1 20 74 https://wesomeka.wesleyan.edu/vim2/files/original/99061a7ecc16121813aa26029339de95.JPG 381846a89ea723c89ea98e927cdc148c https://wesomeka.wesleyan.edu/vim2/files/original/5cdd23ccf49735c526c8d1b2c258f03f.JPG 0e247e9998241148b367b5d47983b727 https://wesomeka.wesleyan.edu/vim2/files/original/55965237a7d25b7634093dae01ee2851.JPG 49985c0032df8a32904274f75a0c1ef7 https://wesomeka.wesleyan.edu/vim2/files/original/a5de9b3b2a33b254e7ef5b5b1d40a6d7.JPG c47894efdade0b5dd95ed6ead04eaf5a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chinese Music Ensemble Relation A related resource <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 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 Zhongruan chordophone https://wesomeka.wesleyan.edu/vim2/files/original/24529f97d0a8cf9007bf051c34fdff1e.JPG fc9ab3eecb98ab5388fb4c3f5cff61a3 https://wesomeka.wesleyan.edu/vim2/files/original/73534a2aad71da2984acbf438be27de9.JPG 0bb7523f4983f37ad6386d5ed226bd4c https://wesomeka.wesleyan.edu/vim2/files/original/99b1347f76b478fd009bf5dfffbff3da.JPG 5e67ef0709bb141f45ea6d927f78b60e https://wesomeka.wesleyan.edu/vim2/files/original/606600c4e4addca06cb6ea8ff3f5e7b2.JPG 1352805cb2317b62bf0bcf23f622d36d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chinese Music Ensemble Relation A related resource <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/k2VPtpW7W7Q" 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 Guzheng 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 Zheng chordophone https://wesomeka.wesleyan.edu/vim2/files/original/0664d716a9a489f13e57a00b4f0f6ddb.jpg 276ca61ed6193d8c9035dbc02c06216b https://wesomeka.wesleyan.edu/vim2/files/original/15a96884244b542c820818600d92fd4a.jpg 9792196f23f5e1238300b9a11b01cda3 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> 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 Urumi membranophone https://wesomeka.wesleyan.edu/vim2/files/original/204162e0f7043fe3eeb99ea11e6f6ee7.jpg b591c9fd139f23d80c1b102b9d701db1 https://wesomeka.wesleyan.edu/vim2/files/original/647d59e87b701bf117bd8612e652fd3f.jpg 759d47e3a5e55d2300fe7387ce1d83cf https://wesomeka.wesleyan.edu/vim2/files/original/51d89a3878ae967c9823204b7fb9de8b.jpg dfa50c21b2c701b2eb486c9074112fbb 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 <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 <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/sxMfAf-rkiU" 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 Twensini membranophone https://wesomeka.wesleyan.edu/vim2/files/original/1c2be312bdd206eb88bd1992084346c9.JPG c2880c5efbea3f9a1740927e5f2927bc https://wesomeka.wesleyan.edu/vim2/files/original/77c8c2c50f358843c9a5709740c747e6.JPG 1d3a3a7007391a1b3608147e60e01ace https://wesomeka.wesleyan.edu/vim2/files/original/ae3886ca18a098eb7eec19a3891e9f9a.JPG f53036e662385d9067253b1b1e18cb34 https://wesomeka.wesleyan.edu/vim2/files/original/2678b48a109dbf0e80406d1802e9c10c.JPG a6c2e20b48f336f0bec9289ca12926f2 https://wesomeka.wesleyan.edu/vim2/files/original/7f9d80900bd759676002b12b27424255.JPG 991fec0ce80eb761017ecfb49c17b534 https://wesomeka.wesleyan.edu/vim2/files/original/394f2e3ce5b80d3fcb179e8cfd031153.JPG 3610b3b5b9114afdb3f70f610d53238d 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/apJztHxflaQ" 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 Turkmen Dutar 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 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 <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/zdYgBknZpt8" 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 Totodzi membranophone https://wesomeka.wesleyan.edu/vim2/files/original/0f17da3e7c422f9035e3218c6f7732b1.jpg c8699f735a4bf2c5dfcd40cfa50d20ab https://wesomeka.wesleyan.edu/vim2/files/original/53eb7c9075bcf826f8e314efb2642620.jpg 8c13eb5d154e02147c31bc5cf0d4c2cd https://wesomeka.wesleyan.edu/vim2/files/original/7c7b9ecc35e9800d2ee3e782a64e5ab5.jpg b635a178165af356926fb2e0750c6916 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Steel Band Description An account of the resource <h4>Time Period</h4> <p>20<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 <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaUNZKe8k6eMQTeYBENbp3n8" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions This instrument consists of one drum with the shortest “skirt” or side length of the steel pan family at approx. 12-15 cm (Blake, 106). The notes are “raised” from the concave bowl in a now-standard circle of fifths arrangement. The lowest notes found along the circumference of the bowl are U-shaped, while the higher octave notes are either oval or circular-shaped inside. The tenor pan must be suspended on a stand or rack to allow the drum to resonate and is played with thin rubber mallets. Historical background information about the origins, history, and development of the instrument It is generally accepted that the tenor pan developed from the early “ping pong,” a small zinc pan which could play simple melodies (such as children’s songs, and simple calypso choruses) of three to five notes (Goddard 38, Stuempfle 40). Sometime after the end of WWII, however, it was discovered that the larger 55-gallon oil drums borrowed from the American naval base could produce more notes. By the early 1950s, the tenor became a fully-chromatic instrument. Today, the tenor pan is the primary melodic and virtuosic instrument of the contemporary steel band. It is also the instrument most frequently played solo outside of the traditional steel band context. Tuning Information about the tuning system The tenor has a chromatic range between D4 and G6, with 28 to 30 chromatic notes (Blake, 109). The tenor pan can be found in several styles, dependent upon the individual tuner, including the “open bore” style (in which several holes are drilled into the pan to create a brighter tone) and the over-sized tenor (dubbed the “mega pan”), which extends the lower range for solo performance. Geography The continent, region, nation where this instrument originates from Trinidad and Tobago Ensemble The musical group in which an instrument can be found Steel Pan Ensemble Materials Steel Bibliography a list of sources referenced Blake, F.I.R. <em>The Trinidad & Tobago Steel Pan: History and Evolution</em>. Port of Spain, Trinidad: Published by author.<br /><br />Goddard, George “Sonny.” 1991. <em>Forty Years in the Steelbands, 1939-1979</em>. Port of Spain, Karia Press. <br /><br />Steumpfle, Stephen. 1995. <em>The Steelband Movement: The Forging of a National Art in Trinidad and Tobago</em>. Philadelphia: Univ. of Pennsylvania Press.