Yr 10.

Music Worksheet 2 World Music

WORLD MUSIC AN IN RODUC ION

!" #AM"LAN

The music of the gamelan is based on one of two different tuning systems or scales,
slendro and pelog. Certain instruments, such as the bonang and gender, have two sets of instruments; one is tuned in slendro and the other in pelog. This pair of instruments is often positioned at right angles to each other so that musicians can switch from one to another during a performance. Compositions do not mix the two tuning systems.

Slendro The slendro tuning divides the octave into five fairly equal parts and sounds like the
pentatonic !black keys"# scale of $estern music. The basic spacing of intervals from lowest to highest is % & % % & where % is a whole step and & is approximately a minor third#. 'ere are approximate equivalents in the $estern scale(

)elog

The seven intervals of the pelog tuning vary in si*e, and is roughly similar to the
minor scale. The spacing between the intervals is + % & + + % % where + is about a half,step, % is about a whole step, and & is approximately a minor third#. -t is rare to have all seven notes of the pelog scale used in a piece. .ather, five,note modal scales derived from the seven are used. 'ere are approximate equivalents in the $estern scale(

/o two gamelan sets have the same exact tuning. There are no 0avanese standard
forms of these two tuning systems. 1ne of the reasons is that historically, 0avanese tradition dictated that the design and tuning of old and sacred gamelan sets could not be copied , each ensemble has an individual identity. The sense that it is improper to copy old gamelan tunings is still strong in -ndonesia. -nstead, each set can be appreciated for its unique sound quality. 2lso, musicians will use different interval structures to maximi*e the distinctive character of the gamelan instruments in a set,,whether they be sad, 3oyous, or ma3estic, for example. 4amelan instruments are mostly metallophone and gong type instruments which produce tones when struck with mallets tabuh#. 1ther types of percussion instruments included in the gamelan ensemble are( a wooden xylophone gambang#, and a set of two headed drums kendhang# played with the palm and5or fingers. There are a few instruments in the gamelan ensemble which are not percussion instruments( they are a two,stringed bowed instrument rebab#, a plucked *ither,type instrument celempung or siter#, and a bamboo flute suling#. 2 female singer pesindh6n#, and a male chorus of two or three singers pengg7rong# also participate in the gamelan ensemble. The gamelan musicians should sit crosslegged sila# before their instruments. 8ecause of this sila position, it is most comfortable for the musicians to take off their shoes or sandals. Commonly, the musicians hold the tabuh in their right hand, except if the instrument must be played with two tabuh. 1ften, the 0avanese consider a gamelan set as pusaka, an inherited ob3ect which is endowed with supernatural power. 2n honorific title, 9yai or !The :enerable Sir!, and name is assigned to the gamelan. %# )eriodically, an offering is provided and incense is burned before the gong. ;or this reason, the 0avanese always maintain a show of respect for the instruments. 'ood and Susilo aptly state the most appropriate etiquette of the musicians when they are present in the gamelan area(

There is an inviolable rule that no one ever steps over one of the musical instruments, since to do so would be considered a breach of respect. -f there is not room to pass, the musician must move the instrument temporarily to provide space, and when he passes by instruments and other players, he does not stride along erect but bends low, holding one hand before him and mumbling the appropriate 0avanese word of permission and apology nuwun sewu# for crossing in front of someone. &# 8esides spiritual beliefs, such careful treatment of the gamelan instruments also prevents possible physical damage of the instruments.

Traditionally, one learns to play gamelan aurally. This is a learning process in which one has to spend much time listening to and observing gamelan performance. Several musical notations have been introduced and experimented with since the end of the last century. -n present,day 0ava, cipher notation is commonly used as a teaching device and for analyses. 8elow are the traditional names of the pitches and their cipher equivalents. Sl7ndro, from low to high( barang +#, gulu %#, dh<dh< &#, lim< =#, nem ># )7log, from low to high( penunggul +#, gulu %#, dh<dh< &#, p7log ?#, lim< =#, nem >#, barang @# 1ther symbols( 2 dot above a number indicates the upper octave; below a number, the lower octave. 2 dot in the place of a number indicates a rest or sustained sound. 2 dash above a number, or numbers, indicates a fractional duration of the notes.

Axample( /otation of balungan ladrang )akumpulan, sl7ndro sanga excerpt#