A gong[note 1] is a percussion instrument originating in East Asia and Southeast Asia. A gong is a flat, circular metal disc that is typically struck with a mallet. They can be small or large in size, and tuned or can require tuning.
The earliest possible depictions of gongs is from the details on the surface of the Ngc L I bronze drum (c. 3rd to 2nd century BC) from the Dong Son culture of northern Vietnam. It depicts what looks like seven-gong ensembles along with other instruments (including cymbals/bells and the bronze drums themselves).[1] The oldest undisputed historical mention of gongs can be found in sixth century AD Chinese records, which mentioned it as a foreign instrument that came from a country between Tibet and Burma. The term gong (Javanese: ) originated in the Indonesian island of Java. Scientific and archaeological research has established that Burma, China, Java and Annam were the four main gong manufacturing centres of the ancient world.[2][3] The gong found its way into the Western World in the 18th century, when it was also used in the percussion section of a Western-style symphony orchestra.[4] A form of bronze cauldron gong known as a resting bell was widely used in ancient Greece and Rome: for instance in the famous Oracle of Dodona, where disc gongs were also used.[5][6]
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Gongs generally fall into three types: Suspended gongs are more or less flat, circular discs of metal suspended vertically by means of a cord passed through holes near to the top rim. Bossed or nipple gongs have a raised centre boss or knob and are often suspended and played horizontally. Bowl gongs are bowl-shaped and rest on cushions. The latter may be considered a member of the bell category. Gongs are made mainly from bronze or brass, though there are many other alloys in use.
Gongs produce two distinct types of sound. A gong with a substantially flat surface vibrates in multiple modes, giving a "crash" rather than a tuned note. This category of gong is sometimes called a tam-tam, to distinguish it from the bossed gongs that give a tuned note. In Indonesian gamelan ensembles, some bossed gongs are deliberately made to generate an additional beat note in the range from about 1 to 5 Hz. The use of the term "gong" for both these types of instrument is common.
Suspended gongs are played with hammers and are of two main types: flat faced discs, either with or without a turned edge and gongs with a raised centre boss. In general, the larger the gong, the larger and softer the hammer. In Western symphonic music, the flat faced gongs are generally referred to as tam-tams to distinguish them from their bossed counterparts. Here, the term "gong" is reserved for the bossed type only. The gong has been a Chinese instrument for millennia. Its first use may have been to signal peasant workers in from the fields, because some gongs are loud enough to be heard from up to 5 miles (8 km) away.
Large flat gongs may be 'primed' by lightly hitting them before the main stroke, greatly enhancing the sound and causing the instrument to "speak" sooner, with a shorter delay for the sound to "bloom". Keeping this priming stroke inaudible calls for a great deal of skill. The smallest suspended gongs are played with bamboo sticks or even western-style drumsticks. Contemporary and avant-garde music, where different sounds are sought, will often use friction mallets (producing squeals and harmonics), bass bows (producing long tones and high overtones), and various striking implements (wood/plastic/metal) to produce the desired tones.
The earliest Chau gong is from a tomb discovered at the Guixian site in the Guangxi Zhuang Autonomous Region of China. It dates from the early Western Han dynasty. Gongs are depicted in Chinese visual art as of the 6th century CE,[8] and were known for their very intense and spiritual drumming in rituals and tribal meetings.[9] Traditionally, chau gongs were used to clear the way for important officials and processions, much like a police siren today. Sometimes the number of strokes was used to indicate the seniority of the official. In this way, two officials meeting unexpectedly on the road would know before the meeting which of them should bow down before the other.
The tam-tam was first introduced as an orchestral instrument by Franois-Joseph Gossec in 1790, and it was also taken up by Gaspare Spontini and Jean-Franois Le Sueur.[10] Hector Berlioz deployed the instrument throughout his compositional career, and in his Treatise on Instrumentation he recommended its use "for scenes of mourning or for the dramatic depiction of extreme horror."[10] Other composers who adopted the tam-tam in the opera house included Gioachino Rossini, Vincenzo Bellini, and Richard Wagner:[11] Rossini in the final of act 3 of Armida (1817),[12] Bellini in Norma (1831) and Wagner in Rienzi (1842). Within a few decades the tam-tam became an important member of the percussion section of a modern symphony orchestra. It figures prominently in the symphonies of Peter Ilyich Tchaikovsky,[13] Gustav Mahler,[14] Dmitri Shostakovich[15] and, to a lesser extent, Sergei Rachmaninov and Sergei Prokofiev. Giacomo Puccini used gongs and tam-tams in his operas. Igor Stravinsky greatly expanded the playing techniques of the tam-tam in his The Rite Of Spring to include short, quickly damped notes, quick crescendos, and a triangle beater scraped across the front of the instrument. Karlheinz Stockhausen used a 60" Paiste tam-tam in his Momente.
