KrishnaVandanu

Annotated Checklist of Musical Instruments In the Kyai Rengga Manis Everist Gamelan

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<center>
       Annotated Checklist of Musical Instruments In <br />

the <i>Kyai Rengga Manis Everist</i> Gamelan</center>
</h2>
<center>
<img alt="A selection of slendro instruments from the gamelan, Kyai Rengga Manis Everist, by Ud Soepoyo, Surakarta, Central Java, 1999" border="0" height="467" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/Ensemble/Gamelan.jpg" width="700" />
</center>
<h4>
  <div align="JUSTIFY">
A selection of  slendro instruments from the gamelan, <i>Kyai Rengga Manis Everist</i>
 by Ud Soepoyo, Surakarta, Central Java, Indonesia, 1999, can be seen on
 display in the Beede Gallery.  Purchase funds gift of Margaret Ann 
Everist, Sioux City, Iowa, 1999.</div>
<div align="JUSTIFY">
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>
<center>
<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>
</ul>
</center>
<div align="JUSTIFY">
Listen to an "<a href="http://orgs.usd.edu/nmm/Gamelan/Music/sdfr1925_1965.ram">audio postcard</a>," a short interview with members of the Tatag Gamelan Ensemble (USD), produced by Susan Hanson (<a href="http://www.sdpb.org/Archives/ProgramDetail.asp?ProgID=1925">South Dakota Public Radio</a>),
 following an April 2004 performance at the National Music Museum.  
Members interviewed include Gamelan Director, Deborah Check Reeves (NMM 
Curator of Education), Maggie Sampson, Karen Lipp, and Shawn Parker.
</div>
</h4>
<hr />
<h4>
  <div align="JUSTIFY">
Looking for a map?  Link to the <a href="http://www.lib.utexas.edu/maps/">Perry-Castañeda Library Map Collection at the University of Texas at Austin</a> for an excellent collection of historic and current worldwide maps.  Click here for their <a href="http://www.lib.utexas.edu/maps/indonesia.html">selection of maps of Indonesia</a>.</div>
</h4>
<hr />
<center>
<h3>
Checklist</h3>
</center>
<center>
<h4>
Instrument Types Represented in the <i>Kyai Rengga Manis Everist</i> Gamelan

<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Bedhug">Bedhug</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Bonang%20Barung">Bonang Barung</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Bonang%20Panembung">Bonang Panembung</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Bonang%20Panerus">Bonang Panerus</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Celempung">Celempung</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Engkuk">Engkuk / Kemong</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Gambang">Gambang</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Gender%20Barung">Gender Barung</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Gender%20Panerus">Gender Panerus</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Gong%20Ageng">Gong Ageng</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Gong%20Siyem">Gong Siyem</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Gong%20Suwukan">Gong Suwukan</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kecer%20Wayang">Kecer Wayang</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kemanak">Kemanak</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Engkuk">Kemong</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kempiang">Kempiang / Kethuk</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kempul">Kempul</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kendhang%20Ageng">Kendhang Ageng</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kendhang%20Ciblon">Kendhang Ciblon</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kendhang%20Ketipung">Kendhang Ketipung</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kendhang%20Wayang">Kendhang Wayang</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kenong">Kenong</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kenong%20Japan">Kenong Japan</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kenthogan">Kenthogan</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Keprak">Keprak</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kempiang">Kethuk</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kotak%20Tabuh">Kotak Tabuh</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Mallets">Mallets (Tabuh)</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Rebab">Rebab</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Saron%20Barung">Saron Barung</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Saron%20Demung">Sarong Demung</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Saron%20Panerus">Saron Panerus (Peking)</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Saron%20Wayang">Saron Wayang</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Siter">Siter</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Slenthem">Slenthem</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Slentho">Slentho</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Suling">Suling</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Tabuh">Tabuh (Mallets)</a><br />
<a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Maker%27s%20Sign">Maker's Sign</a></h4>
</center>
<hr />
<h4>
<a href="http://www.blogger.com/null" name="Bedhug"></a><center>
BEDHUG</center>
<br />
<center>
<a href="http://orgs.usd.edu/nmm/Gamelan/9882/gamelandrum.html"><img alt="Bedhug" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9882/9882bedhugportraitT.jpg" width="106" /></a></center>
<div align="JUSTIFY">
NMM 9882.  <a href="http://orgs.usd.edu/nmm/Gamelan/9882/gamelandrum.html">Bedhug</a>.
  Barrel-shaped, teakwood drum.  Two equally sized, water-buffalo- hide 
heads held in place by twenty-eight wooden pegs.  Decorated with flower,
 leaf, and naga pattern covered in gold leaf.  Length (head to head):  
66.9 cm.  One long teakwood mallet (tabuh) with thick, soft red cloth 
padding at one end.  Three-piece stand decorated with nagas (dragons) 
wearing crowns ("dragon king"), and flower and leaf patterns covered 
with gold leaf. </div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Bedhug">function and playing technique</a>.

<br />
<hr />
<a href="http://www.blogger.com/null" name="Bonang Barung"></a>
<center>
BONANG BARUNG</center>
<br />
<center>
<a href="http://orgs.usd.edu/nmm/Gamelan/9873/BonangBarung9873.html"><img alt="Bonang Barung" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9873/9873gamelanbonangbarungportraitwithoutmalletsT.jpg" width="269" /></a></center>
<div align="JUSTIFY">
NMM 9873.  <a href="http://orgs.usd.edu/nmm/Gamelan/9873/BonangBarung9873.html">Bonang Barung in Laras Slendro</a>.
  Mid-sized bonang.  Twelve bronze pots in two rows of six located in 
square openings in rectangular teakwood frame, suspended by string 
threaded through channels carved into frame.   Frame decorated with 
flower and leaf patterns covered with gold leaf. Two removable wings on 
each end of stand carved in shape of two nagas (dragons) with 
intertwining tails at top, curved bodies, and heads resting at the 
bottom of the wings on both ends; covered in gold leaf. Length (wing to 
wing, not including wings): 223.8 cm.  Diameter of largest pot (at 
base):  18.1 cm.  Two mallets (tabuh) with red cord wrapped very close 
to one end creating a soft, springy, oval shape that comes in contact 
with the pots.</div>
<div align="JUSTIFY">
NMM 9876.  Bonang Barung in Laras Pelog.  Mid-sized 
bonang.  Fourteen bronze pots in two rows of seven. Length (wing to 
wing, not  including wings):  223.8 cm.  Diameter of largest pot (at 
base): 18.1 cm.  Two mallets (tabuh).</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Bonang%20Barung">function and playing technique</a>.

