Gamelan






Gamelan Iavanicum in Museo Civilizationis Asianae in Palatio Imperatricis Singapurae.




Musici perfunguntur. Bas-relief ad Borobudur Museo Civilizationum Asianarum Loci Imperatricis Singapurae.


Gamelan est traditionalis grex musicus Iavae et Bali in Indonesia, plerumque in instrumentis percussionalibus consistens. Usitatissima instrumenta sunt metallophona a malleis ictis et tympanis manu ictis et kendhang appellatis, quae tactum edunt. Inter alia instrumenta sunt xylophona, tibiae bambusae, chordophonum arcuatum rebab appellatum, et adeo cantores sindhen appellati.[1]


Gamelan, quamquam populo minus gratum est post musicam pop introductam, iam iustis temporibus usitate auditur, praecipue in multis caerimoniis traditionalibus Indonesiis. Plurimis Indonesianis, gamelan est pars necessaria culturae Indonesiae.[2]


Vocabulum gamelan a gamel, registrum bassum, deducitur, quod ad genus mallei ad instrumenta icta adhibitum vel actionem malleo iciendi attingere potest.[3]Vocabulum karawitan ad instrumenta gamelan sonata attingit, et a verbo rawit deducitur, 'contortus' vel 'subtiliter factus' significante.[4]Vocabulum a rawit, vocabulo Iavanico originis Sanscrito derivatur, quod ad sensum levoris et elegantiae in music Iavanica cultae attingit. Pangrawit, aliud verbum ex eadem radice derivatum, hominem talis prudentiae significat, et pro honorifico est cum vulgus de musicis gamelan magni aestimatis disputat. Verbum Iavanicum altum pro gamelan est gangsa, vel a verbis tembaga et rejasa, ad elementa in aereum gamelan constructum (cuprum et stannum) adhibita, vel tiga et sedasa ad eorum proportiones (tres et decem) attingens.[5]



  • Instrumenta




  • Bonang







  • Gendér







  • Gong







  • Kendang







  • Kenong/Kethuk







  • Peking







  • Saron







  • Slenthem







Gamelan Iavanicum Surakartae in Media Iava.




Gamelan Balinense Kutae.




Musici gamelan Ubud in urbe.




Grex gamelan Iavanicum cum duabus sindhen femineis, per matrimonium traditionalem Iavanicum ad Sasono Utomo Taman Mini Indonesia Indah Jakartae Indonesiae.




Gamelan in Museo Musico Barcinonensi.





Celempung in legatione Iavanica Canberrae.




Orchestra gamelan in Iava Orientali, saeculo undevicensimo exeunte.





Gamelan Filius Leonis, gamelan Americanum ferreum modo Iavanico Novi Eboraci conditum et musicae novae dicatum, in tabulato in SoHo Manhatae anno 2007 canit.


Ericus Satie compositor, aequaevus Debussyanus magni momenti, gamelan Iavanicum in Exposition Universelle annu 1889 Lutetiae etiam audivit. Iterati gamelan effectus hypnotici in Gnossienne, copia exotica Satieana pro clavile, adiecta est[6]


Directa homages ad musicam gamelan inveniuntur in operibus pro instrumentis Occidentalibus a Ioanne Cage conceptis, praecipue in eius rebus pro piano praeparata, Colin McPhee, Ludovico Harrison, Bela Bartok, Francisco Poulenc, Oliverio Messiaen, Petro Boulez, Bronislaw Kaper, et Beniamino Britten. Temporibus recentioribus, compositores Americani sicut Henricus Brant, Stephanus Reich, Philippus Glass, Dionysius Murphy, Loren Nerell, Michael Tenzer, Evan Ziporyn, Daniel Iacobus Wolf, et Jody Diamond, ac compositores Australiani sicut Petrus Sculthorpe, Andreas Schultz, et Ross Edwards nonnulla opera quibus sunt partes pro instrumentis gamelan vel plenis gregibus gamelan composuit. I Nyoman Windha est unus inter compositores Indonesios qui compositiones pro instrumentis Occidentalibus instrumentis gamelan etiam utentes scripserunt. Georgius Ligeti, compositor Hungaricus, Galamb Borong, étude pro pianoforte, composuit, a gamelan motus. Harrius Partch quoque, compositor avant-garde, unus ex compositoribus inusitatioribus Americanis, a gamelan motus est, in compositionibus microtonicis et instrumentis quae pro eorum perfunctione construxit.[7]


Ioannes Fahey, citharista vulgaris Americanus, elementa gamelan in multis ex suis congeriebus sonorum annis 1960 exeuntibus posuit, et iterum in The Epiphany of Glenn Jones, eius collaboratione cum Cul de Sac grege (1997). Robertus Fripp et Adrianus Belew, a gamelan moti,[8]citharis per rhythmum imbricatis usi sunt in eorum biciniis inter se in trilogia alborum (Discipline, Beat, Three of a Perfect Pair) a King Crimson grege rockoco ab anno 1981 ad 1984 editis[9][10] et in The League of Crafty Guitarists.[11] Gamelan saltem ter adhibitum est a Michaele Oldfield, Britannico multorum instrumentorum perito, in compositionibus "Woodhenge" (1979), "The Wind Chimes (Part II)" (1987), et "Nightshade" (2005).




