DOCSLIB.ORG

Message from Mr Bandarin

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Message from Mr Bandarin World Batik Summit Indonesia – the Global Home of Batik Speech by Hubert Gijzen, Director of the UNESCO Office Jakarta (Jakarta, Java, 28 September to 2 October 2011) Your Excellency Bp. Susilo Bambang Yudhoyono, President of the Republic of Indonesia and First Lady Ibu Ani, Ibu Herawati Boediono, Your Excellencies, Ministers, Excellencies, members of the diplomatic corps, Bapak Joop Ave, (Advisory Board), and Ibu Jultin Ginandjar (Head) Yayasan Batik Indonesia Mr Doddy Soepardi, Chairman of the World Batik Summit 2011, Distinguished Guests, Ladies and Gentlemen, A very good morning to all, selamat pagi dan Assalamu’alaikum Warahmatullahi Wabarakatuh, It gives me great pleasure to convey my greetings to the participants of the World Batik Summit on behalf of UNESCO. I sincerely hope that this event will create a forum where people around the world can discuss and exchange ideas, opinions and views concerning the creation, and perpetuation of an age-old tradition for which Indonesia is renowned around the world, Batik. In June 2012, world leaders will gather once again in Rio de Janeiro to address the important challenge of sustainable development at the Summit referred to as Rio+20. Culture, in all its dimensions, is a fundamental component of sustainable development. Through cultural heritage, creative industries and various forms of artistic expressions, culture can serve as a powerful engine for economic development, social stability and environmental protection. Culture also defines the way human beings live and interact both at local and global scales. Placing culture at the heart of Sustainable Development policies constitutes an essential investment in the world's future, and a pre- condition to successful globalization. Ladies and Gentlemen, In the 21st century, UNESCO, with the support of the international community, has paved the way for new approaches to understanding, respecting and safeguarding the cultural heritage of humanity. This year marks the tenth anniversary of UNESCO’s Universal Declaration on Cultural Diversity, and we will soon begin the preparations for celebrating the first decade of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage. Both normative instruments acknowledge the importance of cultural diversity as a source of individual and collective enrichment for nations and for humanity. 1 So far, 137 countries have ratified the 2003 Convention on Intangible Cultural Heritage, thereby recognizing that its safeguarding is a shared concern. A State that ratifies the Intangible Cultural Heritage Convention commits to safeguarding its living heritage through measures such as protection, promotion, transmission through formal and non- formal education, research and revitalization. The Republic of Indonesia, which ratified this Convention in 2007, has taken its commitments very seriously, and UNESCO is pleased to be a partner of Indonesia in the safeguarding of the world’s living heritage. In 2009, Indonesian Batik was inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity, in recognition of its rich symbolism that provides Indonesian people with a sense of identity and continuity as an essential component of their life. It is not simply a practical tradition but a source of meaning and identity and a dignified and creative way of making a living. This inscription is one of four that Indonesia proudly holds on the Representative List, including also the Indonesian Kris and Wayang inscribed in 2008, and the Indonesian Angklung inscribed in 2010. Our hope at UNESCO – and I am confident it is also shared by all Indonesians – is that the international recognition of Batik as an invaluable expression of living heritage, can stimulate redoubled efforts to ensure that future generations will continue to make and to wear Batik as a proud symbol of cultural identity. Ladies and Gentlemen, Indonesia has played a significant role as a member of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage, and I am very pleased to note that it will host the sixth session of the Committee in Bali in November this year. I would like to take this opportunity to reiterate UNESCO’s appreciation to the Government of Indonesia for its generous hospitality. Thanks to the leadership of the Indonesian Government and the interest and enthusiasm of communities throughout the archipelago, the futures of the Kris, Wayang, Angklung and Batik will be ensured for many generations to come. Events such as this World Summit can help us to reignite peoples’ passion and appreciation for intangible cultural heritage. Mr. President, Ladies and Gentlemen, I am certain that this encounter will inspire rich debate and discussion, but most of all I hope it will inspire an appreciation for the creativity that lies behind each piece of Batik and the rich symbolism that it embodies. I am confident that this Summit will encourage us to behold our most valuable culture assets with eyes more widely opened to the boundless potential to contribute to sustainable development and to community identity. May the centuries-old practice of Batik continue for many centuries to come. I wish this World Summit every success. Thank you for your kind attention. 2.
