title: Daz Dillinger

text: Delmar Drew Arnaud (born May 25, 1973), known professionally as Daz Dillinger (formerly Dat Nigga Daz and commonly Daz), is an American rapper and record producer. In the 1990s at Death Row Records, aided the catapult of West Coast rap and gangsta rap into the mainstream. He is one half of the rap duo tha Dogg Pound, along with Kurupt.


title: Daz Dillinger

text: Daz learned production from Dr. Dre in working on Dre's debut solo album, "The Chronic", in 1992. Daz did more on Snoop Dogg's debut solo album "Doggystyle" in 1993, and secured his production standing on 2Pac's "All Eyez on Me" in 1996. Since leaving Death Row around 2000, Daz has focused on his own releases through his D.P.G. Recordz.


title: Daz Dillinger

text: A younger cousin of rapper Snoop Dogg, likewise from Long Beach, California, Daz began his career at about age 19 with Death Row Records, cofounded by Marion "Suge" Knight, where Daz learned music production from Dr. Dre. Signed to the label at age 19, both producing and rapping, Daz worked with Dr. Dre on West Coast rap's breakthrough album, "The Chronic". Meanwhile, befriending rapper Kurupt, who also rapped on "The Chronic", the two formed a rap duo, Tha Dogg Pound.


title: Daz Dillinger

text: The Dogg Pound appeared on Snoop Dogg's debut solo album, too, the cultural landmark "Doggystyle", released as Death Row's second album on November 23, 1993. Daz, in particular, was more involved in "Doggystyle"'s production. Daz was featured on one track and received co-production credit on two, "Serial Killa" and "For All My Niggaz & Bitches", although Daz contributed more production work, albeit not being officially credited. In the meantime, Daz produced tracks for the movie soundtracks "Above The Rim" as well as "Murder Was the Case".


title: Daz Dillinger

text: In their single "What Would You Do?", Tha Dogg Pound sided with Dr. Dre against his former N.W.A groupmate Eazy-E and his Ruthless Records. Later, amid the rap genre's East Coast–West Coast rivalry then ongoing and escalating, Tha Dogg Pound jumped in for the West, specifically the Los Angeles area, by releasing the single "New York, New York", featuring Snoop, which slighted the city. (Responding, the rap duo Capone-N-Noreaga, from the city's borough Queens, released "L.A., L.A.", featuring Mobb Deep and Tragedy Khadafi.) Subsequently, Tha Dogg Pound's debut album, "Dogg Food", met rave reviews and platinum sales.


title: Daz Dillinger

text: In 1996, as both the East–West rap rivalry and Suge Knight's violent tactics in house intensified, Death Row's lead producer Dr. Dre increasingly distanced himself from the studio's toxic atmosphere. Starting with Tha Dogg Pound's debut album "Dogg Food", produced by Daz, Dre ceased producing entire albums with Death Row. Eventually working there only with 2Pac, Dre produced just three tracks—"California Love", "California Love (Remix)", and "Can't C Me"—on 2Pac's first Death Row album, "All Eyez on Me".


title: Daz Dillinger

text: Daz, on the other hand, produced five songs on "All Eyez on Me"—"Ambitionz Az A Ridah", "2 of Amerikaz Most Wanted", "I Ain't Mad At Cha", "Skandalouz", and "Got My Mind Made Up"—which rapidly became 2Pac's most commercially successful album, solidifying Daz's standing as a producer. Effectively Death Row's lead producer by then, Daz also helped on Snoop Dogg's second album, "Tha Doggfather", which recorded from February to October 1996. In March, Dre left Death Row to form his own record label, Aftermath Entertainment.


title: Daz Dillinger

text: The murder of 2Pac in September 1996 and Suge's parole violations incurring his prison sentence of nine years in 1997 spurred an exodus of artists from Death Row. From 1997 to early 1998, Nate Dogg, Snoop, and Kurupt left Death Row, leaving the label's only remaining platinum seller as Tha Dogg Pound member Daz, who meanwhile contributed production to Nate Dogg's debut studio album, released by his own newly formed label, to the Lady of Rage's only studio album, and to the "Gridlock'd" soundtrack. Soon, Death Row released Daz's debut solo album, "Retaliation, Revenge and Get Back". Even after he left Death Row nearing 2000, his production appeared on the unauthorized Snoop compilation "Dead Man Walkin'", leaked by Suge Knight in 2001.


