2 20 74 https://wesomeka.wesleyan.edu/vim2/files/original/cfd86fd5542c6ed1a6ba8f2cd55bd817.jpg 9cb52111b06cca77c9b6d2eac279d95b https://wesomeka.wesleyan.edu/vim2/files/original/715d81e8987e38c2efbcd1756a4671fc.jpg abc2a235f4c80fd9bee1b4ee8e2801e9 https://wesomeka.wesleyan.edu/vim2/files/original/5337a21e7fd2206ecb2aba0835a09e15.jpg 4d8852bd32d30e5f7eaede5dc9ed151b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Steel Band Description An account of the resource <h4>Time Period</h4> <p>20^th century – present<br /><br /></p> <h4>Physical Description</h4> <p>The steel pan (or steel drum) is composed of from one to nine 55-gallon steel barrel drums, suspended with stands.&nbsp; The bottom end of the barrel is open, with its skirt (or sides) cut from 6 inches to full length for bass instruments.&nbsp; The top end of the barrel is sunk into a concave shape with notes raised upward by a process of firing, cooling and hammering to generate the base pitch and its overtones.&nbsp; The lower the instrument, the shallower the pan is sunk.&nbsp; Notes are delineated by grooving of various shapes, either circular, “U” or squared.&nbsp;</p> <p>&nbsp;While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker.&nbsp; On each side of the drum, a hole is drilled to suspend it on metal stands with either nylon/ leather straps or aluminum hooks.&nbsp; Earlier steel pans were suspended around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument.&nbsp; Today, this form is considered a subgroup style called “pan round the neck.”&nbsp; The steel pan’s primary accompaniment is the “engine room” composed of car brake iron, shaker (“shak-shak”), scraper (guiro), congas, and drum set.&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;</p> <h4>History</h4> <p>The steel pan originated in Trinidad during the late 1930s as an accompaniment to the Carnival masquerade bands.&nbsp; It was a replacement for the tamboo bamboo (stamping tube) ensembles that were outlawed by British colonial law in 1884.&nbsp; In its crude form as biscuit drums and metal tins, the steel pan performed the popular percussive “call and response” style of the tamboo bamboo bands.&nbsp; During the 1940s the steel pan transformed from a percussive instrument into a tuned instrument, and its tuning procedures were established.&nbsp; The tuner would sink the pan with a hammer, then groove the note layout on the concave face, temper the drum over a fire, and fine-tune the notes.&nbsp; By the 1950s, it developed into a tuned and fully chromatic instrument to perform a wide variety of local (calypso, soca, parang) and international (European orchestral music, Latin dance, and jazz, etc.) musical styles. Today, the steel band orchestra in Trinidad and Tobago’s Carnival performances has approx. 100 players.&nbsp;&nbsp;&nbsp; &nbsp;</p> <p>&nbsp;</p> <h4>Tuning</h4> <p>Instrument ranges and tuning generally mimic those of the Western string orchestra, from tenor (one drum) to bass (six to nine drums) and each instrument usually covers two and a half chromatic octaves.&nbsp; While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. &nbsp;The drums are traditionally shaped by hand, though recent research and technology has devised a mechanical sinking of the drums (called spin sinking) which allows for greater accuracy and consistency in the bowl’s shape.&nbsp; Other innovations include an expansion of instrument range and electronic amplification.</p> <p>&nbsp;&nbsp;&nbsp;</p> <h4>Technique</h4> <p>The steel pan is played with wood or aluminum mallets wrapped with rubber which allows the instrument to resonate.&nbsp; The thickness of the mallet increases with the number of drums and range of instrument.&nbsp; The bass instrument mallets are made with soft rubber sponge balls.&nbsp; Mallet strokes on the pan must quickly move away from the instrument to allow the drum to resonate.&nbsp; In typical play, the higher (or smaller) notes require more force for an equal volume with the lower (and larger) notes.&nbsp; Due to the relatively short length of resonance, sustained pitches are produced by rapid rolls, or alternation of mallets.&nbsp; The brake iron, the steel pan’s main accompaniment, is held in one hand and struck with a metal rod.&nbsp; Together, several brake iron players perform in a “hocketing” fashion to form a steady metronomic accompaniment for the steel pans.</p> <p>&nbsp;</p> <h4>Notation</h4> <p>Music for steel pan is traditionally learned by rote, however, the professionalisation of performers has led to an increased use of Western notation for performance outside of the traditional Carnival context (such as Trinidad’s World Steelband Festival, which features Western orchestral music).&nbsp; Western musicians learning the music typically learn from written transcriptions of Trinidad steel bands or original written compositions.&nbsp;<br /><br /></p> <h4>Context</h4> <p>The steel pan is primarily performed in Carnival festivals throughout the West Indies and the Caribbean diaspora (New York, Toronto and Nottingham England being the most prominent).&nbsp; Of these, Trinidad’s Panorama Steel Band Competition is the largest and most significant.&nbsp; Expansions of the styles of performance and institutionalization of the bands have allowed other festivals to form, such as Trinidad’s World Steelband Festival for the performance of European orchestral music and the Pan Ramajay festival for jazz.&nbsp; Other contexts derive from the steel pan’s earlier technique of suspending the pan around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument.&nbsp; Today, this form is considered a subgroup style called “pan round the neck” which generates its own competitions and audience during Carnival.<br /><br /></p> <h4>References</h4> <p>Blake, F.I.R.&nbsp; <em>The Trinidad &amp; Tobago Steel Pan: History and Evolution</em>.&nbsp; Port of Spain, Trinidad:&nbsp; Published by author.</p> <p>Goddard, George “Sonny.”&nbsp; 1991.&nbsp; <em>Forty Years in the Steelbands, 1939-1979.&nbsp; </em>Port of Spain, Karia Press.</p> <p>Steumpfle, Stephen.&nbsp; 1995.&nbsp; <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>.&nbsp; Philadelphia: Univ. of Pennsylvania Press.</p> <p>Thomas, Jeffrey Todd. 1985.&nbsp; <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em>&nbsp; M.A. Thesis.&nbsp; Middletown, CT:&nbsp; Wesleyan University.</p> Date A point or period of time associated with an event in the lifecycle of the resource <strong>Time Period:&nbsp; </strong>20^th century – present Contributor An entity responsible for making contributions to the resource Amelia Ingram (2004) Relation A related resource <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaUNZKe8k6eMQTeYBENbp3n8" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions <p>This instrument consists of two drums with a “skirt” or side length of approx. 15-18cm (Blake, 111).&nbsp; The notes are “raised” from the concave bowls of each drum, and produce a slightly lower voice (than the double tenor) due to the longer skirt.&nbsp; The lowest notes found along the circumference of the bowl are U-shaped, while the higher octave notes are either oval or circular-shaped inside.&nbsp; The double second pans must be suspended on stands or a rack to allow the drums to resonate and are played with moderately thick rubber mallets.&nbsp;</p> Historical background information about the origins, history, and development of the instrument <p>The double second was designed by Ellie Mannette of the Invaders Steelband.&nbsp; It has the dual use of supporting the melody as well as playing upper portions of the harmony in a standardized accompaniment rhythm. &nbsp;Along with the <em>quadrophonics</em>, its rhythm historically derived from the <em>cuatro</em>, a four-string guitar used in <em>parang</em> (a Venezuelan-influenced musical genre performed at Christmas) (Steumpfle, 43).&nbsp;</p> Tuning Information about the tuning system <p>The double second has a chromatic range between F3 and C#6, with 30 notes.&nbsp; Pan tuner Ellie Mannette’s original design for the double second, known as “Invaders styling” has become the standard for this instrument (Blake, 111). &nbsp;The arrangement of notes allows for easy formation of chordal patterns.</p> Geography The continent, region, nation where this instrument originates from Trinidad and Tobago Ensemble The musical group in which an instrument can be found Steel Pan Ensemble Materials Steel Date/Era If relevant, the historical time period when the instrument was made 20th century to present Bibliography a list of sources referenced <p>Blake, F.I.R.&nbsp; <em>The Trinidad &amp; Tobago Steel Pan: History and Evolution</em>.&nbsp; Port of Spain, Trinidad:&nbsp; Published by author.</p> <p>Goddard, George “Sonny.”&nbsp; 1991.&nbsp; <em>Forty Years in the Steelbands, 1939-1979.&nbsp; </em>Port of Spain, Karia Press.</p> <p>Steumpfle, Stephen.&nbsp; 1995.&nbsp; <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>.&nbsp; Philadelphia: Univ. of Pennsylvania Press.</p> <p>Thomas, Jeffrey Todd. 1985.&nbsp; <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em>&nbsp; M.A. Thesis.&nbsp; Middletown, CT:&nbsp; Wesleyan University.</p> Additional resources recommendations for further information (websites, books, journal articles, etc.) <p>Pan Trinbago<br /><a href="http://www.pantrinbago.co.tt">http://www.pantrinbago.co.tt</a></p> Contributors Entry authors Amelia Ingram (2004) Classification Hornbostel-Sachs, revised by MIMO 111.241.22 Sets of gongs with divided surface sounding different pitches Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/ZCfaaGXehpU" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Double Second Pan idiophone metallophone steel pan Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Steel Band Description An account of the resource <h4>Time Period</h4> <p>20^th century – present<br /><br /></p> <h4>Physical Description</h4> <p>The steel pan (or steel drum) is composed of from one to nine 55-gallon steel barrel drums, suspended with stands.&nbsp; The bottom end of the barrel is open, with its skirt (or sides) cut from 6 inches to full length for bass instruments.&nbsp; The top end of the barrel is sunk into a concave shape with notes raised upward by a process of firing, cooling and hammering to generate the base pitch and its overtones.&nbsp; The lower the instrument, the shallower the pan is sunk.&nbsp; Notes are delineated by grooving of various shapes, either circular, “U” or squared.&nbsp;</p> <p>&nbsp;While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker.&nbsp; On each side of the drum, a hole is drilled to suspend it on metal stands with either nylon/ leather straps or aluminum hooks.&nbsp; Earlier steel pans were suspended around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument.&nbsp; Today, this form is considered a subgroup style called “pan round the neck.”&nbsp; The steel pan’s primary accompaniment is the “engine room” composed of car brake iron, shaker (“shak-shak”), scraper (guiro), congas, and drum set.&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;</p> <h4>History</h4> <p>The steel pan originated in Trinidad during the late 1930s as an accompaniment to the Carnival masquerade bands.&nbsp; It was a replacement for the tamboo bamboo (stamping tube) ensembles that were outlawed by British colonial law in 1884.