Load more

Recommended publications
  • Gamelan Gender Wayang of Bali: Form and Style
    ..................~~.~.~.. ~------------------ WESLEYAN UNIVERSITY Gamelan Gender Wayang of Bali: Form and Style by Kalafya Brown A thesis submitted to the facuIty of Wesleyan University in partial fulfillment of the requirements for the degree of Master of Arts in Music May, 2000 Middletown, Connecticut My teacher, Kak Luweng, and myself playing gender (above) and just sitting (below), 2 Introduction and Acknowledgements I began studying gamelan music in 1994 while I was an undergraduate at the Massachusetts Institute of Technology. No one tends offhand to associate gamelan with MIT. but there it is. Professor Evan Ziporyn has been directing the gong kebyar ensemble Gamelan Galak Tika at MIT since 1993, and I was an active member from 1994 until 1997. Unfortunately the pressure of my studies at Wesleyan has not allowed me to play with Galak Tika as much as I would like in the past few years. For the three years of my tenure with Galak Tika we were blessed with the artistry of the Balinese husband and wife team of I Nyoman Catra and Desak Made Suarti Laksmi. The magnificent teaching and performance prowess of Evan, Catra and Desak formed the basis of my introduction to gamelan music. In 1997 I came to Wesleyan University to study for the degree of Master of Arts in Music, of which this thesis is a part. Here at Wesleyan I have had the great honor of studying with I. M. Harjito and Sumarsam, two Javanese artists. I sincerely thank them for broadening my awareness of the multifaceted natures of Indonesian music and for sharing with me the great beauty of the central Javanese court gamelan.
    [Show full text]
  • Land- ​ En Volkenkunde
    Music of the Baduy People of Western Java Verhandelingen van het Koninklijk Instituut voor Taal- , Land- en Volkenkunde Edited by Rosemarijn Hoefte (kitlv, Leiden) Henk Schulte Nordholt (kitlv, Leiden) Editorial Board Michael Laffan (Princeton University) Adrian Vickers (The University of Sydney) Anna Tsing (University of California Santa Cruz) volume 313 The titles published in this series are listed at brill.com/ vki Music of the Baduy People of Western Java Singing is a Medicine By Wim van Zanten LEIDEN | BOSTON This is an open access title distributed under the terms of the CC BY- NC- ND 4.0 license, which permits any non- commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https:// creativecommons.org/ licenses/ by- nc- nd/ 4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder. Cover illustration: Front: angklung players in Kadujangkung, Kanékés village, 15 October 1992. Back: players of gongs and xylophone in keromong ensemble at circumcision festivities in Cicakal Leuwi Buleud, Kanékés, 5 July 2016. Translations from Indonesian, Sundanese, Dutch, French and German were made by the author, unless stated otherwise. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2020045251 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”.
