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| the most renowned art of Java and Bali; a shadow puppet show; all-night epic that recounts the never-ending battles of the forces of light and dark, good and evil. |
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| an orchestra of mainly bronze instruments; set to accompany the wayang kulit; |
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| a tuning system of seven pitches per octave with some adjacent intervals significantly larger than others |
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| tuning system of five pitches per octave with the adjacent intervals close to the same size |
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| a javanese word that means “a characteristic; refined”; it is reflected in the heroes of their dramas |
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| javanese word translated “coarse”; the counterbalancing side of the alus |
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| the short introduction to the gamelan; leads the listener into the world of the gamelan and the mode and character specific to the piece |
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| thick-keyed metallaphone with a box resonator played with a single hard wooden or horn mallet in the right hand; constructed in three different sizes, each playing an octave apart; three sizes: demung, barung, panerus |
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| the bass member of the gender family; played with a large padded mallet |
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| family of thin-keyed metallaphones with tube resonators. mallets with disc shaped heads covered in felt strike the instrument with a soft mellow tone; mallet is held in each hand and keys are damped with the palms or sides of hands. |
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| horizontal branze kettle-gong instruments;2 or 3 sets tuned to a different octave; players hold mallet in each hand, the mallets softened with cord wrapped around the end. |
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| two-string spike fiddle; played by the melodic leader o the orchestra; leads the melodic instruments of the javanese gamelan |
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| a wooden xylophone with a box resonator; played in parallel octaves with two flexible mallets, their disc-shaped ends wrapped in felt, the gambang has a soft and delicate sound |
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| large zither plucked with fingernails; ornate carving and feet of the instrument were influenced by European furniture of the colonial period |
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| end-blown bamboo duct flute |
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| set of large horizontal kettle-gongs; tall sloping faces |
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| largest vertical gong; also known simply as gong; end the meterical cycle of gamelan music |
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| two double-headed; smaller drum is called ketipung, larger one is called kendang gending |
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| the central and more ornate melody in a javanese gamelan; it is never heard, and exists only in the minds of the players |
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| the core melody played by the saron metallaphones that often dominate the javanese gamelan compositions; it forms a middle ground between the slowly sounding gongs and the faster melodic instruments |
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| literally the “flowering” of the music; guided by the same mode, contour, and the other melodic forces that form the rest of the music; the heart of the javanese gamelan performance |
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| certain known patterns in the javanese gamelan that ultimately coincide with the balungan at the ends of phrases |
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| often translated as “mode” but includes a heirarchy of stressed and unstressed tones and characteristic motives |
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| the pattern of regular punctuation of the composition by certain gong strokes |
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| the large phrase defined by the duration between successive gong notes |
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| the amount of notes that are played per beat |
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| relationships between the rhythmic densities of various instruments to the beat |
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| cipher notation in which numbers represent pitches |
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| style of balinese gamelan; large ensemble not only plays for the dance after which it is named, but also accompanies other dances, ceremonial and occasional music, and unaccompanied instrumental performances; literally means “to flare up like the lighting of a match”; explosive, non-pulsitile introductions |
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| lead metallaphone player in a balinese gamelan |
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| slow-moving, core melody of a balinese gamelan; played by softer single instruments |
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| collectively, the metallapones that play fast figuration in a balinese gamelan |
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| traditional dance that is found commonly in the repertoire of a gamelan gong kebyar; solo dancer represents the character depicted in the mask |
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| short repeated melodies that are part of the topeng |
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| movement made by the dancer in a topeng that cues the drummer who then cues the rest of the gamelan |
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| one of bali’s most famous forms of music; no instruments; shouts, chants and songs of bare-chested men, they become the gamelan. |
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| most dazzling technique of the kebyar style; type of figuration where the players of the metallaphones divide into two parts which consist of fast, complex syncopations, which form a very fast composite melody that interlocks the two parts |
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| most famous dance in Bali; about a mythical dragon-like animal that is the holy protector of a village; two men dress up in an elaborate costume |
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