title: Daz Dillinger

text: After leaving Death Row Records, Daz would produce for artists like Kurupt, Soopafly, and B-Legit. In 2000, Daz's second solo album, "R.A.W.", was released by his own label, D.P.G. Recordz. In the following years, Daz has continued to focus on his own, indie releases and sales.


title: Daz Dillinger

text: In 2001, while Death Row still owned the duo's original name, Daz and Kurupt reappeared, if under the name D.P.G., with a second album, "Dillinger & Young Gotti", which received mixed reviews. But Kurupt soon signed with Death Row again, prompting Daz to repeatedly smear him in songs and interviews.


title: Daz Dillinger

text: While feuding with Kurupt from 2002 to 2005—as in Daz's songs "Catch U in the Club" and "U Ain't Shit", plus his skit "A Message to Ricardo Brown", drawing Kurupt's response "No Vaseline Part 2"—Daz released a few solo albums, if one with a makeshift group, DPGC, including Snoop Dogg, Soopafly, and Bad Azz.


title: Daz Dillinger

text: In 2005, Snoop hosted a West Coast unity event, where Daz and Kurupt reconciled. While gaining rights to their original name, Tha Dogg Pound, Kurupt left Death Row again, and Daz closed his brief time at Jermaine Dupri's So So Def Recordings. Over the years since then, Tha Dogg Pound has released a few more albums.


title: Daz Dillinger

text: In 2020 Daz united with Queens MC Capone one half of Capone-N-Norega for a collaborative album entitled "Guidelines" under Empire Distribution


title: Reduced instruction set computer

text: In computer engineering, a reduced instruction set computer (RISC) is a computer designed to simplify the individual instructions given to the computer to accomplish tasks. Compared to the instructions given to a complex instruction set computer (CISC), a RISC computer might require more instructions (more code) in order to accomplish a task because the individual instructions are written in simpler code. The goal is to offset the need to process more instructions by increasing the speed of each instruction, in particular by implementing an instruction pipeline, which may be simpler given simpler instructions.


title: Reduced instruction set computer

text: The key operational concept of the RISC computer is that each instruction performs only one function (e.g. copy a value from memory to a register). The RISC computer usually has many (16 or 32) high-speed, general-purpose registers with a load/store architecture in which the code for the register-register instructions (for performing arithmetic and tests) are separate from the instructions that grant access to the main memory of the computer. The design of the CPU allows RISC computers few simple addressing modes and predictable instruction times that simplify design of the system as a whole.


title: Reduced instruction set computer

text: The conceptual developments of the RISC computer architecture began with the IBM 801 project in the late 1970s, but these were not immediately put into use. Designers in California picked up the 801 concepts in two seminal projects, Stanford MIPS and Berkeley RISC. These were commercialized in the 1980s as the MIPS and SPARC systems. IBM eventually produced RISC designs based on further work on the 801 concept, the IBM POWER architecture, PowerPC, and Power ISA. As the projects matured, many similar designs, produced in the late 1980s and early 1990s, created the central processing units that increased the commercial utility of the Unix workstation and of embedded processors in the laser printer, the router, and similar products.


title: Reduced instruction set computer

text: The varieties of RISC processor design include the ARC processor, the DEC Alpha, the AMD Am29000, the ARM architecture, the Atmel AVR, Blackfin, Intel i860, Intel i960, LoongArch, Motorola 88000, the MIPS architecture, the PA-RISC, the Power ISA, the RISC-V, the SuperH, and the SPARC. RISC processors are used in supercomputers, such as the Fugaku.


title: Reduced instruction set computer

text: A number of systems, going back to the 1960s, have been credited as the first RISC architecture, partly based on their use of the load/store approach. The term RISC was coined by David Patterson of the Berkeley RISC project, although somewhat similar concepts had appeared before.


title: Reduced instruction set computer

text: The CDC 6600 designed by Seymour Cray in 1964 used a load/store architecture with only two addressing modes (register+register, and register+immediate constant) and 74 operation codes, with the basic clock cycle being 10 times faster than the memory access time. Partly due to the optimized load/store architecture of the CDC 6600, Jack Dongarra says that it can be considered a forerunner of modern RISC systems, although a number of other technical barriers needed to be overcome for the development of a modern RISC system.