    [Show full text]
  • ICTM Abstracts Final2
    ABSTRACTS FOR THE 45th ICTM WORLD CONFERENCE BANGKOK, 11–17 JULY 2019 THURSDAY, 11 JULY 2019 IA KEYNOTE ADDRESS Jarernchai Chonpairot (Mahasarakham UnIversIty). Transborder TheorIes and ParadIgms In EthnomusIcological StudIes of Folk MusIc: VIsIons for Mo Lam in Mainland Southeast Asia ThIs talk explores the nature and IdentIty of tradItIonal musIc, prIncIpally khaen musIc and lam performIng arts In northeastern ThaIland (Isan) and Laos. Mo lam refers to an expert of lam singIng who Is routInely accompanIed by a mo khaen, a skIlled player of the bamboo panpIpe. DurIng 1972 and 1973, Dr. ChonpaIrot conducted fIeld studIes on Mo lam in northeast Thailand and Laos with Dr. Terry E. Miller. For many generatIons, LaotIan and Thai villagers have crossed the natIonal border constItuted by the Mekong RIver to visit relatIves and to partIcipate In regular festivals. However, ChonpaIrot and Miller’s fieldwork took place durIng the fInal stages of the VIetnam War which had begun more than a decade earlIer. DurIng theIr fIeldwork they collected cassette recordings of lam singIng from LaotIan radIo statIons In VIentIane and Savannakhet. ChonpaIrot also conducted fieldwork among Laotian artists living in Thai refugee camps. After the VIetnam War ended, many more Laotians who had worked for the AmerIcans fled to ThaI refugee camps. ChonpaIrot delIneated Mo lam regIonal melodIes coupled to specIfic IdentItIes In each locality of the music’s origin. He chose Lam Khon Savan from southern Laos for hIs dIssertation topIc, and also collected data from senIor Laotian mo lam tradItion-bearers then resIdent In the United States and France. These became his main informants.
    [Show full text]
  • The Angklung of Southeast Asia
    Can You Shake It? The Angklung of Southeast Asia By Professor Kuo-Huang Han School of Music Northern Illinois University Angklung is a popular bamboo musical instrument in Southeast Asia. It is the easiest instrument to play: you just shake it. It is now widely used in music education. In this article, you will be informed about the background, usage, and playing methods of this instrument. A. Bamboo in Asia Bamboo is a type of plant of the grass family. There are about 75 genera and approximately 1000 species in the world. Asia, especially Southeast Asia and the Far East, has the major concentration of bamboo production. In fact, the word "bamboo" came from a Malay term, "bambu", which originally described the crackling sound of burning bamboo: "bam"! "bu"! Bamboo seems to grow everywhere in these regions. It is one of the most important materials in many Asian peoples’ daily lives. It is also a symbol of good luck and an essential part in their spiritual lives. 1. Material Culture Bamboo is strong but light and elastic. Throughout the ages, it has been used for a great variety of purposes. It is used as building material for houses, fences, bridges, irrigation pipes, bulletin boards, tables, chairs, and beds. It is also used as a carrying pole, a walking stick, chopsticks, water containers, cups, pencil holders, bow and arrows, etc. Split bamboo is used for weaving nets, hats, baskets, and umbrellas. Finally, bamboo shoots and bamboo seeds can be eaten. Bamboo pulp fibers were used to make paper. In ancient times, bamboo slips were used for carving characters.
    [Show full text]
  • Intangible Cultural Heritage Management And
    / Ê 1/1,Ê ,/ Ê /Ê Ê- 1, Ê Ê " - 1,Ê ,/ *1, /ÌÀÌiÀ]ÊÛiÃÌ}>`ÀÊÞÊiÝ«iÀÌÊVÕÌÕÀ>° 6 */," "Ê1 ÊUÊ -9"- “Intangible cultural heritage” means “the 2003 Convention in July 2007 and became a practices, representations, expressions, State Party to the Convention in January Intangible Cultural knowledge, skills – as well as the instru- 2008. Heritage, or Living ments, objects, artefacts and cultural spac- Intangible Cultural Heritage, or Living Cultural Heritage, es associated therewith – that communi- Cultural Heritage, has existed in Indonesia has existed in ties, groups and, in some cases, individuals since ancient times, when Indonesia con- Indonesia recognize as part of their cultural heri- sisted of many kingdoms and empires since ancient tage” 1. Management refers to governance, which interacted with the cultural heritage times and also to administration of business con- of other countries. Situated as it is on the cerns or public undertakings 2. According intersection between two oceans, the In- to the UNESCO 2003 Convention , “Safe- dian and Pacific Oceans, and two conti- guarding means measures aimed at ensur- nents, Asia and Oceania, Indonesia partic- ing the viability of the intangible cultural ularly received cultural influences from heritage, including the identification, doc- the sea trade which went on among Indo- umentation, research, preservation, pro- nesia, India, China, and the Middle East for tection, promotion, enhancement, trans- at least the past two millennia 4. The com- mission, particularly through formal and ing of Islam to Indonesia five centuries ago non-formal education, as well as the revi- brought with it significant cultural influ- talization of the various aspects of such ences.
