3. Its culture has been
influenced by Shamanism,
Buddhism, Hinduism,
Islamic, and Western
Traditions.
4. Trade and Conflicts
Indonesians came into
contact with the Mongols,
Chinese, Arabs,
Portuguese, Dutch,
English Traders and
colonizers.
5. The rich interaction with
other cultures has brought
about a wide range of
musical styles in
Indonesian Music.
6. Indonesia
An archipelago
Consist of more than 13,000 island.
Has the most ethnical diverse
population in the world.
300 ethnic groups that speak 250
languages.
7. Despite of the diversity,
they are brought together
by their language
(BAHASA INDONESIA)
and their religion (Muslim).
8. GAMELAN
A term used for various types of
orchestra played in Indonesia.
Refers to the traditional form of
Indonesian Music.
An orchestra composed of
various percussion instruments.
9. Composed of Gong-Chimes,
Bronze gong, drums, flutes and
metallophones, singer.
Each gamelan is slightly
different, but they have the
same organization.
10. Animism in Gamelan
Animism – a belief that a spirit or divinity
resides within every object.
Gamelan is sacred.
Believed to have supernatural power.
Gamelan is well-respected.
Gamelan is a way of linking individuals.
11. Gamelan music is formal.
Traditionally, gamelan is only played at
certain occasion.
Ritual, ceremony, celebrations, shows etc.
Gamelan provides livelihood.
Gamelan used as an accompaniment.
Polyphonic with nuclear theme.
13. Balinese Gamelan
Made up mostly of gongs and more
metallophones.
Basic Characteristics- is the sudden
changed of tempo and dynamics.
It uses fast rattling cymbal.
Produces very bright sound.
14. Javanese Gamelan
Percussion dominated which
sometimes referred to as GONG-
CHIMES musical ensemble.
Gong AGENG is believed to be the
main spirit of Javanese Gamelan.
Composed of bronze gongs and
metallophones, cymbals, a time beater.
15. Cycle
Gamelan music is in cycle. The
music will repeat over and over
until the drummer gives a signal
to end a performance.
16. Polyphonic
Gamelan is in Polyphonic
Stratification structure.
Music composed by layers of
melody lines or rhythm patterns.
19. CENT
Measuring device for pitch
vibration used to locate the
tone position of the notes of
the Slendro and Pelog in the
diatonic scale.
20. Slendro
This is a pentatonic scale,
without half steps.
Commonly referred to as the
“male” tonal system.
Each notation has its own tone
and solmization.
21. Notation Tone Solmization
1 Barong ji (siji)
2 Gulu lo (loro)
3 Dhadha lu (telu)
5 Lima ma (lima)
6 Nem nem (enem)
22. Three MODES or Pathets
Slendro pathet nem – the
lowest mode
Slendro pathet songa –
medium high
Slendro pathet manyura –
highest mode
23. Pelog
This is s seven tone scale
involving half steps.
Commonly referred to as the
“female” tonal system.
Notation are different from
slendro.
24. Notation Tone Solmization
1 Ben ji (siji)
2 Gulu ro (loro)
3 Dhadha lu (telu)
5 Pelog pat (patpat)
4 Lima ma (lima)
6 Nem nem (enem)
7 Barong pi (pitu)
25. Three MODES or Pathets
Pelog pathet lima – the
lowest mode
Pelog pathet nem – medium
high
Pelog pathet barong –
highest mode