&nbsp; In its crude form as biscuit drums and metal tins, the steel pan performed the popular percussive “call and response” style of the tamboo bamboo bands.&nbsp; During the 1940s the steel pan transformed from a percussive instrument into a tuned instrument, and its tuning procedures were established.&nbsp; The tuner would sink the pan with a hammer, then groove the note layout on the concave face, temper the drum over a fire, and fine-tune the notes.&nbsp; By the 1950s, it developed into a tuned and fully chromatic instrument to perform a wide variety of local (calypso, soca, parang) and international (European orchestral music, Latin dance, and jazz, etc.) musical styles. Today, the steel band orchestra in Trinidad and Tobago’s Carnival performances has approx. 100 players.&nbsp;&nbsp;&nbsp; &nbsp;</p> <p>&nbsp;</p> <h4>Tuning</h4> <p>Instrument ranges and tuning generally mimic those of the Western string orchestra, from tenor (one drum) to bass (six to nine drums) and each instrument usually covers two and a half chromatic octaves.&nbsp; While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. &nbsp;The drums are traditionally shaped by hand, though recent research and technology has devised a mechanical sinking of the drums (called spin sinking) which allows for greater accuracy and consistency in the bowl’s shape.&nbsp; Other innovations include an expansion of instrument range and electronic amplification.</p> <p>&nbsp;&nbsp;&nbsp;</p> <h4>Technique</h4> <p>The steel pan is played with wood or aluminum mallets wrapped with rubber which allows the instrument to resonate.&nbsp; The thickness of the mallet increases with the number of drums and range of instrument.&nbsp; The bass instrument mallets are made with soft rubber sponge balls.&nbsp; Mallet strokes on the pan must quickly move away from the instrument to allow the drum to resonate.&nbsp; In typical play, the higher (or smaller) notes require more force for an equal volume with the lower (and larger) notes.&nbsp; Due to the relatively short length of resonance, sustained pitches are produced by rapid rolls, or alternation of mallets.&nbsp; The brake iron, the steel pan’s main accompaniment, is held in one hand and struck with a metal rod.&nbsp; Together, several brake iron players perform in a “hocketing” fashion to form a steady metronomic accompaniment for the steel pans.</p> <p>&nbsp;</p> <h4>Notation</h4> <p>Music for steel pan is traditionally learned by rote, however, the professionalisation of performers has led to an increased use of Western notation for performance outside of the traditional Carnival context (such as Trinidad’s World Steelband Festival, which features Western orchestral music).&nbsp; Western musicians learning the music typically learn from written transcriptions of Trinidad steel bands or original written compositions.&nbsp;<br /><br /></p> <h4>Context</h4> <p>The steel pan is primarily performed in Carnival festivals throughout the West Indies and the Caribbean diaspora (New York, Toronto and Nottingham England being the most prominent).&nbsp; Of these, Trinidad’s Panorama Steel Band Competition is the largest and most significant.&nbsp; Expansions of the styles of performance and institutionalization of the bands have allowed other festivals to form, such as Trinidad’s World Steelband Festival for the performance of European orchestral music and the Pan Ramajay festival for jazz.&nbsp; Other contexts derive from the steel pan’s earlier technique of suspending the pan around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument.&nbsp; Today, this form is considered a subgroup style called “pan round the neck” which generates its own competitions and audience during Carnival.<br /><br /></p> <h4>References</h4> <p>Blake, F.I.R.&nbsp; <em>The Trinidad &amp; Tobago Steel Pan: History and Evolution</em>.&nbsp; Port of Spain, Trinidad:&nbsp; Published by author.</p> <p>Goddard, George “Sonny.”&nbsp; 1991.&nbsp; <em>Forty Years in the Steelbands, 1939-1979.&nbsp; </em>Port of Spain, Karia Press.</p> <p>Steumpfle, Stephen.&nbsp; 1995.&nbsp; <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>.&nbsp; Philadelphia: Univ. of Pennsylvania Press.</p> <p>Thomas, Jeffrey Todd. 1985.&nbsp; <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em>&nbsp; M.A. Thesis.&nbsp; Middletown, CT:&nbsp; Wesleyan University.</p> Date A point or period of time associated with an event in the lifecycle of the resource <strong>Time Period:&nbsp; </strong>20^th century – present Contributor An entity responsible for making contributions to the resource Amelia Ingram (2004) Relation A related resource <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaUNZKe8k6eMQTeYBENbp3n8" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions This instrument consists of two drums with a “skirt” or side length of approx 12-16 cm (Blake, 110). The notes are “raised” from the concave bowl in an arrangement that varies the most widely. The lowest notes found along the circumference of the bowl are U-shaped, while the higher octave notes are either oval or circular-shaped inside. The double tenor pans must be suspended on stands or a rack to allow the drums to resonate and are played with moderately thick rubber mallets. Historical background information about the origins, history, and development of the instrument Ellie Mannette, an early innovator for the Invaders steel band, is credited with creating the first double tenor pan. He created this design (along with the double seconds) in an effort to expand the range of notes in the early steel band (Blake, 110). It is used mainly to support the tenor melody while occasionally providing harmonic support. Tuning Information about the tuning system The double tenor has a chromatic range between F3 and B-flat5, with 29 to 30 notes. Its range is one octave below the tenor pan. Geography The continent, region, nation where this instrument originates from Trinidad and Tobago Ensemble The musical group in which an instrument can be found Steel Pan Ensemble Materials Steel Bibliography a list of sources referenced <p>Blake, F.I.R.&nbsp; <em>The Trinidad &amp; Tobago Steel Pan: History and Evolution</em>.&nbsp; Port of Spain, Trinidad:&nbsp; Published by author.</p> <p>Goddard, George “Sonny.”&nbsp; 1991.&nbsp; <em>Forty Years in the Steelbands, 1939-1979.&nbsp; </em>Port of Spain, Karia Press.</p> <p>Steumpfle, Stephen.&nbsp; 1995.&nbsp; <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>.&nbsp; Philadelphia: Univ. of Pennsylvania Press.</p> <p>Thomas, Jeffrey Todd. 1985.&nbsp; <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em>&nbsp; M.A. Thesis.&nbsp; Middletown, CT:&nbsp; Wesleyan University.</p> Additional resources recommendations for further information (websites, books, journal articles, etc.) Pan Trinbago<br /><a href="http://www.pantrinbago.co.tt">http://www.pantrinbago.co.tt</a> Contributors Entry authors Amelia Ingram (2004) Classification Hornbostel-Sachs, revised by MIMO 111.241.22 Sets of gongs with divided surface sounding different pitches Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/4RohC-ONigY" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Double Tenor Pan idiophone metallophone steel pan https://wesomeka.wesleyan.edu/vim2/files/original/f6b6ccd06dc2dbb40b9ae54ac37655b4.JPG b3e9b4783766120f01f9b07bdfd4a7de https://wesomeka.wesleyan.edu/vim2/files/original/9bc855b7d095efc032746ff232d8bf5e.JPG 617589a8f2151095c6241f2b3007a83d https://wesomeka.wesleyan.edu/vim2/files/original/bc39b3a1cbc07186c59b06b97b36b2c9.JPG 68a054a8fa573c8cc39bfa8e5a75251b Musical Instrument A sound-making object used for musical performance or in a musical context Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/pnh2O2--ZM8" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Alternative title any additional names or spellings for the instrument Mountain dulcimer Geography The continent, region, nation where this instrument originates from United States Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dulcimer, Appalachian chordophone plucked string United States 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/cWEXP3dcLWs" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dulcimer, hammered 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/lQE8GW2jREk" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dulcimer, plucked chordophone plucked string https://wesomeka.wesleyan.edu/vim2/files/original/d8e8ef4cccb2a9bb0b1f96c4aa3a0cba.jpg 71c9a2e9354355d9ecf5d4125d327522 https://wesomeka.wesleyan.edu/vim2/files/original/9d0de4416105d8cd7b7190bf953f828f.jpg d5420a553ed2705c3f37867956ed281a 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/xU17qEMJ9vs" 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 Dundun 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 Steel Band Description An account of the resource <h4>Time Period</h4> <p>20^th century – present<br /><br /></p> <h4>Physical Description</h4> <p>The steel pan (or steel drum) is composed of from one to nine 55-gallon steel barrel drums, suspended with stands.&nbsp; The bottom end of the barrel is open, with its skirt (or sides) cut from 6 inches to full length for bass instruments.&nbsp; The top end of the barrel is sunk into a concave shape with notes raised upward by a process of firing, cooling and hammering to generate the base pitch and its overtones.&nbsp; The lower the instrument, the shallower the pan is sunk.&nbsp; Notes are delineated by grooving of various shapes, either circular, “U” or squared.&nbsp;</p> <p>&nbsp;While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker.&nbsp; On each side of the drum, a hole is drilled to suspend it on metal stands with either nylon/ leather straps or aluminum hooks.&nbsp; Earlier steel pans were suspended around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument.&nbsp; Today, this form is considered a subgroup style called “pan round the neck.”&nbsp; The steel pan’s primary accompaniment is the “engine room” composed of car brake iron, shaker (“shak-shak”), scraper (guiro), congas, and drum set.&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;</p> <h4>History</h4> <p>The steel pan originated in Trinidad during the late 1930s as an accompaniment to the Carnival masquerade bands.&nbsp; It was a replacement for the tamboo bamboo (stamping tube) ensembles that were outlawed by British colonial law in 1884.&nbsp; In its crude form as biscuit drums and metal tins, the steel pan performed the popular percussive “call and response” style of the tamboo bamboo bands.&nbsp; During the 1940s the steel pan transformed from a percussive instrument into a tuned instrument, and its tuning procedures were established.&nbsp; The tuner would sink the pan with a hammer, then groove the note layout on the concave face, temper the drum over a fire, and fine-tune the notes.&nbsp; By the 1950s, it developed into a tuned and fully chromatic instrument to perform a wide variety of local (calypso, soca, parang) and international (European orchestral music, Latin dance, and jazz, etc.) musical styles. Today, the steel band orchestra in Trinidad and Tobago’s Carnival performances has approx. 100 players.&nbsp;&nbsp;&nbsp; &nbsp;</p> <p>&nbsp;</p> <h4>Tuning</h4> <p>Instrument ranges and tuning generally mimic those of the Western string orchestra, from tenor (one drum) to bass (six to nine drums) and each instrument usually covers two and a half chromatic octaves.