<br /><br />Thomas, Jeffrey Todd. 1985. <em>A History of Pan and the Evolution of the Steel Band in Trinidad and Tobago</em>. M.A. Thesis. Middletown, CT: Wesleyan University. Additional resources recommendations for further information (websites, books, journal articles, etc.) Pan Trinbago<br /><a href="http://www.pantrinbago.co.tt">http://www.pantrinbago.co.tt</a> Contributors Entry authors Amelia Ingram (2004) Classification Hornbostel-Sachs, revised by MIMO 111.241.12 Gongs with divided surface sounding different pitches Date/Era If relevant, the historical time period when the instrument was made 20th century to present Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/NLKxbpsFgUY" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tenor Pan idiophone metallophone steel pan 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/mRMxEOwNr7Y" 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 Tape Dispenser idiophone https://wesomeka.wesleyan.edu/vim2/files/original/482a69c323c1eb8fd5b272b0b538e051.jpg 68507ca0d943652f580cd7541f17ade2 https://wesomeka.wesleyan.edu/vim2/files/original/6ad073db679c38842663f34c5ee6ca59.jpg f0172a75dc38b16f307762d94091f6a4 https://wesomeka.wesleyan.edu/vim2/files/original/c7275e9ec672ce39665948d74b5503cc.jpg 51135fdfa99cba98377363cb7cb541a8 https://wesomeka.wesleyan.edu/vim2/files/original/363bbd00a3231d88719722555da237ef.jpg 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 https://wesomeka.wesleyan.edu/vim2/files/original/89c0facbb54cd258960ee4d827575766.jpg 867092e3f064ef94f6789a6395cb702a https://wesomeka.wesleyan.edu/vim2/files/original/ed6fda6225ebee31a0261e977e5e8757.jpg 4b5e10d3050c055fd194341f8ccff8fa https://wesomeka.wesleyan.edu/vim2/files/original/1ae90c14be3b2a736b53f37ac7573a68.jpg b1cd8a879a894aa0d348184db25f9857 https://wesomeka.wesleyan.edu/vim2/files/original/05670850b0a5255622f2a0b5345f9412.jpg 6c723bfcc102b521bbaf19ad9ef877e3 https://wesomeka.wesleyan.edu/vim2/files/original/e5b54bda8507cc2046a886cd08ddb5c4.jpg 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 Musical Instrument A sound-making object used for musical performance or in a musical context Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tabla Relation A related resource <br /><iframe width="100%" height="315" src="https://www.youtube.com/embed/4zWh6yA2LSw" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Javanese Gamelan Description An account of the resource Gamelan is an ensemble consisting of predominantly metallophone and gong type instruments. The instruments produce tones when struck with mallets. The ensemble, in various sizes and forms, can be found in a number of Indonesian islands. In Java and Bali, gamelan has developed into an expansive ensemble, while a variety of smaller ensembles continue to exist. In Java alone, there exist several forms of gamelan ensembles. There are two especially known main gamelan styles: Sundanese (West Javanese) and Javanese gamelan. The following descriptions focus on Central Javanese gamelan. ----- INSTRUMENTS AND THEIR FUNCTIONS IN THE ENSEMBLE Javanese gamelan ensemble is known for its expansive or grandeur ensemble, employing a rich variety of instrument types. In a full set of gamelan, beside metallophones and gongs, there are other types of instruments, including a set of drums (kendhang), bowed- and plucked-strings (rebab and celempung), xylophone (gambang), and a bamboo flute (suling). A “soloist” female singing (sindhen) and male chorus (gerong) are also present in the gamelan ensemble. Each or a group of instruments and singing has a particular function in the ensemble, although there is a degree of flexibility. Generally the instruments may fall into the following three functional groupings: (1) instruments that delineate the structure of the piece; (2) instruments that guide temporal flow in the music; (3) and instruments that carries melodies in both simple and elaborate forms. Instruments in the first category include large and medium hanging gongs (gong ageng and gong suwukan), small size hanging gongs (kempul), large standing gongs (kenong), and a pair of small standing gongs (kethuk-kempyang). The stroke of a large hanging gong marks the end of the main musical unit (gongan), while other gongs (kenong, kempul, and kethuk-kempyang, respectively) subdivide it in the order of its importance. Instruments in the second category are a set of two-headed drums (kendhang). The drumming style is defined by the use of particular kendhang or a combination of them. The drumming may consist of a repeatable, simple rhythmic configuration (kendhang satunggal and kendhang kalih) to elaborate and animated rhythm (kendhang ciblon) that are associated with dance movements. The third category consists of three instrumental groupings: (a) instruments that carries melodic skeleton of the piece (balungan): saron, demung, and slenthem; (b) instruments that carries elaborate form of melodies, encompassing wide melodic registers (rebab, gambang, and singing), medium registers (gender barung) and narrow register (celempung, gender panerus, and suling). Generally, the wider their registers the more importance are their melodic functions; (3) instruments whose functions are to mediate between group a (balungan) and group b (elaborating instruments): bonang barung, bonang panerus, and peking. The anticipatory nature of the melodies of these instruments (especially bonang barung) has earned them the status of melodic guidance of the ensemble. Gamelan instruments can also be grouped according to the volume of the sound they can produced: soft-sounding and loud-sounding instruments. The soft-sounding instrument are positioned in the middle- and side-front to the middle row—rebab, gender, gambang, celempung, suling, slenthem—together with the singers. The loud-sounding instruments are in the side-front, middle, and back rows: bonang, kendhang, a group of saron, ketuk-kempyang, kenong, kempul, gong. Soft-loud category is an important basis for the playing style of gamelan and the ensemble’s interplay. ----- TUNING SYSTEM, PATHET, AND GENDHING A full gamelan set employs two tuning systems, slendro and pelog (thus, the full gamelan is actually a double sets, with the slendro set usually facing to the front and the pelog set to the side). The two sets are never played simultaneously, however. The slendro tuning consists of five notes per octave. The five intervals consist of short and medium steps. The difference between the two intervals is so small, however, that they are often described as equal or nearly equal intervals. The pelog has seven pitches per octave (1 2 3 4 