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Introduction to Gamelan
"Gamelan" is a Javanese/Indonesian word for ensemble. The word 'gamel' means to hammer something in Javanese, 'hammering' or hitting is the way in which most of the different instruments in the ensemble are sounded.
What performance conventions and traditions are associated with gamelan music?
Gamelan is very respected so people sit down on the floor with shoes off to play it; stepping over the Gamelans are also prohibited. The Slendro and Pelog scale intruments are not positioned in the same orientation as each other. Interestingly, Gamelan concerts are very casual, and people do not have to be on time to listen. During concerts, people are allowed to converse quietly while listening to the music. Gamelan is seen by Javanese people as something to bring people together and make connections through the instruments.
How is gamelan music organized?
Gamelan music is structured in Gong cycles, which are 16 or 32 bar cycles. It colotomic with its gong cycle with clear and punctual beats. The gong ageng commences and ends a piece by playing the last note in both the beginning and the ending. The balungan plays the main melody, similar to violins in classical western music.
How do gamelan musicians share their musical ideas with each other?
Gamelan music is taught orally and learned aurally, without actual paper notation for performances. They also form connections between gamelan musicians through performing together. Wagang kulit - dance - is also part of some gamelan performances, which can communicate ideas.
How are the musical elements used in gamelan music
The rhythm of gamelan music is a straightforward 4/4, but the tempo is varied and flows in a very natural way, with a ritardando in the end of a section or piece. The instruments are mostly percussive, the high instruments are very sharp, and the gongs have a long hum. Gamelan music have rich (sometimes clashing) harmony as well as thick texture.
In this composition, I combined some western and Javanese harmony, texture and timbre (see the use of bells and percussive instruments), as well as most parts of the Gong cycle. I specifically used a prepared piano, anvil hits, marimba (glass), anklungs, bells, tubular bells to make the composition very percussive, just like Gamelan music. Furthermore, I used extended techniques such as col legno from string instruments as an addition to the percussion. I also included instruments such as Tombek and Bombo ensembles to have a very clear rhythm. I changed the tempo as Gamelan music has, with a natural flow and ritardando when a section ends.
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