&nbsp; While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. &nbsp;The drums are traditionally shaped by hand, though recent research and technology has devised a mechanical sinking of the drums (called spin sinking) which allows for greater accuracy and consistency in the bowl’s shape.&nbsp; Other innovations include an expansion of instrument range and electronic amplification.</p> <p>&nbsp;&nbsp;&nbsp;</p> <h4>Technique</h4> <p>The steel pan is played with wood or aluminum mallets wrapped with rubber which allows the instrument to resonate.&nbsp; The thickness of the mallet increases with the number of drums and range of instrument.&nbsp; The bass instrument mallets are made with soft rubber sponge balls.&nbsp; Mallet strokes on the pan must quickly move away from the instrument to allow the drum to resonate.&nbsp; In typical play, the higher (or smaller) notes require more force for an equal volume with the lower (and larger) notes.&nbsp; Due to the relatively short length of resonance, sustained pitches are produced by rapid rolls, or alternation of mallets.&nbsp; The brake iron, the steel pan’s main accompaniment, is held in one hand and struck with a metal rod.&nbsp; Together, several brake iron players perform in a “hocketing” fashion to form a steady metronomic accompaniment for the steel pans.</p> <p>&nbsp;</p> <h4>Notation</h4> <p>Music for steel pan is traditionally learned by rote, however, the professionalisation of performers has led to an increased use of Western notation for performance outside of the traditional Carnival context (such as Trinidad’s World Steelband Festival, which features Western orchestral music).&nbsp; Western musicians learning the music typically learn from written transcriptions of Trinidad steel bands or original written compositions.&nbsp;<br /><br /></p> <h4>Context</h4> <p>The steel pan is primarily performed in Carnival festivals throughout the West Indies and the Caribbean diaspora (New York, Toronto and Nottingham England being the most prominent).&nbsp; Of these, Trinidad’s Panorama Steel Band Competition is the largest and most significant.&nbsp; Expansions of the styles of performance and institutionalization of the bands have allowed other festivals to form, such as Trinidad’s World Steelband Festival for the performance of European orchestral music and the Pan Ramajay festival for jazz.&nbsp; Other contexts derive from the steel pan’s earlier technique of suspending the pan around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument.&nbsp; Today, this form is considered a subgroup style called “pan round the neck” which generates its own competitions and audience during Carnival.<br /><br /></p> <h4>References</h4> <p>Blake, F.I.R.&nbsp; <em>The Trinidad &amp; Tobago Steel Pan: History and Evolution</em>.&nbsp; Port of Spain, Trinidad:&nbsp; Published by author.</p> <p>Goddard, George “Sonny.”&nbsp; 1991.&nbsp; <em>Forty Years in the Steelbands, 1939-1979.&nbsp; </em>Port of Spain, Karia Press.</p> <p>Steumpfle, Stephen.&nbsp; 1995.&nbsp; <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>.&nbsp; Philadelphia: Univ. of Pennsylvania Press.</p> <p>Thomas, Jeffrey Todd. 1985.&nbsp; <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em>&nbsp; M.A. Thesis.&nbsp; Middletown, CT:&nbsp; Wesleyan University.</p> Date A point or period of time associated with an event in the lifecycle of the resource <strong>Time Period:&nbsp; </strong>20^th century – present Contributor An entity responsible for making contributions to the resource Amelia Ingram (2004) Relation A related resource <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaUNZKe8k6eMQTeYBENbp3n8" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions The engine room is comprised of a “core” set of instruments, including the brake iron (discarded car brake drums), shak-shak (shaker), scratcher (a metal guiro), toc-toc (claves), cowbell, and bottle and spoon. In addition, the contemporary steel band also includes drum set, congas, and occasional other instruments as part of the engine room. The brake iron is played with a metal rod to produce a high-pitched sound. Historical background information about the origins, history, and development of the instrument The engine room has its origins in early tamboo bamboo groups, which would use the brake iron and bottle and spoon as their primary accompaniment. “Mussel Rat” of Gonzales Place tamboo bamboo band is credited with introducing the brake iron in the mid-1930s (Blake, 120). The early steel bands adopted this tradition since many musicians transferred to the steel band when the tamboo bamboo was outlawed from Carnival (Goddard, 38). Tuning Information about the tuning system The engine room percussion are generally non-tuned, although most brake irons are arranged in sets of lower and higher-pitched instruments for musical effect. Congas are also tuned in a standard fourths or fifths tuning. Geography The continent, region, nation where this instrument originates from Trinidad and Tobago Ensemble The musical group in which an instrument can be found Steel Pan Ensemble Materials Steel Date/Era If relevant, the historical time period when the instrument was made 20th century to present Bibliography a list of sources referenced <p>Blake, F.I.R.&nbsp; <em>The Trinidad &amp; Tobago Steel Pan: History and Evolution</em>.&nbsp; Port of Spain, Trinidad:&nbsp; Published by author.</p> <p>Goddard, George “Sonny.”&nbsp; 1991.&nbsp; <em>Forty Years in the Steelbands, 1939-1979.&nbsp; </em>Port of Spain, Karia Press.</p> <p>Steumpfle, Stephen.&nbsp; 1995.&nbsp; <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>.&nbsp; Philadelphia: Univ. of Pennsylvania Press.</p> <p>Thomas, Jeffrey Todd. 1985.&nbsp; <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em>&nbsp; M.A. Thesis.&nbsp; Middletown, CT:&nbsp; Wesleyan University.</p> Additional resources recommendations for further information (websites, books, journal articles, etc.) Pan Trinbago<br /><a href="http://www.pantrinbago.co.tt">http://www.pantrinbago.co.tt</a> Contributors Entry authors Amelia Ingram (2004) Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/299VrbpnFIk" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Engine Room idiophone steel pan https://wesomeka.wesleyan.edu/vim2/files/original/e0f7acd3ee95af607d3881f9b8ff1f17.JPG 6e4416544bbe457e7a795ab0b6073fdc https://wesomeka.wesleyan.edu/vim2/files/original/b46af790676d2bd486f2c0b376a95a5e.JPG f460bab64087197f8cb5b04faeddc918 https://wesomeka.wesleyan.edu/vim2/files/original/2d3ca1d534f79fc1014a51918cc9a841.JPG 9c30b10af899802d8d76ab068e262183 https://wesomeka.wesleyan.edu/vim2/files/original/bd8773529c5afdc1ab7cacfb8b7f36b3.jpg a715e54bf616583a27a24e5f28c8fa30 https://wesomeka.wesleyan.edu/vim2/files/original/96b0540453bb90242d778c1cf33b0504.jpg ba81d1dec30286d362096a72e850e86c https://wesomeka.wesleyan.edu/vim2/files/original/da525d72d84f4d1859396d23b0a7701b.jpg b80ec24ec9227e12082973cd782604f5 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 Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions <p><em>Erhu</em> is a medium-high ranged Chinese two-stringed fiddle. The structure of the modern <em>erhu</em> was regularized in the 1920s by Liu Tianhua (1895-1932), the pioneering musician and composer in modern Chinese <em>erhu</em> and <em>pipa</em> music. <em>Erhu</em> consists of a body (<em>qin tong</em>), a shaft (<em>qin gan</em>), two tuning pegs (<em>xuan zhou</em>), a tight loop of string <em>(qian jin</em>), and a tiny bridge (<em>xuan ma</em>). <em>Erhu</em>’s body (13 cm long) can be made of padouk wood (<em>hong mu</em>), red sandalwood (<em>zi tan</em>), or ebony wood (<em>wu mu</em>). Its shape is usually hexagonal, with round or octagonal regional variations. Its front (8.8 cm in diameter) is covered with snakeskin, while the back is closed with a piece of pierced wood or bone (<em>yin chuang</em>). The shaft (78 cm long) is made of the same wood as the body. Its top is called the head of the instrument (<em>qin tou</em>), and is either carved in the form of a dragon’s head or a half moon. Two tuning pegs are set in the upper section of the shaft, while the lower end of the shaft is fixed onto the body. <em>Qian jin</em> is made of a tight loop of soft silk string which encircles the shaft and strings. Together with the bridge, <em>qian jin</em> sets the appropriate vibrating length of the strings (38 or 39 to 41 cm). <em>Erhu</em>’s bow is made of reed (<em>jiang wei zhu</em>, 76 cm) strung with horsehair or nylon. The bow hairs are inserted between the two strings that are made of silk (in the past), steel, or steel wrapped with nylon.&nbsp;</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><em>Erhu</em> was not a court instrument, since it did not appear until the Song and Yuan dynasties when large court entertainment ensembles were in decline. Until the first part of the twentieth century, <em>erhu</em> had been used widely in accompanying singing and opera performances as an important instrument. It was also an instrument used by street musicians and beggars. Therefore, <em>erhu</em> was always a folk instrument, closely related to people’s everyday musical lives. In addition, in the late Qing dynasty, <em>erhu</em> gradually became a major instrument in urban folk ensembles in southern China, which added its connection to members of the literati circle, who participated in these urban folk ensembles. In the course of the twentieth century, <em>erhu</em> was gradually elevated as a solo instrument and as “China’s violin” by conservatory trained musicians and composers in concert music compositions, while it was still used as an important accompanying instrument in opera performances. In the past twenty years, rock musicians, pop bands, and avant-garde music composers have all used <em>erhu</em> in their music as an emblem of Chinese-ness and folk roots.<br /><br /></p> <p><em>Gaohu</em> is a high-pitched two-stringed fiddle. A newer invention, used mostly in Cantonese music ensembles. It has a very similar structure as the <em>erhu</em>, but its body is slightly smaller and it has no back close piece.</p> Historical background information about the origins, history, and development of the instrument <p>Today’s <em>erhu </em>probably evolved from several different kinds of stringed instruments. <em>Erhu</em> was historically known as <em>huqin</em> (lit. “barbarian’s stringed instrument”), indicating its northern association. <em>Hu</em> was a derogatory word for northern ethnic tribes. The term <em>huqin</em> was first mentioned in the Song dynasty (960-1279). Earlier on, the reference to <em>ji qin</em> first appeared in the Tang dynasty (618-907). Ji Kang (223-263), a famous literati musician, was attributed as its creator. Later, the reference to <em>xi qin</em>, named after a northern nomadic tribe Xi, first appeared in Song dynasty (960-1279). These two instruments were both first described as plucked string instruments, and later as having two strings and being played by pressuring the strings with a strip of bamboo, suggesting that the earliest Chinese bowed instruments were derived from plucked stringed instruments. These various instruments were perhaps assimilated over a long historical period. Eventually in the Yuan dynasty (1279-1368), under the Mongolian’s rule, both the description of <em>huqin</em> in writing and the portrayal of <em>huqin</em> in painting came to resemble today’s <em>erhu</em>. In the Ming dynasty (1368-1644), <em>qian jin</em> appeared and in the Qing dynasty (1644-1911), a number of variants of <em>huqin</em> came into use, such as <em>jing hu</em> (Peking opera two-stringed fiddle). <em>Huqin</em>, therefore became a generic term for a very large number of bowed instruments.