). In this sense, pelog is a pentatonic system, employing not only one but three basic five-pitch scales. Unlike slendro, narrow and wide intervals in each of these scales are apparent.
Another musical concept associated with tuning system is modal classification called pathet. It is a system of the hierarchical use of tones (and/or different use of scale degrees, especially in pelog), supported by characteristics of instruments or vocal idioms to be used to approach these tones and the register of the tones used in composition. Pathet circumscribes general mood or emotive content of a composition. There are three pathet in each of the tuning systems.
Composition in gamelan (gendhing) is determined and arranged by a number of parameters. First, a gendhing is composed in a particular tuning system and pathet. Secondly, a composition is framed in one of the formal structures (gongan). There are a docent formal structures defined in binary way by the stroke of gong, kenong, kempul, and kethuk. Thirdly, the melodies of gendhing are arranged in a metrical unit of four notes (gatra).
-----
PERFORMANCE CONTEXTS AND HISTORY
Gamelan may be performed independently, i.e., to be listened for its own sake. But gamelan is also an essential accompaniment for theatrical performances, such as dance drama and shadow wayang puppet play. Whether accompanying theatrical forms or not, gamelan is performed in several different contexts, especially in rite-of passages events and communal festivals. As history and technology advance, other contexts are created, including gamelan performance on radio and television stations.
From little historical evidence we could find, it is safe to say that smaller ensembles, whether they accompanied singing or not, characterized music ensembles during the early period of Javanese history. In the 16th to 17th century, the ensemble began to develop into larger size. This was achieved by synchronizing loud- and soft-sounding instruments and vocal repertoire into an integrated musical concept. The result was an expansive size of ensemble with its hundreds of repertoire as can be found in today’s gamelan and gamelan practice.
Contributor
An entity responsible for making contributions to the resource
Sumarsam (2004)
Musical Instrument
A sound-making object used for musical performance or in a musical context
Geographic region
The geographic region where the instrument is found
Indonesia
Ensemble
The musical group in which an instrument can be found
Javanese gamelan
Physical description
Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions
<p>The saron is a metallophone with six or seven keys that rest on a wooden trough, which also serves as resonator. Three instruments belong to the saron family that employ different sizes and pitch registers: the largest size with the lowest register is called demung; the medium size with a medium octave range, saron barung; and the smallest size and highest register, saron panerus or peking. A full ensemble may have two demung, four saron, and two peking. Another instrument that musically falls in the saron family is slenthem, but physically it is built similar to the gender (i.e. suspended by a cord over tube resonators).</p>
Musical, Cultural, and Social Contexts
information about the contexts in which the instrument is and its role in culture and society performed (Who plays the instrument? What music do they play? Where, when, why is this instrument played?)
<p>For the most part (with the exception of peking), saron instruments play the melodic skeleton (balungan) of a gendhing within the limitation of their melodic ranges. There are other playing styles through which the saron create interlocking patterns. Unlike the other saron, the peking’s melody anticipates and doubles or quadruples the melody of the melodic skeleton (balungan). In some cases, it paraphrases the balungan.</p>
Historical background
information about the origins, history, and development of the instrument
<p>In the early history of gamelan, a single saron may have been part of a small ensemble. As the gamelan developed into an expansive ensemble, different sizes of saron were added. This development brought about the emergence of new styles of musical practice and repertoire: i.e., the creation of loud pieces in which bonang and saron are featured and performance styles involving the interplay between soft- and loud-playing styles.</p>
Geography
The continent, region, nation where this instrument originates from
Java, Indonesia
Contributors
Entry authors
Sumarsam (2004)
Video
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Classification
Hornbostel-Sachs, revised by MIMO
111.212 (idiophone) Sets of percussion sticks: several percussion sticks of different pitch are combined to form a single instrument
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Saron
gamelan
idiophone
Java
metallophone
-
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Dublin Core
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Title
A name given to the resource
West African Drumming
Relation
A related resource
<br /><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
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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
