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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."
The gangsa instruments play elaborate ornamentations (flowers) on the underlying melody (pokok, or trunk of the tree) of a piece of music. The explosive feeling of the gong kebyar style derives mainly from the dynamic range of these instruments, whose bright, sharp tones can sound anywhere from soft and sweet to extremely loud and aggressive.
Ladrang form on the balugan instruments. GONG = gong ageng Play approximation without colotomy ⓘ The kempyang and ketuk are two instruments in the gamelan ensemble of Indonesia, generally played by the same player, and sometimes played by the same player as the kenong. They are important beat-keepers in the colotomic structure of the gamelan.
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.
Indonesia is a country with many different tribes and ethnic groups, and its music is also very diverse, coming in hundreds of different forms and styles.Every region has its own culture and art, and as a result traditional music from area to area also uniquely differs from one another.
Style Earliest historical period Notes Carnatic music: At least 6th century AD (as Indian classical music), split from Hindustani classical music in the 16th and 17th centuries. [2] [3]: 249 Hindustani classical music: At least 6th century AD (as Indian classical music), split from Carnatic music in the 16th and 17th centuries. [2] [4] Klasik
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Traditionally, it is the first of the instruments to be made. A highly skilled gong-smith will smelt and cast, then supervises the hammering process, but will be solely responsible for the final fine tuning of the gong ageng pitch- the rest of the ensemble is tuned (and named) according to the qualities of the gong ageng . [ 5 ]