<br /><br /></p> <p>It is not known for sure when and how the term <em>erhu</em> appeared. It most possibly originated in the early twentieth century when Liu Tianhua composed 10 <em>erhu</em> solo pieces, using some Western classical music compositional techniques. Liu Tianhua’s effort left a significant impact on modern Chinese music history, and especially on <em>erhu</em>. In the twentieth century, equated to violin, <em>erhu</em> became a primary instrument for solo, duo, or concerto forms, and the leading instrument in both small regional ensembles and the modern Chinese instrumental orchestra.</p> Playing technique methods of playing the instrument, performance practices (how is the instrument played?) <p>In playing, <em>erhu </em>is held upright by the left hand, its body sits on the player’s left thigh. The fingers of the left hand stop the strings, while the right hand and arm operate the bow. By pushing the wood of the bow outward or pulling the bow hair inward with right hand fingers, the player produces sound from one of the two strings. Bowing techniques include long bow (<em>chang gong</em>), short bow (<em>duan gong</em>), tremolo (<em>chan gong</em>), and others. In modern <em>erhu</em> performance, the left hand moves to several positions. Left hand techniques, which often distinguish the special sound characteristics of <em>erhu</em>, include vibrato (<em>rou yin</em>), glissando (<em>hua yin</em>), appoggiatura (<em>da yin</em>), and others.</p> Notation The style of written music that the player reads <p><em>Erhu</em> does not have its own notational system. When accompanying singing and opera performance before the mid twentieth century, <em>erhu </em>musicians played from memory, with some degrees of improvisation on melodic ornamentations. In a few cases, <em>gong che pu</em> (note name notation) was used for small folk ensemble repertory, whose instruments included <em>erhu</em>. Today, almost all <em>erhu</em> performers use cipher notation, which has been widely adopted by Chinese traditional instrumentalists since the mid twentieth century. Conservatory trained musicians sometimes use staff notation as well, especially when performing contemporary avant-garde pieces.</p> Tuning Information about the tuning system <p>The two strings of <em>erhu</em> are tuned in a fifth, most often with d¹ and a¹ or c¹ and g¹, sometimes g and d¹ or a and e¹, with a range of three octaves (d¹ to d⁴).</p> Geography The continent, region, nation where this instrument originates from China Classification Hornbostel-Sachs, revised by MIMO 321.313 (chordophone) Spike tube lute: the handle passes diametrically through the walls of a tube Ensemble The musical group in which an instrument can be found Chinese Music Ensemble Materials Wood, snakeskin, reed, horsehair or nylon, silk, steel Bibliography a list of sources referenced <p>Jonathan Stock, 1996. <em>Musical Creativity in Twentieth-Century China: Abing, His Music, and Its Changing Meanings</em>. Rochester, NY: University of Rochester Press.&nbsp;</p> <p>Terrence Liu, 2002. "Erhu." In<em> The Garland Encyclopedia of World Music, Vol. 7. East Asia: China, Japan, and Korea</em>, ed. by Robert&nbsp; Provine, Yoshihiko Tokumaru, and J. Lawrence Witzleben, New York: Routledge, 175-8.&nbsp;</p> <p>Su Zheng, 2002. "Musical Instruments." In <em>The Garland Encyclopedia of World Music, Vol. 7. East Asia: China, Japan, and Korea</em>, ed. by Robert&nbsp; Provine, Yoshihiko Tokumaru, and J. Lawrence Witzleben, New York: Routledge, 79-83.</p> Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/7MThMPSaBs0" 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 Erhu bowed string China chordophone https://wesomeka.wesleyan.edu/vim2/files/original/7d5ea3d43280c73f073a2641ac12a768.jpg 2a6e682548ede4ba0b6cded2abf57379 https://wesomeka.wesleyan.edu/vim2/files/original/25e0ab23fb68cfaff95ba12dc863e774.jpg d9757ccf58589f163c23f496eb6096a7 https://wesomeka.wesleyan.edu/vim2/files/original/e8512c61083d550acdb0ebd241f62e58.jpg ce16a2f204aeca198af5d9a7ad8bcb21 https://wesomeka.wesleyan.edu/vim2/files/original/7bf80611883a6d84ba866f057f9b2c68.mp3 d8f57de767f355cfb447ad151d6a9e57 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Javanese Gamelan Description An account of the resource Gamelan is an ensemble consisting of predominantly metallophone and gong type instruments. The instruments produce tones when struck with mallets. The ensemble, in various sizes and forms, can be found in a number of Indonesian islands. In Java and Bali, gamelan has developed into an expansive ensemble, while a variety of smaller ensembles continue to exist. In Java alone, there exist several forms of gamelan ensembles. There are two especially known main gamelan styles: Sundanese (West Javanese) and Javanese gamelan. The following descriptions focus on Central Javanese gamelan. ----- INSTRUMENTS AND THEIR FUNCTIONS IN THE ENSEMBLE Javanese gamelan ensemble is known for its expansive or grandeur ensemble, employing a rich variety of instrument types. In a full set of gamelan, beside metallophones and gongs, there are other types of instruments, including a set of drums (kendhang), bowed- and plucked-strings (rebab and celempung), xylophone (gambang), and a bamboo flute (suling). A “soloist” female singing (sindhen) and male chorus (gerong) are also present in the gamelan ensemble. Each or a group of instruments and singing has a particular function in the ensemble, although there is a degree of flexibility. Generally the instruments may fall into the following three functional groupings: (1) instruments that delineate the structure of the piece; (2) instruments that guide temporal flow in the music; (3) and instruments that carries melodies in both simple and elaborate forms. Instruments in the first category include large and medium hanging gongs (gong ageng and gong suwukan), small size hanging gongs (kempul), large standing gongs (kenong), and a pair of small standing gongs (kethuk-kempyang). The stroke of a large hanging gong marks the end of the main musical unit (gongan), while other gongs (kenong, kempul, and kethuk-kempyang, respectively) subdivide it in the order of its importance. Instruments in the second category are a set of two-headed drums (kendhang). The drumming style is defined by the use of particular kendhang or a combination of them. The drumming may consist of a repeatable, simple rhythmic configuration (kendhang satunggal and kendhang kalih) to elaborate and animated rhythm (kendhang ciblon) that are associated with dance movements. The third category consists of three instrumental groupings: (a) instruments that carries melodic skeleton of the piece (balungan): saron, demung, and slenthem; (b) instruments that carries elaborate form of melodies, encompassing wide melodic registers (rebab, gambang, and singing), medium registers (gender barung) and narrow register (celempung, gender panerus, and suling). Generally, the wider their registers the more importance are their melodic functions; (3) instruments whose functions are to mediate between group a (balungan) and group b (elaborating instruments): bonang barung, bonang panerus, and peking. The anticipatory nature of the melodies of these instruments (especially bonang barung) has earned them the status of melodic guidance of the ensemble. Gamelan instruments can also be grouped according to the volume of the sound they can produced: soft-sounding and loud-sounding instruments. The soft-sounding instrument are positioned in the middle- and side-front to the middle row—rebab, gender, gambang, celempung, suling, slenthem—together with the singers. The loud-sounding instruments are in the side-front, middle, and back rows: bonang, kendhang, a group of saron, ketuk-kempyang, kenong, kempul, gong. Soft-loud category is an important basis for the playing style of gamelan and the ensemble’s interplay. ----- TUNING SYSTEM, PATHET, AND GENDHING A full gamelan set employs two tuning systems, slendro and pelog (thus, the full gamelan is actually a double sets, with the slendro set usually facing to the front and the pelog set to the side). The two sets are never played simultaneously, however. The slendro tuning consists of five notes per octave. The five intervals consist of short and medium steps. The difference between the two intervals is so small, however, that they are often described as equal or nearly equal intervals. The pelog has seven pitches per octave (1 2 3 4 5 6 7), but a gendhing is composed on the basis of the combination of sets of five pitch positions (1 2 3 5 6; 1 2 4 5 6; 2 3 5 6 7). In this sense, pelog is a pentatonic system, employing not only one but three basic five-pitch scales. Unlike slendro, narrow and wide intervals in each of these scales are apparent. Another musical concept associated with tuning system is modal classification called pathet. It is a system of the hierarchical use of tones (and/or different use of scale degrees, especially in pelog), supported by characteristics of instruments or vocal idioms to be used to approach these tones and the register of the tones used in composition. Pathet circumscribes general mood or emotive content of a composition. There are three pathet in each of the tuning systems. Composition in gamelan (gendhing) is determined and arranged by a number of parameters. First, a gendhing is composed in a particular tuning system and pathet. Secondly, a composition is framed in one of the formal structures (gongan). There are a docent formal structures defined in binary way by the stroke of gong, kenong, kempul, and kethuk. Thirdly, the melodies of gendhing are arranged in a metrical unit of four notes (gatra). ----- PERFORMANCE CONTEXTS AND HISTORY Gamelan may be performed independently, i.e., to be listened for its own sake. But gamelan is also an essential accompaniment for theatrical performances, such as dance drama and shadow wayang puppet play. Whether accompanying theatrical forms or not, gamelan is performed in several different contexts, especially in rite-of passages events and communal festivals. As history and technology advance, other contexts are created, including gamelan performance on radio and television stations. From little historical evidence we could find, it is safe to say that smaller ensembles, whether they accompanied singing or not, characterized music ensembles during the early period of Javanese history. In the 16th to 17th century, the ensemble began to develop into larger size. This was achieved by synchronizing loud- and soft-sounding instruments and vocal repertoire into an integrated musical concept. The result was an expansive size of ensemble with its hundreds of repertoire as can be found in today’s gamelan and gamelan practice. Contributor An entity responsible for making contributions to the resource Sumarsam (2004) Musical Instrument A sound-making object used for musical performance or in a musical context Geographic region The geographic region where the instrument is found Indonesia Ensemble The musical group in which an instrument can be found Javanese gamelan Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions <p>The gambang is a wooden xylophone with seventeen to twenty-one keys with the range of two octaves or more. The keys rest on a wooden box that also functions as resonator.