title: Reduced instruction set computer

text: Michael J. Flynn views the first RISC system as the IBM 801 design, begun in 1975 by John Cocke and completed in 1980. The 801 developed out of an effort to build a 24-bit high-speed processor to use as the basis for a digital telephone switch. To reach their goal of switching 1 million calls per hour (300 per second) they calculated that the CPU required performance on the order of 12 million instructions per second (MIPS), compared to their fastest mainframe machine of the time, the 370/168, which performed at 3.5 MIPS.


title: Reduced instruction set computer

text: The design was based on a study of IBM's extensive collection of statistics gathered from their customers. This demonstrated that code in high-performance settings made extensive use of processor registers, and that they often ran out of them. This suggested that additional registers would improve performance. Additionally, they noticed that compilers generally ignored the vast majority of the available instructions, especially orthogonal addressing modes. Instead, they selected the fastest version of any given instruction and then constructed small routines using it. This suggested that the majority of instructions could be removed without affecting the resulting code. These two conclusions worked in concert; removing instructions would allow the instruction opcodes to be shorter, freeing up bits in the instruction word which could then be used to select among a larger set of registers.


title: Reduced instruction set computer

text: The telephone switch program was canceled in 1975, but by then the team had demonstrated that the same design would offer significant performance gains running just about any code. In simulations, they showed that a compiler tuned to use registers wherever possible would run code about three times as fast as traditional designs. Somewhat surprisingly, the same code would run about 50% faster even on existing machines due to the improved register use. In practice, their experimental PL/8 compiler, a slightly cut-down version of PL/1, consistently produced code that ran much faster on their existing mainframes.


title: Reduced instruction set computer

text: A 32-bit version of the 801 was eventually produced in a single-chip form as the IBM ROMP in 1981, which stood for 'Research OPD [Office Products Division] Micro Processor'. This CPU was designed for "mini" tasks, and found use in peripheral interfaces and channel controllers on later IBM computers. It was also used as the CPU in the IBM RT PC in 1986, which turned out to be a commercial failure. Although the 801 did not see widespread use in its original form, it inspired many research projects, including ones at IBM that would eventually lead to the IBM POWER architecture.


title: Reduced instruction set computer

text: By the late 1970s, the 801 had become well known in the industry. This coincided with new fabrication techniques that were allowing more complex chips to come to market. The Zilog Z80 of 1976 had 8,000 transistors, whereas the 1979 Motorola 68000 (68k) had 68,000. These newer designs generally used their newfound complexity to expand the instruction set to make it more orthogonal. Most, like the 68k, used microcode to do this, reading instructions and re-implementing them as a sequence of simpler internal instructions. In the 68k, a full of the transistors were used for this microcoding.


title: Reduced instruction set computer

text: In 1979, David Patterson was sent on a sabbatical from the University of California, Berkeley to help DEC's west-coast team improve the VAX microcode. Patterson was struck by the complexity of the coding process and concluded it was untenable. He first wrote a paper on ways to improve microcoding, but later changed his mind and decided microcode itself was the problem. With funding from the DARPA VLSI Program, Patterson started the Berkeley RISC effort. The Program, practically unknown today, led to a huge number of advances in chip design, fabrication, and even computer graphics. Considering a variety of programs from their BSD Unix variant, the Berkeley team found, as had IBM, that most programs made no use of the large variety of instructions in the 68k.


title: Reduced instruction set computer

text: Patterson's early work pointed out an important problem with the traditional "more is better" approach; even those instructions that were critical to overall performance were being delayed by their trip through the microcode. If the microcode was removed, the programs would run faster. And since the microcode ultimately took a complex instruction and broke it into steps, there was no reason the compiler couldn't do this instead. These studies suggested that, even with no other changes, one could make a chip with fewer transistors that would run faster. In the original RISC-I paper they noted:


title: Reduced instruction set computer

text: It was also discovered that, on microcoded implementations of certain architectures, complex operations tended to be "slower" than a sequence of simpler operations doing the same thing. This was in part an effect of the fact that many designs were rushed, with little time to optimize or tune every instruction; only those used most often were optimized, and a sequence of those instructions could be faster than a less-tuned instruction performing an equivalent operation as that sequence. One infamous example was the VAX's codice_1 instruction.