<hr />
<a href="http://www.blogger.com/null" name="Bonang Panembung"></a>
<center>
BONANG PANEMBUNG</center>
<br />
<center>
<a href="http://orgs.usd.edu/nmm/Gamelan/9875/BonangPanembung9875.html"><img alt="Bonang Panembung" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9875/9875bonangpanembungportraitnomalletsT.jpg" width="361" /></a></center>
<div align="JUSTIFY">
NMM 9872.  Bonang Panembung in Laras Slendro.  
Largest member of the bonang group.  Twelve bronze pots in two rows of 
six located in square openings in rectangular teakwood frame, suspended 
by string threaded through channels carved into frame.   Frame decorated
 with flower and leaf patterns covered with gold leaf. Two removable 
wings on each end of stand carved in shape of two nagas (dragons) with 
intertwining tails at top, curved bodies, and heads resting at the 
bottom of the wings on both ends; covered in gold leaf.  Length (wing to
 wing, not including wings):  223.8 cm.  Diameter of largest pot (at 
base): 23.5 cm.  Two mallets (tabuh) with red cord wrapped very close to
 one end creating a soft, springy, oval shape that comes in contact with
 the pots.</div>
<div align="JUSTIFY">
NMM 9875.  <a href="http://orgs.usd.edu/nmm/Gamelan/9875/BonangPanembung9875.html">Bonang Panembung in Laras Pelog</a>.
  Largest member of the bonang group.  Fourteen bronze pots in two rows 
of seven. Length (wing to wing, not including wings):  257.1 cm.  
Diameter of largest pot (at base):  22.0 cm.  Two mallets (tabuh).</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Bonang%20Panembung">function and playing technique</a>.

<br />
<hr />
<a href="http://www.blogger.com/null" name="Bonang Panerus"></a>
<center>
BONANG PANERUS</center>
<br />
<center>
<a href="http://orgs.usd.edu/nmm/Gamelan/9874/BonangPanerus9874.html"><img alt="Bonang Panerus" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9874/9874gamelanbonangpanerusportraitT.jpg" width="249" /></a></center>
<div align="JUSTIFY">
NMM 9874.  <a href="http://orgs.usd.edu/nmm/Gamelan/9874/BonangPanerus9874.html">Bonang Panerus in Laras Slendro</a>.
  Smallest member of the bonang group.  Twelve bronze pots in two rows 
of six located in square openings in rectangular teakwood frame, 
suspended by string threaded through channels carved into frame.   Frame
 decorated with flower and leaf patterns covered with gold leaf. Two 
removable wings on each end of stand carved in shape of two nagas 
(dragons) with intertwining tails at top, curved bodies, and heads 
resting at the bottom of the wings on both ends; covered in gold leaf.  
Length (wing to wing, not including wings):  223.8 cm.  Diameter of 
largest pot (at base):  15.1 cm.  Two mallets (tabuh) with red cord 
wrapped very close to one end creating a soft, springy, oval shape that 
comes in contact with the pots.</div>
<div align="JUSTIFY">
NMM 9877.  Bonang Panerus in Laras Pelog.  Smallest 
member of the bonang group. Fourteen bronze pots in two rows of seven.  
 Length (wing to wing, not including wings):  223.8 cm.  Diameter of 
largest pot (at base):  15.0 cm.  Two mallets (tabuh).</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Bonang%20Panerus">function and playing technique</a>.  
<br />
<hr />
<a href="http://www.blogger.com/null" name="Celempung"></a>
<center>
CELEMPUNG</center>
<br />
<center>
<a href="http://orgs.usd.edu/nmm/Gamelan/9879/Celempung9879.html"><img alt="Celempung" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9879/9879gamelancelempungsideT.jpg" width="144" /></a></center>
<div align="JUSTIFY">
NMM 9878 and 9879.  <a href="http://orgs.usd.edu/nmm/Gamelan/9879/Celempung9879.html">Celempungs</a>.
  Plucked zithers with four legs.  Twenty-six strings in groups of two 
held in place by metal pins in an S-shaped wrest plank.  Teakwood body 
decorated with flower and leaf pattern covered in gold leaf.  Length:  
103.1 cm.  One tuning hammer.</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Celempung">function and playing technique</a>.

<br />
<hr />
<a href="http://www.blogger.com/null" name="Engkuk"></a>
<center>
ENGKUK / KEMONG</center>
<br />
<center>
<a href="http://orgs.usd.edu/nmm/Gamelan/9891/Engkuk.html"><img alt="Engkuk/Kemong" border="0" height="80" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9891/9891engkukportraitT.jpg" width="151" /></a></center>
<div align="JUSTIFY">
NMM 9891.  <a href="http://orgs.usd.edu/nmm/Gamelan/9891/Engkuk.html">Engkuk/Kemong in Laras Slendro</a>.
  Suspended pots on teakwood frame. Decorated with flower and leaf 
pattern covered in gold leaf.  Length:  68.0 cm.  Mallet (tabuh) with 
red cord wrapped very close to one end creating a soft, springy, oval 
shape that comes in contact with the pots.</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Engkuk">function and playing technique</a>.

<br />
<hr />
<a href="http://www.blogger.com/null" name="Gambang"></a>
<center>
GAMBANG</center>
<br />
<center>
<a href="http://orgs.usd.edu/nmm/Gamelan/9883/Gambang9883.html"><img alt="Gambang" border="0" height="90" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9883/9883gamelangambangportraitwithoutmalletsT.jpg" width="258" /></a></center>
<div align="JUSTIFY">
NMM 9883.  <a href="http://orgs.usd.edu/nmm/Gamelan/9883/Gambang9883.html">Gambang in Laras Slendro</a>.
  Twenty teakwood bars on long, hollowed, rectangular block of teakwood.
 Wings carved with two nagas (dragons) on either side, tails 
intertwining, lotus leaf decoration in the center. Teakwood decorated 
with flower and leaf pattern. Carvings covered in gold leaf.  Length 
(wing to wing, not including wings):  133.5 cm. Two long, slender 
mallets (tabuh) made of buffalo horn with disc of wood covered with a 
ring-shaped pad of red cloth.</div>
<div align="JUSTIFY">
NMM 9884.  Gambang in Laras Pelog Pathet Nem.  Twenty
 teakwood bars. Length (wing to wing, not including wings):  136.5 cm. 
Two mallets (tabuh).</div>
<div align="JUSTIFY">
NMM 9885.  Gambang in Laras Pelog Pathet Barang.  
Twenty teakwood bars.  Length (wing to wing, not including wings):  
137.1 cm. Two mallets (tabuh).</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Gambang">function and playing technique</a>.

