DOCSLIB.ORG

Gareth Farr's

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gareth Farr's Gareth Farr’s ‘Kembang Suling’: Three musical snapshots of Asia BY ROBERT J. DAMM hile programming a recital of Kesatuan (Ingrid Gordon and Karen immediately, widening his horizons and music for flute and percussion, DeWig) on the Centaur label.” serving as a catalyst for writing tonal WDr. Lana Johns (flutist) and I Following is a description of the musi- music. He later studied Balinese began to prepare Gareth Farr’s cal influences that inspired the piece and gamelan in the United States, playing “Kembang Suling.” We found that this an explanation of the compositional ele- with Sekar Jaya in San Francisco and a duet for flute and marimba is an imagi- ments that correspond to the conven- few other Bay Area gamelans. “I became native adaptation of Asian styles. It al- tions of traditional Asian styles. a bit of a Bali freak,” Farr said, “and lows the performers to intimately have been [to Bali] several times.” explore many non-Western musical con- I. BALINESE GAMELAN Farr remarked that he was playing a cepts and techniques, which will bring a The first movement was inspired by lot of Balinese gamelan when composing refreshing diversity to any recital. In Balinese gamelan melodies. Gamelan is this piece. “Some things [in this move- preparation for a lecture-recital, I con- a generic name referring to various types ment] are very Balinese in style, but tacted Farr with some questions about of ensembles in Bali playing primarily a nothing strict,” he explained, adding, his music. range of percussion instruments. These “Jaya Semara has always been a par- Composer and percussionist Gareth orchestras, featuring gongs and ticular favorite of mine—fast, loud, what Farr was born in Wellington, New metallophones, may also include flutes, else do you need?” Zealand, in 1968. He studied composi- drums, stringed instruments, and voices. In regard to particular scales (e.g., tion, orchestration, and electronic music The kembang (or kempang) is a wooden slendro or pelog), Farr said that the at Auckland University. Further study xylophone; the suling is a vertical bam- movement features “Balinese pelog at followed at Victoria University, where he boo flute. Gamelan music is traditionally the beginning, then after it breaks out of became known for exciting compositions very functional in that it is used to ac- that mood, forget trying to make it fit that often used the Indonesian gamelan. company royal ceremonies and proces- any scale.” One prominent formal prin- He played frequently as a percussionist sions, dancing, and puppet plays. ciple in this movement drawn from the with the New Zealand Symphony Or- Gamelan music generally uses one of two gamelan tradition is the use of imbal or chestra before moving to Rochester, New tunings: the pentatonic slendro scale or “interlocked” (see Example 1). Farr clari- York, where he studied with Christopher the heptatonic pelog scale. fied that the interlocking technique is Rouse at the Eastman School of Music This movement utilizes several called kotekan in Bali. and graduated with a Master of Music pentatonic motives (e.g., F G-flat A-flat C The manuscript and layout for the degree. Farr’s compositions are influ- D-flat in the middle of the movement publication has been beautifully done by enced by his study of non-Western mu- and F A B-flat C E at the end). Other for- Promethean Editions. One correction sic, including Rarotongan log drum mal principles drawn from the gamelan that should be noted on the marimba ensembles, Balinese gamelan, and In- tradition include the use of elaboration, part is that measure 27 should be the dian musical systems. counterpoint, and cycle. It also incorpo- same as measure 13 (G-flat, F, E-flat, D). Farr composed each of the three rates the concept of musical unity result- The note stem with an x through it in- movements in “Kembang Suling” in a ing from interdependent and equally dicates a dead stroke (see Example 1). specific Asian musical style: Balinese important roles of the parts. The use of dead stroke is found in tradi- gamelan, Japanese shakuhachi, and Farr’s program notes describe the tional gamelan technique. According to South Indian raga. The piece was origi- movement: “The marimba and flute start Farr, “The left-hand dead strokes are the nally commissioned by New Zealand out as one, their sounds indistinguish- kajar (time keeper) equivalent of the flutist Alexa Still with financial support able. Bit by bit the flute asserts its inde- kethuk in Javanese. The dead strokes from Creative New Zealand, Arts Coun- pendence, by straying further and serve a double function; they make it cil of New Zealand Toi Aotearoa. Farr further from the marimba