A dora is one of the Japanese Percussion instruments and an idiophone. It is made of bronze, brass or iron, and is suspended onto a dora stand. It is widely used in Buddhist memorial services, hayashi performances, kabuki music, and ship departure signals.[16]
A nipple gong has a central raised boss or nipple, often made of different metals than other gongs with varying degrees of quality and resonance. They have a tone with less shimmer than other gongs, and two distinct sounds depending on whether they are struck on the boss or next to it. They are most often but not always tuned to various pitches.
In Indonesian gamelan ensembles, instruments that are organologically gongs come in various sizes with different functions and different names. For example, in the central Javanese gamelan, the largest gong is called gong ageng, ranges in size up to 1 meter in diameter, has the deepest pitch and is played least often; the next smaller gong is the gong suwukan or siyem, has a slightly higher pitch and replaces the gong ageng in pieces where gong strokes are close together; the kempul is smaller still, has a higher pitch, and is played more frequently. The gong ageng and some gong suwukan have a beat note.
An essential part of the orchestra for Chinese opera is a pair of gongs, the larger with a descending tone, the smaller with a rising tone. The larger gong is used to announce the entrance of major players or men and to identify points of drama and consequence. The smaller gong is used to announce the entry of lesser players or women and to identify points of humour.
A Pasi gong is a medium-size gong 12 to 15 inches (30 to 38 cm) in size, with a loud crashing sound. It is used traditionally to announce the start of a performance, play or magic. Construction varies, some having nipples and some not, so this type is named more for its function than for its structure or even its sound.
A tiger gong is a slightly descending or less commonly ascending gong, larger than an opera gong and with a less pronounced pitch shift. Most commonly 15 inches (38 cm) but available down to 8 inches (20 cm).
Wind gongs (also known as Feng or Lion Gongs) are flat bronze discs, with little fundamental pitch, heavy tuned overtones, and long sustain. They are most commonly made of B20 bronze, but can also be made of M63 brass or NS12 nickel-silver. Traditionally, a wind gong is played with a large soft mallet, which gives it a roaring crash to match their namesake. They are lathed on both sides and are medium to large in size, typically 15 to 22 inches (38 to 56 cm) but sizes from 7 to 60 inches (18 to 152 cm) are available. The 22-inch (56 cm) size is most popular due to its portability and large sound.
They are commonly used by drummers in rock music. Played with a nylon tip drumstick they sound rather like the coil chimes in a mantle clock. Some have holes in the centre, but they are mounted like all suspended gongs by other holes near the rim. The smaller sizes, 7 to 12 inches (18 to 30 cm), have a more bell-like tone due to their thickness and small diameter.
Sculptural gongs (also known as Gong Sculptures) are gongs which serve the dual purpose of being a musical instrument and a work of visual art. They are generally not disc shaped, but instead take more complex, even abstract forms. Sculptural gongs were pioneered in the early 1990s by Welsh percussionist and metal crafter, Steve Hubback, who was partially inspired by the work of the French Sound Sculptors, Francois and Bernard Baschet.
In older Javanese usage and in modern Balinese usage, gong is used to identify an ensemble of instruments. In contemporary central Javanese usage, the term gamelan is preferred and the term gong is reserved for the gong ageng, the largest instrument of the type, or for surrogate instruments such as the gong komodong or gong bumbung (blown gong) which fill the same musical function in ensembles lacking the large gong. In Balinese usage, gong refers to Gamelan Gong Kebyar.
Paiste is the largest non-Asian manufacturer of gongs. This Swiss company of Estonian lineage makes gongs at their German factory. Also in Germany, Oetken Gongs, founded in 2011 by Broder Oetken-former Paiste gong master-offers his own range of gongs. He also built the first generation of Symphonic and Planetary gongs for Meinl . Italian company UFIP make a range of gongs at their factory in Pistoia. Michael Paiste, outside of the larger family business, makes gongs independently in Lucerne, Switzerland. Other independent gong manufacturers in Europe include Welshman Steve Hubback, currently based in the Netherlands; Matt Nolan and Michal Milas in the UK; Barry Mason in the UK; and Joao Pais-Filipe in Portugal. 152ee80cbc
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