wayang kulit
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.
an orchestra of mainly bronze instruments; set to accompany the wayang kulit;
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 javanese word that means “a characteristic; refined”; it is reflected in the heroes of their dramas
javanese word translated “coarse”; the counterbalancing side of the alus
the short introduction to the gamelan; leads the listener into the world of the gamelan and the mode and character specific to the piece
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
the bass member of the gender family; played with a large padded mallet
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.
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.
two-string spike fiddle; played by the melodic leader o the orchestra; leads the melodic instruments of the javanese gamelan
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
large zither plucked with fingernails; ornate carving and feet of the instrument were influenced by European furniture of the colonial period
end-blown bamboo duct flute
set of large horizontal kettle-gongs; tall sloping faces
small hanging gongs
gong ageng
largest vertical gong; also known simply as gong; end the meterical cycle of gamelan music
two double-headed; smaller drum is called ketipung, larger one is called kendang gending
the central and more ornate melody in a javanese gamelan; it is never heard, and exists only in the minds of the players
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
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
certain known patterns in the javanese gamelan that ultimately coincide with the balungan at the ends of phrases
often translated as “mode” but includes a heirarchy of stressed and unstressed tones and characteristic motives
colotamic structure
the pattern of regular punctuation of the composition by certain gong strokes
the large phrase defined by the duration between successive gong notes
rhythmic density
the amount of notes that are played per beat
relationships between the rhythmic densities of various instruments to the beat
cipher notation in which numbers represent pitches
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
lead metallaphone player in a balinese gamelan
slow-moving, core melody of a balinese gamelan; played by softer single instruments
collectively, the metallapones that play fast figuration in a balinese gamelan
traditional dance that is found commonly in the repertoire of a gamelan gong kebyar; solo dancer represents the character depicted in the mask
short repeated melodies that are part of the topeng
movement made by the dancer in a topeng that cues the drummer who then cues the rest of the gamelan
one of bali’s most famous forms of music; no instruments; shouts, chants and songs of bare-chested men, they become the gamelan.
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
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