KrishnaVandanu

Javanese Gamelan Glossary at the National Music Museum

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       Glossary of Terms     Relating to the<br />
<i>Kyai Rengga Manis Everist</i> Gamelan      </h2>
<img alt="The USD Gamelan Ensemble rehearses with a selection of slendro instruments from the gamelan, Kyai Rengga Manis Everist, by Ud Soepoyo, Surakarta, Central Java, 1999" border="0" height="464" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/Ensemble/GreatMuseumsGamelanrehearsalwideshot.jpg" width="600" /> <br />
<h4>
  <div>
The USD Gamelan Ensemble rehearses with a selection of  slendro instruments from the gamelan, <i>Kyai Rengga Manis Everist</i>  by Ud Soepoyo, Surakarta, Central Java, Indonesia, 1999,  in the Beede  Gallery.  Purchase funds gift of Margaret Ann Everist, Sioux City, Iowa,  1999.</div>
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What does the NMM's gamelan sound like? Listen to musical excerpts from the CD, <a href="http://orgs.usd.edu/nmm/GiftShop/CDs/GamelanCD.html"><i>Sayuk:  Together in Harmony</i></a>, recorded at the NMM in 2007 by <a href="http://www.ipaam.org/ensembles.html">The Sumunar Gamelan Ensemble</a> of the Indonesian Performing Arts Association of Minnesota.</div>
<ul>
<li>Ladrang, <i><a href="http://orgs.usd.edu/nmm/GiftShop/CDClips/Gamelan/Gamelan%20Sri%20Wibowo.mp3">Sri Wibowo-Srepeg</a></i>, Laras Slendro Pathet Songo (1904)</li>
<li>Lagu, <i><a href="http://orgs.usd.edu/nmm/GiftShop/CDClips/Gamelan/Gamelan%20Pemut.mp3">Pemut</a></i>, Laras Pelog Pathet Enem by Joko Sutrisno (2007)</li>
<li>Lancaran, <i><a href="http://orgs.usd.edu/nmm/GiftShop/CDClips/Gamelan/Gamelan%20Sayuk%20Sampak.mp3">Sayuk-Sampak</a></i>, Laras Pelog Pathet Barang by Marto Pengrawit (1950), arr. by Joko Sutrisno</li>
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</h4>
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<h4>
Glossary of Terms Relating to the <i>Kyai Rengga Manis Everist</i> Gamelan</h4>
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<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Balungan">Balungan</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Bedhug">Bedhug</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Bonang%20Barung">Bonang Barung</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Bonang%20Panembung">Bonang Panembung</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Buka">Buka</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Celempung">Celempung</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Colotomic">Colotomic Structure </a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Dhalang">Dhalang</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Elaborating">Elaborating Instruments </a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Engkuk">Engkuk</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Gambang">Gambang</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Gatra">Gatra</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Gender%20Barung">Gender Barung</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Gender%20Panerus">Gender Panerus</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Gendhing">Gendhing</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Gendhing%20Bonang">Gendhing Bonang</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Gerong">Gerong</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Gong%20Ageng">Gong Ageng</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Gong%20Siyem">Gong Siyem</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Gong%20Suwukan">Gong Suwukan</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Irama">Irama</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Irama%20Dados">Irama Dados</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Irama%20Tanggung">Irama Tanggung</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kecer%20Wayang">Kecer Wayang</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kemanak">Kemanak</a><br />
</h4>
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<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Engkuk">Kemong</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kempiang">Kempiang</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kempul">Kempul</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kendhang%20Ageng">Kendhang Ageng</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kendhang%20Ciblon">Kendhang Ciblon</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kendhang%20Kalih">Kendhang Kalih</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kendhang%20Ketipung">Kendhang Ketipung</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kendhang%20Satu">Kendhang Satu</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kendhang%20Wayang">Kendhang Wayang</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kenong">Kenong</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kenong%20Japan">Kenong Japan</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kenthogan">Kenthogan</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Keprak">Keprak</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Ketawang">Ketawang</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kethoprak">Kethoprak</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kempiang">Kethuk</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Klenengan">Klenengan</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kotak%20Tabuh">Kotak Tabuh</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Ladrang">Ladrang</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Lancaran">Lancaran</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Laras">Laras</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Laras%20Pelog">Laras Pelog</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Laras%20Slendro">Laras Slendro</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Naga">Naga</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Ngelik">Ngelik</a>     </h4>
</td>  <td width="183"><h4>
  <a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Pelog">Pelog</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Pesinden">Pesinden</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Racikan">Racikan</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Rebab">Rebab</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Sampak">Sampak</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Saron%20Barung">Saron Barung</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Saron%20Demung">Sarong Demung</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Saron%20Nyacah">Saron Nyacah</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Saron%20Panerus">Saron Panerus (Peking)</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Saron%20Wayang">Saron Wayang</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Sekaten">Sekaten</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Selamatan">Selamatan</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Seleh">Seleh</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Siter">Siter</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Slametan">Slametan</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Slendro">Slendro</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Slenthem">Slenthem</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Slentho">Slentho</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Srepeg">Srepeg</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Suling">Suling</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Tabuh">Tabuh</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Tari">Tari</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Wayang">Wayang</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Wayang%20Kulit">Wayang Kulit</a> </h4>
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<h4>
<a href="http://www.blogger.com/null" name="Balungan"></a><br />  BALUNGAN <div>
Definition:   lit., 'skeleton,' 'frame.' The basic or  skeletal melody in gamelan music. This basic melody is an abstraction  of the melody played by the elaborating instruments.   The balungan is  played by the slenthem, demung, and saron barung.</div>
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 <a href="http://www.blogger.com/null" name="Bedhug"></a><br />BEDHUG<div>
Function:  In gamelan Sekaten, the bedhug gives the  cues for tempo changes, acts as a phrase divider and emphasizes the  strong seleh (resolution notes) during the racikan (long introduction),  and performs a colotomic function similar to the kempul once the  introduction is over and the actual piece of music has started.  In  other kinds of music, the bedhug can be used to emphasize the strong  tones of the kendhang ageng.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Bedhug">description</a> of bedhug in the <i>Kyai Rengga Manis Everist</i> gamelan.  <div>
Playing technique:   the bedhug is played using a soft-tipped mallet hit at the center of the drumhead.</div>
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<a href="http://www.blogger.com/null" name="Bonang Barung"></a> <br />BONANG BARUNG<div>
Function:  The bonang barung is both an elaborating,  as well as a leading instruments.  Similar to the rebab and gender  barung, the bonang barung can play the buka or introduction to a piece  of music.  As in the case of the buka rebab and gender, players are  expected to know the introduction and be able to follow without being  told in advance what piece will be played.  In a special kind of music  known as gendhing bonang, the bonang barung plays a prominent role in  leading the melody.  In this type of music the rebab and gender are not  played.  The patterns that are played by the bonang barung depend on the  irama or tempo structure.  The patterns can be derived from the  balungan or basic melody of the saron; however. it is more appropriate  to say that the balungan is derived from the bonang patterns (and also  the melody of the rebab and gender barung) and not the other way around.   Similar to the gander barung, there is a changing of the number of  beats played by the bonang in relation to the balungan (basic melody)  played by the saron and slenthem when the irama (tempo structure)  changes.  For example, in irama tanggung there are eight bonang beats  for every four of the saron, whereas, in irama dados, there are sixteen  bonang beats for every four of the basic melody.  It is the basic melody  tempo that slows down to accommodate these further elaborations of the  melody by the bonang barung.  The upper row of pots is considered to be  female, while the lower octave is male.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Bonang%20Barung">description</a> of bonang barung in the <i>Kyai Rengga Manis Everist</i> gamelan.  <div>
Playing technique:   the bonang barung is played with  the soft end of two mallets.  The player sits on the side with the  lowest octave pots.  The previous note will be dampened as the next is  played using the mallet’s soft end unless the instrument is mature  enough that the pots only ring briefly, or unless the music is too  complex for all the notes to be dampened effectively.</div>
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<a href="http://www.blogger.com/null" name="Bonang Panembung"></a> <br />BONANG PANEMBUNG<div>
Function:   The bonang panembung is traditionally  played almost exclusively in ceremonial music.  This includes weddings  and ceremonial court music.  Its role is to reinforce the basic melody  or balungan played by the saron and to signal the gong.  The upper row  of pots is considered to be the female, while the lower octave is the  male.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Bonang%20Panembung">description</a> of bonang panembung in the <i>Kyai Rengga Manis Everist</i> gamelan.  <div>
Playing technique:   the bonang panembung is played  with the soft end of two mallets.  The player sits on the side with the  lowest octave pots.  The previous note is dampened as the next is played  using the mallet’s soft end.</div>
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<a href="http://www.blogger.com/null" name="Bonang Panerus"></a> <br />BONANG PANERUS<div>
Function:   The bonang panerus plays patterns  that are derivative of the bonang barung patterns, usually twice as fast  and occurring on what in Western musical terms might be considered the  off beat.  The bonang panerus player must follow the lead of the bonang  barung player even though it often begins its patterns slightly before  the bonang barung player.  The patterns that are played by the bonang  panerus depend on the irama or tempo structure, similar to the bonang  barung. The upper row of pots is considered to be the female, while the  lower octave is male.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Bonang%20Panerus">description</a> of bonang panerus in the <i>Kyai Rengga Manis Everist</i> gamelan.  <div>
Playing technique:   the bonang panerus is played  with using the soft end of two mallets.  The player sits on the side  with the lowest octave pots.  The previous note is dampened as the next  is played using the mallet’s soft end unless the instrument is mature  enough that the pots only ring briefly, or unless the music is too  complex for all the notes to be dampened effectively.</div>
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 <a href="http://www.blogger.com/null" name="Buka"></a><br />  BUKA <div>
Definition:   the opening phrase or introduction of a gamelan composition (gendhing).</div>
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<a href="http://www.blogger.com/null" name="Celempung"></a> <br />CELEMPUNG<div>