<br />
<hr />
<a href="http://www.blogger.com/null" name="Gender Barung"></a>
<center>
GENDER BARUNG</center>
<br />
<center>
<a href="http://orgs.usd.edu/nmm/Gamelan/9859/Gender9859.html"><img alt="NMM 9859.  Gender Barung in Laras Slendro" border="0" height="80" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9859/9859GenderbarungportraitT.jpg" width="164" /></a></center>
<div align="JUSTIFY">
NMM 9859.  <a href="http://orgs.usd.edu/nmm/Gamelan/9859/Gender9859.html">Gender Barung in Laras Slendro</a>.
  Fourteen bronze bars suspended by a cord over sheet iron resonating 
tubes in a teakwood frame.  Decorated with flower and leaf pattern 
covered with gold leaf.  Feet decorated with a single leaf pattern 
covered with gold leaf.  Length: 116.3 cm.  Two small mallets (tabuh) 
with handles and disc-shaped heads with ring-shaped, red-cloth padding.</div>
<div align="JUSTIFY">
NMM 9860. Gender Barung in Laras Pelog Pathet Nem. Fourteen bronze bars. Length: 115.6 cm.  Two small mallets (tabuh).</div>
<div align="JUSTIFY">
NMM 9861. Gender Barung in Laras Pelog Pathet Nem. Fourteen bronze bars. Length: 116.1 cm.  Two small mallets (tabuh).</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Gender%20Barung">function and playing technique</a>.
 
<br />
<hr />
<a href="http://www.blogger.com/null" name="Gender Panerus"></a>
<center>
GENDER PANERUS</center>
<br />
<center>
<a href="http://orgs.usd.edu/nmm/Gamelan/9862/GenderPanerus.html"><img alt="NMM 9862.  Gender Panerus in Laras Slendro" border="0" height="68" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9862/9862IndonesiagenderpanerusportraitT.jpg" width="120" /></a></center>
<div align="JUSTIFY">
NMM 9862.  <a href="http://orgs.usd.edu/nmm/Gamelan/9862/GenderPanerus.html">Gender Panerus in Laras Slendro</a>.
  Fourteen bronze bars suspended by a cord over sheet iron resonating 
tubes in a teakwood frame.  Decorated with flower and leaf pattern 
covered with gold leaf.  Feet decorated with a single leaf pattern 
covered with gold leaf.  Length (wing to wing, not including wings):  
96.5 cm.  Two small mallets (tabuh) with handles and disc-shaped heads 
with ring-shaped, red-cloth padding.</div>
<div align="JUSTIFY">
NMM 9863.  Gender Panerus in Laras Pelog Pathet Nem.  Fourteen bronze bars.  Length:  97.0 cm.  Two small mallets (tabuh).</div>
<div align="JUSTIFY">
NMM 9864.  Gender Panerus in Laras Pelog Pathet Barang. Fourteen bronze bars.  Length:  97.0 cm.  Two small mallets (tabuh).</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Gender%20Panerus">function and playing technique</a>.

<br />
<hr />
<a href="http://www.blogger.com/null" name="Gong Ageng"></a>
<center>
GONG AGENG</center>
<br />
<center>
<a href="http://orgs.usd.edu/nmm/Gamelan/9918/GongAgeng99189919.html"><img alt="Gong Ageng" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9918/9918&9919gongagengportraitT.jpg" width="158" /></a></center>
<div align="JUSTIFY">
NMM 9918.  <a href="http://orgs.usd.edu/nmm/Gamelan/9918/GongAgeng99189919.html">Gong Ageng in Laras Slendro</a>.
  Large bronze gong with strong, thick cord through two holes in the 
rim.  Diameter (backside): 79 cm.  Three-piece stand shared by 9919.  
Teakwood stand decorated with nagas (dragons) wearing crowns ("dragon 
king") and flower and leaf pattern covered in gold leaf.  Mallet (tabuh)
 with a long handle and heavy, thick red cloth padding on one end 
wrapped in red cord.</div>
<div align="JUSTIFY">
NMM 9919.  <a href="http://orgs.usd.edu/nmm/Gamelan/9918/GongAgeng99189919.html">Gong Ageng in Laras Pelog</a>.  Large bronze gong.  Diameter (backside):  82 cm.  Three-piece stand shared by 9918.    Mallet (tabuh).</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Gong%20Ageng">function and playing technique</a>.

<br />
<hr />
<a href="http://www.blogger.com/null" name="Gong Siyem"></a>
<center>
GONG SIYEM</center>
<br />
<center>
<a href="http://orgs.usd.edu/nmm/Gamelan/9914/Gongs991499159917.html"><img alt="Gongs Siyem, Suwukan, and Kempul" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9914/9914and9915gongsfrontT.jpg" width="162" /></a></center>
<div align="JUSTIFY">
NMM 9917A. <a href="http://orgs.usd.edu/nmm/Gamelan/9914/Gongs991499159917.html">Gong Siyem</a>.
  Medium- to large-sized bronze gong with strong, thick cord through two
 holes in the outer rim.  Diameter (backside):  63.7 cm.  Three-piece 
teakwood stand decorated with nagas (dragons) wearing crowns ("dragon 
king") and flower and leaf  pattern covered in gold leaf.  Mallet 
(tabuh) with a long handle and heavy, thick red cloth padding on one end
 wrapped in red cord.</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Gong%20Siyem">function and playing technique</a>.
 
<br />
<hr />
<a href="http://www.blogger.com/null" name="Gong Suwukan"></a>
<center>
GONG SUWUKAN</center>
<br />
<center>
<a href="http://orgs.usd.edu/nmm/Gamelan/9914/Gongs991499159917.html"><img alt="Gongs Siyem, Suwukan, and Kempul" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9914/9914and9915gongsfrontT.jpg" width="162" /></a>  <a href="http://orgs.usd.edu/nmm/Gamelan/9916/Gongs991599169917.html"><img alt="Gongs Suwukan and Kempul" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9916/9916and9917gongsfrontviewT.jpg" width="163" /></a></center>
<div align="JUSTIFY">
NMM 9915A.  <a href="http://orgs.usd.edu/nmm/Gamelan/9914/Gongs991499159917.html">Gong Suwukan in Laras Slendro "2."</a>
  Medium-sized bronze gong with strong, thick cord through two holes in 
the rim.  Diameter (backside):  51.4 cm.  Three-piece teakwood stand 
decorated with nagas (dragons) wearing crowns ("dragon king") and flower
 and leaf pattern covered in gold leaf.  Mallet (tabuh) with a long 
handle and heavy, thick red cloth padding on one end wrapped in red 
cord.</div>
<div align="JUSTIFY">
NMM 9915B.  <a href="http://orgs.usd.edu/nmm/Gamelan/9916/Gongs991599169917.html">Gong Suwukan in Laras Slendro "1."</a>  Medium-sized bronze gong.   Diameter (backside):  54.6 cm.    Mallet (tabuh).</div>
<div align="JUSTIFY">
NMM 9917B. <a href="http://orgs.usd.edu/nmm/Gamelan/9916/Gongs991599169917.html">Gong Suwukan in Laras Pelog "1."</a>  Medium-sized bronze gong.  Diameter (backside):  53.1 cm.      Mallet (tabuh).</div>
<div align="JUSTIFY">
NMM 9917C.  <a href="http://orgs.usd.edu/nmm/Gamelan/9916/Gongs991599169917.html">Gong Suwukan in Laras Pelog "2."</a>  Medium-sized bronze gong.   Diameter (backside):  50.8 cm.  Mallet (tabuh). </div>
<div align="JUSTIFY">
NMM 9917D.  <a href="http://orgs.usd.edu/nmm/Gamelan/9916/Gongs991599169917.html">Gong Suwukan in Laras Pelog "7."</a>  Medium-sized bronze gong.  Diameter (backside):  53.7 cm.    Mallet (tabuh).</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Gong%20Suwukan">function and playing technique</a>.

