gong ageng造句

• The soul of the gamelan is believed to reside in the large gong, or gong ageng.
• Some gamelan sets for cost considerations will use the gong ageng for both p閘og and sl閚dro scale systems.
• A typical lancaran has four gongs, at the end of which the larger gong ageng is played.
• Important colotomic instruments, most notably the " gong ageng ", are played on that final beat.
• In the houses of the wealthy, mainly Javanese aristocrat families of Jakarta, " gong ageng " are used to herald the arrival of guests.
• On each there are five kempul hung at two levels between the Gong ageng ( on right ) and gong suwukan ( on left, facing opposite way ).
• For example, a typical " lancaran " has four gongs, at the end of which the larger " gong ageng " is played.
• In most cases, the more spread out the " balungan " is, the longer it takes to reach a " gong ageng ".
• The gong ageng ( large gong ) marks the end of each of the largest melodic phrases; these are called " gongan, " and a piece can have one or several of these.
• "In the older ensembles of east Java, one usually finds only one kempul, tuned to a pitch 6 or pitch 5, and one Gong ageng, with no siyem or gong suwukan.
• In the minggah section, the kempyang and kethuk play in the same pattern as in the ketawang, but with no kempul, and the kenong only where the gong ageng goes in the ketawang.
• The largest gong, the " gong ageng ", represents the largest time cycle and generally indicates that that section will be repeated, or the piece will move on to a new section.
• Buka are generally played by a single instrument in a free rhythm, until the last few notes when the kendhang comes in to set the tempo and cue the whole gamelan, which joins on the final note, with the first gong ageng.
• The rebab does not have to conform exactly to the scale of the other gamelan instruments and can be played in relatively free time, finishing its phrases after the beat of the gong ageng ( the big gong that " rules " the ensemble, see : colotomy ).
• There are numerous sets of such marks in use; for example, one set ( not an agreed standard ) uses a circle for gong ageng, parentheses for gong suwukan, ^ for kenong, ? for kempul, + for ketuk, and & ndash; for kempyang.
• The number of kempul gongs present in a gamelan ensemble varies but, " although there can be two to ten kempul on one separate rack, it is common to have five kempul hanging on the same rack as the Gong ageng and gong siyem " ( two larger gongs ).
• On auspicious or important occasions a " gong ageng " is often struck, just as in Western society a ribbon may be cut or a champagne bottle smashed ( commissioning of a building or ship, launching a project, finalizing a major business deal, and similar occasions ).
• There is at least one large gong in each gamelan, but two are common and older gamelans may have three or more . " Gong ageng " are often proffered ritual offerings of flowers, food, and / or and incense before performances or each Thursday evening to appease spirits believed to live in and around it.
• For example, in the central Javanese gamelan, the largest gong is called " gong ageng ", ranges in size up to 1 meter in diameter, has the deepest pitch and is played least often; the next smaller gong is the " gong suwukan " or " siyem ", has a slightly higher pitch and replaces the " gong ageng " in pieces where gong strokes are close together; the " kempul " is smaller still, has a higher pitch, and is played more frequently.
• For example, in the central Javanese gamelan, the largest gong is called " gong ageng ", ranges in size up to 1 meter in diameter, has the deepest pitch and is played least often; the next smaller gong is the " gong suwukan " or " siyem ", has a slightly higher pitch and replaces the " gong ageng " in pieces where gong strokes are close together; the " kempul " is smaller still, has a higher pitch, and is played more frequently.