|
|
| shadow puppet show — all night epic of ne erending battles of light and dark |
|
|
|
|
|
|
| orchestra of amily bronze instruments |
|
|
|
| orchestras featuring bronze instruments, compositions guided by a core melody, polyphonic texture, colotomic structure, paired families of tuning systems, stress at the end of metical cycles |
|
|
|
| a tuning system of seven pitches per octave with some adjacent intervals significantly larger than others |
|
|
|
| tuning system of five pitches per octave with the adjacent intervals close to the same size |
|
|
|
|
|
|
|
|
|
| a bonang or a rebab seem to play off handedly but it is actually a modal character introduction |
|
|
|
| the core melody played by the saron metallophones that is heard |
|
|
|
| the central melody of the piece, though this is never explicitly heard it exists only in the minds of the musicians |
|
|
|
| melodies with more notes per beat than the balungan, literally “flowerig” of the music |
|
|
|
| patterns on which elaborating variations are made that ultimately coincide with the balungan |
|
|
|
| guiding structure of melody in pelog and slendro tuning systems, “mode” but includes hierachy of pitches and characteristic melodies. |
|
|
|
| pattern of regular punctuation of the composition by certain gong strokes. fixed and repeated |
|
|
|
| large phrase defined by the duration between successive gong notes |
|
|
|
| the second level of punctuation |
|
|
|
| same frequency as kenong but in between those strokes |
|
|
|
| first kempul beat may be left silent, this is that |
|
|
|
| next highest level of punctuation |
|
|
|
| optional highest level of punctuation |
|
|
|
| relationships between the rhythmic densities of various instruments to the beat |
|
|
|
|
|
|
| a new melody is created mostly by alternating between pairs of balungan tones |
|
|
|
| the ability of the entire orchestra to stop and start on a dime to play seemingly nonmetrical rhapsodic sections. |
|
|
|
| most popular type of gamelan, |
|
|
|
|
|
|
|
|
|
|
|
|
| metallophones that play fast figuration |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| bold movement by dancers cuing the drummer who cues gamelan who then place cadence |
|
|
|
| balies most famous forms of music. composed of shouts and chants by men. |
|
|
|
|
|
|
| type of figuration in the kebyar style |
|
|
|
| mythical dragon-like animal that is the holy protector of a village |
|