Function:   The celempung is an elaborating  instrument.  Its role is similar to that of the siter—filling in with  ornate patterns based on the balungan (basic melody) and the irama  (tempo structure).  The clempung, siter, and gambang all play the same  number of beats in relation to each measure of the balungan melody.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Celempung">description</a> of celempung in the <i>Kyai Rengga Manis Everist</i> gamelan.  <div>
Playing technique:  the celempung is played the same  way as the siter—sitting on the floor facing the smaller end of the  instrument, the player plucks the strings with the nails of both thumbs.   Long thumbnails are essential.</div>
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<a href="http://www.blogger.com/null" name="Colotomic"></a> <br />  COLOTOMIC STRUCTURE <div>
Definition:   (from Greek, <i>kolon</i>:  'section'  or 'limb')   A term used by ethnomusicologist, Jaap Kunst (1934), to  describe the phrase structure of a gendhing, or composition, for  gamelan.  Gongs are played to mark the major sections of a gamelan  composition, such as at the beginning and the end, as well as at various  subsections and phrases.  According to "Colotomic structure  [colotomy]," <a href="http://www.grovemusic.com/"><i>Grove Music Online</i></a>  ed. L. Macy (Accessed 05 May 2006), "Over a dozen different colotomic  structures are in regular use, each with its own name such as <i>ladrang</i> and <i>ketawang</i>.  A specific drum part is associated with each colotomic structure."</div>
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<a href="http://www.blogger.com/null" name="Dhalang"></a> <br />  DHALANG <div>
Definition:  the puppeteer in the wayang kulit (shadow puppet) performance.</div>
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<a href="http://www.blogger.com/null" name="Elaborating"></a> <br />  ELABORATING INSTRUMENTS <div>
Definition:   The instruments providing melodic  elaboration in the Javanese gamelan include the bonang barung, bonang  panerus, gambang, gender barung, gender panerus, celempung, and siter.</div>
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<a href="http://www.blogger.com/null" name="Engkuk"></a> <br />  ENGKUK / KEMONG  <div>
Function:   The engkuk/kemong is not frequently  used in gamelan music today.  It is a structure instrument similar to  the kempiang/kethuk and the kenong.  Its function is to play at specific  places within a composition depending upon its structure.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Engkuk">description</a> of engkuk in the <i>Kyai Rengga Manis Everist</i> gamelan.  <div>
Playing technique:  the engkuk/kemong is played with  mallets like the kethuk/kempiang or kenong.  The player sits on the  floor and strikes the node (or highest point) of the pot with the soft  end of the mallet.</div>
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<a href="http://www.blogger.com/null" name="Gambang"></a> <br />GAMBANG<div>
Function:  The gambang is an elaborating  instrument.  Its role is similar to that of the siter or gender  panerus—filling in with ornate patterns based on the balungan (melody)  and the irama (tempo structure).  The gambang, celempung, and siter all  play the same number of beats in relation to each measure of the  balungan.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Gambang">description</a> of gambang in the <i>Kyai Rengga Manis Everist</i> gamelan.  <div>
Playing technique:   the player sits on the floor in  front of the instrument with the high octaves (shorter keys) to the  right.  One mallet is held in each hand and the bars are struck with the  soft end.</div>
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<a href="http://www.blogger.com/null" name="Gatra"></a> <br />  GATRA <div>
Definition:  lit., 'embryo.' Metrical unit of a gamelan piece (gendhing), consisting of four beats.</div>
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<a href="http://www.blogger.com/null" name="Gender Barung"></a> <br />GENDER BARUNG<div>
Function:  The gender barung is one of the most  important  and, at the same time, one of the most difficult instruments  to play in the Javanese gamelan.  Its role is to fill in the basic  melody with more elaborate and ornamental parts, but, it may also serve  as a leader in playing the buka (introductory phrase) to a piece of  music and signaling transitions to different melodic sections in a  composition.  The gender barung player must pay close attention to the  rebab.  The relationship between the rebab and the gender barung is  complex: it both follows and leads the rebab in articulating the  movement of the melody.  There are many styles of playing the gender  barung depending upon the region and the individual player.  The  rhythmic relationship of the gender barung to the basic melody  (balungan), played by the saron barung, saron demung, and slenthem,  varies from 8 beats per 4-beat measure (gatra) of the basic melody, to  16, to 32, to 64, and so on.  These different rhythmic relationships  (irama) are accompanied by a slowing of the tempo of the basic melody.   For example, when the gender barung plays 16 beats for every four beats  of the basic melody, the tempo of the basic melody is twice as slow as  when the gender plays 8 beats for every four of the basic melody.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Gender%20Barung">description</a> of gender barung in the <i>Kyai Rengga Manis Everist</i> gamelan.  <div>
Playing technique:  The gender barung is played with  both hands, holding the thin end of the mallet and striking the keys  with the padded end.  The right and left hands play different notes and  rhythms.  The previous note is dampened after the next note is played.   The left hand dampens the note by using the padding of the hand below  the small finger, while the right hand dampens using the thumb and small  finger.</div>
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<a href="http://www.blogger.com/null" name="Gender Panerus"></a> <br />GENDER PANERUS<div>
Function:  The gender panerus is one of the  gamelan’s elaborating instruments.  It is similar in its appearance to  the gender barung but its range extends one octave higher.  Unlike the  gender barung, the gender panerus does not serve as a melody leader but  simply as ornamentation.  Its rhythm is usually even and without  syncopation and it fills the spaces between the basic melody notes of  the balungan played by the saron barung, demung, and slenthem.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Gender%20Panerus">description</a> of gender panerus in the <i>Kyai Rengga Manis Everist</i> gamelan.  <div>
Playing technique:    The gender panerus is played with two hands, each note dampened when the following note is played.  </div>
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<a href="http://www.blogger.com/null" name="Gendhing"></a> <br />  GENDHING <div>
Definition:   generic term for any gamelan  composition.  It can also be used to refer to a specific type of formal  musical structure in gamelan music.     Listen to a  musical excerpt  from the gendhing, <i><a href="http://orgs.usd.edu/nmm/GiftShop/CDClips/Gamelan/Gamelan%20Titipati.mp3">Titipati</a></i>, Kethuk 2 Kerep Minggah 4, Laras Slendro Pathet Enem (ca. 1820-1823), recorded on the NMM gamelan in 2007 by <a href="http://www.ipaam.org/ensembles.html">The Sumunar Gamelan Ensemble</a> of the Indonesian Performing Arts Association of Minnesota. </div>
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<a href="http://www.blogger.com/null" name="Gendhing Bonang"></a> <br />  GENDHING BONANG <div>
Definition:   a gamelan composition in which the  bonang both plays the introduction and is the principal melodic  instrument.  In gendhing bonang, the other usual elaborating instruments  do not play.</div>
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<a href="http://www.blogger.com/null" name="Gerong"></a> <br />  GERONG <div>
Definition:   a unison male chorus that sings with the gamelan.</div>
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<a href="http://www.blogger.com/null" name="Gong Ageng"></a> <br />GONG AGENG<div>
Function:  The gong ageng is considered the  father or master of the gamelan. This particular gong is treated with  great respect, including the offering of flowers and food during  performances and ceremonies.  Music usually begins and ends with the  gong ageng.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Gong%20Ageng">description</a> of gong ageng in the <i>Kyai Rengga Manis Everist</i> gamelan.   <div>
Playing technique:    The gong ageng is played by hitting the node of the instrument with the soft end of the mallet.</div>
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<a href="http://www.blogger.com/null" name="Gong Siyem"></a> <br />GONG SIYEM<div>
Function:  The gong siyem is a structure  instrument that plays in designated places within a composition  and relative to the patterns played by the kempiang/kethuk, kenong, and  kempul.  This gong can be used in place of a gong ageng.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Gong%20Siyem">description</a> of gong siyem in the <i>Kyai Rengga Manis Everist</i> gamelan.   <div>
Playing technique:    The gong siyem is played by hitting the node with the soft end of the mallet.</div>
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<a href="http://www.blogger.com/null" name="Gong Suwukan"></a> <br />GONG SUWUKAN<div>
Function:  The gong suwukan is a structure  instrument that plays in designated places within a composition,  relative to the patterns played by the kempiang/kethuk, kenong, and  kempul.  In many compositions, there are multiple phrases ending with  the playing of the gongs and the entire series of phrases can be  repeated many times.  This gong is used when there are multiple gongs  within a piece of music and is not normally used at the beginning, end,  or as the last gong of a repeated series of gongs.  The gong suwukan can  also be used to emphasize certain melodic phrases within a gong phrase.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Gong%20Suwukan">description</a> of gong suwukan in the <i>Kyai Rengga Manis Everist</i> gamelan.   <div>
Playing technique:    The gong suwukan is played by hitting the node with the soft end of the mallet.</div>
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<a href="http://www.blogger.com/null" name="Irama"></a> <br />  IRAMA <div>
Definition:   tempo structure and relationships in a gendhing (gamelan piece).</div>
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<a href="http://www.blogger.com/null" name="Irama Dados"></a> <br />  IRAMA DADOS <div>
Definition:   In the tempo structure, irama dados, there are sixteen bonang beats for every four of the basic melody.</div>
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<a href="http://www.blogger.com/null" name="Irama Tanggung"></a> <br />  IRAMA TANGGUNG <div>
Definition:   In the tempo structure, irama tanggung, there are eight bonang beats for every four of the saron.</div>
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<a href="http://www.blogger.com/null" name="Kecer Wayang"></a> <br />KECER WAYANG<div>
Function:  The kecer wayang is most often used in  music for the wayang kulit, the Javanese shadow puppet theater.  It is  usually played in a steady, but rapid rhythm.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kercer%20Wayang">description</a> of kercer wayang in the <i>Kyai Rengga Manis Everist</i> gamelan.   <div>
Playing technique:    The kecer wayang is held with  two hands, one holding each of the free cymbals that are used to strike  the cymbals attached to the frame.  The hands never move far away from  the frame.</div>
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<a href="http://www.blogger.com/null" name="Kemanak"></a> <br />KEMANAK<div>
Function:  The kemanak is used primarily in  ceremonial music.  Its role is somewhat similar to the structure  instruments such as kempiang/kethuk. Although its role is considered  that of one instrument, two kemanaks are usually played together.  </div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kemanak">description</a> of kemanak in the <i>Kyai Rengga Manis Everist</i> gamelan.   <div>
Playing technique:    Players hold the kemanak in one  hand and strike it near the slit.  The kemanak is then swung upward in  an arcing motion while players press their thumbs against the opening,  near the base, to mute the sound.</div>
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 <br />KEMONG (see <a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Engkuk">ENGKUK</a>)<hr style="margin-left: auto; margin-right: auto;" />
<a href="http://www.blogger.com/null" name="Kempiang"></a> <br />KEMPIANG AND KETHUK<div>
Function:  The kempiang/kethuk is often referred  to as a structure instrument. Its function is to play at specific places  within a composition depending upon the structure of the music. Some  commonly played structures are lancaran, ketawang, ladrang, gendhing,  srepeg, and sampak. In each of these structures the kethuk/kempiang has  assigned places in which it is to play that are related to the patterns  of the kenong, kempul, and gong. In some structures it also plays a  variation on its pattern to cue the gong.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kempiang">description</a> of kempiang in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:     The kethuk/kempiang can be  played with one or two mallets. The player sits on the floor and strikes  the node of the pot with the soft end of the mallet.</div>