melody. An ar- sound more like Balinese gamelan, but played marimba for the premiere. gument ensues—but all is resolved at also they help keep the interlocking to- Several recordings of “Kembang the climax.” gether (just like a kajar would).” Suling” are available. Is the one Farr re- Farr was first introduced to Javanese The movement has a wonderful span leased on the Trust Records label the gamelan when he transferred from of dynamics, from pppp to fff. Farr said definitive performance? “Well, the Auckland University to Victoria Univer- that he plays the opening of the move- composer’s interpretation isn’t necessar- sity in Wellington, which is well known ment on the nodes of the bars, as he con- ily the only one,” Farr says, “but I’m for its practical ethnomusicology pro- ceives of the idea that “the music is pretty happy with it. There is another gram (especially gamelan). The experi- fading in, as if it’s already been playing recording of the piece I very much like: ence changed his compositional style for ages.” He added that some perform- PERCUSSIVE NOTES 26 FEBRUARY 2006 ers may prefer a more definite start to began to be used as a secular instrument of the marimba serves as an accompani- the piece. and in koto ensembles. Used extensively ment to the flute (see Example 2). in Japanese music during the 1920s and “I like the idea a New Zealand percus- II. JAPANESE SHAKUHACHI 1930s, the shakuhachi is played in con- sionist came up with—to play the middle The Japanese shakuhachi is an end- temporary homes and on concert stages. movement on alto flute and transpose blown, vertical bamboo flute with five An important refinement in shakuhachi the marimba part down a fourth,” Farr holes. The oldest shakuhachi in the his- performance is the execution of a final remarked. “That means some really tory of Japanese music was brought from grace note at the ending of each breath yummy low chords for the marimbist.” China as early as the 7th or 8th century. phrase (Malm, 151–160). The music of this early shakuhachi Farr acknowledged that his knowledge III. SOUTH INDIAN TALA AND RAGA lasted only until the end of the 10th cen- of the shakuhachi repertoire is not as ex- The nature of Indian music includes tury, but was revived in the 17th century tensive as his knowledge of gamelan. the concepts of raga, tala, and several by a sect of traveling Zen Buddhists. Japanese music is often inspired by na- modes of improvisation. Indian music is Kinko Kurosawa (1710–1771), a monk, ture and landscape. Program notes from characterized by the raga system, a kind later collected and arranged important the manuscript indicate that “the haunt- of musical scale on which a melody is flute pieces and established a new school ing sounds of the Japanese shakuhachi based. The term “scale” is not quite accu- of shakuhachi music. He taught these flute float out over the warm echoes of rate to define raga because raga encom- pieces to younger priests, including his the rolling landscape.” Farr explained passes a combination of musical phrases own son, who carried on his name and that this is “an evocation of the open and contours that give a characteristic repertoire, as did his grandsons until the landscapes, rolling hills, majesty of Fuji, melodic identity. There are at least 250 19th century. These self-contained pieces and the emotive expression that I get ragas in common use in South Indian are now known as the Thirty-Six Clas- from shakuhachi music.” music (White, 22). One method of raga sics of Kinko (Koizumi). Much shakuhachi music is monopho- classification is by the time of day it is In the 19th century the shakuhachi nic, but in this case, the subtle harmony used. Another is to group ragas accord- Example 1 Interlocking “kotekan” technique of the Balinese gamelan (note stem with an x through it indicates a dead stroke). Example 2 The marimba provides harmony to the shakuhachi flute melody. PERCUSSIVE NOTES 27 FEBRUARY 2006 PERCUSSIVE NOTES 28 FEBRUARY 2006 Example 3 Tala consists of a repetitive three-bar motive played on the marimba. ing to the particular mood they evoke. given theme through many brilliant and that it would be interesting to perform Ragas are said to cause not only emo- ornamented variations. Although a drone the third movement with an A drone. tions but certain physical effects. Thus, a accompaniment is typical of Indian tra- very popular Indian raga called Malkos dition, Farr does not utilize one in this OTHER WORKS is to be played at midnight or mid-day piece. He related that he initially “Kembang Suling” is only one of and evokes peace and sublimity (White, thought the A drone would be assumed Gareth Farr’s several contributions to 23–24). by the listener, but found the draw to- the percussion repertoire.
