MusicArts Week 2 Document PDF

1\. **Binanog**- an indigenous dance from the Philippines that features the movement of an eagle/hawk and synchronizes the pulsating movements of the feet and the hands of the lead and follow dancers. This specific type of Binanog dance comes from the Panay-Bukidnon Indigenous community in Panay Isl...

1\. **Binanog**- an indigenous dance from the Philippines that features the movement of an eagle/hawk and synchronizes the pulsating movements of the feet and the hands of the lead and follow dancers. This specific type of Binanog dance comes from the Panay-Bukidnon Indigenous community in Panay Island (Western Visayas, Philippines) (Garcia, 2018). 2\. **Gamelan**- An orchestra made up of a set of instruments from Java/Bali Indonesia and is considered as an integral part of the country's culture. 3\. **Southeast Asia**- It is one of the most culturally diverse regions of the world with different languages and ethnicities but with overwhelming convergences and divergences in terms of culture and tradition. **Panay Bukidnon Bamboo Instruments & *Gamelan*** If *sulukan* is performed by the *dalang* (or *dhalang*), a *pasindhèn* also sings with the *gamelan*. Let us take a look at a performance of the *pasindhèn* accompanied by *gamelan*: The performer in the video clip we just watched is Peni Candra Rini, an accomplished composer, educator and one of the few female contemporary vocalists performing (pa)*sindhèn*---a female soloist style of singing found in Indonesian *gamelan* tradition. She is a lecturer in the Department of Karawitan and a Doctoral Candidate for the Creation of Music Art at the Indonesian Institute of the Arts, Surakarta. Peni is the Executive Director of Candrarini's Gamelan, Sentana Art Music Production, and Jagad Sentana Art Foundation. 1. While the focus of the presentation was the *pasindhèn*, I hope you all took notice of the *gamelan*. From last week's vocal music discussion with *sulukan* and *sugidanon*, we will proceed with learning the bamboo musical instruments of the Panay Bukidnons side by side with Indonesia's *gamelan* ensemble. The Panay Bukidnon learned music from early childhood. It is part of their social and cultural life, marking significant personal or communal events such as births, feasts, religious activities, weddings, and other milestones. Because music is deeply interwoven in their culture, the Panay Bukidnon also accumulated numerous traditional instruments. These instruments are usually made of bamboo and played during rituals or celebrations, like their \"binanog\" or courtship dance (National Museum of the Philippines-Iloilo, 2022). A. ***Tikumbo*** is a percussion and chordophone made of *kawayan* (a bamboo plant variety characterized by having node needles) This is played by tapping one or two fingers on the bamboo lid. This is alternated by strumming the string, which was etched out from the body of the bamboo. *Pang-midya* (dampening the sound) is done by closing the hole on one side of the bamboo to vary low and high pitches. A. ***Suganggang*** is a buzzer struck on the palm of a hand. This is made of *bulo* (a bamboo plant variety relatively smaller than *kawayan*; this one does not have node needles). The hole on one end is where *pang-midya* is done using the thumb so as to vary low/high relative pitches. For photos of *suganggang,* see Daily Guardian's online article with *Tunog Panay Bukidnon* and check out photos 1,5, and 6. A. ***Litgit*** is a two-stringed bowed instrument made of *bulo*. Abaca hemp finely braided is used as strings. It is mainly a melodic instrument although rhythmic patterns from words/phrases are also employed. A. ***Tulali*** is a bamboo flute made of *bagakay* (one of the smallest bamboo varieties). Air is blown through a bamboo opening encircled by a banana leaf. It is tuned according to a pentatonic scale played on four holes, one found below and three on top of the bamboo tube. The gap between two holes is measured by the maker's two fingers. ***Subing*** is a Jaw's harp. According to Panay Bukidnons, the bamboo used for this instrument is well-selected. It should be located at the topmost part of the plant and should have the liveliest sway when the wind passes so as to prove that it is very pliant and therefore can produce the ideal sound of the *subing*. So before it is cut-off from the plant, it should be observed for some time. A *subing* is an aerophone, chordophone, and idiophone at the same time because to play it entails "inhaling and exhaling air" (aerophone). By repeatedly moving the bamboo's pointed A. percussive effect (idiophone) is produced from the rhythm. B. E. A ***gamelan*** is a kind of musical ensemble of Indonesia typically featuring a variety of instruments such as metallophones, xylophones, drums, and gongs; bamboo flutes, bowed and plucked strings, and vocalists may also be included. The term refers more to the set of instruments than the players of those instruments. A *gamelan* as a set of instruments is a distinct entity, built and tuned to stay together---instruments from different *gamelan* are not interchangeable. In Indonesia, gamelan usually accompanies dance, wayang puppet performances, or rituals and ceremonies. Typically, the *gamelan* players will be familiar with dance moves and poetry, while the dancers are able to play in the ensemble. In the West, *gamelan* orchestras often perform in a concert setting (New World Encyclopedia, 2022). ***Gamelan*** music is built up in layers. At its center is a basic melody (core melody) known as the *balungan*. Further layers, including the singing in vocal pieces, elaborate upon this melody in certain ways, but the notes of each layer of music relate to the *balungan,* and generally coincide at the ends of phrases (called *seleh* in Javanese). There is also a set of instruments which delineate a colotomic structure, usually ending in