</p> Musical, Cultural, and Social Contexts information about the contexts in which the instrument is and its role in culture and society performed (Who plays the instrument? What music do they play? Where, when, why is this instrument played?) <p>The gambang is one of the two instruments that have the widest melodic range (rebab is the other); hence, the melody of gambang can encompass the full melodic range of any composition. Because of this fact and the elaborate and high speed of the gambang playing style, this instrument is considered one of the important instruments in the gamelan ensemble.</p> Historical background information about the origins, history, and development of the instrument <p>Evidence of a gambang type instrument, with either wood or bamboo bars, can be found in the drawings on the walls of old temples, such as in the 9^th century Buddhist Borobudur monument in Central Java and the 14^th century Panataran temple in East Java. The variety and wide distribution of this type of instrument in Java (and all of Indonesia, for that matter) indicate its popularity. The melodic range of these instruments varies, spanning from one octave to more than two-octaves. The choice of a multi-octave gambang to be incorporated into a full set of gamelan may be because of its suitability to accommodate a wider melodic range of gendhing.</p> Playing technique methods of playing the instrument, performance practices (how is the instrument played?) The gambang is played with two disc-type beaters that have long, somewhat flexible horn handles. Most of the time, the gambang plays in octaves (gembyang). Only occasionally a few ornamentational styles of playing may be employed, such as playing kempyung (playing two notes separated by two keys). Geography The continent, region, nation where this instrument originates from Java, Indonesia Contributors Entry authors Sumarsam (2004) Classification Hornbostel-Sachs, revised by MIMO 111.212 (idiophone) Sets of percussion sticks: several percussion sticks of different pitch are combined to form a single instrument Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/xKQ6UTcFP74" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gambang gamelan idiophone Java https://wesomeka.wesleyan.edu/vim2/files/original/5433aa6846a7d519d9ee2daaaaa28141.jpg 65f9908359ca82af573fbde2553774ac https://wesomeka.wesleyan.edu/vim2/files/original/989624fd7206781d78316201544a162f.jpg 60b735ab25a8766ed3b61ee222ae584d 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/cUwq93yxvr4" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Geography The continent, region, nation where this instrument originates from Ghana, Ewe people Ensemble The musical group in which an instrument can be found West African Drumming 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 Gankogui Ghana idiophone metallophone 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 Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions <p><em>Gaohu</em> is a high-pitched Chinese two-stringed fiddle, a member of the <em>huqin</em> family (see <em>erhu</em>). Its structure is very similar to the <em>erhu</em>, except the <em>gaohu</em>’s body is slightly smaller and has no back close piece (<em>yin chuang</em>). In the second half of the twentieth century, some musicians have added a small bamboo tube inside the <em>gaohu</em>’s body, making the sound in the high position even brighter. The <em>gaohu</em> pictured here is one such instrument.</p> Musical, Cultural, and Social Contexts information about the contexts in which the instrument is and its role in culture and society performed (Who plays the instrument? What music do they play? Where, when, why is this instrument played?) <p>Closely related to the Guangdong province, the <em>gaohu</em>, with its distinct timbre, is associated with a distinct regional identity. It is used mostly in Cantonese music ensemble, Chaozhou music ensemble, as well as in accompanying Cantonese opera and Chao opera. In addition, it is also used as a solo instrument and as “first violin” in the modern Chinese instrumental orchestra.</p> Historical background information about the origins, history, and development of the instrument <p>The <em>gaohu</em> is a rather recent invention derived from <em>erhu</em>. It was created in the 1920s by Lu Wencheng (1898-1981), a well-known Cantonese music musician and composer. Lu changed the original silk strings to steel strings, and also adopted the playing position of holding the <em>gaohu</em>’s body in between the knees.&nbsp;</p> Playing technique methods of playing the instrument, performance practices (how is the instrument played?) <p>In playing, the <em>gaohu</em> is held in between the knees to reduce the unwanted noise. The <em>Gaohu</em>’s tembre, high and focused, makes it suitable for lyrical, quick or ornamented melodies. For its bowing and left hand techniques, see <em>erhu</em>.</p> Notation The style of written music that the player reads see <em>erhu</em> Tuning Information about the tuning system <p>It’s tuning, a¹-e² or g¹-d², is a fifth or a fourth higher than that of <em>erhu</em>. The <em>gaohu</em> has a range of three octaves as well (a¹ to e⁴ or g¹ to d⁴).</p> Geography The continent, region, nation where this instrument originates from China Classification Hornbostel-Sachs, revised by MIMO 321.313 (chordophone) Spike tube lute: the handle passes diametrically through the walls of a tube Ensemble The musical group in which an instrument can be found Chinese Music Ensemble Materials <p>Wood, snakeskin, reed, horsehair or nylon, silk, steel</p> Bibliography a list of sources referenced <p>Jonathan Stock, 1996. <em>Musical Creativity in Twentieth-Century China: Abing, His Music, and Its Changing Meanings</em>. Rochester, NY: University of Rochester Press.</p> <p>Terrence Liu, 2002. "Erhu." In<em> The Garland Encyclopedia of World Music, Vol. 7. East Asia: China, Japan, and Korea</em>, ed. by Robert&nbsp; Provine, Yoshihiko Tokumaru, and J. Lawrence Witzleben, New York: Routledge, 175-8.</p> <p>Su Zheng, 2002. "Musical Instruments." In <em>The Garland Encyclopedia of World Music, Vol. 7. East Asia: China, Japan, and Korea</em>, ed. by Robert&nbsp; Provine, Yoshihiko Tokumaru, and J. Lawrence Witzleben, New York: Routledge, 79-83.</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 Gaohu bowed string China chordophone https://wesomeka.wesleyan.edu/vim2/files/original/a04c2b37ae73bce7157fce1412273224.jpg 1bd64073083dd3cc3be2d272ade33a84 https://wesomeka.wesleyan.edu/vim2/files/original/40bbba219bc31fe36000a8fd0eadd9ef.jpg 99b172c48c1cfffa6d807eb3a291444a https://wesomeka.wesleyan.edu/vim2/files/original/f6f494a7563cca070a101a98617b8d5d.jpg a7bd224cf1bbae21c8db2ce20880b21d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Javanese Gamelan Description An account of the resource Gamelan is an ensemble consisting of predominantly metallophone and gong type instruments. The instruments produce tones when struck with mallets. The ensemble, in various sizes and forms, can be found in a number of Indonesian islands. In Java and Bali, gamelan has developed into an expansive ensemble, while a variety of smaller ensembles continue to exist. In Java alone, there exist several forms of gamelan ensembles. There are two especially known main gamelan styles: Sundanese (West Javanese) and Javanese gamelan. The following descriptions focus on Central Javanese gamelan. ----- INSTRUMENTS AND THEIR FUNCTIONS IN THE ENSEMBLE Javanese gamelan ensemble is known for its expansive or grandeur ensemble, employing a rich variety of instrument types. In a full set of gamelan, beside metallophones and gongs, there are other types of instruments, including a set of drums (kendhang), bowed- and plucked-strings (rebab and celempung), xylophone (gambang), and a bamboo flute (suling). A “soloist” female singing (sindhen) and male chorus (gerong) are also present in the gamelan ensemble. Each or a group of instruments and singing has a particular function in the ensemble, although there is a degree of flexibility. Generally the instruments may fall into the following three functional groupings: (1) instruments that delineate the structure of the piece; (2) instruments that guide temporal flow in the music; (3) and instruments that carries melodies in both simple and elaborate forms. Instruments in the first category include large and medium hanging gongs (gong ageng and gong suwukan), small size hanging gongs (kempul), large standing gongs (kenong), and a pair of small standing gongs (kethuk-kempyang). The stroke of a large hanging gong marks the end of the main musical unit (gongan), while other gongs (kenong, kempul, and kethuk-kempyang, respectively) subdivide it in the order of its importance. Instruments in the second category are a set of two-headed drums (kendhang). The drumming style is defined by the use of particular kendhang or a combination of them. The drumming may consist of a repeatable, simple rhythmic configuration (kendhang satunggal and kendhang kalih) to elaborate and animated rhythm (kendhang ciblon) that are associated with dance movements. The third category consists of three instrumental groupings: (a) instruments that carries melodic skeleton of the piece (balungan): saron, demung, and slenthem; (b) instruments that carries elaborate form of melodies, encompassing wide melodic registers (rebab, gambang, and singing), medium registers (gender barung) and narrow register (celempung, gender panerus, and suling). Generally, the wider their registers the more importance are their melodic functions; (3) instruments whose functions are to mediate between group a (balungan) and group b (elaborating instruments): bonang barung, bonang panerus, and peking. The anticipatory nature of the melodies of these instruments (especially bonang barung) has earned them the status of melodic guidance of the ensemble. Gamelan instruments can also be grouped according to the volume of the sound they can produced: soft-sounding and loud-sounding instruments. The soft-sounding instrument are positioned in the middle- and side-front to the middle row—rebab, gender, gambang, celempung, suling, slenthem—together with the singers. The loud-sounding instruments are in the side-front, middle, and back rows: bonang, kendhang, a group of saron, ketuk-kempyang, kenong, kempul, gong. Soft-loud category is an important basis for the playing style of gamelan and the ensemble’s interplay. ----- TUNING SYSTEM, PATHET, AND GENDHING A full gamelan set employs two tuning systems, slendro and pelog (thus, the full gamelan is actually a double sets, with the slendro set usually facing to the front and the pelog set to the side). The two sets are never played simultaneously, however. The slendro tuning consists of five notes per octave. The five intervals consist of short and medium steps. The difference between the two intervals is so small, however, that they are often described as equal