Indonesian Composer Biographies Biographies of Indonesian Composers from Bakers Biographical Dictionary of Composers, eighth edition written by Jody Diamond based on field work conducted in Indonesia in 1988-89 © 2001 all rights reserved R.L. Indonesia – Gamelan: From Palace To Paddy Field – World Music Network – Guide To World Music The shimmering sounds of the gamelan have fascinated and delighted Western visitors to Indonesia for half a millennium. The structural complexity of the music and its sonorous and ethereal sound have inspired twentieth-century composers such as Debussy, Britten and John Cage, and in recent years there’s been an enthusiastic growth in playing in gamelan ensembles in the West. A gamelan has been described as “one instrument played by many people”. It is essentially an ensemble of tuned percussion, consisting mainly of gongs, metallophones (similar to xylophones, but with metal instead of wooden bars) and drums; it may also include singers, bamboo flutes and spike-fiddle. In Indonesia the ensembles and their sounds are diverse, ranging from Central Java’s bronze court gamelans to the bamboo village orchestras in Bali.
Exploring Africa Module Thirteen: African Music Teacher's Edition A brief background and history of African Music The African continent is the second largest continent in the world, and its people constitute a 10th of the world’s population with about one thousand indigenous languages spoken throughout the continent (Stone, 1998, p.2). The Best Little Klezmer Band In Texas - What Is Klezmer Music? About Klezmer Music KLEZMER is the Yiddish pronunciation of the Hebrew KLEY-Z'MER, (lit.; vessel-of-song)-"musical instrument"-which, in the East European context, came to refer to the musicians themselves. Strictly defined, Klezmer music is the traditional instrumental music of the East European Jews, performed at weddings and other celebrations such as the dedication of a Torah scroll or a synagogue. Comprising dance tunes, as well as music for listening at the wedding ritual and banquet, it is one part of a rich totality of East Ashkenazic music that includes diverse liturgical and folk song traditions as well as--in more recent times--Yiddish theater, popular and art music. Klezmer was brought to the United States where it encountered jazz and ragtime and thrived in the early days of New York's Jewish community. By the end of World War II, many of the Klezmer families turned to mainstream music and the form virtually disappeared as a living tradition.
Gamelan A gamelan is a traditional musical ensemble from Indonesia, typically from the islands of Java and Bali, featuring a variety of instruments such as metallophones, xylophones, kendang (drums) and gongs; bamboo flutes, bowed and plucked strings. Vocalists may also be included. For most Indonesians, gamelan music is an integral part of Indonesian culture. The term refers more to the set of instruments than to the players of those instruments. A gamelan is a set of instruments as a distinct entity, built and tuned to stay together – instruments from different gamelan are generally not interchangeable. Indonesian Gamelan Main Page Indonesian Gamelan Picture Credit: Dr. Han Kuo-Huang Balinese Gamelan Javanese Gamelan>>> Listen Now <<< >>> Listen Now <<< Introduction The Beliefs Functions of Gamelan
Indonesian Folk Music Overview Indonesia is home to a wide variety of peoples and cultures that encompasses 17,500 islands, 300 languages, numerous religions, and a wealth of vocal and instrumental styles. Because of this diversity, there is not specific Indonesian folk music that can be said to represent all people in the country. To summarize this vastness here would be impossible, but there are some particularly well-known styles that can highlight the beauty of this immense country's music.
Indonesia Needs the Harmony of the Gamelan Bramantyo Prijosusilo The gamelan orchestra in its different forms is indigenous to many parts of the archipelago and once was so much a part of community life that most villages, in Java at least, would be the loving caretakers of at least one set of instruments. Poor villages had small sets, forged out of iron; wealthy villages had bigger ones, forged of bronze. The best and biggest sets were kept in the palaces. Since the misty past when metal work was considered akin to magic, gamelan sets have been handed down through generations.
Japanese Traditional Music [ Category and Explanation/Sokyoku (Koto Music) ] Toward the end of the 16th century, a priest named Kenjun at the Zendoji Temple in Kurume in Kyushu collected several old koto pieces that had been preserved in Kyushu and made a collection of ten pieces, the heart of a style he named the Chikushi School. But eventually, the original Chikushi School pieces were neglected and forgotten. By the early twentieth century, the Chikushi School virtually disappeared. Even at its beginning, a student of Kenjun felt that these pieces were very difficult for ordinary people to understand and so, adapted and arranged them. Eventually taking the name of Yatsuhashi Kengyo (kengyo is the highest rank of the organization of blind musicians and masseurs), he is considered the father of modern koto music. In 1695, a student of Yatsuhashi Kengyo named Ikuta Kengyo founded the Ikuta School of koto music.
Forging gamelan in Central Java Detailed: A craftsman works to finish a gong in Surakarta, Central Java. Gongs take the longest to finish of a gamelan set because it takes five days to form the shape alone. Unlike previous days, the house of Saroyo, an empu or master craftsman of gamelan, saw no hammering of metal or burning fires one Saturday morning. Workers in his gamelan workshop termed a besalen in Wirun village in Sukoharjo, Central Java, were busily preparing offerings in the form of chicken, cone-shaped rice, water steeped in flower petals and incense, among others.
KLEZMER MUSIC Klezmer music originated in the 'shtetl' (villages) and the ghettos of Eastern Europe, where itinerant Jewish troubadours, known as 'klezmorim', performed at joyful events ('simkhes'), particularly weddings, since the early middle age till the nazi and Stalinian prosecutions. It was inspired by secular melodies, popular dances, 'khazones' (khazanut, Jewish liturgy) as well as by the 'nigunim', the simple and often wordless melodies, intended by the 'Hasidim' (orthodox Jews) for approaching God in a kind of ecstatic communion. In (mutual) contact with Slavonic, Greek, Ottoman (Turkish), Gypsy and -later- American jazz musicians, using typical scales, tempo and rhythm changes, slight dissonance and a touch of improvisation, the 'klezmorim' acquired the ability to evoke all kinds of emotions, through a very diversified music. back home "Klezmer: it's not just music - it's a way of life!"