Load more

Recommended publications
  • Fenomena Dan Dampak Arus Globalisasi Terhadap Perkembangan Kesenian Joged Bumbung
    Fenomena dan Dampak Arus Globalisasi Terhadap Perkembangan Kesenian Joged Bumbung Oleh I Nyoman Mariyana Mahasiswa Pascasarjana (S2) ISI Denpasar Joged Bumbung Gamelan joged bumbung adalah sebuah barungan gamelan yang dipergunakan untuk mengiringi tarian joged bumbung, sebuah tari pergaulan yang ada di Bali. Dalam tarian ini, seorang penari wanita berhiaskan sejenis legong menjawat (memilih) seorang penonton untuk di ajak menari. Gamelan joged bumbung disebut juga gamelan grantangan, karena pokok- pokok instrumennya adalah grantang yaitu gender yang terbuat dari bambu, berbentuk bumbung dan memakai laras selendro lima nada. Larasnya serupa dengan gamelan gender wayang. Dalam buku Evolusi Tari Bali, gamelan joded bumbung disebutkan “bumbung” berarti tabung (bamboo), sebuah istilah untuk memberikan nama kepada seperangkat gamelan joged. Dalam hal ini ialah gamelan joged bumbung (proyek panggilan/pembinaan seni budaya klasik/tradisional dan baru). Bila dilihat dari instrumentasinya, gamelan Joged Bumbung terdiri dari berbagai instrumen diantaranya ; 1. Grantang, yang terdiri dari empat grantang gede dan dua grantang kecil, berfungsi sebagai pembawa melodi pokok, dimainkan dengan dua tangan mempunyai tekhnik pukulan sejenis gender wayang dengan memakai polos dan sangsih. 2. Gong Pulu dibuat dari besi atau kerawang. Bentuknya seperti jegogan di dalam gamelan gong, berbilah dua (nada yang sama ngumbang dan ngisep) berfungsi sebagai finalis didalam lagu-lagu joged bumbung, menggantikan gong gede di dalam gamelan gong. 3. Tawa-tawa, sebuah instrument pembawa matra. Bentuk kettle ( atau gong kecil ) 4. Klenang, sejenis kajar, berfungsi sebagai penombal kajar. 5. Kecek adalah ceng-ceng kecil yang berfungsi untuk memperkaya ritme didalam gamelan joged bumbung. 6. Kendang satu buah berfungsi untuk pemurba irama, pengatur tinggi rendah dan cepat lambatnya dari lagu-lagu joged bumbung.