<br />
<hr />
<a href="http://www.blogger.com/null" name="Kecer Wayang"></a>
<center>
KECER WAYANG</center>
<br />
<center>
<a href="http://orgs.usd.edu/nmm/Gamelan/9892/KecerWayang.html"><img alt="Gongs Siyem, Suwukan, and Kempul" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9892/9892gamelankecerwayangT.jpg" width="220" /></a></center>
<div align="JUSTIFY">
NMM 9892.  <a href="http://orgs.usd.edu/nmm/Gamelan/9892/KecerWayang.html">Kecer Wayang</a>.
  Two pair of bronze cymbals.  One of each pair attached to a small 
stand, the other two unattached, with small leather loops inserted 
through holes located in the center.  Teakwood stand decorated with 
flower and leaf pattern covered in gold leaf.  Length:  40.1 cm.</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Kecer%20Wayang">function and playing technique</a>.

<br />
<hr />
<a href="http://www.blogger.com/null" name="Kemanak"></a>
<center>
KEMANAK</center>
<br />
<center>
<a href="http://orgs.usd.edu/nmm/Gamelan/9893/Kemanak9893.html"><img alt="Gongs Siyem, Suwukan, and Kempul" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9893/9893gamelankemanakT.jpg" width="130
" /></a></center>
<div align="JUSTIFY">
NMM 9893A.  <a href="http://orgs.usd.edu/nmm/Gamelan/9893/Kemanak9893.html">Kemanak in Laras Slendro "6."</a>
  Two metal, slit gongs, shaped out of a thick sheet of bronze curled 
into a curved tube similar in shape to a banana, with an open slit along
 one side from end to end.  Length:  33.3 cm.  Mallet (tabuh) with red 
cord wrapped very close to one end creating a soft, springy, oval shape 
that comes in contact with the Kemanak.</div>
<div align="JUSTIFY">
NMM 9893B.  <a href="http://orgs.usd.edu/nmm/Gamelan/9893/Kemanak9893.html">Kemanak in Laras Slendro "1."</a>    Length:  34.3 cm.  Mallet (tabuh).</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Kemanak">function and playing technique</a>.

<center>
KEMONG (see <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Engkuk">ENGKUK</a>)</center>
<hr />
<a href="http://www.blogger.com/null" name="Kempiang"></a>
<center>
KEMPIANG AND KETHUK</center>
<br />
<center>
<a href="http://orgs.usd.edu/nmm/Gamelan/9888/KempiangKethuk9888.html"><img alt="NMM Kempiang and Kethuk in Laras Slendro" border="0" height="80" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9888/9888KethukfrontT.jpg" width="123" /></a></center>
<div align="JUSTIFY">
NMM 9888.  <a href="http://orgs.usd.edu/nmm/Gamelan/9888/KempiangKethuk9888.html">Kempiang and Kethuk in Laras Slendro</a>.
  Two bronze pots in teakwood frame.  Taller pot is the kempiang; 
squatter pot is the kethuk.  Pots suspended by red cord attached to the 
frame.  Decorated with flower and leaf pattern covered in gold leaf.  
Length (frame):  67.9 cm.  Diameter of kethuk (at base):  20.5 cm.  
Diameter of kempiang (at base):  19.5 cm.  Mallet (tabuh) with red cord 
wrapped very close to one end creating a soft, springy, oval shape that 
comes in contact with the pots.</div>
<div align="JUSTIFY">
NMM 9889.  Kempiang and Kethuk in Laras Pelog.  
Length (frame): 68.0 cm.  Diameter of kethuk (at base):  23.0 cm.  
Diameter of kempiang (at base):  18.7 cm.  Mallet (tabuh).</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Kempiang">function and playing technique</a>.

<br />
<hr />
<a href="http://www.blogger.com/null" name="Kempul"></a>
<center>
KEMPUL</center>
<br />
<center>
<a href="http://orgs.usd.edu/nmm/Gamelan/9914/Gongs991499159917.html"><img alt="Gongs Siyem, Suwukan, and Kempul" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9914/9914and9915gongsfrontT.jpg" width="162" /></a>  <a href="http://orgs.usd.edu/nmm/Gamelan/9916/Gongs991599169917.html"><img alt="Gongs Suwukan and Kempul" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9916/9916and9917gongsfrontviewT.jpg" width="163" /></a></center>
<div align="JUSTIFY">
NMM 9914A.  <a href="http://orgs.usd.edu/nmm/Gamelan/9914/Gongs991499159917.html">Kempul in Laras Slendro "6."</a>
  Small bronze gong with strong, thick cord passing through two holes in
 the outer rim.  Diameter (backside):  36.6 cm. Three-piece teakwood 
stand decorated with nagas (dragons) wearing crowns ("dragon king") and 
flower and leaf pattern covered in gold leaf.  Mallet (tabuh) with a 
long handle and heavy, thick red cloth padding on one end wrapped in red
 cord.</div>
<div align="JUSTIFY">
NMM 9914B.  <a href="http://orgs.usd.edu/nmm/Gamelan/9914/Gongs991499159917.html">Kempul in Laras Slendro "5."</a> Small bronze gong.   Diameter (backside):  40.5 cm.    Mallet (tabuh).</div>
<div align="JUSTIFY">
NMM 9914C.  <a href="http://orgs.usd.edu/nmm/Gamelan/9914/Gongs991499159917.html">Kempul in Laras Slendro "3."</a> Small bronze gong.  Diameter (backside):  41.1 cm.    Mallet (tabuh).</div>
<div align="JUSTIFY">
NMM 9914D.  <a href="http://orgs.usd.edu/nmm/Gamelan/9914/Gongs991499159917.html">Kempul in Laras Slendro "1."</a>  Small bronze gong.   Diameter (backside):  37.2 cm.    Mallet (tabuh).</div>
<div align="JUSTIFY">
NMM 9914E.  <a href="http://orgs.usd.edu/nmm/Gamelan/9914/Gongs991499159917.html">Kempul in Laras Slendro "2."</a>  Small bronze gong.  Diameter (backside):  34.8 cm.    Mallet (tabuh).</div>
<div align="JUSTIFY">
NMM 9916A.  <a href="http://orgs.usd.edu/nmm/Gamelan/9916/Gongs991599169917.html">Kempul in Laras Pelog "6."</a>  Small bronze gong.  Diameter (backside):  37.3 cm.    Mallet (tabuh).</div>
<div align="JUSTIFY">
NMM 9916B.  <a href="http://orgs.usd.edu/nmm/Gamelan/9916/Gongs991599169917.html">Kempul in Laras Pelog "5."</a>  Small bronze gong.  Diameter (backside): 41.2 cm.    Mallet (tabuh).</div>
<div align="JUSTIFY">
NMM 9916C.  <a href="http://orgs.usd.edu/nmm/Gamelan/9916/Gongs991599169917.html">Kempul in Laras Pelog "3."</a>  Small bronze gong.  Diameter (backside):  43.5 cm.    Mallet (tabuh).</div>
<div align="JUSTIFY">
NMM 9916D.  <a href="http://orgs.usd.edu/nmm/Gamelan/9916/Gongs991599169917.html">Kempul in Laras Pelog "7."</a>  Small bronze gong.  Diameter (backside):  36.1 cm.    Mallet (tabuh).</div>
<div align="JUSTIFY">
NMM 9916E.  <a href="http://orgs.usd.edu/nmm/Gamelan/9916/Gongs991599169917.html">Kempul in Laras Pelog "1."</a>  Small bronze gong.  Diameter (backside):  33.2 cm.    Mallet (tabuh).</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Kempul">function and playing technique</a>.