Index






  • 1 Nexus interni


  • 2 Notae


  • 3 Bibliographia


    • 3.1 Generalia


    • 3.2 Gamelan Balinense


    • 3.3 Gamelan Iavanicum




  • 4 Nexus externi




Nexus interni



  • Colinus McPhee

  • Kulintang

  • Musica Indonesiae

  • Wayang



Notae |




  1. ↑ Sumarsam (1998). Introduction to Javanese Gamelan (Middletown Connecticutae).


  2. ↑ Bramantyo Prijosusilo, 'Indonesia needs the Harmony of the Gamelan', The Jakarta Globe, 22 Februarii 2011.


  3. ↑ Lindsay 1992:10.


  4. ↑ Lindsay 1992:10.


  5. ↑ Lindsay 1992:35.


  6. ↑ Orledge 1990.


  7. ↑ "Western Artists and Gamelan", CoastOnline.org.


  8. ↑ Martin 1997:268.


  9. ↑ Tamm 2003: capitulum 10.


  10. ↑ Bruford 2009:148.


  11. ↑ "Live! Robert Fripp and The League of Crafty Guitarists" 1987.



Bibliographia |



Generalia |



  • Bruford, Bill. 2009. The autobiography: Yes, King Crimson, Earthworks, and More. Jawbone Press. ISBN 978-1-906002-23-7. ISBN 1-906002-23-1.

  • Live! Robert Fripp and The League of Crafty Guitarists. 1987. [Recognitio.] Audio 71:98.

  • Martin, Bill. 1997. Listening to the future: The time of progressive rock, 1968-1978. Open Court. ISBN 0-8126-9368-X.

  • Orledge, Robert. 1990. Satie the Composer. Music in the Twentieth Century. Cantabrigiae: Cambridge University Press.

  • Sorrell, Neil. 2000. A Guide to the Gamelan. Londinii Faber and Faber.

  • Tamm, Eric. 1990, 2003. Robert Fripp: From crimson king to crafty master. Progressive Ears editio. Londinii: Faber and Faber. ISBN 0-571-16289-4.



Gamelan Balinense |



  • Gold, Lisa. 2007. Music in Bali: Experiencing Music, Expressing Culture. Novi Eboraci: Oxford University Press. ISBN 0-19-514149-0 (charta).


  • McPhee, Colin. 1966, Music in Bali. Portu Novo: Yale University Press.

  • Tenzer, Michael. 1991. Balinese Music. ISBN 0-945971-30-3.

  • Tenzer, Michael. 2000. Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese Music. ISBN 0-226-79281-1, ISBN 0-226-79283-8.



Gamelan Iavanicum |



  • Brinner, Benjamin. 2007. Music in Central Java: Experiencing Music, Expressing Culture. Novi Eboraci: Oxford University Press. ISBN 0-19-514737-5 (charta).

  • Kartomi, Margaret J. 2002. The Gamelan Digul and the Prison Camp Musician Who Built It: An Australian Link with the Indonesian Revolution. Eastman Studies in Music, 15. University of Rochester Press. ISBN 15580460887.


  • Kunst, Jaap, ed. 1949, 1973. Music in Java: History Its Theory and Its Technique. ISBN 90-247-1519-9.

  • Lindsay, Jennifer. 1992. Javanese Gamelan. ISBN 0-19-588582-1.

  • Pickvance, Richard. 2005. A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan. Londinii: Jaman Mas Books. ISBN 0-9550295-0-3.

  • Sumarsam. 1995. Gamelan: Cultural Interaction and Musical Development in Central Java. ISBN 0-226-78010-4, 0226780112 (charta).



Nexus externi |







Commons-logo.svg
Vicimedia Communia plura habent quae ad Gamelan spectant.




  • Gamelan Balinense et Iavanicum, sinisterfrog.com


  • Gamelan in Bali, iweb.tntech.edu


  • 'Gendèr barung pélong' ex orchestra gamelan annis 1926 et 1927 a Pontjopangrawit fundat, in Museo Nationali Australiano Canberrae, www.nma.gov.au

  • Lim, Vi King. Iavanica gamelan notatio, www.langensuka.asn.au


  • "Listening to Balinese Gamelan: A Beginners' Guide," cnx.org (Connexions)

  • Manis, John Noise. Congeries curata musicae Iavanicae et Balinensis, www.gamelan.to


  • Notatio gamelan Iavanica, www.gamelanbvg.com

  • Qehn. Praefatio ad musicam gamelan, members.efn.org (Iavanice)









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