title: Reduced instruction set computer

text: The Berkeley work also turned up a number of additional points. Among these was the fact that programs spent a significant amount of time performing subroutine calls and returns, and it seemed there was the potential to improve overall performance by speeding these calls. This led the Berkeley design to select a method known as register windows which can significantly improve subroutine performance although at the cost of some complexity. They also noticed that the majority of mathematical instructions were simple assignments; only of them actually performed an operation like addition or subtraction. But when those operations did occur, they tended to be slow. This led to far more emphasis on the underlying arithmetic data unit, as opposed to previous designs where the majority of the chip was dedicated to control and microcode.


title: Reduced instruction set computer

text: The resulting Berkeley RISC was based on gaining performance through the use of pipelining and aggressive use of register windowing. In a traditional CPU, one has a small number of registers, and a program can use any register at any time. In a CPU with register windows, there are a huge number of registers, e.g., 128, but programs can only use a small number of them, e.g., eight, at any one time. A program that limits itself to eight registers per procedure can make very fast procedure calls: The call simply moves the window "down" by eight, to the set of eight registers used by that procedure, and the return moves the window back. The Berkeley RISC project delivered the RISC-I processor in 1982. Consisting of only 44,420 transistors (compared with averages of about 100,000 in newer CISC designs of the era), RISC-I had only 32 instructions, and yet completely outperformed any other single-chip design, with estimated performance being higher than the VAX. They followed this up with the 40,760-transistor, 39-instruction RISC-II in 1983, which ran over three times as fast as RISC-I.


title: Reduced instruction set computer

text: As the RISC project began to become known in Silicon Valley, a similar project began at Stanford University in 1981. This MIPS project grew out of a graduate course by John L. Hennessy, produced a functioning system in 1983, and could run simple programs by 1984. The MIPS approach emphasized an aggressive clock cycle and the use of the pipeline, making sure it could be run as "full" as possible. The MIPS system was followed by the MIPS-X and in 1984 Hennessy and his colleagues formed MIPS Computer Systems to produce the design commercially. The venture resulted in a new architecture that was also called MIPS and the R2000 microprocessor in 1985.


title: Reduced instruction set computer

text: The overall philosophy of the RISC concept was widely understood by the second half of the 1980s, and led the designers of the MIPS-X to put it this way in 1987:


title: Reduced instruction set computer

text: In the early 1980s, significant uncertainties surrounded the RISC concept. One concern involved the use of memory; a single instruction from a traditional processor like the Motorola 68k may be written out as perhaps a half dozen of the simpler RISC instructions. In theory, this could slow the system down as it spent more time fetching instructions from memory. But by the mid-1980s, the concepts had matured enough to be seen as commercially viable.


title: Reduced instruction set computer

text: Commercial RISC designs began to emerge in the mid-1980s. The first MIPS R2000 appeared in January 1986, followed shortly thereafter by Hewlett Packard's PA-RISC in some of their computers. In the meantime, the Berkeley effort had become so well known that it eventually became the name for the entire concept. In 1987 Sun Microsystems began shipping systems with the SPARC processor, directly based on the Berkeley RISC-II system. The US government Committee on Innovations in Computing and Communications credits the acceptance of the viability of the RISC concept to the success of the SPARC system. The success of SPARC renewed interest within IBM, which released new RISC systems by 1990 and by 1995 RISC processors were the foundation of a $15 billion server industry.


title: Reduced instruction set computer

text: By the later 1980s, the new RISC designs were easily outperforming all traditional designs by a wide margin. At that point, all of the other vendors began RISC efforts of their own. Among these were the DEC Alpha, AMD Am29000, Intel i860 and i960, Motorola 88000, IBM POWER, and, slightly later, the IBM/Apple/Motorola PowerPC. Many of these have since disappeared due to them often offering no competitive advantage over others of the same era. Those that remain are often used only in niche markets or as parts of other systems; only SPARC and POWER have any significant remaining market. The outlier is the ARM, who, in partnership with Apple, developed a low-power design and then specialized in that market, which at the time was a niche. With the rise in mobile computing, especially after the introduction of the iPhone, ARM became the most widely used high-end CPU design in the market.


title: Reduced instruction set computer

text: Competition between RISC and conventional CISC approaches was also the subject of theoretical analysis in the early 1980s, leading, for example, to the iron law of processor performance.


