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A Gamelan Manual: a Players Guide to the Central Javanese Gamelan Pdf FREE A GAMELAN MANUAL: A PLAYERS GUIDE TO THE CENTRAL JAVANESE GAMELAN PDF Richard Pickvance | 336 pages | 30 Mar 2006 | Jaman Mas Books | 9780955029509 | English | London, United Kingdom - Wikipedia The music of Indonesia is regarded as relatively obscure to the Western listener, distant in geography but also in musical and cultural aesthetics. Despite this, gamelanwhich refers to various types of Indonesian orchestra and the different traditions and genres that such orchestras perform, has become increasingly prevalent in World Music circuits. While incomprehension sometimes relegates its overwhelming complexities and intricacies to Orientalist exoticism, gamelan offers a rare projection of Indonesian culture that has been revered and respected far beyond the edges of the archipelago. Situated in the Indian and Pacific oceans, the archipelago of Indonesia is the largest country in Southeast Asia and the most extensive island complex in the world, comprising more than 15, islands that are home to more than million people. Indonesia is a very diverse society, having provided a passageway for peoples and cultures between Oceania and mainland Asia for millennia. Ancient Indonesia was characterised by small estuary kingdoms. As no single hegemonic power emerged, the early history of Indonesia is the development of distinct regions that only gradually threaded together. Sailors from the archipelago became pioneering maritime explorers and merchants, establishing trade routes with places as far off as southern China and the east coast of Africa even in ancient times. Hinduism, brought to Indonesia by Brahmans from India c. However, as the Srivijaya kingdom on Sumatra expanded its maritime influence and made firm commercial links with China and India, it also spread Buddhism into parts of Indonesia 7 th th Cpromoting a social structure in which leaders bore the responsibility of ensuring that all had the means of ascetic worship through religious A Gamelan Manual: A Players Guide to the Central Javanese Gamelan and community rituals. Islam, mainly in the form of its mystical Sufi sect, started to spread to Indonesia along trade lines with India and the Middle East 13 th C. Eventually a number of predominantly Muslim mercantile kingdoms emerged 15 th th Cwith some like Aceh declaring themselves as explicitly Muslim states. In most areas, A Gamelan Manual: A Players Guide to the Central Javanese Gamelan and Muslim kingdoms coexisted in harmony, finding affinities between the guru and the wali and their desire for divine communion, but in some, as in Java, there was open warfare between kingdoms who fought for the supremacy of their own culture and religion. With the expansion of European imperialism, Portuguese traders and subsequently the forces of the Dutch and English East India Companies took control of the Indonesian trade routes 16 th th C. Despite rebel struggles and religious resistance, the Dutch seized Java and the inner islands as a colony 19 th C and imposed capitalist production systems, which decreased mercantile trade in favour of increased agricultural and industrial exports. This brought severe hardship for the Javanese workers themselves, leading to civil unrest and even conflicts like the Padri and Java Wars. Subsequently, the Dutch expanded their territories, annexing the whole of modern-day Indonesia late 19 th A Gamelan Manual: A Players Guide to the Central Javanese Gamelan 20 th Cand an influx of Dutch settlers created a sharp divide between the modern cities that they made their home and the traditional villages that protected indigenous civilisation and culture. However, by the late s, a unified independence movement arose, focusing on anticolonial resistance rather than sectarian political or religious identities. This culminated in the A Gamelan Manual: A Players Guide to the Central Javanese Gamelan of the Indonesian Nationalist Partyand its leader Sukarno pledged to create one Indonesian motherland for one Indonesian people, founding a common language and initiating the struggle for the united nation. After the chaos of conflict between the Japanese and Allied forces on the island, brutal Dutch police action against the Indonesian people and successive leftist revolts, the Netherlands, under pressure from the United Nations, transferred sovereignty to a federal and democratic United States of Indonesia His regime reinforced national unity through cultural spectacles, grand monuments, patriotic slogans and the Pancasila Five Principles of monotheism, nationalism, humanitarianism, democracy and social justice, but increasingly positioned Indonesia against the West, culminating in its withdrawal from the UN After economic crisis hit Southeast Asiadeep political