<br />
<hr />
<a href="http://www.blogger.com/null" name="Kendhang Ageng"></a>
<center>
KENDHANG AGENG</center>
<br />
<center>
  <a href="http://orgs.usd.edu/nmm/Gamelan/9865/KendhangAgeng9865.html"><img alt="NMM 9865.  Kendhang Ageng" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9865/9865KendhangagengportraitT.jpg" width="121" /></a>
</center>
<div align="JUSTIFY">
NMM 9865.  <a href="http://orgs.usd.edu/nmm/Gamelan/9865/KendhangAgeng9865.html">Kendhang Ageng</a>.
  Largest of the gamelan drums.  Conical with a small and large head.  
Water-buffalo hide heads laced together with long strands of hide 
crisscrossed around the body.  Teakwood body decorated with flower and 
leaf pattern covered with gold leaf.  Length (head to head):  75.7 cm.  
Teakwood stand.</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Kendhang%20Ageng">function and playing technique</a>.

<br />
<hr />
<a href="http://www.blogger.com/null" name="Kendhang Ciblon"></a>
<center>
KENDHANG CIBLON</center>
<br />
<center>
  <a href="http://orgs.usd.edu/nmm/Gamelan/9869/KendhangCiblon9869.html"><img alt="Kendhang Ciblon" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9869/9869gamelankendhangciblonsideT.jpg" width="114" /></a>
</center>
<div align="JUSTIFY">
NMM 9869.  <a href="http://orgs.usd.edu/nmm/Gamelan/9869/KendhangCiblon9869.html">Kendhang Ciblon</a>.
  Mid-sized gamelan drum.  Water-buffalo hide heads laced together with 
long strands of hide crisscrossed around the body.  Teakwood body 
decorated with flower and leaf pattern covered with gold leaf. Length 
(head to head):  65.6 cm.  Teakwood stand.</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Kendhang%20Ciblon">function and playing technique</a>.

<br />
<hr />
<a href="http://www.blogger.com/null" name="Kendhang Ketipung"></a>
<center>
KENDHANG KETIPUNG</center>
<center>
 <a href="http://orgs.usd.edu/nmm/Gamelan/9865/KendhangAgeng9865.html#9866"><img alt="NMM 9866 and 9865.  Kendhang Ketipung and Kendhang Ageng" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9865/9865KendhangagengportraitwithNMM9866T.jpg" width="131" /></a>
</center>
<div align="JUSTIFY">
NMM 9866.  <a href="http://orgs.usd.edu/nmm/Gamelan/9865/KendhangAgeng9865.html#9866">Kendhang Ketipung</a>.
  Smallest of the gamelan drums.  Water-buffalo hide heads laced 
together with long strands of hide crisscrossed around the body.  
Teakwood body decorated with flower and leaf pattern covered with gold 
leaf.  Length (head to head):  44.8 cm.</div>
<div align="JUSTIFY">
NMM 9867.  Kendhang Ketipung.  Length (head to head):  46.0 cm.</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Kendhang%20Ketipung">function and playing technique</a>.
 
<br />
<hr />
<a href="http://www.blogger.com/null" name="Kendhang Wayang"></a>
<center>
KENDHANG WAYANG</center>
<br />
<center>
 <a href="http://orgs.usd.edu/nmm/Gamelan/9868/KendhangWayang9868.html"><img alt="Kendhang Wayang" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9868/9868gamelankendhangwayangsideT.jpg" width="117" /></a></center>
<div align="JUSTIFY">
NMM 9868.  <a href="http://orgs.usd.edu/nmm/Gamelan/9868/KendhangWayang9868.html">Kendhang Wayang</a>.
    Mid-sized gamelan drum.  Water-buffalo hide heads laced together 
with long strands of hide crisscrossed around the body.  Teakwood body 
decorated with flower and leaf pattern covered with gold leaf.  Length 
(head to head):  68.6 cm.  Teakwood stand.</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Kendhang%20Wayang">function and playing technique</a>.
  
<br />
<hr />
<a href="http://www.blogger.com/null" name="Kenong"></a>
<center>
KENONG</center>
<br />
<center>
 <a href="http://orgs.usd.edu/nmm/Gamelan/9886/Kenong9886.html"><img alt="Kenong" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9886/9886gamelankenorgportraitT.jpg" width="230" /></a></center>
<div align="JUSTIFY">
NMM 9886.  <a href="http://orgs.usd.edu/nmm/Gamelan/9886/Kenong9886.html">Kenong in Laras Slendro</a>.
  Six bronze pots suspended on three separate teakwood frames. Pots 
suspended red cord attached to the frame.  Frames decorated with flower 
and leaf patterns covered in gold leaf.  Length of frames:  89.7 cm, 
89.8 cm, 89.9 cm.  Diameter of largest pot (at base):  30.5 cm.  Mallet 
(tabuh) with red cord wrapped very close to one end creating a soft, 
springy, oval shape that comes in contact with the pots.</div>
<div align="JUSTIFY">
NMM 9887.  Kenong in Laras Pelog.  Six bronze pots.  
Length of frames:  89.3 cm, 89.5 cm, 90.0 cm.  Diameter of largest pot 
(at base):  32.0 cm.  Mallet (tabuh).</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Kenong">function and playing technique</a>.
 