title: Reduced instruction set computer

text: Since 2010 a new open source instruction set architecture (ISA), RISC-V, has been under development at the University of California, Berkeley, for research purposes and as a free alternative to proprietary ISAs. As of 2014, version 2 of the user space ISA is fixed. The ISA is designed to be extensible from a barebones core sufficient for a small embedded processor to supercomputer and cloud computing use with standard and chip designer–defined extensions and coprocessors. It has been tested in silicon design with the ROCKET SoC, which is also available as an open-source processor generator in the CHISEL language.


title: Reduced instruction set computer

text: A common misunderstanding of the phrase "reduced instruction set computer" is that instructions are simply eliminated, resulting in a smaller set of instructions.


title: Reduced instruction set computer

text: In fact, over the years, RISC instruction sets have grown in size, and today many of them have a larger set of instructions than many CISC CPUs. Some RISC processors such as the PowerPC have instruction sets as large as the CISC IBM System/370, for example; conversely, the DEC PDP-8—clearly a CISC CPU because many of its instructions involve multiple memory accesses—has only 8 basic instructions and a few extended instructions.


title: Reduced instruction set computer

text: The term "reduced" in that phrase was intended to describe the fact that the amount of work any single instruction accomplishes is reduced—at most a single data memory cycle—compared to the "complex instructions" of CISC CPUs that may require dozens of data memory cycles in order to execute a single instruction.


title: Reduced instruction set computer

text: In a CISC processor, the hardware may internally use registers and flag bit in order to implement a single complex instruction such as , but hide those details from the compiler.


title: Reduced instruction set computer

text: The internal operations of a RISC processor are "exposed to the compiler", leading to the backronym 'Relegate Interesting Stuff to the Compiler'.


title: Reduced instruction set computer

text: Most RISC architectures have fixed-length instructions and a simple encoding, which simplifies fetch, decode, and issue logic considerably. This is among the main goals of the RISC approach.


title: Reduced instruction set computer

text: Some of this is possible only due to the contemporary move to 32-bit formats. For instance, in a typical program, over 30% of all the numeric constants are either 0 or 1, 95% will fit in one byte, and 99% in a 16-bit value. When computers were based on 8- or 16-bit words, it would be difficult to have an immediate combined with the opcode in a single memory word, although certain instructions like increment and decrement did this implicitly by using a different opcode. In contrast, a 32-bit machine has ample room to encode an immediate value, and doing so avoids the need to do a second memory read to pick up the value. This is why many RISC processors allow a 12- or 13-bit constant to be encoded directly into the instruction word.


title: Reduced instruction set computer

text: Assuming a 13-bit constant area, as is the case in the MIPS and RISC designs, another 19 bits are available for the instruction encoding. This leaves ample room to indicate both the opcode and one or two registers. Register-to-register operations, mostly math and logic, require enough bits to encode the two or three registers being used. Most processors use the three-operand format, of the form , in which case three registers numbers are needed. If the processor has 32 registers, each one requires a 5-bit number, for 15 bits. If one of these registers is replaced by an immediate, there is still lots of room to encode the two remaining registers and the opcode. Common instructions found in multi-word systems, like and , which reduce the number of words that have to be read before performing the instruction, are unnecessary in RISC as they can be accomplished with a single register and the immediate value 1.


title: Reduced instruction set computer

text: The original RISC-I format remains a canonical example of the concept. It uses 7 bits for the opcode and a 1-bit flag for conditional codes, the following 5 bits for the destination register, and the next five for the first operand. This leaves 14 bits, the first of which indicates whether the following 13 contain an immediate value or uses only five of them to indicate a register for the second operand. A more complex example is the MIPS encoding, which used only 6 bits for the opcode, followed by two 5-bit registers. The remaining 16 bits could be used in two ways, one as a 16-bit immediate value, or as a 5-bit shift value (used only in shift operations, otherwise zero) and the remaining 6 bits as an extension on the opcode. In the case of register-to-register arithmetic operations, the opcode was 0 and the last 6 bits contained the actual code; those that used an immediate value used the normal opcode field at the front.


title: Reduced instruction set computer

text: One drawback of 32-bit instructions is reduced code density, which is more adverse a characteristic in embedded computing than it is in the workstation and server markets RISC architectures were originally designed to serve. To address this problem, several architectures, such as ARM, Power ISA, MIPS, RISC-V, and the Adapteva Epiphany, have an optional short, feature-reduced compressed instruction set. Generally, these instructions expose a smaller number of registers and fewer bits for immediate values, and often use a two-instruction format to eliminate one register number from instructions. A two-operand format in a system with 16 registers requires 8 bits for register numbers, leaving another 8 for an opcode or other uses. The SH5 also follows this pattern, albeit having evolved in the opposite direction, having added longer 32-bit instructions to an original 16-bit encoding.


