Music Exam 3
Balungan
Definition: The term balungan refers to the main melody or the skeletal structure of a piece in Indonesian gamelan music. It serves as the framework upon which other instruments build their variations, often played by the metallophones and other melodic instruments.
Concepts: In the context of gamelan, the balungan is typically played by the saron or gender, and while it provides the structural framework, the other instruments (like bonang and rebab) often elaborate or decorate this framework with more intricate patterns. The balungan can be compared to the "theme" in Western classical music, serving as the central, recognizable idea that is elaborated upon.
2. Basy
Definition: In the context of Balinese gamelan, basy refers to the bass or low-pitched instruments in the ensemble, particularly the large gongs and bass metallophones. These instruments provide the harmonic and structural foundation of the piece.
Concepts: The basy contrasts with the more melodically oriented higher-pitched instruments in the gamelan ensemble. It provides a "bed" for the faster, more intricate melodic lines played by instruments like the gangsa or rebab.
3. Bhajan
Definition: A bhajan is a devotional song, often in Indian music, used to praise or worship a deity. These are typically performed in a group setting and may be accompanied by instruments like the tabla, harmonium, and tanpura.
Concepts: Bhajans have a spiritual dimension and are focused on creating a mood of devotion. They can be performed in various ragas and are sung with a call-and-response format, emphasizing communal participation. Compared to a Western hymn, bhajans have a more improvisatory quality and can shift in tempo or mood depending on the devotional context.
4. Bonang
Definition: The bonang is a traditional Javanese and Balinese gamelan instrument made up of a series of small gongs mounted on a frame, typically played with mallets.
Concepts: The bonang serves both a melodic and harmonic function in gamelan music, creating intricate interlocking rhythms and embellishing the balungan. It is one of the instruments responsible for the "shimmering" texture of gamelan music, offering a decorative, complex layer to the ensemble.
5. Buka
Definition: A buka is an opening section or introductory part of a gamelan piece, often a slow or non-metric section that sets the tone before the main rhythmic cycles (the gongan) begin.
Concepts: The buka is often played on the softer instruments in the gamelan (such as the rebab or suling) and helps establish the key mood or atmosphere of the piece before the more structured and fast-paced sections unfold.
6. Cipher Notation
Definition: Cipher notation is a system used to write out gamelan music, where numbers or syllables (rather than traditional Western staff notation) represent specific pitches or musical phrases.
Concepts: This notation system is primarily used in Indonesian music to represent the different tuning systems like slendro and pelog. It is efficient for teaching and performance in oral traditions, allowing musicians to quickly communicate complex compositions without needing to read traditional music notation.
7. Environment of Sound
Definition: The environment of sound refers to the physical, social, and cultural context in which music is produced, heard, and experienced. This term is particularly important when thinking about gamelan or any non-Western music.
Concepts: For gamelan, the environment of sound includes the specific acoustics of the performance space, the social roles of performers and listeners, and the cultural rituals that accompany the music. It emphasizes the interaction between sound and place, understanding music as something deeply embedded in its environment.
8. Functional Layers
Definition: In gamelan, functional layers describe the various roles and parts different instruments play in the ensemble, often categorized into melody, rhythm, and structural support.
Concepts: Layers might include the balungan (melodic core), gong (structural punctuation), kotekan (rhythmic interlock), and saron (melodic support). These layers work together to create the complex textures typical of gamelan music, where no single part stands alone but instead functions within a collaborative whole.
9. Gamelan
Definition: A gamelan is a traditional Indonesian ensemble, typically featuring metallophones, gongs, drums, and other instruments, played as part of ceremonial, theatrical, or social events.
Concepts: Gamelan is central to Indonesian musical culture, particularly in Java and Bali. Each gamelan has its own tuning system and style, and the music is often cyclical, with intricate patterns and interlocking rhythms. Compared to Western orchestras, gamelan ensembles tend to emphasize texture over harmony, with an emphasis on communal participation.
10. Gong Ageng
Definition: The gong ageng is the largest gong in a gamelan ensemble and serves as the primary marker of time in gamelan music.
Concepts: The gong ageng typically marks the end of a large musical cycle or gongan and serves as a significant "landmark" in the music. The role of the gong ageng is more structural than melodic, providing a sense of closure and resolution within the cyclical rhythm.
11. Gongan
Definition: A gongan is a large musical cycle in Javanese and Balinese gamelan music, often marked by the striking of the large gongs.
