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A kempul is a type of hanging gong used in Indonesian gamelan.The kempul is a set of pitched, [1] hanging, knobbed gongs, often made of bronze, wood, and cords. [2] Ranging from 19 to 25.4 cm (7.5 to 10.0 in) in diameter, the kempul gong has a flat surface with a protruding knob at the center and is played by hitting the knob with the "soft end of a mallet."
It is a plucked zither with 12 strings, though some more recent variants have 18, 21 or 25 strings. It is probably the best known traditional Korean musical instrument . [ 1 ] It is based on the Chinese guzheng and is similar to the Japanese koto , Mongolian yatga , Vietnamese đàn tranh , Sundanese kacapi and Kazakh jetigen .
Other Turkic string instruments, lute, qanbus, modern huobusi The komuz or qomuz ( Kyrgyz : комуз Kyrgyz pronunciation: [qoˈmuz] , Azerbaijani : Qopuz , Turkish : Kopuz ) is an ancient fretless string instrument used in Central Asian music , related to certain other Turkic string instruments , the Mongolian tovshuur , and the lute .
The barbat probably originated in Central Asia. [1] The earliest image of the barbat dates back to the 1st century BC from ancient northern Bactria. [1] While in his book (Les instruments de musique de l’Inde ancienne) musicologist Claudie Marcel-Dubois [6] pointed out a more "clear cut" depiction of the barbat from Gandhara sculpture dated to the 2nd-4th centuries AD, which may well have ...
The instruments were "transmitted" from the Muslim world to the Malay world at an undermined time. Links to the Middle East begin as early as the 5th-6th centuries C.E., with trading networks and occupation in the 15th century. Experts have tentatively given dates for the instruments' arrival between the 9th and 15th centuries C.E.
The instruments were built between 1 and 3 feet tall. [6] Strings made of goat intestine were stretched and shaped to differing thicknesses for different notes. [6] Bodies were carved from local woods, including emmaram (red wood) or pala maram (jackfruit) wood, and today red cedar is used. [6]
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On most rhythmic modes, such as sinulog and duyog, the dabakan enters after babandil but in tidto, where the babendil is absent, the dabakan always starts the piece. The Maguindanao and the Maranao usually position the dabakan to the right of the kulintang player, near the end of its frame, during a traditional performance.