title: Reduced instruction set computer

text: For any given level of general performance, a RISC chip will typically have far fewer transistors dedicated to the core logic which originally allowed designers to increase the size of the register set and increase internal parallelism.


title: Reduced instruction set computer

text: RISC designs are also more likely to feature a Harvard memory model, where the instruction stream and the data stream are conceptually separated; this means that modifying the memory where code is held might not have any effect on the instructions executed by the processor (because the CPU has a separate instruction and data cache), at least until a special synchronization instruction is issued; CISC processors that have separate instruction and data caches generally keep them synchronized automatically, for backwards compatibility with older processors.


title: Reduced instruction set computer

text: Many early RISC designs also shared the characteristic of having a branch delay slot, an instruction space immediately following a jump or branch. The instruction in this space is executed, whether or not the branch is taken (in other words the effect of the branch is delayed). This instruction keeps the ALU of the CPU busy for the extra time normally needed to perform a branch. Nowadays the branch delay slot is considered an unfortunate side effect of a particular strategy for implementing some RISC designs, and modern RISC designs generally do away with it (such as PowerPC and more recent versions of SPARC and MIPS).


title: Reduced instruction set computer

text: Some aspects attributed to the first RISC-"labeled" designs around 1975 include the observations that the memory-restricted compilers of the time were often unable to take advantage of features intended to facilitate "manual" assembly coding, and that complex addressing modes take many cycles to perform due to the required additional memory accesses. It was argued that such functions would be better performed by sequences of simpler instructions if this could yield implementations small enough to leave room for many registers, reducing the number of slow memory accesses. In these simple designs, most instructions are of uniform length and similar structure, arithmetic operations are restricted to CPU registers and only separate "load" and "store" instructions access memory. These properties enable a better balancing of pipeline stages than before, making RISC pipelines significantly more efficient and allowing higher clock frequencies.


title: Reduced instruction set computer

text: Yet another impetus of both RISC and other designs came from practical measurements on real-world programs. Andrew Tanenbaum summed up many of these, demonstrating that processors often had oversized immediates. For instance, he showed that 98% of all the constants in a program would fit in 13 bits, yet many CPU designs dedicated 16 or 32 bits to store them. This suggests that, to reduce the number of memory accesses, a fixed length machine could store constants in unused bits of the instruction word itself, so that they would be immediately ready when the CPU needs them (much like immediate addressing in a conventional design). This required small opcodes in order to leave room for a reasonably sized constant in a 32-bit instruction word.


title: Reduced instruction set computer

text: Since many real-world programs spend most of their time executing simple operations, some researchers decided to focus on making those operations as fast as possible. The clock rate of a CPU is limited by the time it takes to execute the slowest "sub-operation" of any instruction; decreasing that cycle-time often accelerates the execution of other instructions. The focus on "reduced instructions" led to the resulting machine being called a "reduced instruction set computer" (RISC). The goal was to make instructions so simple that they could "easily" be pipelined, in order to achieve a "single clock" throughput at "high frequencies".


title: Reduced instruction set computer

text: Later, it was noted that one of the most significant characteristics of RISC processors was that external memory was only accessible by a "load" or "store" instruction. All other instructions were limited to internal registers. This simplified many aspects of processor design: allowing instructions to be fixed-length, simplifying pipelines, and isolating the logic for dealing with the delay in completing a memory access (cache miss, etc.) to only two instructions. This led to RISC designs being referred to as "load/store" architectures.


title: Reduced instruction set computer

text: Some CPUs have been specifically designed to have a very small set of instructions—but these designs are very different from classic RISC designs, so they have been given other names such as minimal instruction set computer (MISC) or transport triggered architecture (TTA).