    [Show full text]
  • Pengembangan Aplikasi Game Simulasi Virtual Tingklik Dan Suling Bali Berbasis Android
    ISSN 2252-9063 Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) Volume 2, Nomor 6, Agustus 2013 PENGEMBANGAN APLIKASI GAME SIMULASI VIRTUAL TINGKLIK DAN SULING BALI BERBASIS ANDROID I Nyoman Agus Permadi 1, I Gede Mahendra Darmawiguna 2, I Made Gede Sunarya 3 Jurusan Pendidikan Teknik Informatika Universitas Pendidikan Ganesha Singaraja, Bali E-mail: [email protected] 1, [email protected] 2, [email protected] 3 Abstrak —Tingklik adalah alat musik rubber on it's tip), Tingklik made of bamboo and tradisional Bali dan dimainkan dengan cara di generally played by farmers in their fields. Flute pukul dengan panggul. Panggul adalah bambu/kayu is a traditional Balinese musical instrument that yang diujungnya terdapat karet berbentuk often played together with Tingklik. Flute imade lingkaran, tingklik terbuat dari bambu dan of bamboo and played by blowing. As modern umumnya di mainkan oleh para petani di sawah mereka. Suling adalah alat musik tradisional Bali musical instruments are getting more popular, yang sering dimainkan bersamaan dengan tingklik, Tingklik and Suling are being forgotten.s suling terbuat dari bambu dan dimainkan dengan This study aims to (1) design an android-base cara ditiup. Seiring berjalannya waktu kedua alat Tingklik and Suling simulation game, (2) musik tradisional itu makin dilupakan karena implement the design of android-base Tingklik tergeser oleh adanya alat musik modern. and Suling simulation game. This simulation Penelitian ini bertujuan untuk (1) merancang game developed for android smartphone by using aplikasi game simulasi tingklik dan suling Bali the Waterfall method and implemented in the berbasis android; (2) mengimplementasikan Java programming language using Eclipse rancangan aplikasi game simulasi tingklik dan suling Bali berbasis android.
    [Show full text]
  • University of Oklahoma Graduate College
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF MUSIC By GUAN YU, LAM Norman, Oklahoma 2016 JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Paula Conlon, Chair ______________________________ Dr. Eugene Enrico ______________________________ Dr. Marvin Lamb © Copyright by GUAN YU, LAM 2016 All Rights Reserved. Acknowledgements I would like to take this opportunity to thank the members of my committee: Dr. Paula Conlon, Dr. Eugene Enrico, and Dr. Marvin Lamb for their guidance and suggestions in the preparation of this thesis. I would especially like to thank Dr. Paula Conlon, who served as chair of the committee, for the many hours of reading, editing, and encouragement. I would also like to thank Wong Fei Yang, Thow Xin Wei, and Agustinus Handi for selflessly sharing their knowledge and helping to guide me as I prepared this thesis. Finally, I would like to thank my family and friends for their continued support throughout this process. iv Table of Contents Acknowledgements ......................................................................................................... iv List of Figures ...............................................................................................................
    [Show full text]
  • Downloaded from Brill.Com09/26/2021 01:14:48PM Via Free Access Wim Van Zanten - 9789004261778 Downloaded from Brill.Com09/26/2021 01:14:48PM Via Free Access
    PART FIVE THE ETHNIC MODERN Wim van Zanten - 9789004261778 Downloaded from Brill.com09/26/2021 01:14:48PM via free access Wim van Zanten - 9789004261778 Downloaded from Brill.com09/26/2021 01:14:48PM via free access <UN> <UN> CHAPTER ELEVEN MUSICAL ASPECTS OF POPULAR MUSIC AND POP SUNDA IN WEST JAVA Wim van Zanten Introduction: Sundanese Music and the Technology of Enchantment Research on popular music, particularly in the field of cultural studies, has tended to focus on political and sociological aspects, to the exclusion of musical structures and actual sounds. Whereas in most societies musi- cal genres are in the first place classified by social criteria, it is undeniable that also the technicalities of the music play a role: audiences hear the differences between, for instance, jaipongan and degung kawih perfor- mances. This is because these musics are produced in different ways, using different instruments, tone material, musical structure, etc. Alfred Gell made an important contribution to the anthropological study of art by pointing out that the production of art is a technological process. He mentions that there are ‘beautiful’ things, like beautiful women, beautiful horses and a beautiful sunset. However, art objects are made ‘beautiful’ by human beings and this requires technology. He criti- cizes sociologists like Pierre Bourdieu, who do not really look at an art object as a concrete product of human ingenuity, but only elaborately look at the represented symbolic meanings (Gell 1999:162). In contrast, Gell proposes that anthropologists should look at art as a ‘component of technology.’ We call something an object of art if it is the outcome of a technological process, the kind of processes in which artists are skilled.