Sogo
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
<br /><iframe width="560" height="315" src="https://www.youtube.com/embed/ZAwfz3ZOwu0" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Suling
-
Musical Instrument
A sound-making object used for musical performance or in a musical context
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Tabla
Relation
A related resource
<br /><iframe width="100%" height="315" src="https://www.youtube.com/embed/4zWh6yA2LSw" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
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e7480c1ceb9a38d324b96977562f4c56
Musical Instrument
A sound-making object used for musical performance or in a musical context
Video
Embed YouTube video
<br /><iframe width="560" height="315" src="https://www.youtube.com/embed/48Jq0Qal9dw" 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
Tabla
India
membranophone
-
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692863c7fb857c61ddb11e1effa43c56
Musical Instrument
A sound-making object used for musical performance or in a musical context
Video
Embed YouTube video
<p><br /><iframe width="560" height="315" src="https://www.youtube.com/embed/QztRXAxJk-8" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"> </iframe></p>
<p><iframe width="560" height="315" src="https://www.youtube.com/embed/wjJI4Vp5igc" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe></p>
<p><iframe width="560" height="315" src="https://www.youtube.com/embed/0d8_o8gp3Bg" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe></p>
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
Tambura
chordophone
India
-
Musical Instrument
A sound-making object used for musical performance or in a musical context
Video
Embed YouTube video
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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
Tape Dispenser
idiophone
-
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c8699f735a4bf2c5dfcd40cfa50d20ab
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b635a178165af356926fb2e0750c6916
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Steel Band
Description
An account of the resource
<h4>Time Period</h4>
<p>20<sup>th</sup> century – present<br /><br /></p>
<h4>Physical Description</h4>
<p>The steel pan (or steel drum) is composed of from one to nine 55-gallon steel barrel drums, suspended with stands. 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. </p>
<p> 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. </p>
<p> </p>
<h4>History</h4>
<p>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. </p>
<p> </p>
<h4>Tuning</h4>
<p>Instrument ranges and tuning generally mimic those of the Western string orchestra, from tenor (one drum) to bass (six to nine drums) and each instrument usually covers two and a half chromatic octaves. 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.</p>
<p> </p>
<h4>Technique</h4>
<p>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.</p>
<p> </p>
<h4>Notation</h4>
<p>Music for steel pan is traditionally learned by rote, however, the professionalisation of performers has led to an increased use of Western notation for performance outside of the traditional Carnival context (such as Trinidad’s World Steelband Festival, which features Western orchestral music). Western musicians learning the music typically learn from written transcriptions of Trinidad steel bands or original written compositions. <br /><br /></p>
<h4>Context</h4>
<p>The steel pan is primarily performed in Carnival festivals throughout the West Indies and the Caribbean diaspora (New York, Toronto and Nottingham England being the most prominent). 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.<br /><br /></p>
<h4>References</h4>
<p>Blake, F.I.R. <em>The Trinidad & Tobago Steel Pan: History and Evolution</em>. Port of Spain, Trinidad: Published by author.</p>
<p>Goddard, George “Sonny.” 1991. <em>Forty Years in the Steelbands, 1939-1979. </em>Port of Spain, Karia Press.</p>
<p>Steumpfle, Stephen. 1995. <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>. Philadelphia: Univ. of Pennsylvania Press.</p>
<p>Thomas, Jeffrey Todd. 1985. <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em> M.A. Thesis. Middletown, CT: Wesleyan University.</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
<strong>Time Period: </strong>20<sup>th</sup> century – present
Contributor
An entity responsible for making contributions to the resource
Amelia Ingram (2004)
Relation
A related resource
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Musical Instrument
A sound-making object used for musical performance or in a musical context
Physical description
Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions
This instrument consists of one drum with the shortest “skirt” or side length of the steel pan family at approx. 12-15 cm (Blake, 106). The notes are “raised” from the concave bowl in a now-standard circle of fifths arrangement. The lowest notes found along the circumference of the bowl are U-shaped, while the higher octave notes are either oval or circular-shaped inside. The tenor pan must be suspended on a stand or rack to allow the drum to resonate and is played with thin rubber mallets.