    [Show full text]
  • Bell Type Instruments • Bamboo Vibraphone • Belltree • Bhutan Bells
    Bell Type Instruments Bamboo Vibraphone Iran Fingercymbals Tibetan Cymbals Belltree Metallophon Tibetan Singing Bells Bhutan Bells Mini Bells Vietnam Bells China Finger Cymbals Saron Gamelan Windbells Dream Catcher Shanghai Baby Piano Windchimes Ethno Gamelan Crash Bells Small Burma Bells World Glockenspiel Small Tubular Bells Bowed Instruments Gaohu Dilruba Ih Khuur Bass Morin Khuur Violin Egyptian Fiddle Jinghu Operaviolin Small Morin Khuur Erhu Morin Khuur Strings Western Fiddle Licks Esraj Ensemble CONSTRUCTION SETS China Set 100 Mid East Set 100 China Set 120 Mid East Set 120 Mid East Set 80 China Set 140 Mid East Set 140 GONGS & BOWLS Big FengGong Big Rako Bowls Java Gong Tam Tam Besar “ Big Tibetan Singing Mongolian Gong Thai Gong 14 Bowls Rin Singing Bowls Wuhan Tam Tam “ Gong Besar 18 KEYED INSTRUMENTS Scale Changer Dallape Accordion Melodica Harmonium India METAL TYPE INSTRUMENTS Kalimba Kibirizi 15 Bass Kalimba tuning Plates Metal Squares Cymbals Kalimba Kibirizi 5 Military Cymbals Hand Cymbals tuning Plates Mongolian Jews Harp Jews Harp Kalimba Hugh Tracey STRINGED INSTRUMENTS Acoustic Bass Vester Domra Sitar Balalaika Dra-Ngen Small Erhu Plectrum Bandura Grand Monochord Violin Banjo Framus Joochin Dulcimer Small Kantele Banjolin Kantele Steel String Guitar Big Erhu Plectrum Mandolin Truxa Falcon Violin Oud Tampura Bouzouki Sakis Oud Licks Tanbur Ceylon Guitar Resonator Guitar Timple Contra Guitar F - Bass Santoor Saberi Turke Saz Cora
    [Show full text]
  • Representative List of the Intangible Cultural Heritage of Humanity As Heritage Fund
    ElemeNts iNsCriBed iN 2012 oN the UrGeNt saFeguarding List, the represeNtatiVe List iNTANGiBLe CULtURAL HERITAGe aNd the reGister oF Best saFeguarding praCtiCes What is it? UNESCo’s ROLe iNTANGiBLe CULtURAL SECRETARIAT Intangible cultural heritage includes practices, representations, Since its adoption by the 32nd session of the General Conference in HERITAGe FUNd oF THE CoNVeNTION expressions, knowledge and know-how that communities recognize 2003, the Convention for the Safeguarding of the Intangible Cultural The Fund for the Safeguarding of the The List of elements of intangible cultural as part of their cultural heritage. Passed down from generation to Heritage has experienced an extremely rapid ratification, with over Intangible Cultural Heritage can contribute heritage is updated every year by the generation, it is constantly recreated by communities in response to 150 States Parties in the less than 10 years of its existence. In line with financially and technically to State Intangible Cultural Heritage Section. their environment, their interaction with nature and their history, the Convention’s primary objective – to safeguard intangible cultural safeguarding measures. If you would like If you would like to receive more information to participate, please send a contribution. about the 2003 Convention for the providing them with a sense of identity and continuity. heritage – the UNESCO Secretariat has devised a global capacity- Safeguarding of the Intangible Cultural building strategy that helps states worldwide, first, to create
    [Show full text]
  • The Curriculum