5 6 7), but a gendhing is composed on the basis of the combination of sets of five pitch positions (1 2 3 5 6; 1 2 4 5 6; 2 3 5 6 7). In this sense, pelog is a pentatonic system, employing not only one but three basic five-pitch scales. Unlike slendro, narrow and wide intervals in each of these scales are apparent. Another musical concept associated with tuning system is modal classification called pathet. It is a system of the hierarchical use of tones (and/or different use of scale degrees, especially in pelog), supported by characteristics of instruments or vocal idioms to be used to approach these tones and the register of the tones used in composition. Pathet circumscribes general mood or emotive content of a composition. There are three pathet in each of the tuning systems. Composition in gamelan (gendhing) is determined and arranged by a number of parameters. First, a gendhing is composed in a particular tuning system and pathet. Secondly, a composition is framed in one of the formal structures (gongan). There are a docent formal structures defined in binary way by the stroke of gong, kenong, kempul, and kethuk. Thirdly, the melodies of gendhing are arranged in a metrical unit of four notes (gatra). ----- PERFORMANCE CONTEXTS AND HISTORY Gamelan may be performed independently, i.e., to be listened for its own sake. But gamelan is also an essential accompaniment for theatrical performances, such as dance drama and shadow wayang puppet play. Whether accompanying theatrical forms or not, gamelan is performed in several different contexts, especially in rite-of passages events and communal festivals. As history and technology advance, other contexts are created, including gamelan performance on radio and television stations. From little historical evidence we could find, it is safe to say that smaller ensembles, whether they accompanied singing or not, characterized music ensembles during the early period of Javanese history. In the 16th to 17th century, the ensemble began to develop into larger size. This was achieved by synchronizing loud- and soft-sounding instruments and vocal repertoire into an integrated musical concept. The result was an expansive size of ensemble with its hundreds of repertoire as can be found in today’s gamelan and gamelan practice. Contributor An entity responsible for making contributions to the resource Sumarsam (2004) Musical Instrument A sound-making object used for musical performance or in a musical context Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/ZAwfz3ZOwu0" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Suling https://wesomeka.wesleyan.edu/vim2/files/original/15f3a107b8987a305efa754fd893dcdd.jpg 6effaa750b43eb50d53d45e528ab97f8 https://wesomeka.wesleyan.edu/vim2/files/original/67f70aedaa93ef0489f801057dfddd02.jpg aa039da7749121cdf7029dc1cef3901f https://wesomeka.wesleyan.edu/vim2/files/original/8bd8647335e5d6eca90aa75ff352a01f.jpg ccd0f8c0340d161b87284ffd2ef92a1d https://wesomeka.wesleyan.edu/vim2/files/original/b8076c49f2e5440d430d501d590524dc.jpg 2d01224505de4c11e7f9d5eff2fe1738 https://wesomeka.wesleyan.edu/vim2/files/original/9e0a5ab5c608e86c63d93b3505afae45.jpg 2b36cf31883ac25a8cc503b27bee65b7 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 <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 <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/XsSNTK6WpP0" 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 Sogo membranophone https://wesomeka.wesleyan.edu/vim2/files/original/87d4c88ec007d789d643f08adb4672bd.jpg 7650582bc7385a1e48b05d06836b43ab https://wesomeka.wesleyan.edu/vim2/files/original/766a6c04dcd1acf3dda98f88cc2da502.jpg b47128ffa632854382fa526f406d9378 https://wesomeka.wesleyan.edu/vim2/files/original/0709e4d86130f9c467a21b831e0f7394.jpg 4bb1c93ae27e6415fd429318a984388d https://wesomeka.wesleyan.edu/vim2/files/original/be79f1b7c169eddbecdd6ed84a4ae9d4.jpg c030142ee024cf004b324043750e2106 https://wesomeka.wesleyan.edu/vim2/files/original/67e5f7ffb64135680db0b3007557cbf4.mp3 c5a281fb87a6cda51e8c45017566ab9e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Javanese Gamelan Description An account of the resource Gamelan is an ensemble consisting of predominantly metallophone and gong type instruments. The instruments produce tones when struck with mallets. The ensemble, in various sizes and forms, can be found in a number of Indonesian islands. In Java and Bali, gamelan has developed into an expansive ensemble, while a variety of smaller ensembles continue to exist. In Java alone, there exist several forms of gamelan ensembles. There are two especially known main gamelan styles: Sundanese (West Javanese) and Javanese gamelan. The following descriptions focus on Central Javanese gamelan. ----- INSTRUMENTS AND THEIR FUNCTIONS IN THE ENSEMBLE Javanese gamelan ensemble is known for its expansive or grandeur ensemble, employing a rich variety of instrument types. In a full set of gamelan, beside metallophones and gongs, there are other types of instruments, including a set of drums (kendhang), bowed- and plucked-strings (rebab and celempung), xylophone (gambang), and a bamboo flute (suling). A “soloist” female singing (sindhen) and male chorus (gerong) are also present in the gamelan ensemble. Each or a group of instruments and singing has a particular function in the ensemble, although there is a degree of flexibility. Generally the instruments may fall into the following three functional groupings: (1) instruments that delineate the structure of the piece; (2) instruments that guide temporal flow in the music; (3) and instruments that carries melodies in both simple and elaborate forms. Instruments in the first category include large and medium hanging gongs (gong ageng and gong suwukan), small size hanging gongs (kempul), large standing gongs (kenong), and a pair of small standing gongs (kethuk-kempyang). The stroke of a large hanging gong marks the end of the main musical unit (gongan), while other gongs (kenong, kempul, and kethuk-kempyang, respectively) subdivide it in the order of its importance. Instruments in the second category are a set of two-headed drums (kendhang). The drumming style is defined by the use of particular kendhang or a combination of them. The drumming may consist of a repeatable, simple rhythmic configuration (kendhang satunggal and kendhang kalih) to elaborate and animated rhythm (kendhang ciblon) that are associated with dance movements. The third category consists of three instrumental groupings: (a) instruments that carries melodic skeleton of the piece (balungan): saron, demung, and slenthem; (b) instruments