    [Show full text]
  • Falidasi Data Lingkung Seni Se-Kecamatan Ujungberung Tahun 2014
    FALIDASI DATA LINGKUNG SENI SE-KECAMATAN UJUNGBERUNG TAHUN 2014 Tahun Tempat NO Nama Lingkung Seni Jenis Kesenian Pimpinan Alamat Perangkat Kesenian Anggota Legalisasi Berdiri Latihan 1 2 3 4 5 6 7 8 9 10 Pasar Kaler RT.01 1 Pas Nada Elektone Ibu. Heny Organ, Kibord,Gitar, Kendang, Suling, 5 Orang Tidak Ada 2010 Rumah RW.01 Cigending RT.03 Gendang, Bedug, Goong, Terompet, Toa Ampli. 2 Sancang Pusaka Benjang Agus Sulaeman RW.03 Mixer, Badut, Kecrek, Kuda Lumping, Gendang, Goong, Bedug, Terompet, Kepang, 3 LS Benjang Kalimasada Benjang Gugun Gunawan Cipicung RT.04 RW.04 25 Orang Dalam Proses 2004 Rumah Lumping, Toa, Ampli,MixerBadut 4 Karinding Nukula Upit Supriatna Cipicung RT.01 RW.04 Karinding,Celempung,Toleot, Kecrex 15 Orang Tidak Ada 2011 Rumah Gendang, bedug, Goong, Terompet, Toa Ampli, Rumah ketua 5 Pusaka Gelar Putra Benjang Asep Dede Cinangka RT.02 RW.05 25 Orang Tidak Ada 2007 Barong, Badut, Kecrek RT Rumah ketua 6 Pusaka Wirahman Putra Penca Silat Enay Darso Cinangka RT.01 RW.05 Gendang Besar/Kecil, Golok (untuk atraksi) 25 Orang Tidak Ada 2010 RT Gendang, Rabab, Bonang, Goong, Kecrek, 7 Arum Gumelar Jaipongan I n d r a Cinangka RT.02 RW.05 30 Orang Tidak Ada 2006 Rumah Terompet 8 R e o g E m u l Cinangka RT.03 RW.05 Dog-dog, Goong, Gendang 9 Elektone Dangdut E m u l Cinangka RT.03 RW.05 Organ, Gendang Suling Gitar, Kecrex 7 Orang Tidak Ada 2010 Rumah Sakeburuy RT.01 RW 10 Dwi Shinta Rock Dangdut Dede Dadan Kibord, Gitar, Gendang, Suling, Kecrex 9 Orang Ada 1993 Gedung 06 Gendang, Goong, Bedug, Terompet, Toa, Ampli, 11 Pusaka Wargi Benjang Didi / Ono Ranca RT.01 RW.06 25 Orang Ada 1930 Hal.
    [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]
  • The Classroom Gamelan
    PROGRAM DEVELOPMENT The classroom gamelan by Deirdre Dean The inclusion of Indonesian music and language into the The Indonesian cultures best known in Australia are those of mainstream of Australian education is becoming increasingly Bali and Java, perhaps best known for the gamelan, or noticable. The difficulty many teachers find with including orchestra, the wayang kulit, shadow puppet plays, and the Indonesian music into their classroom programs is twofold. kecak (pronounced ke-chuck), monkey dance from Bali. Firstly, a lack of familiarity with the subject means that many teachers lack the confidence to teach the subject to their Javanese music traditions tend to lean more towards the court students. Secondly, many teachers are unaware of the variety traditions of the Middle Ages, fostered in the courts of the and types of resources available to them and, as a result, are sultans at Jogjakarta and Solo (Surakarta). Villages may even unable to create their own individual programs. have their own gamelan, and some villages have their own dalang, a resident dancer, singer and puppeteer who teaches The focus of this article is to provide teachers with a basic music and dance to the children of the village. format that has been used in secondary schools (but is easily adapted to primary situations) for over six years. The subject In Hindu Bali there was also a court tradition, but these were is based on Indonesian music, but has been adapted for fostered by radjas. A stately style of music, known as gamelan Australian students, and is thus more accessible for them. The gong, was common prior to the turn of the century, but list of resources at the end of the notes, particularly the disappeared soon after 1906 following the massacre of the bibliography, is not meant to be a definitive guide.