the stroke of the largest gong (New World Encyclopedia, 2022). There is a wide variety of *gamelan* ensembles, distinguished by their collection of instruments and use of voice, tunings, repertoire, style, and cultural context. In general, no two gamelan ensembles are the same, and those that arose in prestigious courts are often considered to have their own style. Certain styles may also be shared by nearby ensembles, leading to a regional style. Gamelan are found in the Indonesian islands of Java, Madura, Bali, and Lombok, in a wide variety of ensemble sizes and formations. Traditions of gamelan-like ensembles (a well-known example of which is *Kulintang*, sometimes called \"gong-chime ensembles\" by ethnomusicologists) also exist in the Philippines and Suriname, due to emigration, trade, or diplomacy (New World Encyclopedia, 2022). Although gamelan ensembles sometimes include solo and choral voices, plucked and/or bowed string and wind instruments, they are most notable for their large number of metal percussion instruments (New World Encyclopedia, 2022). A. **A. Metallophones** ***Saron***: The *saron* typically consists of seven bronze bars placed on top of a resonating frame *(rancak).* It is usually about 20 cm (8 in) high, and is played on the floor by a seated performer. The *sarons* are struck with a mallet *(tabuh)* in the right hand. Typically, the striking mallet is angled to the right to produce a fuller sound. ***Demung*** and *saron barung* generally use a wooden mallet, while the *peking* mallet is made of a water buffalo horn, which gives it a shriller sound. The left hand, meanwhile, is used to dampen the previous note by grasping the key, in order to prevent a muddy sound. On repeated notes, the note is usually dampened half a beat before it is struck again. A. **B. Cradled Gongs** ***Bonang**:* The *bonang* is a collection of small gongs (sometimes called \"kettles\" or \"pots\") placed horizontally onto strings in a wooden frame *(rancak),* either one or two rows wide. All of the kettles have a central boss, but around it the lower-pitched ones have a flattened head, while the higher ones have an arched one. Each is tuned to a specific pitch in the appropriate scale; thus there are different *bonang* for pelog and *slendro.* They are typically hit with padded sticks *(tabuh).* Two of the three types of *bonangs* in central Javanese *gamelan* include the *bonang panerus* which plays the fastest rhythms of the *bonang*, and the *bonang barung,* one of the most important instruments in the ensemble, as it gives many of the cues to other players in the gamelan. Photo Description & Credit: Javanese *bonang barung* (front) and *bonang panerus*. Giovanni Sciarrino, Bonang\_barung\_and\_panerus.\_STSI\_Surakarta.jpg A. Hanging Gongs A **kempul** is a type of hanging gong used in Indonesian *gamelan.* It is often placed with the *gong suwukan* and *gong ageng* hanging on a single rack, at the back of the gamelan, and these instruments are often played by the same player with the same mallets. There are usually several *kempul* in each *pélog* and *sléndro*; however, there are frequently some notes missing and thus they have to share a *kempul* (usually at a related interval, like a fifth). The appropriate *kempul* depends on the *balungan,* the *pathet* (mode), and other considerations.The *gong ageng* (Kromo Javanese meaning large gong, *ngoko* is *gong gedhe*) is the largest gong in a Javanese and Balinese *gamelan*. It is used as to mark the largest phrases in the structure. In small structures, the *gong ageng* is used to mark larger groups than the smaller *gong suwukan.* In the larger *gendhing*, only the *gong ageng* is used. It is typically pitched to match the 6 of the *gamelan*. *"**Gambang**"* are xylophone-like instruments similar to *saron* but with wooden bars instead of metal ones. The bars of the instrument are made of a dense wood, generally teak or ironwood *(kayu besi),* and are mounted in a deep wooden case that serves as a resonator. Instruments typically have 17-21 keys that are easily removed and are kept in place by having a hole through which a nail is placed. Generally, a full *gamelan* has two sets, one *gambang pelog* and the other one *gambang slendro.* The *gambang* is used in a number of *gamelan* ensembles. It is most notable in the Balinese *gamelan* Gambang. In Javanese *wayang*, it is used by itself to accompany the *dalang* in certain chants. Within a full *gamelan*, it stands out somewhat because of the high speed of playing, and contrasting timbre because of its materials and more because it has widest melodic range which the other instruments don\'t have. **Kendang** (Javanese: *Kendhang*) is the primary drum used in the *Gamelan* ensembles of Java and Bali as well as various *Kulintang* ensembles in other Southeast Asian countries such as Malaysia, Brunei and the southern Philippines. They usually are placed on stands horizontally and hit with the hands one either side while seated on the floor. In Gamelan Surakarta, four sizes of kendhang are used: Kendhang ageng, kendhang gede (krama/ngoko, similar to gong ageng in usage), or kendhang gendhing, the largest kendhang, which usually has the deepest tone; Kendhang ciblon, a medium-sized drum, used for the most complex or lively rhythms. It is typically used for livelier sections within a piece; Kendhang batangan or kendhang wayang, a medium-sized, and was traditionally used to accompany wayang performances, and Kendhang ketipung, the smallest kendhang, used with the *kendhang ageng* in *kendhang kalih* style. The *kendang* usually has the function of keeping the tempo and changing *irama* and signalling some of the transitions *(paralihan)* to sections and the end of the piece *(suwuk).* In dance or wayang, the kendhang player must follow the movements of the dancer and communicate them to the other players in the ensemble.