that carries elaborate form of melodies, encompassing wide melodic registers (rebab, gambang, and singing), medium registers (gender barung) and narrow register (celempung, gender panerus, and suling). Generally, the wider their registers the more importance are their melodic functions; (3) instruments whose functions are to mediate between group a (balungan) and group b (elaborating instruments): bonang barung, bonang panerus, and peking. The anticipatory nature of the melodies of these instruments (especially bonang barung) has earned them the status of melodic guidance of the ensemble. Gamelan instruments can also be grouped according to the volume of the sound they can produced: soft-sounding and loud-sounding instruments. The soft-sounding instrument are positioned in the middle- and side-front to the middle row—rebab, gender, gambang, celempung, suling, slenthem—together with the singers. The loud-sounding instruments are in the side-front, middle, and back rows: bonang, kendhang, a group of saron, ketuk-kempyang, kenong, kempul, gong. Soft-loud category is an important basis for the playing style of gamelan and the ensemble’s interplay. ----- TUNING SYSTEM, PATHET, AND GENDHING A full gamelan set employs two tuning systems, slendro and pelog (thus, the full gamelan is actually a double sets, with the slendro set usually facing to the front and the pelog set to the side). The two sets are never played simultaneously, however. The slendro tuning consists of five notes per octave. The five intervals consist of short and medium steps. The difference between the two intervals is so small, however, that they are often described as equal or nearly equal intervals. The pelog has seven pitches per octave (1 2 3 4 5 6 7), but a gendhing is composed on the basis of the combination of sets of five pitch positions (1 2 3 5 6; 1 2 4 5 6; 2 3 5 6 7). In this sense, pelog is a pentatonic system, employing not only one but three basic five-pitch scales. Unlike slendro, narrow and wide intervals in each of these scales are apparent. Another musical concept associated with tuning system is modal classification called pathet. It is a system of the hierarchical use of tones (and/or different use of scale degrees, especially in pelog), supported by characteristics of instruments or vocal idioms to be used to approach these tones and the register of the tones used in composition. Pathet circumscribes general mood or emotive content of a composition. There are three pathet in each of the tuning systems. Composition in gamelan (gendhing) is determined and arranged by a number of parameters. First, a gendhing is composed in a particular tuning system and pathet. Secondly, a composition is framed in one of the formal structures (gongan). There are a docent formal structures defined in binary way by the stroke of gong, kenong, kempul, and kethuk. Thirdly, the melodies of gendhing are arranged in a metrical unit of four notes (gatra). ----- PERFORMANCE CONTEXTS AND HISTORY Gamelan may be performed independently, i.e., to be listened for its own sake. But gamelan is also an essential accompaniment for theatrical performances, such as dance drama and shadow wayang puppet play. Whether accompanying theatrical forms or not, gamelan is performed in several different contexts, especially in rite-of passages events and communal festivals. As history and technology advance, other contexts are created, including gamelan performance on radio and television stations. From little historical evidence we could find, it is safe to say that smaller ensembles, whether they accompanied singing or not, characterized music ensembles during the early period of Javanese history. In the 16th to 17th century, the ensemble began to develop into larger size. This was achieved by synchronizing loud- and soft-sounding instruments and vocal repertoire into an integrated musical concept. The result was an expansive size of ensemble with its hundreds of repertoire as can be found in today’s gamelan and gamelan practice. Contributor An entity responsible for making contributions to the resource Sumarsam (2004) Musical Instrument A sound-making object used for musical performance or in a musical context Geographic region The geographic region where the instrument is found Indonesia Ensemble The musical group in which an instrument can be found Javanese gamelan Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions <p>The saron is a metallophone with six or seven keys that rest on a wooden trough, which also serves as resonator. Three instruments belong to the saron family that employ different sizes and pitch registers: the largest size with the lowest register is called demung; the medium size with a medium octave range, saron barung; and the smallest size and highest register, saron panerus or peking. A full ensemble may have two demung, four saron, and two  peking. Another instrument that musically falls in the saron family is slenthem, but physically it is built similar to the gender (i.e. suspended by a cord over tube resonators).</p> Musical, Cultural, and Social Contexts information about the contexts in which the instrument is and its role in culture and society performed (Who plays the instrument? What music do they play? Where, when, why is this instrument played?) <p>For the most part (with the exception of peking), saron instruments play the melodic skeleton (balungan) of a gendhing within the limitation of their melodic ranges. There are other playing styles through which the saron create interlocking patterns. Unlike the other saron, the peking’s melody anticipates and doubles or quadruples the melody of the melodic skeleton (balungan). In some cases, it paraphrases the balungan.</p> Historical background information about the origins, history, and development of the instrument <p>In the early history of gamelan, a single saron may have been part of a small ensemble. As the gamelan developed into an expansive ensemble, different sizes of saron were added. This development brought about the emergence of new styles of musical practice and repertoire: i.e., the creation of loud pieces in which bonang and saron are featured and performance styles involving the interplay between soft- and loud-playing styles.