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The
native Javanese orchestra used as accompaniment in wayang and
dance performances. This type of orchestra is found in other forms
in Thailand, Philippines, Madagascar, Cambodia, and you find predecessors
of the gamelan on 10th Century Borobudur basreliefs. It is seldom
played outside Indonesia because of the expense of transporting
an orchestra so heavy that it takes up to 80 people to carry one.
Rows of small bronze kettle-shaped discs of varying sizes with
raised nipples are hit with cudgel-like sticks. These bronze instruments
give the game/an its highly distinctive sound, ranging from thin
tinkles to deep booming reverberations. The inimitable harmonic
quality of game/an has attracted western composers ever since
Claude Debussy first 'discovered' it at the end of the 19th Century.
Every Javanese orchestra is tuned to a certain tone system, either
slendro or pelog, each with a different feeling.
Generally
the s/endro is more festive and cheerful while the pe/og is more
solemn and sad. Game/an can't be compared with the compositions
of the west's great polyphonic composers such as Bach whose music
is so mathematically laid down. Javanese music is strange to the
European ear because the scales are divided into unfamiliar intervals.
Gamelan has over 14 different layers of sound and can construct
scales appropriate to any kind of performance. It is much looser,
freer, more flighty and unpredictable. Modulations aren't found
and melodies aren't based on a fixed key note and the tonal material
is very flexible. Like in jazz there's no written score, though
gamelan is more rigidly structured. Neither is there as much solo
playing as in western bands but more of an integration of sounds.
The playing technique is handed down through successive generations
and very outstanding gamelan which are handed down often carry
such proper names as 'Venerable Dark Cloud' and 'Drifting in Smiles'.
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