<br />
<hr />
<a href="http://www.blogger.com/null" name="Kenong Japan"></a>
<center>
KENONG JAPAN</center>
<br />
<center>
 <a href="http://orgs.usd.edu/nmm/Gamelan/9890/KenongJapan.html"><img alt="Kenong Japan" border="0" height="76" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9890/9890kenongJapanportraitT.jpg" width="120" /></a></center>
<div align="JUSTIFY">
NMM 9890.  <a href="http://orgs.usd.edu/nmm/Gamelan/9890/KenongJapan.html">Kenong Japan in Laras Slendro and Pelog</a>.
   Larger than the kenong (9886 and 9887).  Two bronze pots suspended by
 red cord attached to teakwood frame.  Decorated with flower and leaf 
pattern covered in gold leaf.  Length (frame): 101.7 cm.  Mallet (tabuh)
 with red cord wrapped very close to one end creating a soft, springy, 
oval shape that comes in contact with the pots.</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Kenong%20Japan">function and playing technique</a>.

<br />
<hr />
<a href="http://www.blogger.com/null" name="Kenthogan"></a>
<center>
KENTHOGAN</center>
<br />
<center>
 <a href="http://orgs.usd.edu/nmm/Gamelan/9920/Kenthogan9920.html"><img alt="Kenthogan" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9920/9920gamelankenthoganfrontviewT.jpg" width="157" /></a></center>
<div align="JUSTIFY">
NMM 9920.  <a href="http://orgs.usd.edu/nmm/Gamelan/9920/Kenthogan9920.html">Kenthogan</a>.
  Hollow, slit wooden tube.   Teakwood body decorated with flower and 
leaf pattern covered in gold leaf.  Length:  48.9 cm.  Teakwood stand.</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Kenthogan">function and playing technique</a>.
 
<br />
<hr />
<a href="http://www.blogger.com/null" name="Keprak"></a>
<center>
KEPRAK</center>
<br />
<center>
 <a href="http://orgs.usd.edu/nmm/Gamelan/9921/Keprak9921.html"><img alt="Keprak" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9921/9921gamelankeprakT.jpg" width="122" /></a></center>
<div align="JUSTIFY">
NMM 9921.  <a href="http://orgs.usd.edu/nmm/Gamelan/9921/Keprak9921.html">Keprak (also kaprak)</a>.  Four bronze plates tied together with cord and hung from a bronze hook.  Length:  16.0 cm.</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Keprak">function and playing technique</a>.

<center>
KETHUK (see <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kempiang">KEMPIANG</a>)</center>
<br />
<hr />
<a href="http://www.blogger.com/null" name="Kotak Tabuh"></a>
<center>
KOTAK TABUH</center>
<br />
<center>
 <a href="http://orgs.usd.edu/nmm/Gamelan/9923/KotakTabuh9923.html"><img alt="Kotak Tabuh" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9923/9923gamelanmalletboxclosedT.jpg" width="149" /></a></center>
<div align="JUSTIFY">
NMM 9922.  Kotak tabuh (<a href="http://orgs.usd.edu/nmm/Gamelan/Mallets/GamelanMallets.html">mallet</a> box).  Teakwood box hinged on one side, decorated with flower and leaf pattern covered in gold leaf.  Length:  51.8 cm.</div>
<div align="JUSTIFY">
NMM 9923.  <a href="http://orgs.usd.edu/nmm/Gamelan/9923/KotakTabuh9923.html">Kotak tabuh</a> (<a href="http://orgs.usd.edu/nmm/Gamelan/Mallets/GamelanMallets.html">mallet box</a>).    Length:  51.8 cm.</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Kotak%20Tabuh">function</a>.

<br />
<hr />
<a href="http://www.blogger.com/null" name="Mallets"></a>
<center>
  MALLETS (TABUH)
</center>
<br />
<center>
 <a href="http://orgs.usd.edu/nmm/Gamelan/Mallets/GamelanMallets.html"><img alt="Mallets (Tabuh)" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/Mallets/gamelanmalletsgroupshotT.jpg" width="132" /></a></center>
<br />

<hr />
<a href="http://www.blogger.com/null" name="Rebab"></a>
<center>
REBAB</center>
<br />
<center>
 <a href="http://orgs.usd.edu/nmm/Gamelan/9870/Rebab9870.html"><img alt="Rebab" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9870/9870gamelanrebabportraitwithstandT.jpg" width="48" /></a></center>
<div align="JUSTIFY">
NMM 9870 and 9871.  <a href="http://orgs.usd.edu/nmm/Gamelan/9870/Rebab9870.html">Rebabs</a>.
  Teakwood body, neck, and tuning pegs.  Strung with a single brass 
string that is wrapped around one peg, stretched down over the body, 
wrapped around a knob and ringlet at the foot, returned back across the 
body, and wrapped around second peg.  Back of body covered with a red 
cloth decorated with gold-colored embroidery.  Length:  111.8 cm.  
Teakwood stand decorated with flower and leaf pattern covered in gold 
leaf.  Accessories include a bow (kosok), removable bridge (sreten), 
undecorated wooden case, block of rosin, and an extra coil of brass 
wire.</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Rebab">function and playing technique</a>.
 
<br />
<hr />
<a href="http://www.blogger.com/null" name="Saron Barung"></a>
<center>
SARON BARUNG</center>
<br />
<center>
 <a href="http://orgs.usd.edu/nmm/Gamelan/9903/SaronBarung9903.html"><img alt="Saron Barung" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9903/9903gamelanbarungportraitwithoutmalletT.jpg" width="264" /></a></center>
<div align="JUSTIFY">
NMM 9902.  Saron Barung in Laras Slendro.  Mid-sized 
member of saron group.  Metallophone with seven large bronze bars placed
 over teakwood frame.  Keys held in place by two pins inserted through 
holes in the bars and embedded in the frame.  Decorated with flower and 
leaf pattern covered in gold leaf.  Length: 87.4 cm.  Mallet (tabuh) 
with  long handle and large, oval-shaped wooden striker.</div>
<div align="JUSTIFY">
NMM 9903.  <a href="http://orgs.usd.edu/nmm/Gamelan/9903/SaronBarung9903.html">Saron Barung in Laras Slendro</a>.  Mid-sized member of saron group.   Length: 86.9 cm.  Mallet (tabuh).</div>
<div align="JUSTIFY">
NMM 9904.  Saron Barung in Laras Slendro.  Mid-sized member of saron group.    Length: 84.9 cm.  Mallet (tabuh). </div>
<div align="JUSTIFY">
NMM 9906.  Saron Barung in Laras Pelog.  Mid-sized 
member of saron group. Metallophone with seven bronze bars placed over 
teakwood frame.  Keys held in place by two pins inserted through holes 
in the bars and embedded in the frame.  Decorated with flower and leaf 
pattern covered in gold leaf.  Length: 86.7 cm.  Mallet (tabuh).</div>
<div align="JUSTIFY">
NMM 9907.  Saron Barung in Laras Pelog.  Mid-sized member of saron group.    Length: 88.0 cm.  Mallet (tabuh).</div>
<div align="JUSTIFY">
NMM 9908.  Saron Barung in Laras Pelog.  Mid-sized member of saron group.  Length: 88.5 cm.  Mallet (tabuh).</div>
<div align="JUSTIFY">
NMM 9909.  Saron Barung in Laras Pelog.  Mid-sized member of saron group.    Length: 88.0 cm.  Mallet (tabuh).</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Saron%20Barung">function and playing technique</a>.

