Search results
Results from the WOW.Com Content Network
Though bebatelan itself is rarely heard nowadays, its instrumentation forms the nucleus of the more complex modern ensemble: beleganjur bebonangan. The additional instrumentation of the beleganjur bebonangan ensemble is: a second gong ageng, forming a male/female pair of gongs; a medium-sized gong: kempur; four additional ceng-ceng to total of ...
Traditional music and dance and occasionally new music and dance UCLA Department of Ethnomusicology ensemble [3] Mission Hills: Bali and Beyond / Udan Arum (sweetly scented rain) Balinese gender wayang, semar pegulingan, gamelan beleganjur (pelog), and Javanese gamelan gadon: Traditional and contemporary, wayang kulit, dance. Tantri style of ...
He wrote Music of Death and New Creation: Experiences in the World of Balinese Gamelan Beleganjur, [1] a book said to have "elevated gamelan beleganjur to the level of the much better known gong kebyar". [2] Michael is the brother of noted Canadian legal theorist Joel Bakan.
Shadow Music of Java produced by Karl Signell, Rounder CD 5060. Balinese gamelan. Balinese Music (1991) by Michael Tenzer, ISBN 0-945971-30-3. Included is an excellent sampler CD of Balinese Music. Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese Music (2000) by Michael Tenzer, ISBN 0-226-79281-1 and ISBN 0-226-79283-8.
The reyong (also spelled reong) is a musical instrument used in Balinese gamelan.It consists of a long row of metal gongs suspended on a frame. In gamelan gong kebyar, it is played by four players at once, each with two mallets.
"Like a Bird" is the only song in English on this album, composed as a modern R'n'B style with a mix of Balinese gamelan instruments. The closing track on this album is "Country Beleganjur" with a Balinese cengceng (similar to cymbals) performed by four people playing a complicated syncopation of Balinese music.
Evan Ziporyn. Evan Ziporyn (b.Chicago, Illinois, December 14, 1959) is an American composer of post-minimalist music with a cross-cultural orientation, drawing equally from classical music, avant-garde, various world music traditions, and jazz.
Gong kebyar music is based on a five-tone scale called pelog selisir (tones 1, 2, 3, 5, and 6 of the 7-tone pelog scale), and is characterized by brilliant sounds, syncopations, sudden and gradual changes in sound colour, dynamics, tempo and articulation, and complex, complementary interlocking melodic and rhythmic patterns called kotekan.