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         <a href="http://www.blogger.com/null" name="Kempul"></a><br />
<br />KEMPUL<div>
Function:  The kempul is a structure instrument.   It plays in designated places within a composition depending on the  structure of the music and relative to the patterns played by the  kempiang/kethuk, kenong, and gong.  </div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kempul">description</a> of kempul in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The kempul is played by hitting the node with the soft end of the mallet.</div>
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         <a href="http://www.blogger.com/null" name="Kendhang Ageng"></a><br />
<br />KENDHANG AGENG<div>
Function:  The kendhang player shoulders a great  deal of responsibility in the gamelan, for the role of the kendhang is  to establish and maintain the tempo, to lead the gamelan through all  tempo changes within a piece of music, to decide whether or not to move  immediately from one piece of music into another without stopping, and  to signal the end of each piece.  The kendhang ageng can be played  together with the kendhang ketipung by the same player, an arrangement  known as kendhang kalih, or it can be played alone by one person, known  as kendhang satunggal or kendhang satu. Compared to the ciblon and  wayang, this kendhang is played with relatively little ornamentation and  is characterized by very deep, resonating sounds.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kendhang%20Ageng">description</a> of kendhang ageng in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The kendhang ageng is a hand drum played by using a variety of strokes on both heads. </div>
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         <a href="http://www.blogger.com/null" name="Kendhang Ciblon"></a><br />
<br />KENDHANG CIBLON<div>
Function:  The kendhang ciblon, capable of  producing a wide range of tones and volume, is frequently used to  accompany Javanese dance, or tari, and is also used in concert music  known as klenengan.  There is a specific style of playing this drum for  traditional dance that is very ornamental and elaborate, like the  kendhang wayang; however, the kendhang ciblon can also be used to play  the kendhang ageng patterns.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kendhang%20Ciblon">description</a> of kendhang ciblon in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The kendhang  ciblon is a hand drum played by using a variety of strokes on both heads. </div>
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<a href="http://www.blogger.com/null" name="Kendhang Kalih"></a> <br />  KENDHANG KALIH <div>
Definition:   lit., 'two drums.'  Describes the  playing of two drums by the same player, as the kendhang ageng with the  kendhang ketipung.</div>
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         <a href="http://www.blogger.com/null" name="Kendhang Ketipung"></a><br />
<br />KENDHANG KETIPUNG<div>
Function:  The kendhang ketipung can be played  together with the kendhang ageng by the same player, an arrangement  known as kendhang kalih, or it can be played alone by one person  accompanying the kendhang ageng player. Compared to the ciblon and  wayang, the kendhang is played with relatively little ornamentation.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kendhang%20Ketipung">description</a> of kendhang ketipung in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The kendhang ketipung is a hand drum played using a variety of strokes on both heads.</div>
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<a href="http://www.blogger.com/null" name="Kendhang Satu"></a> <br />  KENDHANG SATU or SATUNGGAL <div>
Definition:   lit., 'one drum.'  Used to describe one player playing one drum.</div>
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         <a href="http://www.blogger.com/null" name="Kendhang Wayang"></a><br />
<br />KENDHANG WAYANG<div>
Function:  The kendhang wayang is used in the  wayang kulit or Javanese shadow puppet theater, an art form always  accompanied by a gamelan.  This drum is used to create sound  accompaniment for the movements of the puppets by the dhalang or  puppeteer.  It can be played quite loudly and is capable of producing a  very wide range of tones and dynamics. There is a specific style of  playing this drum for shadow puppet theater, which can be very  ornamental and elaborate like the kendhang ciblon; however, the kendhang  wayang can also be used to play kendhang ageng patterns.  The kendhang  wayang can also be played in venues other than shadow puppet theater.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kendhang%20Wayang">description</a> of kendhang wayang in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The kendhang  wayang is a hand drum played using a variety of strokes on both heads.</div>
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         <a href="http://www.blogger.com/null" name="Kenong"></a><br />
<br />KENONG<div>
Function:  The kenong is often referred to as a  structure instrument.  The function of the kenong is to play at specific  places within a composition depending upon the structure of that  composition. Some commonly played structures are lancaran, ketawang,  ladrang, gendhing, srepeg, and sampak.   In each of these structures the  kenong has assigned places in which it plays that are related to the  patterns of the kethuk, kempiang, kempul, and gong.  In modern Central  Javanese gamelan music, the kenong also follows and anticipates the  movements of the melody, paying close attention to areas of repeated  notes and transitions into the ngelik, or higher melodic section.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kenong">description</a> of kenong in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The kenong is usually played  with one mallet, but can be played with two if the music is very fast.   The player sits on the floor and strikes the node (or highest point) of  the pot with the soft end of the mallet.</div>
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         <a href="http://www.blogger.com/null" name="Kenong Japan"></a><br />
<br />KENONG JAPAN<div>
Function:  The kenong Japan is not often used in  gamelan music today.  It is a structure instrument similar to the  kenong.  Its function is to play at specific places within a composition  depending upon its structure.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kenong%20Japan">description</a> of Kenong Japan in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The kenong Japan is played  with a mallet like the one used for the kenong.  The player sits on the  floor and strikes the node (or highest point) of the pot with the soft  end of the mallet.</div>
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         <a href="http://www.blogger.com/null" name="Kenthogan"></a><br />
<br />KENTHOGAN<div>
Function:  In the gamelan, the kenthongan is used  in the kethoprak, a Javanese dance drama.  It signals the cues for the  drummers and dancers.  Outside the context of gamelan, the  kenthongan  is used for announcing messages within villages and neighborhoods, such  as the death of a villager or the presence of intruders.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kenthogan">description</a> of kenthogan in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:     The kenthogan is played by striking the wood near the slit with a stick.</div>
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         <a href="http://www.blogger.com/null" name="Keprak"></a><br />
<br />KEPRAK<div>
Function:  The keprak is used in Javanese wayang  kulit (shadow puppet theater) by the dhalang (puppeteer) to give sound  effects to puppet movements.  It can also be used to cue the musicians  to start, stop, and speed up the music.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Keprak">description</a> of keprak in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The keprak is played by  hanging the plates on the hook from the puppet box.  The dhalang  (puppeteer) manipulates the plates with the foot while seated  cross-legged.</div>
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<a href="http://www.blogger.com/null" name="Ketawang"></a> <br />  KETAWANG <div>
Definition:   one of the formal structures of a gamelan composition (gendhing).</div>
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    <a href="http://www.blogger.com/null" name="Kethoprak"></a><br />
<br />  KETHOPRAK <div>
Definition:   a Javanese historical dance drama that  derives its story lines and characters from real or semi-mythical  personalities.</div>
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         <br />
<br />KETHUK (see <a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kempiang">KEMPIANG</a>)<hr style="margin-left: auto; margin-right: auto;" />
         <a href="http://www.blogger.com/null" name="Klenengan"></a>  <br />
<br />KLENENGAN<div>
Definition:   A type of Javanese gamelan concert  music, played in a soft and contemplative style, used for listening  entertainment rather than for the accompaniment of a dramatic theatrical  event. </div>
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         <a href="http://www.blogger.com/null" name="Kotak Tabuh"></a><br />
<br />KOTAK TABUH<div>
Function:  Box in which mallets are stored.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kotak%20Tabuh">description</a> of Kotak Tabuh in the <i>Kyai Rengga Manis Everist</i> gamelan.          <br />
<br />
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    <a href="http://www.blogger.com/null" name="Ladrang"></a><br />
<br />  LADRANG <div>
Definition:   one of the formal structures of a gamelan composition (gendhing). Listen to a  musical excerpt from the ladrang, <i><a href="http://orgs.usd.edu/nmm/GiftShop/CDClips/Gamelan/Gamelan%20Sri%20Wibowo.mp3">Sri Wibowo-Srepeg</a></i>, Laras Slendro Pathet Songo (1904), recorded on the NMM gamelan in 2007 by <a href="http://www.ipaam.org/ensembles.html">The Sumunar Gamelan Ensemble</a> of the Indonesian Performing Arts Association of Minnesota.  </div>
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    <a href="http://www.blogger.com/null" name="Lancaran"></a><br />
<br />  LANCARAN <div>
Definition:   one of the formal structures of a  gamelan composition (gendhing).  Listen to a  musical excerpt from the  lancaran, <i><a href="http://orgs.usd.edu/nmm/GiftShop/CDClips/Gamelan/Gamelan%20Sayuk%20Sampak.mp3">Sayuk-Sampak</a></i>, Laras Pelog Pathet Barang by Marto Pengrawit (1950), arr. by Joko Sutrisno, recorded on the NMM gamelan in 2007 by <a href="http://www.ipaam.org/ensembles.html">The Sumunar Gamelan Ensemble</a> of the Indonesian Performing Arts Association of Minnesota.  </div>
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    <a href="http://www.blogger.com/null" name="Laras"></a><br />
<br />  LARAS <div>
Definition:   refers to a tuning system or a pitch.   Listen to a  musical excerpt played in the laras tuning system: <i><a href="http://orgs.usd.edu/nmm/GiftShop/CDClips/Gamelan/Gamelan%20Sayuk%20Sampak.mp3">Sayuk-Sampak</a></i>, Laras Pelog Pathet Barang by Marto Pengrawit (1950), arr. by Joko Sutrisno, recorded on the NMM gamelan in 2007 by <a href="http://www.ipaam.org/ensembles.html">The Sumunar Gamelan Ensemble</a> of the Indonesian Performing Arts Association of Minnesota. </div>
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    <a href="http://www.blogger.com/null" name="Laras Pelog"></a><br />
<br />  LARAS PELOG (see <a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Pelog">PELOG</a>) <hr style="margin-left: auto; margin-right: auto;" />
    <a href="http://www.blogger.com/null" name="Laras Slendro"></a><br />
<br />  LARAS SLENDRO (see <a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Slendro">SLENDRO</a>) <hr style="margin-left: auto; margin-right: auto;" />
    <a href="http://www.blogger.com/null" name="Naga"></a><br />
<br />  NAGA <div>
Definition:  The <a href="http://orgs.usd.edu/nmm/Gamelan/9882/gamelandrum.html#Naga">naga (dragon)</a> is a traditional royal symbol from Central Java.   Many of the frames for the <i>Kyai Rengga Manis Everist</i>  gamelan are carved with nagas, their crowned heads facing outward and  their tails coiled together at the center.  The nagas’ mouths are  typically open and  individual teeth are carved, along with a forked  tongue.  Each naga has what appears to be a collar or stylized hair and  beard curling out from under the head.  The body arches into an arc  twice before the tails coil and meet.   </div>
<hr style="margin-left: auto; margin-right: auto;" />
    <a href="http://www.blogger.com/null" name="Ngelik"></a><br />
<br />  NGELIK <div>
Definition:   melodic movement to a higher register in gamelan music.</div>
<hr style="margin-left: auto; margin-right: auto;" />
<a href="http://www.blogger.com/null" name="Pelog"></a> <br />PELOG<div>
Definition:   the Javanese tuning system in which the  octave is divided into seven intervals.  A full gamelan set employs  both tuning systems—slendro and pelog—although the two sets are never  played simultaneously.  The <i>Kyai Rengga Manis Everist</i> gamelan is such a full gamelan set.  Listen to a  musical excerpt played in the pelog tuning system: <i><a href="http://orgs.usd.edu/nmm/GiftShop/CDClips/Gamelan/Gamelan%20Sayuk%20Sampak.mp3">Sayuk-Sampak</a></i>, Laras Pelog Pathet Barang by Marto Pengrawit (1950), arr. by Joko Sutrisno, recorded on the NMM gamelan in 2007 by <a href="http://www.ipaam.org/ensembles.html">The Sumunar Gamelan Ensemble</a> of the Indonesian Performing Arts Association of Minnesota.</div>