or nearly equal intervals. The pelog has seven pitches per octave (1 2 3 4 5 6 7), but a gendhing is composed on the basis of the combination of sets of five pitch positions (1 2 3 5 6; 1 2 4 5 6; 2 3 5 6 7). In this sense, pelog is a pentatonic system, employing not only one but three basic five-pitch scales. Unlike slendro, narrow and wide intervals in each of these scales are apparent. Another musical concept associated with tuning system is modal classification called pathet. It is a system of the hierarchical use of tones (and/or different use of scale degrees, especially in pelog), supported by characteristics of instruments or vocal idioms to be used to approach these tones and the register of the tones used in composition. Pathet circumscribes general mood or emotive content of a composition. There are three pathet in each of the tuning systems. Composition in gamelan (gendhing) is determined and arranged by a number of parameters. First, a gendhing is composed in a particular tuning system and pathet. Secondly, a composition is framed in one of the formal structures (gongan). There are a docent formal structures defined in binary way by the stroke of gong, kenong, kempul, and kethuk. Thirdly, the melodies of gendhing are arranged in a metrical unit of four notes (gatra). ----- PERFORMANCE CONTEXTS AND HISTORY Gamelan may be performed independently, i.e., to be listened for its own sake. But gamelan is also an essential accompaniment for theatrical performances, such as dance drama and shadow wayang puppet play. Whether accompanying theatrical forms or not, gamelan is performed in several different contexts, especially in rite-of passages events and communal festivals. As history and technology advance, other contexts are created, including gamelan performance on radio and television stations. From little historical evidence we could find, it is safe to say that smaller ensembles, whether they accompanied singing or not, characterized music ensembles during the early period of Javanese history. In the 16th to 17th century, the ensemble began to develop into larger size. This was achieved by synchronizing loud- and soft-sounding instruments and vocal repertoire into an integrated musical concept. The result was an expansive size of ensemble with its hundreds of repertoire as can be found in today’s gamelan and gamelan practice. Contributor An entity responsible for making contributions to the resource Sumarsam (2004) Musical Instrument A sound-making object used for musical performance or in a musical context Ensemble The musical group in which an instrument can be found Javanese Gamelan Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions <p>Gender is a metallophone type instrument with bronze keys suspended by cords in a wooden frame, over individual tube resonators for each of its keys.</p> Musical, Cultural, and Social Contexts information about the contexts in which the instrument is and its role in culture and society performed (Who plays the instrument? What music do they play? Where, when, why is this instrument played?) Gender is one of the leading instruments in the ensemble, especially in soft style of playing gendhing. Played with two mallets in a contrapunctal style, the gender creates to the fullness or sonority of the ensemble. Within the limitation of its melodic range, gender plays melodies in fragmented way: the melodies are presented in a series of melodic patterns commonly called cengkok. The cengkok are closely associated with musical unit of four notes of balungan (gatra). Historical background information about the origins, history, and development of the instrument <p>Historical evidence suggests that metallophone with keys suspended with cord had existed at around the 10^th century (Kunst), perhaps under the name of salunding (Kunst); it had an important role for accompanying wayang. Until today gender is still the most important instrument in accompanying wayang performance.</p> Playing technique methods of playing the instrument, performance practices (how is the instrument played?) The gender is played with two padded disc type mallets. The gender playing technique requires damping the keys. This is done by dampening the key slightly after or at the same time while playing the next key. Geography The continent, region, nation where this instrument originates from Java, Indonesia Contributors Entry authors Sumarsam (2004) Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/PWPImrJZcDA" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Alternative title any additional names or spellings for the instrument Gendèr Classification Hornbostel-Sachs, revised by MIMO 111.212 (idiophone) Sets of percussion sticks: several percussion sticks of different pitch are combined to form a single instrument Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gender gamelan idiophone Java metallophone Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Javanese Gamelan Description An account of the resource Gamelan is an ensemble consisting of predominantly metallophone and gong type instruments. The instruments produce tones when struck with mallets. The ensemble, in various sizes and forms, can be found in a number of Indonesian islands. In Java and Bali, gamelan has developed into an expansive ensemble, while a variety of smaller ensembles continue to exist. In Java alone, there exist several forms of gamelan ensembles. There are two especially known main gamelan styles: Sundanese (West Javanese) and Javanese gamelan. The following descriptions focus on Central Javanese gamelan. ----- INSTRUMENTS AND THEIR FUNCTIONS IN THE ENSEMBLE Javanese gamelan ensemble is known for its expansive or grandeur ensemble, employing a rich variety of instrument types. In a full set of gamelan, beside metallophones and gongs, there are other types of instruments, including a set of drums (kendhang), bowed- and plucked-strings (rebab and celempung), xylophone (gambang), and a bamboo flute (suling). A “soloist” female singing (sindhen) and male chorus (gerong) are also present in the gamelan ensemble. Each or a group of instruments and singing has a particular function in the ensemble, although there is a degree of flexibility. Generally the instruments may fall into the following three functional groupings: (1) instruments that delineate the structure of the piece; (2) instruments that guide temporal flow in the music; (3) and instruments that carries melodies in both simple and elaborate forms. Instruments in the first category include large and medium hanging gongs (gong ageng and gong suwukan), small size hanging gongs (kempul), large standing gongs (kenong), and a pair of small standing gongs (kethuk-kempyang). The stroke of a large hanging gong marks the end of the main musical unit (gongan), while other gongs (kenong, kempul, and kethuk-kempyang, respectively) subdivide it in the order of its importance. Instruments in the second category are a set of two-headed drums (kendhang). The drumming style is defined by the use of particular kendhang or a combination of them. The drumming may consist of a repeatable, simple rhythmic configuration (kendhang satunggal and kendhang kalih) to elaborate and animated rhythm (kendhang ciblon) that are associated with dance movements. The third category consists of three instrumental groupings: (a) instruments that carries melodic skeleton of the piece (balungan): saron, demung, and slenthem; (b) instruments that carries elaborate form of melodies, encompassing wide melodic registers (rebab, gambang, and singing), medium registers (gender barung) and narrow register (celempung, gender panerus, and suling). Generally, the wider their registers the more importance are their melodic functions; (3) instruments whose functions are to mediate between group a (balungan) and group b (elaborating instruments): bonang barung, bonang panerus, and peking. The anticipatory nature of the melodies of these instruments (especially bonang barung) has earned them the status of melodic guidance of the ensemble. Gamelan instruments can also be grouped according to the volume of the sound they can produced: soft-sounding and loud-sounding instruments. The soft-sounding instrument are positioned in the middle- and side-front to the middle row—rebab, gender, gambang, celempung, suling, slenthem—together with the singers. The loud-sounding instruments are in the side-front, middle, and back rows: bonang, kendhang, a group of saron, ketuk-kempyang, kenong, kempul, gong. Soft-loud category is an important basis for the playing style of gamelan and the ensemble’s interplay. ----- TUNING SYSTEM, PATHET, AND GENDHING A full gamelan set employs two tuning systems, slendro and pelog (thus, the full gamelan is actually a double sets, with the slendro set usually facing to the front and the pelog set to the side). The two sets are never played simultaneously, however. The slendro tuning consists of five notes per octave. The five intervals consist of short and medium steps. The difference between the two intervals is so small, however, that they are often described as equal or nearly equal intervals. The pelog has seven pitches per octave (1 2 3 4 5 6 7), but a gendhing is composed on the basis of the combination of sets of five pitch positions (1 2 3 5 6; 1 2 4 5 6; 2 3 5 6 7). In this sense, pelog is a pentatonic system, employing not only one but three basic five-pitch scales. Unlike slendro, narrow and wide intervals in each of these scales are apparent. Another musical concept associated with tuning system is modal classification called pathet. It is a system of the hierarchical use of tones (and/or different use of scale degrees, especially in pelog), supported by characteristics of instruments or vocal idioms to be used to approach these tones and the register of the tones used in composition. Pathet circumscribes general mood or emotive content of a composition. There are three pathet in each of the tuning systems. Composition in gamelan (gendhing) is determined and arranged by a number of parameters. First, a gendhing is composed in a particular tuning system and pathet. Secondly, a composition is framed in one of the formal structures (gongan). There are a docent formal structures defined in binary way by the stroke of gong, kenong, kempul, and kethuk. Thirdly, the melodies of gendhing are arranged in a metrical unit of four notes (gatra). ----- PERFORMANCE CONTEXTS AND HISTORY Gamelan may be performed independently, i.e., to be listened for its own sake. But gamelan is also an essential accompaniment for theatrical performances, such as dance drama and shadow wayang puppet play. Whether accompanying theatrical forms or not, gamelan is performed in several different contexts, especially in rite-of passages events and communal festivals. As history and technology advance, other contexts are created, including gamelan performance on radio and television stations. From little historical evidence we could find, it is safe to say that smaller ensembles, whether they accompanied singing or not, characterized music ensembles during the early period of Javanese history. In the 16th to 17th century, the ensemble began to develop into larger size. This was achieved by synchronizing loud- and soft-sounding instruments and vocal repertoire into an integrated musical concept. The result was an expansive size of ensemble with its hundreds of repertoire as can be found in today’s gamelan and gamelan practice. Contributor An entity responsible for making contributions to the resource Sumarsam (2004) Musical Instrument A sound-making object used for musical performance or in a musical context Geographic region The geographic region where the instrument is found Indonesia Ensemble The musical group in which an instrument can be found Javanese gamelan Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions <p>The largest hanging gong that has the lowest pitch among the gamelan instruments is called “gong ageng” (ageng means large), with a diameter of around 34 inches. It is hung on a stand. A full gamelan set may have a pair of gongs, although it is also not uncommon for gamelan to have only one gong. There is also medium sized hanging gong, with a diameter of around 24 inches that has the same function as gong ageng; it is called gong suwukan. A full gamelan set has one gong suwukan, although there are also gamelan that have two or more gong suwukan.