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The Javanese Gamelan

The Javanese Gamelan. Southeast Asia. Southeast Asia. Culture/Religion. Great diversity Major religions are Islam and Buddhism followed by Christianity Before 13 th century CE, Hinduism and Buddhism Trade, missionaries, ruling class. Indonesia. Archipelago of ~17,508 islands

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The Javanese Gamelan

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  1. The Javanese Gamelan Southeast Asia

  2. Southeast Asia

  3. Culture/Religion • Great diversity • Major religions are Islam and Buddhism followed by Christianity • Before 13th century CE, Hinduism and Buddhism • Trade, missionaries, ruling class

  4. Indonesia • Archipelago of ~17,508 islands • Over 238 million people • Shares borders with Papua New Guinea, East Timor and Malaysia • Important trade region since at least 7th century

  5. Indonesia continued… • Dutch colonialism • Turbulent history • Distinct ethnic, linguistic, religious groups • Javanese largest ethnic group • “Bhinneka Tunggal Ika” “Unity in Diversity”

  6. Java • 100 million people • ~75 million ethnically Javanese • Most Muslim though a minority practice • Mostly a farming society • Wet rice agriculture

  7. Jakarta (Batavia)

  8. Dutch East India Company

  9. Regional Trade Network

  10. Jakarta continued…

  11. Yogjakarta

  12. Bank of Indonesia

  13. Yogjakarta Palace

  14. Yogjakarta Palace Gamelan

  15. Gamelan • A musical ensemble from Indonesia featuring a variety of instruments • Refers to a set of instruments unified by their tuning and often by their decorative carving and painting • Gamels “to strike or hammer”

  16. Gamelan continued… • Predates Hindu-Buddhist culture that dominates earliest records of Indonesia • Developed into current form during Majapahit Empire (1200-1500) • Javanese mythology- Created by Sang Hyang Guru in Ska era 167 (c. AD 230)

  17. Different types of gamelanBalinese Bamboo Gamelan

  18. Sundanese Gamelan Degung

  19. Javanese Gamelan

  20. Gamelan Tuning and Modes Laras (tuning system) Slendro: a five-note (pentatonic) tuning Pélog: a seven-note tuning Pathet (Modes)* Slendro Nem Pélog Nem Slendro Sanga Pélog Lima Slendro Manyura Pélog Barang *Modes correspond to Wayang Kulit performance: Nem from 9:00 PM to Midnight; Sanga from Midnight to 3:00 AM; Manyura from 3:00 AM to 6:00 AM.

  21. Gamelan Musical Structure • Colotomic Structure: based upon a circular perception of time. • Reflects the persistence of Hindu-Buddhist conceptions of time introduced to Java during the first millennium C.E. • All instruments in the gamelan must play important structural or “auspicious” notes together. These “coincidences” carry important meaning in Javanese culture.

  22. Gamelan Musical Structure • The sounding of the gong agung with the kenong marks the musical instance of the greatest weight or importance. It is at this point that the gendhing(piece) may begin or end. • Lesser points of coincidence also exist (listed in order of importance): Kenong stroke kethuk stroke Kempul stroke

  23. Gamelan Texture Three layers: Structural: gong and kenong as well as kethuk/kempyang Balungan: basic melodic content Elaboration: realizes “inner melody”

  24. Punctuating Instruments Kempul Gong Agung & Siyem Kenong

  25. Punctuating and Time Keeping Instruments Kethuk Kempyang Kendhang (Played by the conductor of the gamelan Orchestra)

  26. Sarons: Balungan Instruments Saron Panarus or “Peking” Saron Barung Demung

  27. Elaborating Instruments: Melodic Leaders of the Gamelan Rebab Bonang Barung and Bonang Panarus

  28. “Soft-Style” Elaborating Instruments Four Sulings (different tunings) Gender (three tunings) Gambang

  29. The Drums

  30. The Gongs

  31. Kempul

  32. Kenong

  33. Kethuk

  34. Kampyang

  35. Demung

  36. Saron

  37. Peking

  38. Gendèr

  39. Slenthem

  40. Bonang

  41. Lancaran bubaran Kembang Pacar, laras pélog pathet nem Balungan Level: Sarons

  42. Lancaran bubaran Kembang Pacar, IRAMA Level: Bonang Barung

  43. Lancaran bubaran Kembang Pacar, IRAMA Level: Bonang Panarus

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