<hr style="margin-left: auto; margin-right: auto;" />
<a href="http://www.blogger.com/null" name="Pesinden"></a> <br />PESINDEN<div>
Definition:   a solo female singer in the gamelan.</div>
<hr style="margin-left: auto; margin-right: auto;" />
<a href="http://www.blogger.com/null" name="Racikan"></a> <br />RACIKAN<div>
Definition:  a long introduction.  In gamelan  Sekaten, the bedhug gives the cues for tempo changes, acts as a phrase  divider and emphasizes the strong seleh (resolution notes) during the  racikan (long introduction).</div>
<hr style="margin-left: auto; margin-right: auto;" />
         <a href="http://www.blogger.com/null" name="Rebab"></a><br />
<br />REBAB<div>
Function:  The rebab is, in many ways, the melody  leader.  It plays a more lyrical melody than that of the basic or  skeletal melody instruments like the slenthem and it articulates the  high and low tones that the slenthem and saron are not able to play  because of their limited range.  The rebab is often responsible for  playing the introduction to a piece of music (buka), signaling the other  players to move to different sections of melody within a piece, and in  many instances, deciding which pieces to play.  This is often done by  simply playing the introduction, and the other musicians are expected to  recognize the piece and follow along.  The rebab and gender barung are  closely related, often listening to each other for melodic variations  and ornamentation.  The rebab and gerong (vocal part similar to a choir)  are also interdependent in establishing the lyrical melody of a piece.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Rebab">description</a> of rebab in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The rebab player sits  cross-legged on the floor with the instrument held vertically--its spike  resting on the floor in front of the player.  The instrument is bowed  at the point where the neck joins the body.  The player’s left hand  articulates the notes by pressing gently on the fretless wire, with the  thumb remaining behind the neck.</div>
<hr style="margin-left: auto; margin-right: auto;" />
    <a href="http://www.blogger.com/null" name="Sampak"></a><br />
<br />  SAMPAK <div>
Definition:   one of the formal structures of a gamelan composition (gendhing).</div>
<hr style="margin-left: auto; margin-right: auto;" />
          <a href="http://www.blogger.com/null" name="Saron Barung"></a><br />
<br />SARON BARUNG <br />
<a href="http://www.blogger.com/null" name="Saron Demung"></a>SARON DEMUNG<br />
<a href="http://www.blogger.com/null" name="Saron Panerus"></a>SARON PANERUS (PEKING)<div>
Function:  The saron instruments play the basic  or skeletal melody of the music—the balungan.  This basic melody is an  abstraction of the melody played by the elaborating instruments.   Usually the notation for any piece of music will be limited to the part  played by the saron instruments.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Saron%20Barung">description</a> of saron barung in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The saron instruments are  played by striking the bar in its center with the oval end of the mallet  and dampening the previous bar when the next is played.  The player  sits on the side with the pitches ascending to the right.</div>
<hr style="margin-left: auto; margin-right: auto;" />
<a href="http://www.blogger.com/null" name="Saron Nyacah"></a> <br />SARON NYACAH<div>
Definition:   The saron wayang is used to play  special patterns that other saron do not play, because of  its larger  range.  These patterns are called saron nyacah and occur mostly in music  for wayang (Javanese puppet and mask theater).</div>
<hr style="margin-left: auto; margin-right: auto;" />
         <a href="http://www.blogger.com/null" name="Saron Wayang"></a><br />
<br />SARON WAYANG<div>
Function:  The saron wayang is used to play  special patterns that other saron do not play, because of  its larger  range.  These patterns are called saron nyacah and occur mostly in music  for wayang (Javanese puppet and mask theater).</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Saron%20Wayang">description</a> of saron wayang in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The saron instruments are  played by striking the bar in its center with the oval end of the mallet  and dampening the previous bar when the next is played.  The player  sits on the side with the pitches ascending to the right.</div>
<hr style="margin-left: auto; margin-right: auto;" />
<a href="http://www.blogger.com/null" name="Sekaten"></a> <br />SEKATEN<div>
Definition:   a pelog gamelan ensemble played in  Indonesia during the Muslim holy week or Sekaten (which celebrates the  birth of the prophet Muhammad), after which the ensemble is named.</div>
<hr style="margin-left: auto; margin-right: auto;" />
<a href="http://www.blogger.com/null" name="Selamatan"></a> <br />SELAMATAN<div>
Definition:   A Javanaese ritual meal.  According to  Javanese custom, the selamatan (or slametan) may be performed in order  to mark many special occasions, including rites of passage such as  birth, marriage, and death, as well as other transitions, such as  harvest, recovery from illness, name-changing, or embarking on a  journey.  Whatever the occasion, it is meant to produce a propitious  sense of well-being and security.  The ceremony is believed to ensure  that all possible auspicious influences are brought to bear on any  future undertakings.  This process of perfecting intent and potential is  known in the Javanese language as slamet or sometimes salamet.  At a  slametan, food that differs from everyday fare is offered.  These  special foods have symbolic meanings.  The yellow rice mountain, for  instance, symbolizes success, high aspirations or hope.  On its peak are  garlic, red onion, and hot chili, all of which are meant to ward off  evil.  The yellow rice stands for love, and the white, purity.  At the  base, the whole chicken represents unity, while the whole egg means new  life.  The long green beans signify long life, and the mixed vegetables,  diversity.  These foods all rest on a platter of folded banana leaves,  representing strength.</div>
<div>
Three selamatans (slametans) were celebrated for the <i>Kyai Rengga Manis Everist</i> gamelan:  1) <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanManufacture.html#Surakarta">before it left Java</a>; 2)  <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanArrival.html#slametan">after its arrival in Vermillion</a>; and 3)  <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanNaming.html">at its naming ceremony</a>.</div>
<hr style="margin-left: auto; margin-right: auto;" />
<a href="http://www.blogger.com/null" name="Seleh"></a> <br />SELEH <div>
Definition:  resolution notes or phrases.  The suling  plays a role similar to the pesinden (female solo vocalist) by  emphasizing strong seleh or resolution phrases.</div>
<hr style="margin-left: auto; margin-right: auto;" />
         <a href="http://www.blogger.com/null" name="Siter"></a><br />
<br />SITER<div>
Function:  The siter is an elaborating instrument.   Its role is similar to that of the celempung—filling in with ornate  patterns based on the balungan or basic melody and the irama; however,  the octave range of the siter is higher than that of the celempung.  The  siter, celempung, and gambang all play the same number of beats in  relation to each measure of the balungan melody.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Siter">description</a> of siter in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The siter is played like the  celempung—the player sits on the floor facing the smaller end of the  instrument and plucks the strings with the nails of both thumbs.  Long  thumbnails are essential.</div>
<hr style="margin-left: auto; margin-right: auto;" />
<a href="http://www.blogger.com/null" name="Slametan"></a> <br />SLAMETAN (see <a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Selamatan">SELAMATAN</a>)<hr style="margin-left: auto; margin-right: auto;" />
<a href="http://www.blogger.com/null" name="Slendro"></a> <br />SLENDRO<div>
Definition:   the Javanese tuning system in which the  octave is divided into five intervals.  A full gamelan set employs both  tuning systems—slendro and pelog—although the two sets are never played  simultaneously.  The <i>Kyai Rengga Manis Everist</i> gamelan is such a full gamelan set.  Listen to a  musical excerpt from the ladrang, <i><a href="http://orgs.usd.edu/nmm/GiftShop/CDClips/Gamelan/Gamelan%20Sri%20Wibowo.mp3">Sri Wibowo-Srepeg</a></i>, Laras Slendro Pathet Songo (1904), recorded on the NMM gamelan in 2007 by <a href="http://www.ipaam.org/ensembles.html">The Sumunar Gamelan Ensemble</a> of the Indonesian Performing Arts Association of Minnesota.  </div>
<hr style="margin-left: auto; margin-right: auto;" />
         <a href="http://www.blogger.com/null" name="Slenthem"></a><br />
<br />SLENTHEM<div>
Function:  The slenthem usually plays the basic  or skeletal melody in Central Javanese traditional music, referred to in  Javanese as the balungan.  Its scale, an octave below the demung, is  the lowest of the basic melody instruments.  Because its large bars are  played with a soft mallet and resonate over hollow tubes, the tone of  the slenthem is smooth and mellow.  Although its sound is less piercing  than that of the other basic melody instruments such as the saron barung  and demung, the slenthem has a central role in supporting the melody.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Slenthem">description</a> of slenthem in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The player sits on the side  with the bars ascending in pitch from left to right.  The bars are  struck with the padded end of the mallet. The free hand dampens the  previous note at the same time that the next note is struck with the  mallet.</div>
<hr style="margin-left: auto; margin-right: auto;" />
           <a href="http://www.blogger.com/null" name="Slentho"></a><br />
<br />SLENTHO<div>
Function:  The slentho plays the basic or  skeletal melody of the music.  In cases where the slenthem deviates from  the basic melody, the slentho follows the slenthem.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Slentho">description</a> of slentho in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The slentho is played by  striking the bar in its center with the oval end of the mallet and  dampening the previous bar when the next is played.  The player sits on  the side with the pitches ascending from left to right.</div>
<hr style="margin-left: auto; margin-right: auto;" />
    <a href="http://www.blogger.com/null" name="Srepeg"></a><br />
<br />  SREPEG <div>
Definition:   one of the formal structures of a gamelan composition (gendhing).</div>
<hr style="margin-left: auto; margin-right: auto;" />
         <a href="http://www.blogger.com/null" name="Suling"></a><br />
<br />SULING<div>
Function:  The suling is an elaborating  instrument.  Its role is similar to the pesinden (female solo vocalist)  in emphasizing strong seleh or resolution phrases.  It also has  considerable freedom, as does the female vocalist, in its interpretation  of these melodic phrases in terms of when it begins to play, what  patterns it plays, its rhythm and ornamentation, and when it chooses to  end its phrase.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Suling">description</a> of suling in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The suling is an endblown flute with an external duct and is held vertically in front of the player.</div>
<hr style="margin-left: auto; margin-right: auto;" />
    <a href="http://www.blogger.com/null" name="Tabuh"></a><br />
<br />  TABUH <div>
Definition:  a <a href="http://orgs.usd.edu/nmm/Gamelan/Mallets/GamelanMallets.html">mallet</a> for striking instruments of the gamelan.</div>
<hr style="margin-left: auto; margin-right: auto;" />
    <a href="http://www.blogger.com/null" name="Tari"></a><br />
<br />  TARI <div>
Definition:   Javanese classical dance.</div>
<hr style="margin-left: auto; margin-right: auto;" />
<a href="http://www.blogger.com/null" name="Wayang"></a> <br />  WAYANG <div>
Definition:  lit., 'shadow.'  May refer to the wayang  kulit—the shadow puppet performance—or it may be used generically to  refer to any traditional, dramatic performance accompanied by the  gamelan.</div>
<hr style="margin-left: auto; margin-right: auto;" />
<a href="http://www.blogger.com/null" name="Wayang Kulit"></a> <br />  WAYANG KULIT <div>
Definition:   Javanese shadow puppet performance, traditionally accompanied by a slendro gamelan.</div>
<img src="http://www.usd.edu/gifs/icons/lines/music.gif" />       <br />Go to  <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanManufacture.html">The Manufacture and Ceremonial History of the <i>Kyai Rengga Manis Everist</i> Gamelan</a> <br />Go to  <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanArrival.html">The Arrival of the <i>Kyai Rengga Manis Everist</i> Gamelan in Vermillion, July 15, 2000</a> <br />Go to  <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanNaming.html">The Naming Ceremony for the <i>Kyai Rengga Manis Everist</i> Gamelan, April 26, 2003</a> <br />Go to  <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html">Checklist of Musical Instruments from <i>Kyai Rengga Manis Everist</i> Gamelan</a> </h4>
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Trojan Baru Neverquest Incar Layanan Online Banking Sedunia - Tribunnews.com