    The Curriculum . 3 Literature . 63 Africana Studies . 3 Mathematics . 73 Anthropology . 3 Middle Eastern and Islamic Studies . 76 Architecture and Design Studies . 7 Modern and Classical Languages and Art History . 7 Literatures . 77 Asian Studies . 10 Music . 78 Biology . 13 Philosophy . 88 Chemistry . 16 Physics . 91 Chinese . 19 Political Economy . 93 Classics . 20 Politics . 93 Cognitive and Brain Science . 20 Psychology . 97 Computer Science . 21 Public Policy . 107 Dance . 24 Religion . 108 Development Studies . 29 Russian . 111 Economics . 30 Science and Mathematics . 112 Environmental Studies . 33 Pre-Health Program Ethnic and Diasporic Studies . 34 Social Science . 113 Film History . 35 Sociology . 113 Filmmaking, Screenwriting and Media Spanish . 116 Arts . 37 Theatre . 118 French . 38 Urban Studies . 131 Games, Interactive Art, and New Genres 40 Visual Arts . 132 Gender and Sexuality Studies . 41 Architectural Design Geography . 41 Drawing German . 42 Filmmaking Greek (Ancient) . 44 New Media Health, Science, and Society . 45 Painting History . 45 Photography International Studies . 55 Printmaking Italian . 56 Sculpture Japanese . 58 Visual Fundamentals Latin . 59 Writing . 149 Latin American and Latino/a Studies . 60 Faculty . 161 Lesbian, Gay, Bisexual, and Transgender Studies . 60 Sarah Lawrence College is accredited by the Middle Modern Language and Literature (1101) BA States Association and the New York State Music (1004) BA Education Department. Philosophy (1509) BA Politics (2207) BA The following programs are registered by the New Premedical (4901) BA York State Education Department* for the degrees Psychology (2001) BA listed (registration number in parentheses). Religion (1510) BA Enrollment in other than registered or otherwise Sociology (2208) BA approved programs may jeopardize a student’s Theatre (1007) BA eligibility for certain student-aid awards.
    [Show full text]
  • A Concert of Indonesian Music and Dance
    The Colorado College Music Department presents A Concert of Indonesian Music and Dance With Gamelan Angklung Tunjung Sari, the Colorado College Balinese Dancers, and guest dancers AJ Salimbeni and Sagung Chika Kertayuda I Made Lasmawan, Artistic Director Ni Ketut Marni, Dance Director December 14, 2014 3:00 PM Packard Hall PROGRAM Dongkang Menek Biyu Traditional Gamelan Tunjung Sari Puspanjali I Nyoman Windha Erin Harty, Danielle Devers, Vie Lim, Ni Ketut Marni, dancers Gamelan Tunjung Sari Topeng Keras Traditional A.J. Salimbeni, dancer Gamelan Tunjung Sari Merak Angelo I Gede Dharmayasa Putu Indira Sandika, Ina Maquina Laksmi, dancers Gamelan Tunjung Sari Sekar Gendot Traditional Gamelan Gender Wayang Santi Suara Margapati I Nyoman Kaler Ni Ketut Marni, dancer Gamelan Tunjung Sari Joged Traditional Sagung Chika Kertayuda, dancer Gamelan Joged Bumbung Please refrain from using electronic devices during the performance PROGRAM NOTES Dongkang Menek Biyu (Frog climbing a Banana Tree) is a traditional gamelan angklung piece played during Balinese ceremonies. Like many of the traditional angklung pieces, Dongkang Menek Biyu has three parts: Kawitan (opening), Pengawak (body) and Pengcet (foot). Each part uses different tempo, dynamics and interlocking techniques. Puspanjali is a new contemporary welcome dance choreographed by Ni Luh Suasti Bandem of Denpasar in the early 1990s; the music was composed by I Nyoman Windha. The dancers are wearing colorful traditional Balinese costumes and golden flowers for their head dresses. Topeng Keras is a male mask dance that is also called Topeng Pengelembar. This is one of the five Topeng dances from a genre traditionally performed during Balinese Hindu ceremonies. Merak Angelo is a new contemporary dance piece that was choreographed by I Ketut Rina of Denpasar Bali in the 1920s; the music was composed by I Gede Dharmayasa.