</p> Geography The continent, region, nation where this instrument originates from Java, Indonesia Contributors Entry authors Sumarsam (2004) Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/FQU7nnOvXGk" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Classification Hornbostel-Sachs, revised by MIMO 111.212 (idiophone) Sets of percussion sticks: several percussion sticks of different pitch are combined to form a single instrument Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saron gamelan idiophone Java metallophone https://wesomeka.wesleyan.edu/vim2/files/original/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 <br /><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 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/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/5b95ad43abf4e1d7261ba5b32fe4cdb0.jpg 66e6d2b0c816849263555239d05e77ef https://wesomeka.wesleyan.edu/vim2/files/original/24bad06adc5f3d645c54d8b0a4c8c0b2.jpg b11a34b4034adf0092a50457a3512a28 https://wesomeka.wesleyan.edu/vim2/files/original/b6abebabd7365c49bbc2b082bd7182b6.mp3 8716aefd9874876ac29b73e18aa7bdec Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Javanese Gamelan Description An account of the resource Gamelan is an ensemble consisting of predominantly metallophone and gong type instruments. The instruments produce tones when struck with mallets. The ensemble, in various sizes and forms, can be found in a number of Indonesian islands. In Java and Bali, gamelan has developed into an expansive ensemble, while a variety of smaller ensembles continue to exist. In Java alone, there exist several forms of gamelan ensembles. There are two especially known main gamelan styles: Sundanese (West Javanese) and Javanese gamelan. The following descriptions focus on Central Javanese gamelan. ----- INSTRUMENTS AND THEIR FUNCTIONS IN THE ENSEMBLE Javanese gamelan ensemble is known for its expansive or grandeur ensemble, employing a rich variety of instrument types. In a full set of gamelan, beside metallophones and gongs, there are other types of instruments, including a set of drums (kendhang), bowed- and plucked-strings (rebab and celempung), xylophone (gambang), and a bamboo flute (suling). A “soloist” female singing (sindhen) and male chorus (gerong) are also present in the gamelan ensemble. Each or a group of instruments and singing has a particular function in the ensemble, although there is a degree of flexibility. Generally the instruments may fall into the following three functional groupings: (1) instruments that delineate the structure of the piece; (2) instruments that guide temporal flow in the music; (3) and instruments that carries melodies in both simple and elaborate forms. Instruments in the first category include large and medium hanging gongs (gong ageng and gong suwukan), small size hanging gongs (kempul), large standing gongs (kenong), and a pair of small standing gongs (kethuk-kempyang). The stroke of a large hanging gong marks the end of the main musical unit (gongan), while other gongs (kenong, kempul, and kethuk-kempyang, respectively) subdivide it in the order of its importance. Instruments in the second category are a set of two-headed drums (kendhang). The drumming style is defined by the use of particular kendhang or a combination of them. The drumming may consist of a repeatable, simple rhythmic configuration (kendhang satunggal and kendhang kalih) to elaborate and animated rhythm (kendhang ciblon) that are associated with dance movements. The third category consists of three instrumental groupings: (a) instruments that carries melodic skeleton of the piece (balungan): saron, demung, and slenthem; (b) instruments that carries elaborate form of melodies, encompassing wide melodic registers (rebab, gambang, and singing), medium registers (gender barung) and narrow register (celempung, gender panerus, and suling). Generally, the wider their registers the more importance are their melodic functions; (3) instruments whose functions are to mediate between group a (balungan) and group b (elaborating instruments): bonang barung, bonang panerus, and peking. The anticipatory nature of the melodies of these instruments (especially bonang barung) has earned them the status of melodic guidance of the ensemble. Gamelan instruments can also be grouped according to the volume of the sound they can produced: soft-sounding and loud-sounding instruments. The soft-sounding instrument are positioned in the middle- and side-front to the middle row—rebab, gender, gambang, celempung, suling, slenthem—together with the singers. The loud-sounding instruments are in the side-front, middle, and back rows: bonang, kendhang, a group of saron, ketuk-kempyang, kenong, kempul, gong. Soft-loud category is an important basis for the playing style of gamelan and the ensemble’s interplay. ----- TUNING SYSTEM, PATHET, AND GENDHING A full gamelan set employs two tuning systems, slendro and pelog (thus, the full gamelan is actually a double sets, with the slendro set usually facing to the front and the pelog set to the side). The two sets are never played simultaneously, however. The slendro tuning consists of five notes per octave. The five intervals consist of short and medium steps. The difference between the two intervals is so small, however, that they are often described as equal or nearly equal intervals. The pelog has seven pitches per octave (1 2 3 4 5 6 7), but a gendhing is composed on the basis of the combination of sets of five pitch positions (1 2 3 5 6; 1 2 4 5 6; 2 3 5 6 7). In this sense, pelog is a pentatonic system, employing not only one but three basic five-pitch scales. Unlike slendro, narrow and wide intervals in each of these scales are apparent. Another musical concept associated with tuning system is modal classification called pathet. It is a system of the hierarchical use of tones (and/or different use of scale degrees, especially in pelog), supported by characteristics of instruments or vocal idioms to be used to approach these tones and the register of the tones used in composition. Pathet circumscribes general mood or emotive content of a composition. There are three pathet in each of the tuning systems. Composition in gamelan (gendhing) is determined and arranged by a number of parameters. First, a gendhing is composed in a particular tuning system and pathet. Secondly, a composition is framed in one of the formal structures (gongan). There are a docent formal structures defined in binary way by the stroke of gong, kenong, kempul, and kethuk. Thirdly, the melodies of gendhing are arranged in a metrical unit of four notes (gatra). ----- PERFORMANCE CONTEXTS AND HISTORY Gamelan may be performed independently, i.e., to be listened for its own sake. But gamelan is also an essential accompaniment for theatrical performances, such as dance drama and shadow wayang puppet play. Whether accompanying theatrical forms or not, gamelan is performed