Indonesia Gamelan

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Gamelan is a generic name for various ensembles of traditional instruments found throughout much of Indonesia. • The history and complexity of gamelan and its music are in their own way comparable to those of the symphony orchestras of Europe. Gamelan ensembles include wind, plucked, bowed and percussion instruments, but the dominant majority are instruments consisting of arrays of tuned bronze bars and gongs struck with wooden or padded mallets. The highly polished metal bars and gongs are arrayed in beautifully carved teak frames, tastefully painted and richly gold leafed. • Gamelan music runs the full gamut of dynamics and moods, from slow, meditative, and quiet set pieces to rapid, loud, spirited music. The orchestra's drummer leads the orchestra using sound signals, as no conductor is standing before the orchestra, nor written musical notation before the musicians. • Gamelan is played widely on all major social occasions (weddings, celebrations), state functions, national holidays and other important times. • ▮ Copyrights • ICHCAP • STUPPA Indonesia • #indonesia #culturalheritage #ensemble • Official: https://www.unesco-ichcap.org/ • Facebook: / ichcap • Instagram: / unesco_ichcap • Script • The gamelan comes from the word gamel. Gamel means beating. So the gamelan is a percussion instrument that is playing. Indeed, the gamelan instruments are played. • Gamelan always has something to do with cleaning the village and being aware of it in the village. • There are also banquet parties for guests in the palace. In the palace used to have a special gamelan to accompany the horse tournament, now it's gone. • Gamelan is still preserved for ceremonies. For example the sekaten ceremony which is related to the grebeg ceremony. There will be more gamelan kodok ngorek, there is a way of harvesting, and there is a monggang. It was a musical ceremony. That is, the gamelan is indeed special for the ceremony. • There will be more gamelan kodok ngorek, there is a way of harvesting, and there is a monggang. It was a musical ceremony. That is, the gamelan is indeed special for the ceremony. • In Bali there are gamelan gong gede or those that are parallel to the gamelan gong ageng and gebyar gong which are used for the benefit of developing community activities as well. • There are two version of gamelan history. There is an oral source version, meaning that the gamelan was created by the compilation of Batara Guru to the world that called Lokananta. • Consists of several instruments called gending and the first name are sauran, teteg, and maguru. • Based on existing data on inscriptions, gamelan emerged on the 8th and 9th centuries. That can be seen from the inscriptions and pictures on the walls of the temple. • It is possible that the gamelan already exists in that era shows by paintings such as drum in inscription called padai. That is the embryo of the gamelan that exists today. • In the Javanese Hindu era, the gamelan was actually a small ensemble that was not as big as the gamelan ensemble we know today. • Subsequent developments in the Islamic era of Java, many arts developments on the north coast. It is most likely that the gamelan consisting of a myriad of instruments began its development in the 15-16th century. • The Hindu period, during the Majapahit kigdom, gamelan was used for the Aswameda ceremony. Then at the time of Demak the function has changed. • The beginning for the Hindu ceremony became the birth ceremony of the Prophet Muhammad, which was celebrated from the 5 -12 Robiulawal in the month of Maulud. • Until now it is still preserved in several kraton (palace) in Java. • The gamelan is inseparable from Javanese philosophy and Javanese customs. Gamelan, its symbols cannot be separated from Javanese customs, including the naming of instruments which are still very close to it. • The rebab has some irah-irahan (title), kuping (ears), pepatangan and kaki (feet). It was taken from the names of human organs. With sources related to science and Javanese life. • The basic knowledge of gamelan consists of containers, contents, and which regulate motion in the sense of governing the tempo of the trip. • The composition of the gamelan must have a structural form, which is the container. The motion composition of the gamelan is cycle repetition. • Large gongs are sounded at the end of the cycle. Other instruments can mark parts in half or as many cycles. That is the container. • Then, the contents are instruments that fill the song. There are trigon, gender, and bonang. There are also those who regulate the tempo and density of the contents that are drums. • Instruments that have different functions may one day change their functions. Trigon is considered to have great authority in the flow of the song so that it can be a role model for other instruments. • Bonang also has authority in songs that can guide other instruments to follow. Then drum, obviously that regulates the tempo.

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