Historical background
information about the origins, history, and development of the instrument
It is generally accepted that the tenor pan developed from the early “ping pong,” a small zinc pan which could play simple melodies (such as children’s songs, and simple calypso choruses) of three to five notes (Goddard 38, Stuempfle 40). Sometime after the end of WWII, however, it was discovered that the larger 55-gallon oil drums borrowed from the American naval base could produce more notes. By the early 1950s, the tenor became a fully-chromatic instrument. Today, the tenor pan is the primary melodic and virtuosic instrument of the contemporary steel band. It is also the instrument most frequently played solo outside of the traditional steel band context.
Tuning
Information about the tuning system
The tenor has a chromatic range between D4 and G6, with 28 to 30 chromatic notes (Blake, 109). The tenor pan can be found in several styles, dependent upon the individual tuner, including the “open bore” style (in which several holes are drilled into the pan to create a brighter tone) and the over-sized tenor (dubbed the “mega pan”), which extends the lower range for solo performance.
Geography
The continent, region, nation where this instrument originates from
Trinidad and Tobago
Ensemble
The musical group in which an instrument can be found
Steel Pan Ensemble
Materials
Steel
Bibliography
a list of sources referenced
Blake, F.I.R. <em>The Trinidad & Tobago Steel Pan: History and Evolution</em>. Port of Spain, Trinidad: Published by author.<br /><br />Goddard, George “Sonny.” 1991. <em>Forty Years in the Steelbands, 1939-1979</em>. Port of Spain, Karia Press. <br /><br />Steumpfle, Stephen. 1995. <em>The Steelband Movement: The Forging of a National Art in Trinidad and Tobago</em>. Philadelphia: Univ. of Pennsylvania Press.<br /><br />Thomas, Jeffrey Todd. 1985. <em>A History of Pan and the Evolution of the Steel Band in Trinidad and Tobago</em>. M.A. Thesis. Middletown, CT: Wesleyan University.
Additional resources
recommendations for further information (websites, books, journal articles, etc.)
Pan Trinbago<br /><a href="http://www.pantrinbago.co.tt">http://www.pantrinbago.co.tt</a>
Contributors
Entry authors
Amelia Ingram (2004)
Classification
Hornbostel-Sachs, revised by MIMO
111.241.12 Gongs with divided surface sounding different pitches
Date/Era
If relevant, the historical time period when the instrument was made
20th century to present
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Title
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Tenor Pan
idiophone
metallophone
steel pan
-
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Title
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West African Drumming
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Musical Instrument
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Title
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Totodzi
membranophone
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Musical Instrument
A sound-making object used for musical performance or in a musical context
Video
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Title
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Turkmen Dutar
chordophone
-
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Title
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West African Drumming
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Musical Instrument
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Video
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Title
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Twensini
membranophone
-
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Musical Instrument
A sound-making object used for musical performance or in a musical context
Video
Embed YouTube video
<br /><iframe width="560" height="315" src="https://www.youtube.com/embed/srXumjGejg0" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
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Title
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Urumi
membranophone
-
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Title
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Chinese Music Ensemble
Relation
A related resource
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Musical Instrument
A sound-making object used for musical performance or in a musical context
Video
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Alternative title
any additional names or spellings for the instrument
Guzheng
Dublin Core
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Title
A name given to the resource
Zheng
chordophone
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c47894efdade0b5dd95ed6ead04eaf5a
Dublin Core
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Title
A name given to the resource
Chinese Music Ensemble
Relation
A related resource
<br /><iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaXuTQ8zGQrB_FmTX-XEC-Jw" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Musical Instrument
A sound-making object used for musical performance or in a musical context
Video
Embed YouTube video
<br /><iframe width="560" height="315" src="https://www.youtube.com/embed/B05GEJsNdGs" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Dublin Core
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Title
A name given to the resource
Zhongruan
chordophone