<br />
<hr />
<a href="http://www.blogger.com/null" name="Saron Demung"></a>
<center>
SARON DEMUNG</center>
<br />
<center>
 <a href="http://orgs.usd.edu/nmm/Gamelan/9899/SaronDemung9899.html"><img alt="Saron Demung" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9899/9899gamelansarondemungportraitwithoutmalletT.jpg" width="293" /></a></center>
<div align="JUSTIFY">
NMM 9898.  Sarong Demung in Laras Slendro.  Largest 
member of saron group.  Metallophone with seven large bronze bars placed
 over teakwood frame.  Keys held in place by two pins inserted through 
holes in the bar and embedded in the frame.  Decorated with flower and 
leaf pattern covered in gold leaf.  Length:  114.9 cm.  Mallet (tabuh) 
with  long handle and large, oval-shaped wooden striker.</div>
<div align="JUSTIFY">
NMM 9899.  <a href="http://orgs.usd.edu/nmm/Gamelan/9899/SaronDemung9899.html">Sarong Demung in Laras Slendro</a>.  Largest member of saron group.    Length: 114.6 cm.  Mallet (tabuh).</div>
<div align="JUSTIFY">
NMM 9900.  Saron Demung in Laras Pelog. Largest member of saron group.   Length:  113.9 cm.  Mallet (tabuh).</div>
<div align="JUSTIFY">
NMM 9901.  Saron Demung in Laras Pelog.  Largest member of saron group.   Length: 114.3 cm.  Mallet (tabuh).</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Saron%20Demung">function and playing technique</a>.

<br />
<hr />
<a href="http://www.blogger.com/null" name="Saron Panerus"></a>
<center>
SARON PANERUS (PEKING)</center>
<br />
<center>
<a href="http://orgs.usd.edu/nmm/Gamelan/9910/SaronPanerus9910.html"><img alt="NMM 9910.  Saron Panerus (Peking) in Laras Slendro" border="0" height="88" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9910/9910SaronpanerusportraitT.jpg" width="200" /></a></center>
<div align="JUSTIFY">
NMM 9910.  <a href="http://orgs.usd.edu/nmm/Gamelan/9910/SaronPanerus9910.html">Saron Panerus (Peking) in Laras Slendro</a>.
 Smallest member of saron group.  Metallophone with seven bronze bars 
placed over teakwood frame.  Keys held in place by two pins inserted 
through holes in the bars and embedded in the frame.  Decorated with 
flower and leaf pattern covered in gold leaf.  Length:  66.6 cm.  Mallet
 (tabuh) with a long handle tipped with water buffalo horn.</div>
<div align="JUSTIFY">
NMM 9911.  Saron Panerus (Peking) in Laras Slendro. Smallest member of saron group.    Length:  67.1 cm.  Mallet (tabuh).</div>
<div align="JUSTIFY">
NMM 9912.  Saron Panerus (Peking) in Laras Pelog.  Smallest member of saron group.    Length:  66.5 cm.  Mallet (tabuh).</div>
<div align="JUSTIFY">
NMM 9913. Saron Panerus (Peking) in Laras Pelog.  Smallest member of saron group.    Length:  67.7 cm.  Mallet (tabuh).</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Saron%20Panerus">function and playing technique</a>.

<br />
<hr />
<a href="http://www.blogger.com/null" name="Saron Wayang"></a>
<center>
SARON WAYANG</center>
<br />
<center>
<a href="http://orgs.usd.edu/nmm/Gamelan/9905/SaronWayang9905.html"><img alt="NMM 9905.  Saron Wayang in Laras Slendro" border="0" height="73" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9905/9905SaronwayangportraitT.jpg" width="200" /></a></center>
<div align="JUSTIFY">
NMM 9905.  <a href="http://orgs.usd.edu/nmm/Gamelan/9905/SaronWayang9905.html">Saron Wayang in Laras Slendro</a>.
  Mid-sized member of saron group.  
Metallophone with nine large bronze bars placed over teakwood frame.  
Bars held in place by two pins inserted through holes in the bars and 
embedded in the frame.  Decorated with flower and leaf pattern covered 
in gold leaf.  Length: 92.4 cm.  Mallet (tabuh) with  long handle and 
large, oval-shaped wooden striker.</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Saron%20Wayang">function and playing technique</a>.

<br />
<hr />
<a href="http://www.blogger.com/null" name="Siter"></a>
<center>
SITER</center>
<br />
<center>
<a href="http://orgs.usd.edu/nmm/Gamelan/9880/Siter9880.html"><img alt="NMM 9880.  Siter" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9880/9880gamelansiterwithboxportraitT.jpg" width="157" /></a></center>
<div align="JUSTIFY">
NMM 9880.  <a href="http://orgs.usd.edu/nmm/Gamelan/9880/Siter9880.html">Siter</a>.
 Plucked zither with four legs.  Twenty-four wire strings.  Teakwood 
body decorated with flower and leaf pattern covered in gold leaf.  
Length (long side / short side):  58.5 / 45.8 cm.  One tuning hammer and
 a small coil of extra wire.</div>
<div align="JUSTIFY">
NMM 9881.  Siter.  Plucked zither with four legs.  
Twenty-four wire strings.    Length (long side / short side):  58.6 / 
46.4 cm.  One tuning hammer and a small coil of extra wire.</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Siter">function and playing technique</a>.
  
<br />
<hr />
<a href="http://www.blogger.com/null" name="Slenthem"></a>
<center>
SLENTHEM</center>
<br />
<center>
<a href="http://orgs.usd.edu/nmm/Gamelan/9858/Slenthem9858.html"><img alt="NMM 9857.  Slenthem" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9858/9858gamelanslenthemportraitwithoutmalletT.jpg" width="157" /></a></center>
<div align="JUSTIFY">
NMM 9857.  Slenthem in Laras Pelog.  Seven bronze 
keys suspended by a cord over sheet-iron resonating tubes in a teakwood 
frame.  Decorated with flower and leaf pattern covered with gold leaf.  
Feet decorated with a single leaf pattern covered with gold leaf.  
Length:  89.2 cm.  Mallet (tabuh) with a long handle and disc-shaped 
head with ring-shaped, red-cloth padding.</div>
<div align="JUSTIFY">
NMM 9858.  <a href="http://orgs.usd.edu/nmm/Gamelan/9858/Slenthem9858.html">Slenthem in Laras Slendro</a>.  Seven bronze keys. Length:  89.3 cm.  Mallet (tabuh).</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Slenthem">function and playing technique</a>.
 