in several different contexts, especially in rite-of passages events and communal festivals. As history and technology advance, other contexts are created, including gamelan performance on radio and television stations. From little historical evidence we could find, it is safe to say that smaller ensembles, whether they accompanied singing or not, characterized music ensembles during the early period of Javanese history. In the 16th to 17th century, the ensemble began to develop into larger size. This was achieved by synchronizing loud- and soft-sounding instruments and vocal repertoire into an integrated musical concept. The result was an expansive size of ensemble with its hundreds of repertoire as can be found in today’s gamelan and gamelan practice. Contributor An entity responsible for making contributions to the resource Sumarsam (2004) Musical Instrument A sound-making object used for musical performance or in a musical context Geographic region The geographic region where the instrument is found Java, Indonesia Classification Hornbostel-Sachs, revised by MIMO 321.311 Spike bowl lute: the resonator consists of a natural or carved-out bowl Ensemble The musical group in which an instrument can be found Javanese gamelan Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions Rebab is a two-stringed bowed lute with a heart-shaped body of wood covered with a membrane made of parchment from a cow bladder. Pierced through the body, a long spike made of wood or ivory, or a combination of both, supports the strings at the top and serving as a foot at the bottom. The brass strings are stretched up across the membrane from a point on the leg (just below the body) to the elongated pegs in the upper part of the spike. When the rebab is bowed, the strings must be placed on the top of a little wooden bridge (srenten). The bridge is positioned between the strings and the upper part of the membrane. The bow uses a bunch of horsehairs (or plastic) loosely attached on the bow. In playing the rebab, the player must pull this horse hairs to a particular tension in order to produce desired volume and sound from the strings. Musical, Cultural, and Social Contexts information about the contexts in which the instrument is and its role in culture and society performed (Who plays the instrument? What music do they play? Where, when, why is this instrument played?) Rebab is one of the leading instruments in the ensemble, especially in the soft style of playing gendhing; it guides the melodic flow of the piece. In the first place, the rebab played the introduction (buka) of the piece, determining the piece, laras, and pathet that will be played by the ensemble. In some pieces, the rebab plays a melodic cues to lead the ensemble to play different section of the piece. More important, the rebab properly expresses the “true” melodic motion of gendhing in its proper melodic register, since it is the only two instruments in the ensemble whose melodic register could constitute the full melodic range of any composition. Historical background information about the origins, history, and development of the instrument It is most likely that rebab is originated from the Middle East, arriving in Indonesia in the period of the expansion of Islam in Indonesia in the 16th century. The incorporation of rebab into the gamelan ensemble happened during the period of the development of gamelan toward the formation of a large ensemble. This formation consisted of combining loud sounding, soft sounding instruments (Kunst), and vocal repertoire into an integrated musical concept (Sumarsam); hence, the development of a full size gamelan ensemble as it is commonly found today and its gendhing repertoire. Rebab became a leading instrument for its vocally inspired melodic delivery; this is because in a large degree vocal music inherently embody in the gendhing in this new musical concept. Geography The continent, region, nation where this instrument originates from Indonesia Materials wood, cow bladder, ivory, brass, horsehairs, plastic Contributors Entry authors Sumarsam (2004) Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/ZyuHG8JXTEA" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rebab bowed chordophone gamelan Java string https://wesomeka.wesleyan.edu/vim2/files/original/0612e532094ffe2cf99fc3fdceea908d.jpg 526f734d2e01f0696090e6aa170ef463 https://wesomeka.wesleyan.edu/vim2/files/original/e4d3b14159cabad28762bb5ae9d18cae.jpg f730b913c10a503aa26f72149798c6ed https://wesomeka.wesleyan.edu/vim2/files/original/1a6da0c489f9ba94857eae2f307f0ce6.jpg 6dcb472cbb19fb259f806df88dcadf94 https://wesomeka.wesleyan.edu/vim2/files/original/8be897f6f693aceab5b0df533e413407.jpg c95ed65ac15ce8590548ed13b70c238f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Steel Band Description An account of the resource <h4>Time Period</h4> <p>20<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 <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaUNZKe8k6eMQTeYBENbp3n8" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions <p>This instrument consists of four pans arranged in pairs, with two in a typical horizontal arrangement and two suspended vertically in front.  The lowest notes found along the circumference of the bowl are U-shaped, while the higher octave notes are either oval or circular-shaped inside. Their “skirt” or side length is approx. 12-16 cm and they are played with moderately thick rubber mallets.</p> Historical background information about the origins, history, and development of the instrument <p>The quadrophonics (or sometimes called “quads”) was invented by Rudolph Charles to cover the entire upper range of the ensemble (Blake, 119).  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 <em>cuatro </em>guitar, a four-stringed instrument used in local Venezuelan-influenced <em>parang </em>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. </p> Tuning Information about the tuning system The quadrophonics pan has a larger range than most instruments in the family, with 36 notes between B2 and Bb5 (Blake, 119). The arrangement of notes is loosely similar to that of the double seconds, with the notes split between upper and lower drums. Geography The continent, region, nation where this instrument originates from Trinidad and Tobago Ensemble The musical group in which an instrument can be found Steel Pan Ensemble Materials Steel Date/Era If relevant, the historical time period when the instrument was made 20th century to present Bibliography a list of sources referenced <p>Blake, F.I.R.  <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> Additional resources recommendations for further information (websites, books, journal articles, etc.) <p>Pan Trinbago<br /><a href="http://www.pantrinbago.co.tt">http://www.pantrinbago.co.tt</a></p> Contributors Entry authors Amelia Ingram (2004) Classification Hornbostel-Sachs, revised by MIMO 111.241.22 Sets of gongs with divided surface sounding different pitches Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/ZpKFWa3qkxY" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Quadrophonics idiophone metallophone steel pan Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Korean Drumming Description An account of the resource <h4>P’ungmul nori</h4> <p><em>P’ungmul nori</em> is one of the oldest and most popular folk arts of Korea deeply rooted in the country’s traditionally agrarian lifestyle and culture. The term consists of <em>pung</em> (literally, “wind”), and <em>mul</em> (literally, “thing” or “object”), with <em>nori</em> meaning “play.” Generally, <em>p’ungmul</em> (sometimes known as <em>nongak</em>) refers to the percussion bands that performed in farming villages on various occasions, festivities, and celebrations, including planting and harvesting seasons, New Year, Full Moon, to invoke blessings and repel evil spirits. But perhaps most importantly, <em>p’ungmul nori</em> is an activity that calls on the collective energy and unity of the community. It stirs up the <em>shinmyong</em> (excited spirit) of the people providing a renewed sense of energy to carry on the difficult tasks of laboring.</p> <p>Instrumentation of <em>p’ungmul</em> groups tends to vary according to region, but the four basic elements of <em>p’ungmul nori</em> are the <em>kkwaenggwari</em> (small gong), <em>changgo</em> (hourglass drum), <em>ching</em> (large gong), and <em>puk</em> (shallow barrel drum). Ensembles will sometimes include the <em>sogo</em> (small frame drum with handle), the <em>nabal</em> (long trumpet), or the <em>taepyongso</em> (conical oboe). In cases where the <em>sogo</em> is present, its player will usually perform acrobatics with a ribbon tied to a headpiece, while the rest of the ensemble dances the steps to a procession. <em>P’ungmul nori</em> traditionally takes place outside in an open space, and while it is considered to be music, it is dance is an integral and inseparable aspect of the whole performance. As such, all members of a <em>p’ungmul</em> group carry their instruments or have them tied to their body, so that dance movements are possible.</p> <p>The <em>kkwaenggwari</em> and <em>ching</em> (small and large gongs) are the most important instruments in the percussion band. The <em>kkwaenggwari</em> is played by the leader who directs the group in changes of rhythm patterns and tempi. The ching, on the other hand, plays a key role in the ensemble by providing the basic beats that unify the performance. Many a <em>p’ungmul</em> musician will attest that if the large gong loses the pulse, the band will fall apart. The <em>changgo</em>, however, can be seen as the feature instrument of <em>p’ungmul</em> and <em>samul nori</em>. It realizes the complete <em>changdan</em> (rhythmic cycle) and carries the most complex rhythm patterns. It is also the only instrument in the ensemble played with both hands. The changgo can reach great levels of virtuosity, especially in <em>samul nori</em>. The <em>puk</em> rounds out the quartet of instruments by providing a strong and consistent pulse.</p> <p>Musicians and scholars believe that <em>p’ungmul</em> music has its origins in shamanism, the indigenous religion of Korea. But it is difficult to say where this influence ends not only because data on the history of this genre is sparse, but also because its evolution has been affected by military music, Buddhism, its role as pure entertainment, and its connections with the itinerant performing troupes (<em>namsadang</em>) of the late Choson Dynasty.</p> <p>The ritualistic aspect of <em>p’ungmul</em> percussion bands was extant in the agricultural and coastal countrysides of Korea until the middle of the 20<sup>th</sup> century. But this tradition has slowly died out in the wake of modernization, the influence of western religions, an overall decrease in superstitious rituals, and the rise of technology not only in farming materials and equipment, but also in various leisure items that focus more on individual and indoor entertainment.</p> <p>Today, <em>p’ungmul nori</em> remains a source of entertainment and is preserved in festivals, parades, and in performance contexts. It is also an art form that carries the identity of the Korean people, especially in a time where western music seems to have eclipsed much of Korean traditional music. <em>P’ungmul</em> is significant in that it still exists in Korea today. Where as court music died out with the dynasties, and something like <em>p’ansori</em> (narrative folk singing) is to be enjoyed when there is a skilled <em>p’ansori</em> singer available, <em>p’ungmul</em> is an accessible form of music, its musical patterns relatively easy to learn, pick up, and perform.</p> <p>After the military coup in Korea (1961) and throughout the latter half of the 20<sup>th</sup> century, students across Korean campuses employed <em>p’ungmul</em> as a medium to empower the masses and rally strength in demonstrating against the authoritarian government. Its dynamic, powerful rhythms, and its accessibility to the masses made <em>p’ungmul nori</em> a popular channel and source for provocation, mobilization, energy, and solidarity. In Korea’s culture of survival, p’ungmul has played an important role in rousing the <em>shinmyong</em> and regenerating the spirit of the people.</p> <p></p> <h4>Samul nori</h4> <p><em>Samul nori</em> (literally, “play of four things”) may be seen as a modernized adaptation of <em>p’ungmul nori</em>. It first emerged on the stages of Korea in the late 1970s with a tremendous following, under the leadership of Kim Duk Soo who is credited as the leader of this movement. The four instruments in the <em>samul nori</em> genre are the <em>kkwaenggwari</em>, <em>changgo</em>, <em>ching</em>, and <em>puk</em>. <em>Samul nori</em> stems from the <em>p’ungmul</em> tradition, but it is designed mainly for performance and is reserved for highly skilled, professional musicians.