Concepts: Each gongan forms the basic time unit of the gamelan piece. It acts like a "phrase" in Western music, providing structure and organization. The cycle of gongan can range in length, and musicians play within these cycles, interlocking with one another.
12. Gorale
Definition: A gorale is a style of music from the Podhale region of Poland, characterized by fast, ornamented melodies often sung in a high, nasal voice.
Concepts: The gorale is rooted in the folk traditions of the Carpathian Mountains, blending both vocal and instrumental elements. It shares certain melodic features with other Central European folk music but has distinct rhythmic and vocal traditions.
13. Heptatonic
Definition: A heptatonic scale consists of seven distinct pitches within an octave.
Concepts: The heptatonic scale is fundamental in many world music traditions, including Western major and minor scales (though those follow specific patterns). In Indian classical music, for example, ragas are often based on heptatonic scales. The term contrasts with pentatonic (five-note) and octatonic (eight-note) scales.
14. Irama
Definition: Irama is a term used in Indonesian gamelan music to describe the tempo and rhythmic density of a piece.
Concepts: The term can refer to how fast or slow the music is (tempo), as well as how "dense" or "sparse" the rhythmic layers are. In Balinese gamelan, for example, there can be a slow irama in a piece, where the instruments play fewer notes, or a fast irama, where the patterns become very intricate.
15. Kapela
Definition: Kapela is a term used in Polish folk music to refer to a small ensemble or band.
Concepts: A kapela typically features traditional instruments like the violin, basy (bass), and bębny (drums). It’s an essential part of Polish folk culture, often used in celebrations and dances.
16. Kenong
Definition: The kenong is a type of gong used in Javanese and Balinese gamelan music. It is part of the "kettle gong" family and is typically placed horizontally, with a relatively small, rounded shape and a higher pitch than larger gongs like the gong ageng.
Concepts: In the gamelan ensemble, the kenong often marks the internal subdivisions of the gongan cycle. It plays a rhythmic role, punctuating the melody and contributing to the cyclical framework of the piece. While the kenong does not carry the structural weight of the gong ageng, it still has a crucial role in defining the temporal framework of the performance.
17. Kettle Gongs
Definition: Kettle gongs are gongs with a deep, bowl-like shape, used in both Javanese and Balinese gamelan music. These gongs come in different sizes and pitches and include instruments like the kenong and ketuk.
Concepts: These gongs, because of their distinct pitch and resonant, hollow sound, play a pivotal role in marking rhythmic cycles and emphasizing particular moments in the music. Kettle gongs contribute to the complex interlocking rhythmic textures of gamelan music, and their sound is often used to mark off musical phrases or sections.
18. Kriti
Definition: A kriti is a form of devotional song in Carnatic music (South Indian classical music). It is often composed in praise of a deity and follows a specific structure, including verses (stanzas), a refrain (charanam), and a musical form based on ragas.
Concepts: The kriti is central to South Indian classical performance, often sung by a vocalist and accompanied by instruments like the mridangam (drums) and violin. A kriti is structured with a combination of melody and rhythm, emphasizing the connection between the raga (melodic framework) and the tala (rhythmic cycle). It’s similar to a Western hymn but often features intricate rhythms and improvisatory elements.
19. Loud Playing Style
Definition: The loud playing style (known as gong kebyar in Bali) refers to a type of gamelan music performance characterized by fast tempos, intricate rhythmic patterns, and dramatic contrasts in dynamics (from very loud to soft).
Concepts: This style is energetic and vigorous, often associated with Balinese gamelan music, where sharp, percussive sounds contrast with smooth, slow passages. It emphasizes virtuosity and excitement, and the dynamics contribute to the emotional intensity of the performance. It stands in contrast to the more meditative or controlled styles of playing, such as the soft playing style (or lullaby gamelan).
20. Melakarta
Definition: A melakarta is a system of ragas in South Indian (Carnatic) music, consisting of 72 fundamental scales (or ragas), each with specific ascending and descending notes.
Concepts: The melakarta system is highly organized and serves as the foundation for much of Carnatic music. Each melakarta raga has a precise arrangement of notes in both the ascending (arohana) and descending (avarohana) scales. Understanding melakarta ragas is essential for performers, as it serves as the basis for creating new compositions and improvisations. It contrasts with other raga systems, such as the mela system, which is less rigid.