<div style="text-align: justify;"><img alt="Trojan Baru Neverquest Incar Layanan Online Banking Sedunia" class="imgfull" height="396" src="http://data.tribunnews.com/foto/bank/images/20131009_transaksi-online-zakat_2492.jpg" style="float: none; width: 680px;" width="640" /></div><div style="text-align: justify;">Kaspersky Lab mencatat beberapa ribu percobaan untuk menginfeksi  komputer yang digunakan untuk online banking menggunakan program  berbahaya yang diklaim pembuatnya bisa menyerang “bank apapun di negara  manapun”, <a href="http://www.tribunnews.com/tag/trojan/">Trojan</a> Neverquest.</div><div style="text-align: justify;"></div><div style="text-align: justify;">Trojan  Neverquest mendukung hampir semua trik yang digunakan untuk melewati  sistem keamanan online banking dengan penginjeksian web, mengakses  sistem dari jarak jauh, rekayasa sosial dan lain-lain.</div><div style="text-align: justify;">Mengingat  kemampuannya untuk memperbanyak diri, diperkirakan akan terjadi kenaikan  tajam jumlah serangan yang terkait dengan Neverquest, dan bisa  mengakibatkan kerugian finansial bagi pengguna di seluruh dunia. </div><div style="text-align: justify;">Sergey  Golovanov, Principal Security Researcher, Kaspersky Lab, Jumat  (29/11/2013) menyatakan,  Neverquest adalah salah satu ancaman yang  bertujuan menjadi <a href="http://www.tribunnews.com/tag/trojan/">Trojan</a> teratas yang sebelumnya ditempati oleh program-program seperti Zeus dan Carberp. </div><div style="text-align: justify;">"Neverquest  mencuri username dan password rekening bank serta semua data yang  dimasukkan pengguna ke laman situs bank yang telah dimodifikasi,"  katanya.</div><div style="text-align: justify;">Pelaku menggunakan skrip khusus untuk Internet Explorer  dan Firefox untuk memfasilitas pencurian ini. Hal ini memberikan  Neverquest kendali atas koneksi browser menggunakan command server  pelaku ketika malware membuka situs-situs dari 28 situs yang ada di  dalam daftar, termasuk situs bank-bank besar dunia, seperti situs  bank-bank di Jerman, Italia, Turki, dan India serta sistem pembayaran  online ternama.</div><div style="text-align: justify;">Fungsi lain yang dimiliki malware ini membantu  pelaku mengganti daftar target bank mereka dan mengembangkan kode yang  akan dimasukkan ke situs baru yang sebelumnya tidak masuk dalam daftar  target mereka. </div><div style="text-align: justify;">Dari seluruh situs yang menjadi sasaran <a href="http://www.tribunnews.com/tag/trojan/">Trojan</a>  ini, situs dana investasi atau pengelola keuangan (investment fund)  sepertinya menjadi target utama. Situs seperti ini menawarkan klien  mereka daftar panjang cara untuk mengelola keuangan secara online.</div><div style="text-align: justify;">Hal  ini memberi peluang bagi pelaku untuk mentransfer dana tunai ke  rekening mereka sendiri serta untuk bermain saham, menggunakan rekening  dan uang korban Neverquest. </div><div style="text-align: justify;">Setelah mendapat akses ke rekening  pengguna dengan sistem online banking, para pelaku melakukan transaksi  dan mengirim uang dari rekening pengguna ke rekening pelaku atau ke  rekening korban lain, untuk mengecoh agar jejaknya tidak mengarah  langsung ke pelaku.</div><div style="text-align: justify;">Untuk menghadapi ancaman seperti Neverquest  dibutuhkan perlindungan yang lebih dari sekadar antivirus standar;  pengguna membutuhkan solusi khusus yang  mengamankan transaksi mereka.</div><div style="text-align: justify;">"Secara  khusus, solusi tersebut harus mampu mengontrol proses browser yang  sedang berjalan dan mencegah manipulasi apa pun yang dilakukan aplikasi  lain," katanya.</div><div id="related" style="text-align: justify;"> <div class="fbo2 mb10 f13">Terkait<span class="f14">   <a class="fbo" href="http://www.tribunnews.com/tag/trojan/">#Trojan</a></span></div></div><div class="f11 grey pb10" style="text-align: justify;">   <div>Penulis: Eko Sutriyanto  </div><div>  Editor: fajar anjungroso</div><div><strong>TRIBUNNEWS.COM, JAKARTA</strong> </div></div>

