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Gamelan Serdang collection re-creation

Originally, the repertoire was thought to be played as an exercise in sight reading, improvisation and arrangement. Simple melodic cycles employing a choice of 3-5 pitches serve as basic material, some of them reflect patterns taken from local dance melodies. Metric versatility and rhythmic structu...

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Main Authors: Jahnichen, Gisa, Musib, Ahmad Fauzi
Format: Book
Language:English
Published: Universiti Putra Malaysia Press 2011
Online Access:http://psasir.upm.edu.my/id/eprint/32469/1/Gamelan%20Serdang%20collection.pdf
http://psasir.upm.edu.my/id/eprint/32469/
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spelling my.upm.eprints.324692015-01-28T06:46:03Z http://psasir.upm.edu.my/id/eprint/32469/ Gamelan Serdang collection re-creation Jahnichen, Gisa Musib, Ahmad Fauzi Originally, the repertoire was thought to be played as an exercise in sight reading, improvisation and arrangement. Simple melodic cycles employing a choice of 3-5 pitches serve as basic material, some of them reflect patterns taken from local dance melodies. Metric versatility and rhythmic structuring individually planned for each instruments of the gamelan make a great part of the entire composition that is achieved through team work during the rehearsals. Well discussed introductions and transitions in various phases of each piece contribute to the individuality of the repertoire. Tempo and dynamics are very important due to the fact that performances of one and the same gamelan over a certain time period often suffer from the limitation in tuning and the impossibility of transposition. Though gamelan cultures, especially in Indonesia, can traditionally provide essential changes in mood and character through an enormous amount of multi-layered and metro-rhythmic features, gamelan playing in Malaysia cannot yet rely on an audience equally educated in musical perception of gamelan music that could appreciate small rhythmic differences and stylistic refinements in repetitive musical structures. Therefore, the repertoire can be seen as a collection of mostly modern compositions applying traditional production patterns and improvisatory forms of musical communication in a popular way. Universiti Putra Malaysia Press 2011 Book NonPeerReviewed application/pdf en http://psasir.upm.edu.my/id/eprint/32469/1/Gamelan%20Serdang%20collection.pdf Jahnichen, Gisa and Musib, Ahmad Fauzi (2011) Gamelan Serdang collection re-creation. Universiti Putra Malaysia Press, Serdang, Selangor. ISBN 9789673442348
institution Universiti Putra Malaysia
building UPM Library
collection Institutional Repository
continent Asia
country Malaysia
content_provider Universiti Putra Malaysia
content_source UPM Institutional Repository
url_provider http://psasir.upm.edu.my/
language English
description Originally, the repertoire was thought to be played as an exercise in sight reading, improvisation and arrangement. Simple melodic cycles employing a choice of 3-5 pitches serve as basic material, some of them reflect patterns taken from local dance melodies. Metric versatility and rhythmic structuring individually planned for each instruments of the gamelan make a great part of the entire composition that is achieved through team work during the rehearsals. Well discussed introductions and transitions in various phases of each piece contribute to the individuality of the repertoire. Tempo and dynamics are very important due to the fact that performances of one and the same gamelan over a certain time period often suffer from the limitation in tuning and the impossibility of transposition. Though gamelan cultures, especially in Indonesia, can traditionally provide essential changes in mood and character through an enormous amount of multi-layered and metro-rhythmic features, gamelan playing in Malaysia cannot yet rely on an audience equally educated in musical perception of gamelan music that could appreciate small rhythmic differences and stylistic refinements in repetitive musical structures. Therefore, the repertoire can be seen as a collection of mostly modern compositions applying traditional production patterns and improvisatory forms of musical communication in a popular way.
format Book
author Jahnichen, Gisa
Musib, Ahmad Fauzi
spellingShingle Jahnichen, Gisa
Musib, Ahmad Fauzi
Gamelan Serdang collection re-creation
author_facet Jahnichen, Gisa
Musib, Ahmad Fauzi
author_sort Jahnichen, Gisa
title Gamelan Serdang collection re-creation
title_short Gamelan Serdang collection re-creation
title_full Gamelan Serdang collection re-creation
title_fullStr Gamelan Serdang collection re-creation
title_full_unstemmed Gamelan Serdang collection re-creation
title_sort gamelan serdang collection re-creation
publisher Universiti Putra Malaysia Press
publishDate 2011
url http://psasir.upm.edu.my/id/eprint/32469/1/Gamelan%20Serdang%20collection.pdf
http://psasir.upm.edu.my/id/eprint/32469/
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score 13.211869

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