21. Mridangam
Definition: The mridangam is a two-headed drum used in Carnatic music (South Indian classical music). It has a cylindrical shape and is played with both hands.
Concepts: The mridangam provides both rhythm and texture to a Carnatic music performance. The drum is central to the tala system and is capable of producing a wide variety of sounds and tonal colors. It is often used in the tani avartanam section of a performance, where the drummer engages in a virtuoso improvisational dialogue with other musicians. The mridangam is highly revered in South Indian culture and is a key instrument for providing the rhythmic framework in Carnatic music.
22. Muzyka Podhala
Definition: Muzyka Podhala refers to the traditional folk music of the Podhale region in southern Poland, particularly in the Tatra Mountains.
Concepts: The music of this region often features high-energy dances and melodies, typically played on violins, bass, and drums. It is distinct for its fast tempos, ornamented melodies, and unique rhythms. The muzyka podhala style also has elements of gorale (another term from Polish music), and is closely tied to the folk traditions of mountain dwellers, including the distinctive high-pitched yodeling style known as saba.
23. Nagaswaram
Definition: The nagaswaram is a wind instrument used in South Indian classical music, often played in temple ceremonies and weddings. It is a double-reed instrument with a loud, piercing sound.
Concepts: The nagaswaram is typically accompanied by the tavil (a type of drum) and is played in a very powerful, energetic style, similar to how the shehnai is used in North Indian music. It is used in mangala (auspicious) events and is an essential instrument in ritualistic performances. Its function is somewhat similar to that of brass or woodwind instruments in Western orchestras, but with a distinct cultural and sonic identity.
24. Nuta
Definition: Nuta refers to a melodic mode used in Polish folk music, particularly in the southern regions. It typically features certain patterns or melodies passed down through oral tradition.
Concepts: In Polish folk traditions, the nuta is associated with a specific type of melody or scale that is used in various forms of traditional song, particularly in the context of dancing. It is characterized by its ornamentation and is often passed down from generation to generation in a communal, non-notated style.
25. Ozwodna
Definition: Ozwodna is a traditional Polish folk dance and music form from the Podhale region, often accompanied by violin and other folk instruments.
Concepts: It is characterized by fast, lively rhythms and is often used as part of folk celebrations. Like other traditional Polish dances, it emphasizes the rhythmic drive and communal participation typical of folk music, with dancers performing highly synchronized movements to the rhythmic patterns established by the music.
26. Pasterska
Definition: Pasterska is another type of Polish folk music, specifically referring to the pastoral music of the highland regions.
Concepts: The pasterska style evokes the sounds of shepherds and rural life, often incorporating slower, more lyrical melodies. These songs are sometimes more reflective and pastoral in nature compared to the more energetic muzyka podhala style. Like other forms of Polish folk music, it plays a crucial role in rituals, festivals, and regional celebrations.
27. Pathet
Definition: Pathet is a term used in Javanese and Balinese gamelan music to refer to a set of modes or melodic scales that also imply a certain emotional or atmospheric quality.
Concepts: Each pathet is associated with a particular mood or time of day and is used in the composition of gamelan music. The pathet provides a structural framework for the music, guiding the melodic development within a performance. In Javanese gamelan, there are typically three main pathets (pathet lima, pathet nem, and pathet sanga) that correspond to different variations of the slendro and pelog scales.
28. Pelog
Definition: Pelog is a seven-note scale used in Indonesian gamelan music, primarily in Java and Bali. It has irregular intervals and does not correspond directly to Western tuning systems.
Concepts: The pelog scale is typically associated with a more complex, chromatic flavor, and it is contrasted with slendro, a five-note scale with more regular intervals. These scales shape the melodic and harmonic structure of gamelan music, and different pelog tunings can result in different emotional qualities within the music.
29. Pentatonic
Definition: A pentatonic scale is a musical scale containing five notes per octave. It is found in various musical traditions around the world, including gamelan, blues, and folk music.
Concepts: The pentatonic scale is widely used because of its simplicity and versatility. The lack of half-step intervals (common in Western major and minor scales) gives it a unique, open sound. In gamelan, slendro is a form of pentatonic scale, contributing to the sound world of both Javanese and Balinese ensembles.
30. Raga
Definition: A raga is a complex system of melodic modes in Indian classical music that is associated with specific moods, times of day, and seasons.