Trojan Baru Neverquest Incar Layanan Online Banking Sedunia - Tribunnews.com

Kaspersky Lab mencatat beberapa ribu percobaan untuk menginfeksi komputer yang digunakan untuk online banking menggunakan program berbahay...

Free PHP benchmark performance script

<div dir="ltr" style="text-align: left;" trbidi="on"> <table bgcolor="#B9C9FF" border="0" cellpadding="0" cellspacing="0" style="width: 100%px;"><tbody><tr><td align="center" class="menu" height="16"><span class="menu">find free web hosting, compare free webspace, and search free webhosting service providers to get a free website</span></td></tr></tbody></table><table bgcolor="#7C8ED7" border="0" cellpadding="3" cellspacing="0" style="width: 100%px;"><tbody><tr><td align="left" valign="middle" width="249"><img alt="free webspace" border="0" height="60" src="http://www.free-webhosts.com/images/249x60xfree-webspace.gif.pagespeed.ic.UGR31ev6fB.png" width="249" /></td><td width="20"> </td> <td align="center" valign="middle"><div align="center">      </div></td></tr></tbody></table><table bgcolor="#B9C9FF" border="0" cellpadding="0" cellspacing="0" style="width: 100%px;"><tbody><tr><td align="center" class="menu" height="16"><a class="menu" href="http://www.free-webhosts.com/" target="_top"> Free Webspace </a> ∙  <a class="menu" href="http://www.free-webhosts.com/webhosting-01.php" target="_top"> Free Web Hosting </a> ∙  <a class="menu" href="http://www.free-webhosts.com/search-webhosts.php" target="_top"> Search </a> ∙ <a class="menu" href="http://www.free-webhosts.com/reviews/" target="_top"> Reviews </a> ∙  <a class="menu" href="http://www.free-webhosts.com/user_reviews.php" target="_top"> Ratings </a> ∙  <a class="menu" href="http://www.free-webhosts.com/free-image-hosting.php" target="_top"> Free Image Hosting </a></td></tr></tbody></table><table bgcolor="#B9C9FF" border="0" cellpadding="0" cellspacing="0" style="width: 100%px;"><tbody><tr><td align="center" class="menu" height="16">  </td></tr></tbody></table><br />  <div align="center"><center><br /><table bgcolor="#B9C9FF" cellpadding="20" cellspacing="0" class="table1" style="width: 80%px;"><tbody><tr><td>  <h1 align="center"><b><span style="font-size: large;">Free PHP Benchmark Performance Script</span></b></h1><hr />  <div align="center">     </div><table border="0" cellpadding="0" cellspacing="0" style="width: 100%px;"><tbody><tr><td> <blockquote>    <br /><div align="left"><span style="font-family: Arial;"><b><u>PHP Script Summary and Features:</u></b></span> </div><div align="left"><span style="font-family: Arial;">This free PHP performance benchmark script is a <b>free PHP script</b> to calculate benchmark speeds (PHP execution times) of PHP web hosting  servers. The free PHP script performs some simple mathematics and string  manipulating functions repetitively (20,000 times each), and records  the PHP code execution time it takes to complete the PHP functions. This  benchmarking process is repeated the number of times given by the  variable $iterations (in the PHP script, the default setting is 12  times) using a Javascript redirect to the PHP script again, with delays  of 5 seconds each. The average time for PHP code execution is given, and  also the average time after removing the highest (slowest) and lowest  (fastest) completion times. It features links to restart the process  again at any time, or "stop" the process (it does one more calcultion).<br /><br /> <span style="color: red;">WARNING:</span> It is recommended to host this  benchmark script in a password-protected folder if possible; or  otherwise to exclude it in robots.txt and/or rename it something more  obscure.<br /><br /> The script is used by Free-Webhosts.com to compare the web server speeds of <a href="http://www.free-webhosts.com/free-php-webhosting.php">free PHP web hosting</a> providers. The benchmark results (average PHP execution times of this script) for free PHP hosts are provided at:<br /><br /> <a href="http://www.free-webhosts.com/php-hosting-comparison.php">free php hosting services comparison benchmark results</a></span> </div><div align="left"><span style="font-family: Arial;"><b><u>Download current version:</u></b></span> </div><div align="left"><span style="font-family: Arial;">Current version: v1.0.1<br />Last modified: August 26, 2006<br />Created: June 23, 2006</span> </div><div align="center"><span style="font-family: Arial;">Download source code, script, and documentation (all in one file):<br /></span> </div><div align="center"><form action="download/index.php" method="post"><table border="1" cellpadding="5" cellspacing="0"> <tbody><tr><th align="center">Format:</th><th align="center">Size:</th><th align="center">Download Link:</th></tr><tr bgcolor="white"><td align="center"><span style="font-family: Arial;">tar.gz</span></td><td align="center"><span style="font-family: Arial;">1.9 KB</span></td><td align="center">  </td></tr></tbody></table></form></div><div align="left"><span style="font-family: Arial;"><b><u>Price:</u></b></span> </div><div align="left"><span style="font-family: Arial;">FREE (GPL - See Copyright and Terms below).</span> </div><div align="left"><span style="font-family: Arial;"><b><u>Copyright and Terms:</u></b></span> </div><div align="left"><span style="font-family: Arial;">This software is copyright (C) 2006 Free-Webhosts.com. It is distributed under the terms of the GNU General Public License (GPL). Because it is licensed free of charge, there is NO WARRANTY, it is provided AS IS. The author can not be held liable for any damage that might arise from the use of this software. Use it at your own risk.<br /><br /> All copyright notices and links to Free-Webhosts.com website MUST remain intact in the scripts and in the HTML for the scripts.<br /><br /> For more details, see <a href="http://www.free-webhosts.com/license_gnu_gpl.php">GPL license</a> (or <a href="http://www.gnu.org/">http://www.gnu.org/</a>).</span> </div><div align="left"><span style="font-family: Arial;"><b><u>Contact:</u></b></span> </div><div align="left"><span style="font-family: Arial;">Please feel free to <a href="http://www.free-webhosts.com/contact.php"> contact us</a> with any comments, suggestions, bug fixes, or constructive criticism.</span> </div></blockquote></td></tr></tbody></table><br />     </td></tr></tbody></table></center></div>   <br /><div align="center"><span class="menu2"> Copyright © 2002-2013 - </span><a class="link1" href="http://www.free-webhosts.com/" target="_top"><b>Free Web Hosting</b></a><span class="menu2"> - Free-Webhosts.com<br />- November 28, 2013 -</span><br />  </div><br /><br /><br />   </div>

Free PHP benchmark performance script

find free web hosting, compare free webspace, and search free webhosting service providers to get a free website Free Webspace ...

Jokowi Nomor 1 se-Indonesia sepanjang tahun 2013

<div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-l4DMlobnXlE/UpG2a9InWLI/AAAAAAAAJIw/j1xRUaMai6I/s1600/orang+nomor+satu+sepanjang+2013.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="366" src="http://1.bp.blogspot.com/-l4DMlobnXlE/UpG2a9InWLI/AAAAAAAAJIw/j1xRUaMai6I/s640/orang+nomor+satu+sepanjang+2013.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Orang Nomor 1 d Indonesia sepanjang 2013</i></td></tr></tbody></table><b>Siapakah orang yang paling terkenal di Indonesia sepanjang tahun 2013?</b> Trend Indonesia Selama tahun 2013 bisa kita lihat secara langsung pada grafik live dari google trend dibawah ini: <br /><br /><script src="//www.google.co.id/trends/embed.js?hl=in&q=Jokowi,+SBY,+Prabowo,+Megawati,+Wiranto&date=1/2013+12m&cmpt=q&content=1&cid=TIMESERIES_GRAPH_AVERAGES_CHART&export=5&w=650&h=360" type="text/javascript"></script><br />Trend sepanjang tahun 2013 menempatkan <b>Jokowi sebagai orang nomor satu di Indonesia</b> mengalahkan SBY, Prabowo, Wiranto, Prabowo.</div>

Jokowi Nomor 1 se-Indonesia sepanjang tahun 2013

Orang Nomor 1 d Indonesia sepanjang 2013 Siapakah orang yang paling terkenal di Indonesia sepanjang tahun 2013? Trend Indonesia Selama tahu...

Embed Code Syntax Highlighting in Blogger

<div dir="ltr" style="text-align: left;" trbidi="on">Hi Friends,<br /><br />If you are a developer & want to share your code over the blog with proper <span class="IL_AD" id="IL_AD2">highlighting</span> & syntax, then <span class="IL_AD" id="IL_AD6">Blogger</span>/Wordpress doesn't have the immediate solution out here!<br /><br />A quick workaround for Blogger can be to embed your source between:<br /><blockquote></blockquote><br />tags in order to prevent them from getting parsed.<br />E.g.<br /><pre class="brush: js"><br /><blockquote><br /><a href="http://site.com">Site</a><br /></blockquote><br /></pre> But for the formatting & highlighting used <span class="IL_AD" id="IL_AD5">to quote</span> above <br />example, an excellent open source tool called <a href="http://alexgorbatchev.com/wiki/SyntaxHighlighter" linkindex="13">SyntaxHighlighter</a> is available.<br /><br />This is ready to use out of box 100% Javascript based SyntaxHighlighter with extensive features & multiple other options.<br /><br />SyntaxHighlighter can be either <span class="IL_AD" id="IL_AD12">downloaded</span> & used on your own webserver or if you have a blog on Blogger, this can be directly used as well.<br /><br />To downloaded SyntaxHighlighter for your own personal Webserver/Hosted Site: <a href="http://alexgorbatchev.com/wiki/SyntaxHighlighter:Download" linkindex="14">http://alexgorbatchev.com/wiki/SyntaxHighlighter:Download</a><br />Configuration Steps: <a href="http://alexgorbatchev.com/wiki/SyntaxHighlighter:Configuration" linkindex="15">http://alexgorbatchev.com/wiki/SyntaxHighlighter:Configuration</a><br /><span class="IL_AD" id="IL_AD9">Brush</span> Aliases:<a href="http://alexgorbatchev.com/wiki/SyntaxHighlighter:Brushes" linkindex="16">http://alexgorbatchev.com/wiki/SyntaxHighlighter:Brushes</a><br /><br />In order <span class="IL_AD" id="IL_AD3">to install</span> & use it on Blogger, <span class="IL_AD" id="IL_AD4">follow the</span> below <span class="IL_AD" id="IL_AD11">simple steps</span>:<br />1) Go to your Template Layout-><span class="IL_AD" id="IL_AD1">Download</span> your template as a backup first<br />2)Now click Edit HTML for Layout & then paste the below code in your Template before your </head> tag ends. Note this is pointing to the Latest released version v2.1.364; older versions can be found at: <a href="http://alexgorbatchev.com/pub/sh/" linkindex="17">http://alexgorbatchev.com/pub/sh/</a><br />  <pre class="brush: js"><br /><link href='http://alexgorbatchev.com/pub/sh/2.1.364/styles/shCore.css' rel='stylesheet' type='text/css'/> <br /><link href='http://alexgorbatchev.com/pub/sh/2.1.364/styles/shThemeDefault.css' rel='stylesheet' type='text/css'/> <br /><script src='http://alexgorbatchev.com/pub/sh/2.1.364/scripts/shCore.js' type='text/javascript'></script> <br /><script src='http://alexgorbatchev.com/pub/sh/2.1.364/scripts/shBrushCpp.js' type='text/javascript'></script> <br /><script src='http://alexgorbatchev.com/pub/sh/2.1.364/scripts/shBrushCSharp.js' type='text/javascript'></script> <br /><script src='http://alexgorbatchev.com/pub/sh/2.1.364/scripts/shBrushCss.js' type='text/javascript'></script> <br /><script src='http://alexgorbatchev.com/pub/sh/2.1.364/scripts/shBrushJava.js' type='text/javascript'></script> <br /><script src='http://alexgorbatchev.com/pub/sh/2.1.364/scripts/shBrushJScript.js' type='text/javascript'></script> <br /><script src='http://alexgorbatchev.com/pub/sh/2.1.364/scripts/shBrushPhp.js' type='text/javascript'></script> <br /><script src='http://alexgorbatchev.com/pub/sh/2.1.364/scripts/shBrushPython.js' type='text/javascript'></script> <br /><script src='http://alexgorbatchev.com/pub/sh/2.1.364/scripts/shBrushRuby.js' type='text/javascript'></script> <br /><script src='http://alexgorbatchev.com/pub/sh/2.1.364/scripts/shBrushSql.js' type='text/javascript'></script> <br /><script src='http://alexgorbatchev.com/pub/sh/2.1.364/scripts/shBrushVb.js' type='text/javascript'></script> <br /><script src='http://alexgorbatchev.com/pub/sh/2.1.364/scripts/shBrushXml.js' type='text/javascript'></script> <br /><script src='http://alexgorbatchev.com/pub/sh/2.1.364/scripts/shBrushPerl.js' type='text/javascript'></script> <br /><script language='javascript'> <br />SyntaxHighlighter.config.bloggerMode = true;<br />SyntaxHighlighter.config.clipboardSwf = 'http://alexgorbatchev.com/pub/sh/2.1.364/scripts/clipboard.swf';<br />SyntaxHighlighter.all();<br /></script> <br /></pre><br />3)Save the template & open you blog in IE & Firefox to test if any javascript errors are reported as this might conflict with various other embedded scripts in your template.<br /><br />This completes the direct embedding of SyntaxHighlighter in your Blog. Now lets proceed how to use it in your posts:<br /><br />Usage:<br />For SyntaxHighlighter 2.0 & above:<br />Any code you want to be placed & displayed using SyntaxHighlighter must be enclosed in:<br />  <pre class="brush: js"><br /><script type="syntaxhighlighter" class="brush: html"><![CDATA[<br />#######YOUR CODE############<br />]]></script> <br /></pre><br />Note that we have option of using different <span class="IL_AD" id="IL_AD10">brushes</span> for highlighting different type of codes..e.g. HTML/ASP/C++ etc<br />In order to choose the appropriate brush, following are the various brush aliases supporting the corresponding code highlighting:<br />actionscript3<br />bash, shell<br />c-sharp, csharp<br />cpp, c<br />css     <br />delphi, pas, pascal<br />diff, patch<br />groovy <br />js, jscript, javascript<br />java<br />jfx, javafx<br />perl, pl<br />php <br />plain, text<br />ps, powershell <br />py, python<br />rails, ror, ruby<br />scala<br />sql<br />vb, vbnet<br />xml, xhtml, xslt, html, xhtml <br /><br />Above aliases can be used at: class="brush: <b>alias</b>" while embedding your code in the Blog.<br /><br />Another easy way supported by SyntaxHighlighter is to enclose the code within:<br /> <pre class="brush: js"><br /><pre class="brush: js"><br />#########YOUR CODE########<br /></pre></pre>   The only catch involved out here is, you have to use encoded HTML while embedding within <pre>tags.</pre>Your code can be converted to HTML Encoded using following easy to use Tool:<br /><a href="http://www.string-functions.com/htmlencode.aspx" linkindex="18">http://www.string-functions.com/htmlencode.aspx</a><br /><br />Just copy paste your code & generate the encoded HTML Code. Paste the encoded HTML within <pre>tags for correct rendering. Failure to do so might render wrong code, especially < & > <span class="IL_AD" id="IL_AD8">brackets</span>.<br /><br />Some examples of codes in my Blog:<br /><a href="http://geektalkin.blogspot.com/2009/07/historical-audit-trail-information.html" linkindex="19">http://geektalkin.blogspot.com/2009/07/historical-audit-trail-information.html</a><br /><br /><a href="http://geektalkin.blogspot.com/2009/11/batch-program-to-rename-file-with-date.html" linkindex="20">http://geektalkin.blogspot.com/2009/11/batch-program-to-rename-file-with-date.html</a> <br /><br />Keep Blogging!  </div> Blogger, Embed Code, Code, Syntax, Syntax Highlight, Syntaxhighlighter, Javascript, Blog Tricks, Blogs, Java, SQL, ASP, HTML, HTM, C#, XML, XSL, JS, CSS, PHP, PL, CGI, embed code blog,embed blogger blog, embed youtube blogger, swf embed code, you tube embed code, embed src code, embed wordpress blog, embed video blogger, myspace embed code,embed into, html code,rss feeds,blogger templates, blogger,syntax highlighting,script error,script,etc