 <br />
<hr />
 
<a href="http://www.blogger.com/null" name="Slentho"></a>
<center>
SLENTHO</center>
<br />
<center>
<a href="http://orgs.usd.edu/nmm/Gamelan/9924/Slentho9924.html"><img alt="NMM 9924.  Slentho." border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9924/9924gamelanslenthoportraitT.jpg" width="291" /></a></center>
<div align="JUSTIFY">
NMM 9924.  <a href="http://orgs.usd.edu/nmm/Gamelan/9924/Slentho9924.html">Slentho</a>
 in Laras Pelog. Similar to saron demung in size.  Metallophone with 
seven large bronze bars placed over teakwood frame.  Each bronze bar has
 node that is struck like a gong.  Keys held in place by two pins 
inserted through holes in the bars and embedded into the frame.  
Decorated with flower and leaf pattern covered in gold leaf. Length:  
115.2 cm.  Mallet (tabuh) with red cord wrapped very close to one end 
creating a soft, springy, oval shape that comes in contact with the node
 of the bar.</div>
<div align="JUSTIFY">
NMM 9925. Slentho in Laras Slendro. Similar to saron demung in size.    Length, 114.7 cm.  Mallet (tabuh).</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Slentho">function and playing technique</a>.

<br />
<hr />
<a href="http://www.blogger.com/null" name="Suling"></a>
<center>
SULING</center>
<br />
<center>
<a href="http://orgs.usd.edu/nmm/Gamelan/9894/Suling9895.html"><img alt="Sulings" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9894/9894&9895gamelansulingsfrontT.jpg" width="76" /></a></center>
<div align="JUSTIFY">
NMM 9894.  <a href="http://orgs.usd.edu/nmm/Gamelan/9894/Suling9895.html">Suling (flute)</a>
 in Laras Slendro.  One-piece, end-blown, bamboo flute with four finger 
holes. Length: 52.5 cm.  Teakwood stand, shared with NMM 9897, decorated
 with flower and leaf pattern covered in gold leaf.</div>
<div align="JUSTIFY">
NMM 9895.  Suling (flute) in Laras Slendro.  One-piece, end-blown, bamboo flute with four finger holes. Length:  51.8 cm.</div>
<div align="JUSTIFY">
NMM 9896.  Suling (flute) in Laras Pelog.   Length:  54.98 cm.</div>
<div align="JUSTIFY">
NMM 9897.  <a href="http://orgs.usd.edu/nmm/Gamelan/9894/Suling9895.html">Suling (flute)</a>
 in Laras Pelog.   Length: 54.0 cm. Stand shared by NMM 9894, teakwood 
decorated with flower and leaf pattern covered in gold leaf.</div>
Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Suling">function and playing technique</a>.
  
  <br />
<hr />
<a href="http://www.blogger.com/null" name="Tabuh"></a>
<center>
  TABUH (MALLETS)
</center>
<br />
<center>
 <a href="http://orgs.usd.edu/nmm/Gamelan/Mallets/GamelanMallets.html"><img alt="Mallets (Tabuh)" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/Mallets/gamelanmalletsgroupshotT.jpg" width="132" /></a></center>
<br />

<hr />
<a href="http://www.blogger.com/null" name="Maker's Sign"></a>
<center>
MAKER’S SIGN</center>
<br />
<center>
<a href="http://orgs.usd.edu/nmm/Gamelan/9926/GamelanMakersSign.html"><img alt="Maker's Sign" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9926/9926gamelanmakersignT.jpg" width="94" /></a></center>
<div align="JUSTIFY">
NMM 9926.  <a href="http://orgs.usd.edu/nmm/Gamelan/9926/GamelanMakersSign.html">Maker's Sign</a>.  Stand with two hooks from which hangs the sign: <i>MANUFACTURED BY. / UD. SOEPOYO. / MERTAN WIRUN / MOJOLANBAN. SUKOHARJO / JAWATENGAH – INDONESIA. / TELP. 0271.611883</i>.   Length (base of stand): 68.4 cm.  Text and carving covered in gold leaf.</div>
<br />
<center>
<img src="http://orgs.usd.edu/nmm/Signs/music.gif" />
      </center>
</h4>
<h4>
<center>
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>
</center>
<br />
<center>
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>
</center>
<br />
<center>
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>
</center>
<br />
<center>
Go to  <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html">Glossary of Terms Relating to the <i>Kyai Rengga Manis Everist</i> Gamelan</a>
</center>
</h4>
<center>
        <img src="http://orgs.usd.edu/nmm/Signs/music.gif" />
      </center>
<h4>
<center>
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414 East Clark Street<br />
Vermillion, SD 57069</center>
</h4>
<center>
        <img src="http://orgs.usd.edu/nmm/Signs/music.gif" />
      </center>
<h5>
 <center>
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Annotated Checklist of Musical Instruments In the Kyai Rengga Manis Everist Gamelan

Home Collections Virtual Tour Calendar Gift Shop FAQ Site Index Maker Index …

09 May 2014

Javanese Gamelan Glossary at the National Music Museum

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<tr>      <td align="center" valign="middle" width="57"><span style="font-size: small;"><a href="http://www.usd.edu/smm/"><b>Home</b></a>       </span></td><td align="center" valign="middle" width="94"><span style="font-size: small;"><a href="http://www.usd.edu/smm/collect.html"><b>Collections        </b></a></span> </td>     <td align="center" valign="middle" width="74"><div align="center">
<span style="font-size: small;"><a href="http://www.usd.edu/smm/galleries.html"><b>          Virtual Tour</b></a></span> </div>
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<table style="margin-left: auto; margin-right: auto; text-align: left;"><tbody>
<tr><td width="1%"></td><td style="text-align: center;" width="97%"><h2>
       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>
<hr style="margin-left: auto; margin-right: auto;" />
 <div>
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>
</ul>
</h4>
<hr style="margin-left: auto; margin-right: auto;" />
<h4>
Glossary of Terms Relating to the <i>Kyai Rengga Manis Everist</i> Gamelan</h4>
<table style="margin-left: auto; margin-right: auto; text-align: left;"><tbody>
<tr><td height="513" width="237"><h4>
<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>
</td> <td width="230"><h4>
<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>
</td></tr>
</tbody></table>
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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>
<hr style="margin-left: auto; margin-right: auto;" />
         <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>
<hr style="margin-left: auto; margin-right: auto;" />
    <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 />
<hr style="margin-left: auto; margin-right: auto;" />
    <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>
<hr style="margin-left: auto; margin-right: auto;" />
    <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>
<hr style="margin-left: auto; margin-right: auto;" />
    <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>
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    <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>
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<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>
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<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>
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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>
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<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>
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         <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>
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<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>
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         <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>
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           <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>
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    <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>
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         <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>
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    <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>
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    <a href="http://www.blogger.com/null" name="Tari"></a><br />
<br />  TARI <div>
Definition:   Javanese classical dance.</div>
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<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>
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<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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Javanese Gamelan Glossary at the National Music Museum

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14 Dec 2013

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