Bali Test

the mid-register gangsa

highest-register gangsa, one octave higher than the pemade

12 horizantal gongs (it's lowest kettle is three higher than that or trompong), played by 4 musicians, each using a pair of mallets; belongs to the gong chime family.

large, vertical, lowest pitch in ensemble, soft mallet

medium sized gong, vertical, pitched higher than gong, sometimes used instead of gong; soft mallet

small, vertical gong, high pitched, hard mallet

horizontal, raised boss, hard mallet, plays beat, time keeper

drum, all drums are conical with 2 heads and are usually played in pairs or lower (wadon, female) and higher (lanang, male) varying sizes. some hit with a mallet held in the right hand additiona lto bare hands

non-pitched idiophone; player hods 2 cymbals to strike array or several overlapping cymbals attached to a stand.

vertically held end blown bamboo flute, plays along with and ornaments the base

a small ensemble tuned to the slendro scale, often used to accompany death rites and other ceremonies; it is one of the most commonly found ensembles in bali and is used for all occasions

bamboo instrument that is held and shook.

• uses the pelog scale.
• performed  in Palaces, courts, or in the king's bedchamber.
• Court style.

• the oldest gamelan, the original, or 'pure' Balinese. located in the Tenganan village.
• Three sacred gamelan groups in center of village.
• tuned to three bars that were given to the Tenganan by the gods.
• instruments are made of iron instead of bronze.
• Unique scale.
• Instruments are more plain, less ornamentation on instruments.
• Pre-hindu.

• flashy
• has 2 octaves but not all the notes (2 3 5 6 1 2 3 5 6 1)
• explosive sound ( at the start of the song)
• developed in the early 20th century

newest kind of Gamelan. the unusual feature - two octaves with the 7 notes - tuned in such a way so you can play all the other kinds of gamelan.

taking a base melody and elaborating on it

simplest Koteka, pivots between pokok pitch and it's upper neighbor

'leaping'. figuratoin leaps over and surrounds pokok pitches, and polos and sangish parts leap over each other; has a cheerful character, melody constantly moving up and down.

'3' Patter spans 3 keys. middle notes played together

'4'. pattern spans 4 keys. the outside note group always played together

on the beat

off the beat

Vocalized form of gamelan consisting of men chanting the syllable cak (chak) in interlocking parts while others sing melody, beat, and gong parts. Also a form of dance drama enacting the Ramayana. Known as the “Monkey Chant” because the people chanting take on the role of monkey armies. Adapted for performance for tourists to create a cultural buffer (present them with something that would give them the Bali they wanted without commercializing sacred Balinese traditions)

Kebyar style dance, contrast, disjointedness that characterizes Kebyar also characterizes this type of dance. Wild emotions...newer Kebyar style

Flirtatious social dance where the woman comes out and dances then chooses a man to come out and dance with her. The music is different in that it uses wood and bamboo instruments rather than bronze...originally a social, village dance rather than something done in the palace. Uses a smaller, less expensive ensemble.

Topeng=mask (putting something against your face)...depicted an old man who is reminiscing his youth and starts dancing if he was a young man again. Tempo changes
according to his state of mind. Real world=slow, youth=faster and faster. Thus, musicians have to split the melody up into kotekan since it is so fast

“Posture” the form you assume to portray a certain character. Doesn’t really involve movement. Baris (the warrior dance ) is an example of this...they way the dancer carries him/herself

“Eye movement” makes different forms in different dances. But refers to eye movement. You really watch the eyes, there are a ton of movements they can use.

Shadow puppet theater or puppets made of rawhide.

Temple ceremony commemorating the anniversary of a temple. Demons are invited into the temple and then escorted out. Then they invite their gods and ancestors who became gods. Several days of entertainment follow, then the gods are sent off. p.7

Two instruments tuned slightly off from each other makes ...: waves, as in the sea and the undulations of paired tuning and of the acoustic beating of the gong

the “inhaler” or “sucker” instrument in paired tuning. This is the higher of the two tunigs.

the “exhaler” or “hummer” instrument in paired tuning. This is the lower of the two in the pair.

head of the piece, short, condensed, played at a brisk tempo; main themes of the piece are clearly presented. has a regular pulse, beginning fast and slowing to settle in the pangawak tempo.

Torso. has the longest gong cycle, permitting melodic and thematic development. played at a slow, stately tempo. may be repeated several times, sometimes with a long pauses in between. number of beats and colotomic meter are regular.

feet or tail. fast tempo and shorter gong cycle. often has condensed thematic and melodic material from the main body. tempo increases, building to a climax before the piece ends. may consist of an irregular number of beats

reflected the historical times (dutch takeover of the courts in 1906; local royal families pushed out of power) -explosive, no steady beat, impulsive, starts and stops, dramatic clusters, chaotic and disjointed. the spot light moves around the ensemble to feature solos and individual talent; this is a departure from the traditional classical style. the scale pelog but only uses 5 notes from it; has 10 bars-2 octaves of the 5 note scale - allows them to have a greater variety and range.

• The filling of the empty space to drive out evil.
• evil spitiys like empty space and move in a strait line, people are most susceptible to evil influence at times of transition in their life (adolescence to adulthood, death, birth)
• a lot of music, noise, movement, ornamentation, and filling of empty space crowds out the evil space and makes the person's transition safe.
• Big ceremonies to protect transition
• tooth filing ceremony: adolescence to adulthood
• house blessing
• cremation of the kg  UBU Deat

is the concept of ahving a full boistrous atmosphere, and the ceremonies that take place in the community requires the participation of everyone in the community. Gamelan is a group effort that focuses on group identity rather than individual expression. The paired tunings and several instruments can help embody the values of collective effort.

the Topeng, masled dancers, make mudras with their hands, the same type of habd gestures made by the Brahama as they chant on their towers when they pray.