Embed Code Syntax Highlighting in Blogger

Hi Friends, If you are a developer & want to share your code over the blog with proper highlighting & syntax, then Blogger /Wordpre...

Membagi Header Menjadi 2 Untuk Template Blogger V 3

<div dir="ltr" style="text-align: left;" trbidi="on"><div class="post-body entry-content" id="post-body-4581774337494450476">gambar<br /><br /><div style="text-align: justify;">Sebetulnya sudah banyak blog yang membahas tutorial yang satu ini, tetapi banyak pula yang gagal untuk menerapkannya. Hal ini di karenakan perbedaan template yang digunakan masing-masing blog. Kali ini kita akan mencoba Membagi Header Menjadi 2 Untuk Template Standar Blogger.</div><br />Untuk melakukannya, ikuti langkah-langkah berikut.<br />01. Setelah kamu login ke account blogger, cari menu Edit HTML.<br />02. Untuk berjaga-jaga jika terjadi error, maka backup dahulu data di blog kamu dengan mengklik "<b>Download Full Template</b>". Tunggu prosesnya sampai selesai.<br />03. Kemudian cari kode kurang lebih seperti berikut :<br /><div style="text-align: justify;"><br /></div><div class="alert"><div class="alert"><div style="color: red;"><b>/* Header</b></div>----------------------------------------------- */<br />.header-outer {<br />background: $(header.background.color) $(header.background.gradient) repeat-x scroll 0 -400px;<br />_background-image: none;<br />}<br />.Header h1 {<br />font: $(header.font);<br />color: $(header.text.color);<br />text-shadow: $(header.shadow.offset.left) $(header.shadow.offset.top) $(header.shadow.spread) rgba(0, 0, 0, .2);<br />}<br />.Header h1 a {<br />color: $(header.text.color);<br />}<br />.Header .description {<br />font-size: $(description.text.size);<br />color: $(description.text.color);<br />}<br />.header-inner .Header .titlewrapper {<br />padding: 15px $(header.padding);<br />}<br />.header-inner .Header .descriptionwrapper {<br />padding: 0 $(header.padding);<br /><div style="color: red;"><b>}</b></div></div></div><br /><div style="text-align: justify;">Ganti dengan kode ini<br /><script class="brush: html" type="syntaxhighlighter"><![CDATA[ /* Header ----------------------------------------------- */ .header-outer {   background: $(header.background.color) $(header.background.gradient) repeat-x scroll 0 -400px;   _background-image: none; } #header-wrapper { margin:0 auto 0px; height:70px; } #head-inner { width:285px; background-position: left; text-align: justify; margin-left: auto; margin-right: auto; float:left; } #header-kanan{ width:485px; float:right; } #header h1 {   color: $(header.text.color); margin: 0px; text-align: left; } .Header h1 a {   color: $(header.text.color); }  ]]></script></div>Silahkan di atur besar kecilnya angka agar pas dengan besarnya header blog kamu.<br /><br />04. Lanjut, cari kode berikut :</div><div class="post-body entry-content" id="post-body-4581774337494450476"><div style="text-align: justify;"><br /><div class="alert"><div class="alert"><div style="color: red;"><b><header></b></div><div class='header-outer'><br /><div class='header-cap-top cap-top'><br /><div class='cap-left'/><br /><div class='cap-right'/><br /></div><br /><div class='fauxborder-left header-fauxborder-left'><br /><div class='fauxborder-right header-fauxborder-right'/><br /><div class='region-inner header-inner'><br /><b:section class='header' id='header' maxwidgets='1' showaddelement='no'><br /><b:widget id='Header1' locked='true' title='Nama Blog Anda (Header)' type='Header'/><br /><b:widget id='HTML2' locked='false' title='' type='HTML'/><br /></b:section><br /></div><br /></div><br /><div class='header-cap-bottom cap-bottom'><br /><div class='cap-left'/><br /><div class='cap-right'/><br /></div><br /></div><br /><div style="color: red;"><b></header></b></div></div><div style="background-color: white; border: medium none; color: black; overflow: hidden; text-align: left; text-decoration: none;"></div></div><br /></div><div style="text-align: justify;">Ganti dengan kode di bawah</div><div style="text-align: justify;"><br /><pre class="brush: js"><header><br />    <div id="header-wrapper"><br /><div id="head-inner"><br /><b:section class="header" id="header" maxwidgets="1" showaddelement="no"><br /><b:widget id="Header1" locked="true" title="Nama Blog Kamu (Header)" type="Header"><br /></b:widget></b:section><br /></div><br /><div id="header-kanan"><br /><b:section class="header" id="header2" preferred="yes"><br /></b:section><br /></div><br /></div><br /></header><br /></pre><br /></div>Ganti "Nama Blog Anda" dengan Nama Blog<br />05. Jika sudah, silahkan klik tombol Preview untuk mengetahui apakah terjadi error.<br />06. Apa bila hasilnya tidak terjadi error maka, klik tombol Save Template.<br />07. Coba periksa pada menu Page Elements, jika berhasil maka akan ada dua kolom dibagian header.<br />Selamat mencoba</div></div>

Membagi Header Menjadi 2 Untuk Template Blogger V 3

gambar Sebetulnya sudah banyak blog yang membahas tutorial yang satu ini, tetapi banyak pula yang gagal untuk menerapkannya. Hal ini di kare...

Entireweb: Submit your site to a huge network of search engines!