</p> Musical, Cultural, and Social Contexts information about the contexts in which the instrument is and its role in culture and society performed (Who plays the instrument? What music do they play? Where, when, why is this instrument played?) <p>The gong ageng or gong suwukan has an important function in the gamelan ensemble. As one of the instruments that delineates the formal structure of a gendhing, the gong marks the end of a longer musical unit; it gives a feeling of balance after the longest melodic section of a gendhing. The importance of the gong in marking the end of a gendhing formal structure leads to the naming of this structure itself as “gongan.”</p> Historical background information about the origins, history, and development of the instrument <p>There is some pictorial evidence of gongs of different sizes on the walls of a number of temples from the 14^th to 15^th century. Reports from travelers, Dutch traders, and officials mention gong manufacturers and gong ensembles in Java in the 16^th and 17^th centuries, including some hand drawings. However, the lack of collaborative evidence prevents us from reconstructing the musical use of gongs at that time. In any event, gongs became important symbols of power and wealth among Javanese rulers. The gong, especially the large gong, maintains its high status when the gamelan ensemble developed into an expansive ensemble. Besides its important function musically, the gong is the most respected instrument in the ensemble. This is because people believe that gamelan endows supernatural powers, and the large gong particularly, is the most supernaturally charged instrument.</p> Playing technique methods of playing the instrument, performance practices (how is the instrument played?) The gong ageng is played with a round, heavily padded beater. Geography The continent, region, nation where this instrument originates from Java, Indonesia Classification Hornbostel-Sachs, revised by MIMO 111.241.21 (idiophone) Sets of bossed, flat gongs (with flange) and intermediate types (the vibration is strongest near the vertex) Contributors Entry authors Sumarsam (2004) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gong gamelan idiophone Java https://wesomeka.wesleyan.edu/vim2/files/original/a868ffcf6a7be7c12f5512bf69f82ca1.jpg 20709d7791f75857b39ca69f20951ede https://wesomeka.wesleyan.edu/vim2/files/original/0dea7297f6876f19cab09bf2ace3b5f3.jpg 4d0cf08089f3c3230b03dea031ce2ba4 https://wesomeka.wesleyan.edu/vim2/files/original/9d8fdd73fae83a5c00fc06916efadf2a.jpg a9bce9ecfd0a495e73630bf0e28aaed3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Steel Band Description An account of the resource <h4>Time Period</h4> <p>20^th century – present<br /><br /></p> <h4>Physical Description</h4> <p>The steel pan (or steel drum) is composed of from one to nine 55-gallon steel barrel drums, suspended with stands.&nbsp; The bottom end of the barrel is open, with its skirt (or sides) cut from 6 inches to full length for bass instruments.&nbsp; The top end of the barrel is sunk into a concave shape with notes raised upward by a process of firing, cooling and hammering to generate the base pitch and its overtones.&nbsp; The lower the instrument, the shallower the pan is sunk.&nbsp; Notes are delineated by grooving of various shapes, either circular, “U” or squared.&nbsp;</p> <p>&nbsp;While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker.&nbsp; On each side of the drum, a hole is drilled to suspend it on metal stands with either nylon/ leather straps or aluminum hooks.&nbsp; Earlier steel pans were suspended around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument.&nbsp; Today, this form is considered a subgroup style called “pan round the neck.”&nbsp; The steel pan’s primary accompaniment is the “engine room” composed of car brake iron, shaker (“shak-shak”), scraper (guiro), congas, and drum set.&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;</p> <h4>History</h4> <p>The steel pan originated in Trinidad during the late 1930s as an accompaniment to the Carnival masquerade bands.&nbsp; It was a replacement for the tamboo bamboo (stamping tube) ensembles that were outlawed by British colonial law in 1884.&nbsp; In its crude form as biscuit drums and metal tins, the steel pan performed the popular percussive “call and response” style of the tamboo bamboo bands.&nbsp; During the 1940s the steel pan transformed from a percussive instrument into a tuned instrument, and its tuning procedures were established.&nbsp; The tuner would sink the pan with a hammer, then groove the note layout on the concave face, temper the drum over a fire, and fine-tune the notes.&nbsp; By the 1950s, it developed into a tuned and fully chromatic instrument to perform a wide variety of local (calypso, soca, parang) and international (European orchestral music, Latin dance, and jazz, etc.) musical styles. Today, the steel band orchestra in Trinidad and Tobago’s Carnival performances has approx. 100 players.&nbsp;&nbsp;&nbsp; &nbsp;</p> <p>&nbsp;</p> <h4>Tuning</h4> <p>Instrument ranges and tuning generally mimic those of the Western string orchestra, from tenor (one drum) to bass (six to nine drums) and each instrument usually covers two and a half chromatic octaves.&nbsp; While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. &nbsp;The drums are traditionally shaped by hand, though recent research and technology has devised a mechanical sinking of the drums (called spin sinking) which allows for greater accuracy and consistency in the bowl’s shape.&nbsp; Other innovations include an expansion of instrument range and electronic amplification.</p> <p>&nbsp;&nbsp;&nbsp;</p> <h4>Technique</h4> <p>The steel pan is played with wood or aluminum mallets wrapped with rubber which allows the instrument to resonate.&nbsp; The thickness of the mallet increases with the number of drums and range of instrument.&nbsp; The bass instrument mallets are made with soft rubber sponge balls.&nbsp; Mallet strokes on the pan must quickly move away from the instrument to allow the drum to resonate.&nbsp; In typical play, the higher (or smaller) notes require more force for an equal volume with the lower (and larger) notes.&nbsp; Due to the relatively short length of resonance, sustained pitches are produced by rapid rolls, or alternation of mallets.&nbsp; The brake iron, the steel pan’s main accompaniment, is held in one hand and struck with a metal rod.&nbsp; Together, several brake iron players perform in a “hocketing” fashion to form a steady metronomic accompaniment for the steel pans.</p> <p>&nbsp;</p> <h4>Notation</h4> <p>Music for steel pan is traditionally learned by rote, however, the professionalisation of performers has led to an increased use of Western notation for performance outside of the traditional Carnival context (such as Trinidad’s World Steelband Festival, which features Western orchestral music).&nbsp; Western musicians learning the music typically learn from written transcriptions of Trinidad steel bands or original written compositions.&nbsp;<br /><br /></p> <h4>Context</h4> <p>The steel pan is primarily performed in Carnival festivals throughout the West Indies and the Caribbean diaspora (New York, Toronto and Nottingham England being the most prominent).&nbsp; Of these, Trinidad’s Panorama Steel Band Competition is the largest and most significant.&nbsp; Expansions of the styles of performance and institutionalization of the bands have allowed other festivals to form, such as Trinidad’s World Steelband Festival for the performance of European orchestral music and the Pan Ramajay festival for jazz.&nbsp; Other contexts derive from the steel pan’s earlier technique of suspending the pan around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument.&nbsp; Today, this form is considered a subgroup style called “pan round the neck” which generates its own competitions and audience during Carnival.<br /><br /></p> <h4>References</h4> <p>Blake, F.I.R.&nbsp; <em>The Trinidad &amp; Tobago Steel Pan: History and Evolution</em>.&nbsp; Port of Spain, Trinidad:&nbsp; Published by author.</p> <p>Goddard, George “Sonny.”&nbsp; 1991.&nbsp; <em>Forty Years in the Steelbands, 1939-1979.&nbsp; </em>Port of Spain, Karia Press.</p> <p>Steumpfle, Stephen.&nbsp; 1995.&nbsp; <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>.&nbsp; Philadelphia: Univ. of Pennsylvania Press.</p> <p>Thomas, Jeffrey Todd. 1985.&nbsp; <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em>&nbsp; M.A. Thesis.&nbsp; Middletown, CT:&nbsp; Wesleyan University.</p> Date A point or period of time associated with an event in the lifecycle of the resource <strong>Time Period:&nbsp; </strong>20^th century – present Contributor An entity responsible for making contributions to the resource Amelia Ingram (2004) Relation A related resource <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaUNZKe8k6eMQTeYBENbp3n8" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions This instrument consists of two pans with a “skirt” or side length of approx 45 cm. The lowest notes found along the circumference of the bowl are U-shaped, while the higher octave notes are either oval or circular-shaped inside. The guitar pans must be suspended on stands or a rack to allow the drums to resonate and are played with thick rubber mallets. Historical background information about the origins, history, and development of the instrument The middle range guitar pans were designed to support the melody played by the “frontline” or upper range pans (such as the tenor, double tenor and double second pans). The guitar pans are used to support the lower portions of the harmony by “strumming” chordal accompaniment as well as playing simple countermelody. Tuning Information about the tuning system The double guitar pans have an average of 20 notes with the chromatic range falling between C3 and G#4. The triple guitar (not found in our collection) has 27 notes with a chromatic range falling between B-flat2 and C5. Geography The continent, region, nation where this instrument originates from Trinidad and Tobago Ensemble The musical group in which an instrument can be found Steel Pan Ensemble Materials Steel Date/Era If relevant, the historical time period when the instrument was made 20th century to present Bibliography a list of sources referenced <p>Blake, F.I.R.