turmoil caused Suharto to resign and subsequent elections put four different presidents in power who strengthened freedoms and democracy in Indonesia but also faced rising separatism, with East Timor achieving independenceand violent ethnic and religious militancy. However, over the next decade, a series of severe earthquakes, tsunamis and volcanic eruptions, while devastating the country and its people, A Gamelan Manual: A Players Guide to the Central Javanese Gamelan much of the unrest and united the nation, enabling President Yudhoyono to instigate political and economic reform and, since then, Indonesia has experienced a more prosperous and peaceful period. With its immense scope in terms of peoples and languages, it is perhaps unsurprising that Indonesia is deeply culturally and musically diverse. As such, few generalisations can be made A Gamelan Manual: A Players Guide to the Central Javanese Gamelan the whole country and, thus, the preferred way to approach, and to start to appreciate, these vast music traditions is to examine them selectively by focusing in on a certain traditional form, albeit with recognition of how this fits into regional cultural trends principally, Bali, Central Java, East Java, West Java, Lombok, Sumatra and Outer Islands and historical strata Indigenous, Hindu, Islamic, European and post-European. In line with this approach, this article will focus mainly on the tradition of gamelan. Regionally, gamelan style is highly diverse and gamelan orchestras themselves differ in size, tunings, timbres, instruments and combinations to the extent each gamelan constitutes a unique set. As a result, instruments are never swapped between ensembles and different ensembles can sound markedly different from one another. However, despite this, all gamelan comprise three core instrumental groups: melodic tuned percussion metallophones and smaller kettle-gongs struck with malletsstructural tuned percussion larger kettle-gongs and hanging gongs struck with mallets and rhythmic untuned percussion membranophones struck with hands or sticksthough they often also include other melodic instruments. Instruments are decorated with ornate carvings, usually of local and regional symbols e. Solonese gamelan often feature A Gamelan Manual: A Players Guide to the Central Javanese Gamelan naga a folkloric mystical snake creature derived from Indian mythology. Gamelan is an oral tradition where its compositions are created for the community and where such compositions and musical techniques are transmitted orally, learned and internalised aurally and performed from memory. Despite the diversity of styles across the islands, gamelan encompasses a unitary system of musical aesthetics with common structural principles for composition and performance. These complex aesthetics principles with terms as they appear in Central Javanese tradition include slendro and pelong tuning, pathet modality, balungang melody, colotomic structureand irama texture. Importantly, these schematics only serve as rough guides, and each ensemble actually forges their own unique tuning. Additionally, if a gamelan is to play compositions in both slendro and pelongit requires two sets of the same instruments one set tuned for slendro and the other for pelong. There are six core pathetthree for slendro and three for pelong. These gendhing each contain a balungang a short fundamental melody. The balungang not only provides the basic melody of a performance of the composition but also sets the gatra metrewhich is dictated by length of the gongan one full cycle of the fundamental melody. Finally, performances of a gendhing often bring in additional instruments, which all function in various ways as elaboration: the sulingwith its loud and piercing timbre, tends to heterogeneously sound out the balungan ; the gambang and the siter improvise fast staccato patterns based on the balungan ; the rebab plays highly e xpressive and ornamented improvised motifs as a counterpoint to the balungan ; and the gerong ,drawing on folk stories or poetry, mainly sing precomposed countermelodies over the texture of the gamelan while the sindenin a similar way to the rebabengages in an elaboration role by improvising free melismatic vocalisations and high lyricisms that glide over the pulsations of the gamelan. The core social functions and purposes of gamelan have varied across different contexts, times and places. These ensembles consisted of various sizes, tunings and timbres of angklungaccompanied by bamboo flutes like the sulingwooden xylophones like the gambang and double-headed drums like the A Gamelan Manual: A Players Guide to the Central Javanese Gamelan and percussion e. The ensembles were associated closely with religiosity, and were considered capable of communicating with the ancestral
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