</p> <p>Whereas <em>p’ungmul</em> is performed outdoors, in an open space, <em>samul nori</em> is presented in a small space or on a stage (outdoors or indoors). <em>Samul nori</em> performances are often performed in a seated position. <em>P’ungmul</em> music has simpler rhythm patterns that are repeated, and thus accessible to the wide audience. Indeed a “successful” <em>p’ungmul nori</em> invites as many people as possible, as the <em>shinmyong</em> of the group will be more euphoric when there are more people involved. The boundary and space (physical, emotional) between player and audience is minimal in <em>p’ungmul nori</em>, as the larger goal is to achieve a communal high in spirit. <em>P’ungmul</em> performances are not limited to a particular time frame, coming to a close only when the festivities come to a natural end.</p> <p>On the other hand, the genre of <em>samul nori</em> is performed by an average of 4-6 performers who are somewhat distanced from the audience as they showcase a program of extremely complex and technically difficult patterns. Although audiences can certainly sense the <em>shinmyong</em> and participate in the exciting spirit that is generated through such brilliance, <em>samul nori</em> is not conducive to audience participation in the way that <em>p’ungmul nori</em> is. It is not easy, nor is it meant, for onlookers to follow along, in rhythm or dance. Since <em>samul nori</em> is tailored as a staged art, the length of pieces is considerably shorter and the program is set before the show. Although <em>samul nori</em> is not completely without improvisation, its scope is limited in comparison to <em>p’ungmul nori</em>, which is more responsive to audience reactions and the atmosphere created at the time of performance. While <em>p’ungmul nori</em> does not come with a “repertory,” and no two performances or groups would play the same material, <em>samul nori</em> has developed a set or standardized pieces.</p> <p><em>Samul nori</em> is an urban phenomenon that has been immensely popular with Korean youth. It has sparked renewed interest in traditional art forms among Koreans in the face of Korea’s ever-westernizing musical arena.</p> Contributor An entity responsible for making contributions to the resource Hae Joo Kim (2005) Musical Instrument A sound-making object used for musical performance or in a musical context Alternative title any additional names or spellings for the instrument Buk Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions <p>The word <em>puk</em> in Korean is the generic term for the word “drum,” and there are several kinds of <em>puks</em> in Korean music. However, the most common are the <em>p’ungmul puk</em> used in farmer’s band music, and the <em>sori puk</em> used to accompany <em>p’ansori</em> singing (Korean traditional narrative storytelling). The <em>puk</em> 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 <em>puk</em> varies from region to region and according to purpose (<em>sori puks</em> may by larger than the <em>puks</em> 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 <em>p’ansori puks</em> are permanently nailed around the body of the drum, while the skins of the <em>p’ungmul puks</em> are attached to each other by lacing leather strings across the body of the drum.</p> Musical, Cultural, and Social Contexts information about the contexts in which the instrument is and its role in culture and society performed (Who plays the instrument? What music do they play? Where, when, why is this instrument played?) <p>The <em>puk</em> does not play complex rhythms like the <em>changgo</em>, but rather provides a strong, consistent pulse throughout a performance. It is one of the four basic percussion instruments in Korea.</p> Playing technique methods of playing the instrument, performance practices (how is the instrument played?) <p>The <em>puk</em> is played with a bare stick made of birch wood. In <em>p’ansori</em> accompaniment, the <em>puk</em> is situated vertically on the floor while the player (known as the <em>gosu</em>) 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 <em>p’ansori</em> performances, the <em>gosu</em> customarily shouts out cries of encouragement know as <em>chuimsae</em>, to complement and support the singer as the tale unfolds.</p> <p>In <em>p’ungmul</em> <em>nori</em>, the <em>puk</em> is usually tied to the body of the player with a sash slung across the shoulder, and like the <em>changgo</em>, is carried around to facilitate walking and dancing. The <em>puk</em> in <em>p’ungmul</em> 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 <em>puk</em> is sometimes played like the <em>changgo</em>, with two sticks.</p> 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"> <p>Hahn, Myung-Hee. 1998. <em>A Study of Musical Instruments in Korean Traditional Music</em>, translated by Park, Il-Woo, Seoul: The National Center for Korean Traditional Performing Arts, Ministry of Culture and Tourism.</p> <p>Howard, Keith. 1988. <em>Korean Musical Instruments: A Practical Guide</em>, Seoul, Korea: Se-Kwang Music Publishing Co.</p> <p>--------. 1995. <em>Korean Musical Instruments</em>, New York: Oxford University Press.</p> <p>Killick, Andrew. 2002. “Musical Instruments of Korea.” In <em>The Garland Encyclopedia of </em><em>World Music, Vol. 7. East Asia: China, Japan, and Korea,</em> edited by Robert Provine, Yoshihiko Tokumaru, and J. Lawrence Witzleben, New York: Routledge, 821-31.</p> <p>Lee, Hye-Ku. 1981. <em>Essays on Traditional Korean Music</em>, translated and edited by Robert Provine, Seoul, Korea: Royal Asiatic Society, Korea Branch.</p> <p>Pratt, Keith. 1987. <em>Korean Music: Its History and Performance</em>, London: Faber Music Ltd.</p> <p>Sŏng, Kyŏng-rin. 1973. “Korean Musical Instruments.” In <em>Survey of Korean Arts: </em><em>Traditional Music</em>. Seoul, Korea: The National Academy of Arts.</p> </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 <em>Chǒngganbo</em>, which can be traced back to the fifteenth century. The <em>Chǒngganbo</em> is a framework of vertical and horizontal lines that intersect to create small boxes that are read in columns (top to bottom, right to left), with icons or symbols representing various strokes placed within each box, one box being equal to one beat. In ensemble music, one column would carry the notation for one instrument, and one line (i.e. one segment from top to bottom) would denote one rhythmic cycle. <em>Chǒngganbo</em> also allows for subdivision of beats within one box if necessary. The <em>Chǒngganbo</em> system is still in use today, although Korean percussion instruments also use western staff notation. The National Center for Korean Traditional Performing Arts in Korea uses and prints materials in both systems. 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/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