VOCABULARY and CONCEPTS Balungan

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VOCABULARY AND CONCEPTS Balungan: Melodic outline of a piece, literally refers to the “skeleton” of the melody, and is what is generally notated by musicians and teachers Bubaran: Compositional form of the Central Javanese court city of Yogyakarta, signaling the end of a concert, which uses 16 beats to the gong Buka: Opening phrase of a piece, played by a solo instrument or voice Gatra: Unit of four beats or tones of the balungan, with the last being the “goal” tone Gembyang: Technique in which octaves are sounded simultaneously on one instrument, most often used by the bonang Imbal: Technique where two similar instruments play interlocking parts which form one composite part, most often used by paired saron or demung Irama: Tempo, but also refers to the relationship of the beats of the elaborating instruments to those of the balungan (e.g., 1:1, 2:1, 4:1, etc.) Kepatihan: Cipher system of notation generally used for gamelan music Ladrang: Compositional form which uses 32 beats to the gongan Lagu: Melody, also known as the “inner melody” as it is never directly stated by any one instrument, but is a result of all parts acting together Lancaran: Compositional form which uses 8 balungan beats to the gongan Laras: Tuning system (see slendro and pelog) Mipil: Technique in which an instrument alternates on pairs of notes based on the balungan, most often used by the bonang Ngencot: Technique of striking a key at the same time as damping it Pathet: Mode Pelog: Seven-tone tuning system with small and large intervals Plesedan: Technique for the kenong where it anticipates the tone of the following kenong Seleh: “Goal” tone, usually the fourth note of a gatra, and/or corresponding to prominent balungan, kenong or gong tones; represents a point of resolution on which all the melodic parts of the gamelan coincide Slendro: Five-tone tuning system with nearly equal intervals Tabuh: Mallet used to strike an instrument Wayang/Wayang Kulit: Shadowplay theater accompanied by gamelan music, in which the primary Hindu epics, the Mahabharata and Ramayana, are re-enacted using flat puppets made of water buffalo hide pierced with small holes held against a white screen and illuminated from behind with a flame or lantern; other forms of wayang include wayang golek (using rod- puppets) and wayang wong (in which actors are used instead of puppets) Wela: Omission of the kempul stroke just after a stroke on the gong .

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7'tie;T;e ~;&H ~ t,#t1tMftllSieotOg, UCLA VOLUME 3 1986 EDITORIAL BOARD Mark E. Forry Anne Rasmussen Daniel Atesh Sonneborn Jane Sugarman Elizabeth Tolbert The Pacific Review of Ethnomusicology is an annual publication of the UCLA Ethnomusicology Students Association and is funded in part by the UCLA Graduate Student Association. Single issues are available for $6.00 (individuals) or $8.00 (institutions). Please address correspondence to: Pacific Review of Ethnomusicology Department of Music Schoenberg Hall University of California Los Angeles, CA 90024 USA Standing orders and agencies receive a 20% discount. Subscribers residing outside the U.S.A., Canada, and Mexico, please add $2.00 per order. Orders are payable in US dollars. Copyright © 1986 by the Regents of the University of California VOLUME 3 1986 CONTENTS Articles Ethnomusicologists Vis-a-Vis the Fallacies of Contemporary Musical Life ........................................ Stephen Blum 1 Responses to Blum................. ....................................... 20 The Construction, Technique, and Image of the Central Javanese Rebab in Relation to its Role in the Gamelan ... ................... Colin Quigley 42 Research Models in Ethnomusicology Applied to the RadifPhenomenon in Iranian Classical Music........................ Hafez Modir 63 New Theory for Traditional Music in Banyumas, West Central Java ......... R. Anderson Sutton 79 An Ethnomusicological Index to The New Grove Dictionary of Music and Musicians, Part Two ............ Kenneth Culley 102 Review Irene V. Jackson. More Than Drumming: Essays on African and Afro-Latin American Music and Musicians ....................... Norman Weinstein 126 Briefly Noted Echology ..................................................................... 129 Contributors to this Issue From the Editors The third issue of the Pacific Review of Ethnomusicology continues the tradition of representing the diversity inherent in our field.
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