Concepts: A raga is more than just a scale—it includes rules for how the notes are used, which notes are emphasized, and how the melody unfolds. In Hindustani classical music (North Indian), a raga is the central idea of performance, guiding both the structure and emotional content of a piece. It can be compared to a raga in Carnatic (South Indian) music, though each tradition has different rules and structures.
31. Rasa
Definition: Rasa refers to the emotional essence or mood evoked by a raga or a piece of music in Indian classical traditions.
Concepts: The rasa is the "flavor" or aesthetic experience of music, intended to evoke specific emotions in the listener. In Indian classical music, rasa plays a vital role in the performance, where the musician aims to communicate specific emotions through the choice of raga, tempo, and ornamentation. There are nine primary rasas, including joy, sorrow, anger, and devotion.
32. Shruti
Definition: A shruti is a pitch unit in Indian classical music, often described as the smallest perceptible interval of sound.
Concepts: In the context of Indian music, shruti serves as a microtonal reference that guides tuning systems and allows for the nuanced expressiveness of the music. While Western music has 12 equal intervals per octave, Indian classical music uses a finer division of the octave into 22 shrutis, allowing for subtle tonal shading.
33. Slendro
Definition: Slendro is a five-note scale used in Indonesian gamelan music, most commonly in Java and Bali.
Concepts: Unlike the pelog scale, which has seven notes, the slendro scale is more symmetric and has a distinct sound because of the regularity of its intervals. The use of slendro gives gamelan music a particular sense of balance and simplicity, contributing to the floating, otherworldly quality of the music.
34. Soft Playing Style
Definition: The soft playing style in Balinese gamelan music refers to the calmer, more meditative way of performing, with a slower tempo and less contrast between loud and soft sounds.
Concepts: This style contrasts with the loud playing style and is used in more reflective or ritualistic settings, where the focus is on texture and subtlety. The soft style often employs the softer instruments in the gamelan, such as the rebab (bowed string instrument) or suling (flute).
35. Sollukattu
Definition: Sollukattu refers to the vocal percussion used in South Indian classical music, especially in Carnatic music.
Concepts: Sollukattu is a system of rhythmic syllables that imitate the sounds of drums and other percussion instruments. It is used to help musicians internalize rhythms (tala) and is an essential part of Carnatic music training. It is similar to the ta-ka-di-mi syllables used in North Indian classical music but has a distinct South Indian tradition.
36. Swara
Definition: A swara is a note in Indian classical music, corresponding to a pitch or sound within a raga or scale.
Concepts: In Indian music, swara refers not just to a pitch, but also to its relationship within the raga structure. The concept of swara is deeply tied to the idea of melody and its emotional and spiritual significance.
37. Tak, Dung, & Dang
Definition: These are onomatopoeic syllables used to represent the sounds of gongs and drums in Southeast Asian gamelan music.
Concepts: These syllables help musicians communicate the rhythms and sounds of particular instruments, particularly the gongs and drums, during performances and practice sessions.
38. Tala
Definition: Tala refers to the rhythmic cycle in Indian classical music, which is the foundation for structuring a composition.
Concepts: A tala consists of a fixed number of beats, with specific emphasis on particular beats within the cycle. It organizes the time structure for both melody and rhythm, serving as the framework around which improvisation and composition occur. In Hindustani classical music, common talas include teental (16 beats) and jhaptal (10 beats).
39. Tambura
Definition: The tambura (or tanpura) is a long-necked plucked string instrument used in Indian classical music to provide a continuous drone that supports the melodic and harmonic structure.
Concepts: The tambura does not play melody or rhythm but creates a harmonic backdrop that gives the performance its tonal foundation. Its role is similar to that of a bass or a drone in other musical traditions.
40. Wayang Kulit
Definition: Wayang Kulit is a traditional form of shadow puppetry from Indonesia, particularly associated with Java and Bali. The performance is accompanied by gamelan music.
Concepts: Wayang Kulit performances are highly theatrical, with intricate puppet movements and stories often based on Hindu epics like the Ramayana or Mahabharata. The gamelan music is carefully synchronized with the puppetry, with specific musical cues marking action, emotion, or changes in scene.
41. Wierchowa
Definition: Wierchowa is a style of Polish folk music and dance from the Tatra Mountains.
Concepts: Like other regional Polish music, wierchowa incorporates fast-paced rhythms and distinctive melodies that reflect the mountain culture, often performed at festivals and celebrations. It shares characteristics with muzyka podhala and other highland folk traditions.