    [Show full text]
  • Listening for the Suling in the Balinese Gamelan
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work 5-2019 Listening for the Suling in the Balinese Gamelan Natalie Ann Gregg University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Part of the Ethnomusicology Commons, and the Musicology Commons Recommended Citation Gregg, Natalie Ann, "Listening for the Suling in the Balinese Gamelan" (2019). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/2245 This Dissertation/Thesis is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. Listening for the Suling in the Balinese Gamelan ​ ​ Natalie Gregg [email protected] University of Tennessee, Knoxville Gregg 1 Deeply rooted in religion and tradition, Balinese music is a unique art form that contains rich musical variety. Popular in Bali, Indonesia, because of its key role in religious ceremonies ​ ​ and tourism, gamelan music developed into one of the most prominent art forms on the island. While an abundance of research exists concerning many aspects of music in Bali, notably on musical genres, types of instruments and their use, and performance settings, little research has been done concerning the suling, the Balinese flute, and its role in Balinese music. Due to an ​ ​ ​ ​ exceptional lack of information in the subject area, this important member of many Balinese gamelan ensembles is often left unnoticed in research.
    [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]
  • (Lyrcd 7179) Gamelan Music of Bali Gamelan Angklung And
    (LYRCD 7179) GAMELAN MUSIC OF BALI GAMELAN ANGKLUNG AND GAMELAN GONG KEBYAR RECORDINGS AND REVISED NOTES BY RUBY ORNSTEIN © 2011 Ruby Ornstein TRACKS 1. Topeng Tua – perforMed by GaMelan Angklung, Mas – 3:14 2. Kebyar Teruna – perforMed by Gunung Sari, Peliatan – 13:49 3. 3. Tabuhan Joged – perforMed by GaMelan Angklung, Jineng DalaM Selatan – 7:37 4. Segara Madu – perforMed by GaMelan Angklung, Sayan – 3:12 5. Lagu No. 2 – perforMed by GaMelan Angklung, Jineng DalaM Selatan – 6:27 6. GaMbang Suling – perforMed by GaMelan Gong Kebyar, Kedis Kaja – 8:58 7. Hujan Mas – perforMed by Gunung Sari, Peliatan – 6:35 NOTES Bali, one of the several thousand islands forMing the Republic of Indonesia, has long been faMous for its gaMelan Music. A tiny Hindu Minority in a predoMinantly MosleM land, the Balinese enjoy a way of life filled with an incredible nuMber of teMple celebrations and life‐cycle cereMonies, all of which require Music. In earlier tiMes when the Balinese rajas still Maintained splendid palaces, they supported large nuMbers of Musicians and dancers for gaMelan that belonged to their courts. Nowadays, with Most palaces reduced to a Mere shadow of their forMer Magnificence, their orchestras have been pawned or sold, and Musical activity is chiefly at the village level. GaMelan instruMents are owned by a village, a banjar (a sub‐section of a village), or by Musicians theMselves. In any case, the players forM a club to regulate their activities. And, if Money and leisure tiMe are less abundant than forMerly, and fewer gamelan clubs are active now than before 1940, there are still nearly 20 different kinds of gaMelan in Bali.