&nbsp; <em>The Trinidad &amp; Tobago Steel Pan: History and Evolution</em>.&nbsp; Port of Spain, Trinidad:&nbsp; Published by author.</p> <p>Goddard, George “Sonny.”&nbsp; 1991.&nbsp; <em>Forty Years in the Steelbands, 1939-1979.&nbsp; </em>Port of Spain, Karia Press.</p> <p>Steumpfle, Stephen.&nbsp; 1995.&nbsp; <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>.&nbsp; Philadelphia: Univ. of Pennsylvania Press.</p> <p>Thomas, Jeffrey Todd. 1985.&nbsp; <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em>&nbsp; M.A. Thesis.&nbsp; Middletown, CT:&nbsp; Wesleyan University.</p> Additional resources recommendations for further information (websites, books, journal articles, etc.) Pan Trinbago<br /><a href="http://www.pantrinbago.co.tt">http://www.pantrinbago.co.tt</a> Contributors Entry authors Amelia Ingram (2004) Classification Hornbostel-Sachs, revised by MIMO 111.241.22 Sets of gongs with divided surface sounding different pitches Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/X3iso1NC6Ug" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guitar Pan idiophone metallophone steel pan https://wesomeka.wesleyan.edu/vim2/files/original/8d87cde36dd26f31d6cef4efb841a768.jpg 1ec6a0c49f249b3c6eb917d19eff3027 https://wesomeka.wesleyan.edu/vim2/files/original/762afaccbf1898d6c593060ea467eaee.jpg fe62f15fd85eaeedf4ba0c984c33379a https://wesomeka.wesleyan.edu/vim2/files/original/2c5d01aa6925326c3fac389c129af805.jpg ee94b050de6c31e649c86d6b178db79a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Batá Drumming Relation A related resource <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaXBTEp1_aJsKEJbTLt78oPG" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/I17tmPJb2_Y" 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 Itotele membranophone https://wesomeka.wesleyan.edu/vim2/files/original/1630cb45d8eee17cc676ee20b36ecbb8.jpg 0daf1aa1de2faa8dbeb28058aedd20ee https://wesomeka.wesleyan.edu/vim2/files/original/adc8eda10912abc8e0fa9e0db52faa27.jpg bf4a7359445663630a1e5aa7cd629aa5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Batá Drumming Relation A related resource <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaXBTEp1_aJsKEJbTLt78oPG" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Video Embed YouTube video <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/55C2dnUSpI0" 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 Iya membranophone Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource West African Drumming Relation A related resource <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/T59L8GQmCGc" 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 Jambadudu membranophone https://wesomeka.wesleyan.edu/vim2/files/original/deb704501f3f656ccb3b6c185d4cc9f0.jpg 6b1fb70e9f24c969dc29b69346035425 https://wesomeka.wesleyan.edu/vim2/files/original/70c841624fcc86c90e579c965de8f038.jpg 441ba8bdc277892739bcbf44bb0b37bd 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/4Ak-x8zYEX4" 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 Jembe membranophone https://wesomeka.wesleyan.edu/vim2/files/original/17b28736db8544668068ac5004958e8d.jpg fcdf3996974b98d19e308f1ec19cc8b3 https://wesomeka.wesleyan.edu/vim2/files/original/8e14e56dc70f356ec51dfc7102624b4b.jpg 86c6595413ef1c4c44c6fb66a23d91e9 https://wesomeka.wesleyan.edu/vim2/files/original/b3aa1cc6aef32299711df9a0d9df473c.jpg 13a3b3cab9f55fb6f6cfbf9bb3739c9f https://wesomeka.wesleyan.edu/vim2/files/original/2488c932f695251df7c1e1de3b0191ea.jpg 650c4e0c3273d86c10d78e7adafca3f8 https://wesomeka.wesleyan.edu/vim2/files/original/b50edd83d22b71bd17f2d98101a4d84d.jpg 318fdfde0caa79dde34268482035090b https://wesomeka.wesleyan.edu/vim2/files/original/a6751e844fc485baa74a38bd0a300825.jpg 18008caa91c5c551df8ce591b1403323 https://wesomeka.wesleyan.edu/vim2/files/original/6e4e7cec20604261b92d5152f5833d62.jpg 7b0809c7397bd1d36899ded49b411ebc https://wesomeka.wesleyan.edu/vim2/files/original/224ab1cf2227678f700d046fd6c569af.jpg 08f2846b0576d0a50a97d332f042c08c https://wesomeka.wesleyan.edu/vim2/files/original/dd034c5cbe65e344574c174be5338319.jpg 6d8968ba6c4973e7203b20b1bcfa929b https://wesomeka.wesleyan.edu/vim2/files/original/c3eeb47bd2a7ba51b01147f37ae86578.jpg e9fd6e8c6bc0ead6d79ecb15bc25b1c1 https://wesomeka.wesleyan.edu/vim2/files/original/6e1a2f0c1d3381f8ce1b06320d5861a6.jpg 105558fd69dc81378da0c765088b8c4b 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/-D8m8fZO9DY" 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 Kaganu membranophone Musical Instrument A sound-making object used for musical performance or in a musical context Alternative title any additional names or spellings for the instrument Gayageum, Kayagŭm Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions The kayagum is a 12-string half-tube plucked zither supported by 12 movable bridges. Howard (1988) offers a good description of the kayagum: "Strings run from pegs beneath the top end of the instrument, over a low fixed bridge curved to match the body, across individual movable bridges made from hard wood, to looped cords. Reserve string is held in coils behind each cord loop and the cords themselves are anchored to the horns."<br />There are basically two types of kayagum: popkum (lit. law zither) and sanjo (lit. scattered melodies) kayagum. These two kayagum are differentiated in terms of size, construction, and context. The popkum, the larger one (160 cm long by 30 cm wide by 10 cm high), is also called p'ungnyu (lit. elegance) kayagum or chongak (lit. right music) kayagum. It is associated with court and literati ensembles. Its body is made from a single piece of paulownia wood and the twelve strings are made from raw silk.<br /><br />The sanjo kayagum, the smaller one (about 142 cm long by 23 cm wide by 10 cm high), is associated with folk music genres and thus is believed to have evolved in the 19th century with the emergence of sanjo (improvisational solo instrumental music). Unlike popkum, the sanjo kayagum has the soundboard of paulownia and has a harder wood such as chestnut for the sides and the back. The closer spacing of the strings and the shorter length of the sanjo kayagum facilitates the technique required for the faster passages of sanjo (Clark 2001).<br /><br />Nowadays, people have experimented with kayagum using steel and nylon strings and sometimes 13, 17, 18, 21, 22, 25 strings. Musical, Cultural, and Social Contexts information about the contexts in which the instrument is and its role in culture and society performed (Who plays the instrument? What music do they play? Where, when, why is this instrument played?) <p><span style="color: black;">Before the birth of sanjo, the kayagum tended to be used in the repertories of the court orchestra such as yominlak, p'yongjohoesang and in the repertories of the string ensemble such as yongsanhoesang, ch'onyonmanse, and bohosa, and be usually performed for leisure among the aristocracy under the name of changak. In the folk music scenes, the kayagum has been used in sinawi (instrumental improvisational music which grew out of the shamanic ritual performance in southern regions), kayagum sanjo and kayagum pyongch'ang (performance accompanying singing). With the contribution of the kayagum player Kim Ch'angjo in the late Choson Dynasty (AD 14~20C), sanjo was developed and popularized with a high improvisational artistry of sinawi and with a variety of changdan (rhythmic phrase) and melodic patterns of the narrative vocal genre p'ansori. The kayagum can be proven to be the fittest instrument to play the sanjo form of music given the fact that the melodies and rhythms of the kayagum sanjo are the most technically sophisticated in comparison with the sanjo played by other instruments, and that tanmori, a very fast changdan, is found only in kayagum sanjo (Hwang 2002). In contemporary music contexts, kayagum is not only played for traditional repertoires of changak and folk music, but it is one of the most favored instruments for ch'angjak kukak (newly-composed Korean traditional music) with the pioneer of Hwang Byungki and is modernized to the extent that the kayagum quartet performs the classical repertoires such as Vivaldi's "Four Seasons."<o:p></o:p></span></p> Playing technique methods of playing the instrument, performance practices (how is the instrument played?) <p><span style="color: black;">The performer, sitting in a cross-legged position, puts the head of the kayagum on his or her right knee. He or she plucks and flicks the strings with the index and middle fingers, and the thumb of the right hand, and presses down the strings to the left of the movable bridges with the left hand (Clark 2001). While other Asian zithers such as the Chinese zheng, Japanese koto, Mongolian yatga, and Vietnamese dan tranh are played with the picks or plectra, the wide vibrato and pitch-bending characteristics of kayagum are achieved by pressing and pulling the string with the bare fingers. Killick (2002) describes the vibrato of the kayagum as "a sound that is warmer, more intimate, and less bright than that of most similar instruments," and Clark as "comparatively deep, wide and round." The various techniques of plucking and pressing produces nonghyon (lit. vibrating strings), the micro-tonal shading and subtle vibrato, and yo-um (lit. remaining sound), the "after-tone", which are the key aesthetics of Korean music. <o:p></o:p></span></p> Geography The continent, region, nation where this instrument originates from Korea Classification Hornbostel-Sachs, revised by MIMO 314.122 (chordophone) True board zither (the plane of the strings is parallel with that of the string bearer) with resonator box (box zither), the resonator is made from slats. Materials Strings: silk Body: paulownia wood Bibliography a list of sources referenced <p>Clark, Jocelyn. 2001. CD Liner Note to <em>Hwang Byungki Kayagum Masterpieces Series.</em> Seoul, Korea: C &amp; L Music Inc.<br /><br />Howard, Keith. 1988. <em>Korean Musical Instruments: A Practical Guide.</em> Seoul, Korea: Se-Kwang Music Publishing Co. 163–90<br /><br />Hwang, Byungki. 2002. "Sanjo," in <em>The Garland Encyclopedia of World Music, Volume 7, East Asia: China, Japan and Korea.</em> Edited by Robert C. Provine, Yoshiko Tokumaru and J. Lawrence Witzleben. New York and London: Routledge.<br /><br />Killick, Andrew P. 2002. "Musical Instruments of Korea," in <em>The Garland Encyclopedia of World Music, Volume 7, East Asia: China, Japan and Korea.</em> Edited by Robert C. Provine, Yoshiko Tokumaru and J. Lawrence Witzleben. New York and London: Routledge.</p> <p><strong>Discography</strong></p> Choi, Moon-jin. 2001. <em>Pyeongjohoesang Gayageum Jeongak II.</em> Seoul, Korea: Jigu Records.<br /><br />Hwang, Pyong-gi. <em>Music from Korea. Vol. one, The Kayakeum.</em> Honolulu: East-West Center.<br /><br />Hwang, Byungki. 2001. <em>Kayagum Masterpieces.</em> Vol. 1~4. Seoul, Korea: C &amp; L Music Inc. <br /><br />Kim, Chukpa. 1985. <em>Korean Kayagum Music Sanjo.</em> Tokyo, Japan: King Records.<br /><br />Song, Kum-yon Chi &amp; Song-ja. 1986. <em>Music of the Kayagum.</em> Tokyo: JVC World Sounds.<br /><br />Various Artists. 1995. <em>Korea: Music of Kayagum.</em> Wea/Sire/Discovery/Ant Tokyo. Contributors Entry authors Yoonjah Choi (2004) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kayagum chordophone Korea plucked string