    [Show full text]
  • Download Article
    Advances in Social Science, Education and Humanities Research, volume 519 Proceedings of the 3rd International Conference on Arts and Design Education (ICADE 2020) Art Perform in Saung Angklung Udjo as Memorable Tourism Experience Laras Ramadhania Putri*, Trianti Nugraheni, Juju Masunah Program Studi Pendidikan Seni Universitas Pendidikan Indonesia Bandung, Indonesia *banabana.ba18@gmail.com Abstract—This research was conducted to find out how the Angklung Udjo is one of the tourist destinations that has a Performing Arts at Saung Angklung Udjo became an Art cultural tourist attraction. Tourism in Bandung. The aim is to examine how the art performance presented at Saung Angklung Udjo and how the art According to the Law of the Republic of Indonesia Number performance becomes an attractive tour for local and foreign 10 of 2009 concerning tourism, a tourist attraction is anything tourists. This study uses a qualitative research design and that is unique, beautiful and valuable in the form of a diversity descriptive analysis method, researchers obtain data and examine of natural, cultural and man-made wealth, that is the target or it further for analysis. Data obtained from research instruments purpose of tourists visit. The condition of nature, flora and namely observation, interview, literature review and study fauna, as a gift from God Almighty, as well as historical documentation. After the data is obtained, its validity will be ancient, artistic and cultural heritage owned by the Indonesian processed by triangulation. Findings of this research show that people are the resources and capital for tourism development to Saung Angklung Udjo not only displays angklung performances, increase the prosperity and welfare of the people as contained but also presents other art performances such as dance and in Pancasila and the Preamble of Laws.
    [Show full text]
  • Medium of Performance Thesaurus for Music
    A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
    [Show full text]
  • Gamelan Music of Indonesia- Music of Cooperation Indonesia Encompasses Over 13,000 Islands and Is World’S 4Th Most Populous Country
    Gamelan Music of Indonesia- Music of Cooperation Indonesia encompasses over 13,000 islands and is world’s 4th most populous country. It has the largest Muslim population in the world, although that number makes up only 88% of the country’s total population. The country has been a cultural crossroads throughout its history due to its proximity to India, Southeast Asia, and China, and also because of its rich natural resources. The area was under Dutch colonial rule for approximately 350 years (ie, Dutch East India Company), finally gaining independence in 1949. Basic Characteristics -Orchestras called Gamelan, primarily composed of bronze instruments- keyed metallophones, tuned gongs (rack and hanging), also with drums and additional string and wind instruments; instruments are tuned as an entire orchestra and are not interchangeable with other ensembles. [see pdf of instruments from Alves book] -Compositions guided by a core melody- composed of artful contours and melodic motives- basic melody guides all other parts; VERY polyphonic texture predominates, all layers are equally vital -Colotomic structure- cyclical music iterated and punctuated by the sounds of various sized gongs. Distance between primary (lowest) gong strokes is called a Gongan. -Paired families of instruments- In Java this results in having two complete sets of instruments in two different tuning systems. -Stress at the END of metrical cycles instead of beginning- single hardest thing for Western ears to grasp- notes proceed TO gong instead of away from gong as would typically happen in Western music. Central Javanese Gamelan -Centered around the urban areas of Yogyakarta and Surakarta- traditional seats of powerful courts that provided generous patronage for all art forms, including Gamelan and dance.
    [Show full text]