<div dir="ltr" style="text-align: left;" trbidi="on"><div style="text-align: center;"><a href="http://www.entireweb.com/free_submission/#21303030" target="_blank"><span style="font-family: inherit;"><img alt=" Free Search Engine Submission" height="448" src="http://c1353547.r47.cf3.rackcdn.com/images/pages/free_submission/new/intro-searchengines@2x.png" width="640" /></span></a> </div><span style="font-family: inherit;"><br /></span><span style="font-family: inherit;"><br /></span><br /><div style="text-align: center;"><span style="font-family: inherit;"><b><span style="font-size: large;">Over 2.7 million people worldwide have used the Entireweb Free Search Engine Submission service to submit their sites to search engines such as Google, Yahoo, Bing and more.</span></b></span><br /><br /><a href="http://www.entireweb.com/free_submission/#a=21303030&b=f178c80a" target="_blank"><img alt="Free Search Engine Submission" height="280" src="http://affiliate.entireweb.com/accounts/default1/banners/f178c80a.jpg" title="Free Search Engine Submission" width="336" /></a><img alt="" height="1" src="http://affiliate.entireweb.com/scripts/imp.php?a=21303030&b=f178c80a" style="border: 0;" width="1" /><span style="font-family: inherit;"><b> </b></span><br /><br /><span style="font-family: inherit;"><b>Quick & Easy </b></span><br /><span style="font-family: inherit;">Within a few seconds, you can start using the leading search engine submission tool online. </span><br /><span style="font-family: inherit;"><br /></span><span style="font-family: inherit;"><b>One-stop Site Submission </b></span><br /><span style="font-family: inherit;">Save time by submitting your site to all the top search engines and let people know you exist. </span><br /><span style="font-family: inherit;"><br /></span><span style="font-family: inherit;"><b>Join Millions of People! </b></span><br /><span style="font-family: inherit;">More than 2.7 million people have used Entireweb to submit their websites - now it's your turn. </span><br /><span style="font-family: inherit;"><br /></span><span style="font-family: inherit;"><b>It's Free! </b></span><br /><span style="font-family: inherit;">This service is 100% free of charge and you can use it as often as you want! </span><br /><span style="font-family: inherit;"><br /></span><span style="font-family: inherit;"><b> Monthly Notifications </b></span><br /><span style="font-family: inherit;">Keep track of your submission process with your monthly notification emails. </span><br /><span style="font-family: inherit;"><br /></span><span style="font-family: inherit;"><b>Automatic Resubmissions </b></span><br /><span style="font-family: inherit;">Increases the possibility of staying listed in the search engines. </span><br /><br /><div style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: small;"><b>You will be submitted to the following search engines, and more... </b></span></span></div><div style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: small;"><b><a href="http://www.entireweb.com/free_submission/#21303030" target="_blank"><img alt="Google, Bing, Yahoo, Aol, Altavista, Lycos, DuckDuckGo, Excite, Infospace... " class="decoded" height="auto" src="http://c1353547.r47.cf3.rackcdn.com/images/pages/free_submission/new/selogos-bar.jpg" width="100%" /></a> </b></span></span></div><div style="text-align: center;">Please! Click on the banner here to Submit you site for free:<br /><a href="http://www.entireweb.com/free_submission/#a=21303030&b=d191e86d" target="_blank"><img alt="Free Search Engine Submission" height="60" src="http://affiliate.entireweb.com/accounts/default1/banners/d191e86d.jpg" title="Free Search Engine Submission" width="468" /></a><img alt="" height="1" src="http://affiliate.entireweb.com/scripts/imp.php?a=21303030&b=d191e86d" style="border: 0;" width="1" /></div><div style="text-align: center;"><span style="font-family: inherit;">© 2013 Entireweb. All trademarks are the property of their respective owners. Privacy Policy </span></div></div></div>

Entireweb: Submit your site to a huge network of search engines!

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Glossary of Domain-Related Terms

<br /><dl class="glossary"><dt id="TLD">TLD</dt><dd> A <b>top-level domain</b> is either a <a href="http://www.getfreedomain.name/glossary#gTLD">gTLD</a> or a <a href="http://www.getfreedomain.name/glossary#ccTLD">ccTLD</a>. For all domains, a TLD is the last part of the domain name, what comes after the last dot. Some  interpret gTLDs and ccTLDs by themselves as TLDs (correct), and others  interpret a domain registered directly below a TLD (e.g. google.com) as a  TLD (incorrect). Domains that aren't TLDs are subdomains (e.g. <kbd>.co.cc</kbd>), but sometimes, what seems like a subdomain is actually a TLD (e.g. <kbd>.co.uk</kbd>). Find further discussion on the <a href="http://www.getfreedomain.name/article/free-domain-vs-subdomain-difference">difference between domains vs. subdomains in this article</a>. </dd><dt id="gTLD">gTLD</dt><dd> A <b>generic top-level domain</b>. The list consisted initially of <kbd>.com</kbd>, <kbd>.net</kbd>, <kbd>.org</kbd>, <kbd>.edu</kbd>, <kbd>.gov</kbd>, and <kbd>.mil</kbd>, but has since expanded for <kbd>.int</kbd>, <kbd>.aero</kbd>, <kbd>.biz</kbd>, <kbd>.coop</kbd>, <kbd>.info</kbd>, <kbd>.museum</kbd>, <kbd>.name</kbd>, <kbd>.pro</kbd>, <kbd>.asia</kbd>, <kbd>.cat</kbd>, <kbd>.jobs</kbd>, <kbd>.mobi</kbd>, <kbd>.tel</kbd>, <kbd>.travel</kbd>, and <kbd>.xxx</kbd>. If you want to see examples of sites using these TLDs, you only need to search Google with 'site' parameter, for instance, <a href="http://www.google.com/search?q=site:travel" target="_blank">site:travel</a>. Some of those domains are sponsored TLDs, which means you may need to go through special measures to (not) obtain one. Sometime  after 2012, it is expected the list to expand to thousands of generic  TLDs, mostly reflecting names of companies and products, but also  generic names like .bank, .food, .wine, ... You can follow the list of  new applicants on <a href="http://registries.tel/" target="_blank">registries.tel</a>. </dd><dt id="ccTLD">ccTLD</dt><dd> A <b>country code top-level domain</b> is a TLD generally used or reserved for a country. ccTLDs are two characters long, and they (mostly) correspond to <a href="http://en.wikipedia.org/wiki/ISO_3166-1_alpha-2#Current_codes" target="_blank">ISO 3166 alpha-2 country codes</a>. Most  free (sub)domains on our list are ccTLDs, but that doesn't you can't  use them if your country doesn't match. Luckily, Google and other search  engines understand that some ccTLDs are often used in "domain hacks",  such as <a href="http://goo.gl/" target="_blank">goo.gl</a>, <a href="http://del.icio.us/" target="_blank">del.icio.us</a>, <a href="http://please.do.not.disturb.me/" target="_blank">please.do.not.disturb.me</a>, which means they don't pertain to particular country but have a wider audience, so they treat them as gTLDs. These domains have a green checkmark (<span class="ok" style="top: 3px;"><span>yes</span></span>) sign in the <b>Geo</b> column in our list, meaning they are <a href="http://www.getfreedomain.name/glossary#geo-targeting">geo-targetable</a>. </dd><dt id="IDN">IDN</dt><dd> <b>Internationalized domain names</b> are those that contain at least one language-specific non-<a href="http://en.wikipedia.org/wiki/ASCII" target="_blank">ASCII</a> script or character. For example, domains with characters from Arabic or Chinese alphabets are IDNs. <a href="http://kl%c3%a6r.no/" target="_blank">Klær.no</a> is an example of a Norwegian IDN. Some domain providers from our list support IDNs, and those that do are marked accordingly in the <b>IDN</b>  column. Note that they may not support Unicode characters directly,  e.g. registering "škratče" domain may not work. In that case, you first  have to convert your domain to <a href="http://en.wikipedia.org/wiki/Punycode" target="_blank">Punycode</a> (e.g. "škratče" becomes "xn--krate-kya79c"). You can <a href="http://www.charset.org/punycode.php" target="_blank">convert normal text to punycode here</a>. In your browser, you can access the website normally, though. </dd><dt id="Punycode">Punycode</dt><dd> See <a href="http://www.getfreedomain.name/glossary#IDN">IDN</a>. </dd><dt id="geo-targeting">Geo-Targeting</dt><dd> Geo-Targeting is a feature of Google Webmaster Tools, where a webmaster can set his domains as targeting a particular country. All gTLDs are GeoTargetable, but so are only some vanity ccTLDs, those that are commonly used in domain hacks. For example, a <kbd>.com</kbd> domain can be, as a <abbr title="Generic Top-Level Domain">gTLD</abbr>, targeted to one specific country, or instead no country in particular. So can <kbd>.tk</kbd> or <kbd>.cc</kbd> (sub)domain. But <kbd>.ie</kbd> domain cannot be geo-targeted and is only automatically targeted at people of Ireland. If  a domain is geo-targeted, that means it will show up more often in that  country's version of Google or search query limited to that language  (e.g. <a href="http://www.google.de/" target="_blank">google.de</a> or <a href="http://www.google.com/search?lr=lang_de&q=something+deutch" target="_blank">searching in German language</a> for a German .de domain, which is is not geo-targetable to other countries).  Read more about Google's geotargeting <a href="http://www.google.com/support/webmasters/bin/answer.py?answer=1347922">here</a>. In our list, geo-targetable domains are marked with a green checkmark (<span class="ok" style="top: 3px;"><span>yes</span></span>) in the <b>Geo</b> column. </dd><dt id="DNS_records">DNS records</dt><dd> The <b>Domain Name System</b> (<b>DNS</b>)  is a hierarchical, distributed naming system that translates  human-readable domain names and hostnames to machine-readable numbers  such as IP addresses. Some common DNS record types: <dl class="dns"><dt>A</dt><dd>Holds a 32-bit IP address. The domain answers to the server at this address.</dd><dt>AAAA</dt><dd>Holds 128-bit IPv6 address.</dd><dt>CNAME</dt><dd>Alias of one domain name to another.</dd><dt>MX</dt><dd>Mail eXchange record maps domain to prioritized list of message (email) transfer agents for that domain.</dd><dt>NS</dt><dd>Delegates a DNS zone to use the given name servers.</dd><dt>SOA</dt><dd>Usually  specifies authoritative information about a DNS zone, e.g. the primary  name server, the administrator email, the domain serial number, and  several timers related to refreshing the zone.</dd><dt>TXT</dt><dd>Originally,  TXT record stored arbitrary human-readable text in a DNS zone, but  nowadays more often carries machine-readable data.</dd></dl></dd><br /><dt id="age">Age</dt><br /><dd> In our comparison table, the column <b>Age</b>  represents the number of years of current free service. As with wiskey  perhaps, the longer it matures, the better it becomes. Some free domain  providers are more reliable than others, some have reputation to uphold.  Others may disappear without notice. You wouldn't want to be hosted  under one of those, would you?<br /></dd><br /><dt id="indexed">Indexed</dt><br /><dd> If the subdomains of a particular domain registrar are <b>present in the Google Search index</b>,  then they have a green checkmark (yes) in that field. Contrary, if the  whole domain including all subdomains is banned, that means it is not  currently indexed, so the field flag is a red cross (no).<br />It is important to realize that these <b>bans are temporary</b>  and last anywhere from 90 days to couple of years. The latest such ban  was imposed in July 2011, likely part of continuing improvements on  Google Panda updates. It probably wasn't the last of its kind, at least  until spammers stop taking advantage, or more likely, until the  providers get to identify the threats and issues sooner and curb them  more efficiently.<br /></dd></dl><br /><a href="http://www.getfreedomain.name/glossary">Glossary of domain-related terms | GetFreeDomain.Name</a>

Glossary of Domain-Related Terms

TLD A top-level domain is either a gTLD or a ccTLD . For all domains, a TLD is the last part of the domain name, what comes after the las...