    [Show full text]
  • The Uses of Gong Suling in Ngemban Rare Composition
    Journal of Music Science, Technology, and Industry Vol. 2 No. 2 (2019): 185-198 E-ISSN 2622-8211 The Uses of Gong Suling in Ngemban Rare Composition Visvam Bhara Prasad1, I Komang Sudirga2, Hendra Santosa3 123Department of Seni Karawitan, Faculty of Performing Arts, Institut Seni Indonesia Denpasar email: [email protected] , [email protected], [email protected] ABSTRAK Komposisi Ngemban Rare yang menggunakan Gamelan Gong Suling ini menggambarkan kenangan masa kecil dengan berbagai sikap. Karya ini terinspirasi oleh seseorang yang merawat anak yang sedang menangis. Bahkan, saat ini sebagian besar orang tua mengajarkan hal-hal yang salah kepada anak-anak dengan memfasilitasi mereka sebelum mereka cukup dewasa sehingga membuat karakter anak menjadi tidak baik. Komposisi ini terdiri dari tiga bagian, yaitu menggambarkan suasana fenomena mengasuh anak-anak, mengasuh anak-anak dengan menyanyikan lagu-lagu anak-anak tradisional, mengajar anak-anak dan memperkenalkan budaya sejak usia dini, dan menanamkan disiplin dan karakter yang baik, agar tidak menyesal kemudian. Pembentukan ciptaan karya ini mengacu pada proses penciptaan karya seni yang diklarifikasi menjadi tiga tahap, yaitu tahap eksplorasi, tahap improvisasi, dan tahap pembentukan. Kata kunci: Ngemban Rare, gong suling, anak-anak, komposisi musik. ABSTRAK The composition of Ngemban Rare that uses Gong Suling Gamelan is about childhood memories with various attitude. This work is inspired by someone whom care for a crying child. In fact, nowadays most of the parents teach wrong things to children by facilitating them before they are mature enough thus making the children character becomes unkind. This composition consists of three parts, namely describing the atmosphere of the phenomenon of caring for young children, caring for children by singing traditional children’s songs, teaching children and introducing culture from an early age, and instilling good discipline and character, so as not to regret later.
    [Show full text]
  • The Javanese Gamelan Kyai Madu Laras (Venerable Sweet Harmony)
    THE JAVANESE GAMELAN KYAI MADU LARAS (VENERABLE SWEET HARMONY) A gift to the Faculty of Music from The Minister of Forestry of The Republic of Indonesia H.E.SUDJARWO JEREMY MONTAGU THE BATE COLLECTION OF HISTORICAL INSTRUMENTS UNIVERSITY OF OXFORD FACULTY OF MUSIC St.Aldate’s, Oxford £ 1.00 Sixth Edition Jeremy Montagu Among the earliest evidence for the Javanese Gamelan are a few instruments found archæologically and carvings on the eighth century AD Temple of Boro- bodur, which include bonangs1, sarons and gongs. Some instruments, including the rebab and the tarompet (a shawm which is displayed in the Shawm Case), were introduced with Islam in about the 14th century, and by the 15th century gamelans existed much as they do today. An increase in the number of instru- ments has continued, and the inclusion of a full set of kenongs and kempuls is comparatively recent. There are many varieties of gamelan in Indonesia today, consisting of different types and combinations of instruments, some with instruments made of bamboo, some with instruments of bronze, others with those of iron, and some with large numbers of instruments, and some with only a few. The Gamelan Kyai Madu Laras is the classic type of Central Javanese gamelan and is a full double gamelan of high-quality bronze instruments. It came to us from Klaten, a small town halfway between the two great centres of Central Javanese gamelan, Surakarta (or Solo) and Yogyakarta (or Jogya), as a most generous gift from the Minister of Forestry of the Republic of Indonesia, His Excellency Sudjarwo.
    [Show full text]