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Name: Gamelan Angklung

Geographic Region: Southeast Asia

Country of origin: Indonesia

Subregion: Bali

Climatic type: Tropical

Time period: Before 12th century CE - present

Classification: Multi Classed Ensemble

Ensembles:

• Gamelan Angklung

Related Instruments:

• Kajar
• Kendang Angklung
• Kempur
• Ceng-ceng
• Jegogan Angklung
• Gangsa Pemade
• Gangsa Kantilan
• Suir
• Reyong Angklung
• Klenang
• Tawa-tawa

Author: Peter Steele
           

Related Web Sites:

• Flash Gamelan, Cite de la Musique, Paris

Definition | Instruments and their functions in the ensemble: | Tuning System and Scale: | Historical and Social Context: | References

Definition

Gamelan is an ensemble that consists of metallophones, gongs, drums and flutes. The metallophone instruments and gongs produce tones when struck with mallets. The ensemble, in various sizes and forms, can be found in a number of Indonesian islands. In Java and Bali, gamelan has developed into an expansive ensemble, while a variety of smaller ensembles continue to exist. In Bali alone, there are many different kinds of gamelan. The following description focuses on one particular type of Balinese gamelan, gamelan angklung.

Instruments and their functions in the ensemble:

As in other forms of Indonesian music, instruments in gamelan angklung may fall into three basic functional categories.

The first of these instruments outline the metric structure. In Balinese music, the instruments used to delineate metric structure differ from ensemble to ensemble. In many ensembles, the stroke of a large gong (called either gong wadon or gong lanang) is used indicate the end of a melodic cycle. However, the gamelan angklung uses a smaller gong called kempur. When performing modern or contemporary angklung repertoire, musicians may borrow the gong structure used in the contemporary ensembles such as Gong Kebyar. Gong Kebyar uses the large gongs wadon and lanang to mark the ends of cycles. These cycles are further subdivided by strokes of the kempur, and the klentong (or kemong). The basic pulse is established by smaller horizontal gongs called kajar or kempli. The gamelan angklung typically uses an instrument called tawa-tawa. The basic pulse may also be subdivided by a smaller horizontal gong called klenang.

The second category of instruments guides tempo, dynamics, and the general “temporal flow.” This is done by a pair of two-headed drums called kendang. The size, shape, and name of the kendang depends on the type of music is it used to accompany. Gamelan angklung uses a small set of kendang that are played with small mallets. Larger kendang are often substituted when the gamelan angklung is used to accompany ritual dances such as Baris and Topeng, or to perform other repertoire.

Melodic instruments in Balinese angklung play either a core melody or an elaboration of that core melody. The core melody is played by an instrument called jegogan. Elaborations are played by metallophones called pemade, kantilan, and suir, and by the row of bossed gongs called reyong. These instruments elaborate the core melody using a variety of styles and techniques such as the rapid interlocking figuration known as kotekan.

Tuning System and Scale:

Since the mid-20th century Balinese music scholars have adopted some Javanese musicological terms to describe Balinese tuning systems. The Balinese indigenous term for the angklung tuning system is saih angklung. However, more recently the angklung tuning system has been called a slendro system, consisting of two smaller intervals (each roughly a major second) and one larger interval (a minor or major third). The angklung mode has four notes which are referred to using the solfege syllables deng, dung, dang, ding (in ascending order). In pedagogical contexts, this solfege is used to orally communicate material to the musicians. Some contemporary angklung ensembles add a fifth note (dong).

Historical and Social Context:

According to some sources, gamelan angklung is a ceremonial village orchestra that never received patronage by the Balinese courts. While the ensemble may be used in lieu of larger ensembles (gong gede and gong kebyar) to perform ceremonial music, it is most commonly used to accompany cremation rites. In other parts of Indonesia the term angklung is used to describe bamboo rattles, which are performed in an interlocking manner akin to carillon bells. Colin McPhee writes that these rattles were once integrated with the gamelan angklung. However, this practice is rarely encountered in Bali today.

References

McPhee, C. 1966. Music in Bali: A study in form and instrumental organization. New Haven, Yale University Press.

Ornstein, R. 1971. “The Five-Tone Gamelan Angklung of North Bali.” Ethnomusicology 15(1): 71-80.

Last Modified: 28-May-2010