title: Reduced instruction set computer

text: RISC architectures have traditionally had few successes in the desktop PC and commodity server markets, where the x86-based platforms remain the dominant processor architecture. However, this may change, as ARM-based processors are being developed for higher performance systems. Manufacturers including Cavium, AMD, and Qualcomm have released server processors based on the ARM architecture. ARM further partnered with Cray in 2017 to produce an ARM-based supercomputer. On the desktop, Microsoft announced that it planned to support the PC version of Windows 10 on Qualcomm Snapdragon-based devices in 2017 as part of its partnership with Qualcomm. These devices will support Windows applications compiled for 32-bit x86 via an x86 processor emulator that translates 32-bit x86 code to ARM64 code. Apple announced they will transition their Mac desktop and laptop computers from Intel processors to internally developed ARM64-based SoCs called Apple silicon; the first such computers, using the Apple M1 processor, were released in November 2020. Macs with Apple silicon can run x86-64 binaries with Rosetta 2, an x86-64 to ARM64 translator.


title: Reduced instruction set computer

text: Outside of the desktop arena, however, the ARM RISC architecture is in widespread use in smartphones, tablets and many forms of embedded devices. While early RISC designs differed significantly from contemporary CISC designs, by 2000 the highest-performing CPUs in the RISC line were almost indistinguishable from the highest-performing CPUs in the CISC line.


title: Reduced instruction set computer

text: RISC architectures are now used across a range of platforms, from smartphones and tablet computers to some of the world's fastest supercomputers such as Fugaku, the fastest on the TOP500 list , and Summit, Sierra, and Sunway TaihuLight, the next three on that list.


title: Reduced instruction set computer

text: By the beginning of the 21st century, the majority of low-end and mobile systems relied on RISC architectures. Examples include:


title: Reduced instruction set computer

text: In 2022 Steve Furber, John L. Hennessy, David A. Patterson and Sophie M. Wilson were awarded the Charles Stark Draper Prize by the United States National Academy of Engineering for their contributions to the invention, development, and implementation of reduced instruction set computer (RISC) chips.


title: Spades (card game)

text: Spades is a trick-taking card game devised in the United States in the 1930s. It can be played as either a partnership or solo/"cutthroat" game. The object is to take the number of tricks (also known as "books") that were bid before play of the hand began. Spades is a descendant of the Whist family of card games, which also includes Bridge, Hearts, and Oh Hell. Its major difference as compared to other Whist variants is that, instead of trump being decided by the highest bidder or at random, the Spade suit always trumps, hence the name.


title: Spades (card game)

text: Spades was devised in the Mid-West of the United States in the late 1930s. Bridge author, George Coffin ascertained that it originated in Cincinnati between 1937 and 1939. The game is descended from Whist and is closely related to Bridge, Pinochle and Euchre. It appears like a simplification of Contract Bridge such that a skilled Spades player can learn Bridge relatively quickly (the major additional rules being dynamic trump, the auction, dummy play, and rubber scoring).


title: Spades (card game)

text: The game's rise to popularity in the U.S. came during World War II, when it was spread by soldiers traveling around the globe. The game's popularity in the armed forces stems from its simplicity compared to Bridge and Euchre and the fact that it can be more easily interrupted than Poker, all of which were also popular military card games. After the war, veterans brought the game back home to the U.S., where due to the GI Bill it spread to and became popular among college students as well as in-home games. It also remained widely popular in countries in which U.S. troops were stationed, both in WWII and later deployments.


title: Spades (card game)

text: The first dealer is chosen by a draw for "first spade" or "highest card", and thereafter the deal passes to the dealer's left after each hand. The dealer shuffles, and the player to the right is given the opportunity to "cut" the cards to prevent the dealer stacking the deck. The entire deck is then dealt face-down one card at a time in clockwise order (with four players, each player should receive 13 cards). The players then pick up their cards, verify the correct count of the cards, and arrange them as desired (the most common arrangement is by suit, then rank).


title: Spades (card game)

text: A misdeal is a deal in which all players have not received the same number of cards or a player has dealt out of turn. A misdeal may be discovered immediately by counting the cards after they are dealt, or it may be discovered during play of a hand. If a single card is misdealt and discovered before players in question have seen their cards the player that is short a card can pull a card at random from the player with an extra card. Otherwise a hand is misdealt, the hand is considered void and the hand must be redealt by the same dealer (unless the reason for the redeal is the hand was dealt out of turn).


title: Spades (card game)

text: Each player bids the number of tricks they expect to take. The player to the left of the dealer starts the bidding, and bidding continues in a clockwise direction, ending with the dealer. As Spades are always trump, no trump suit is named during bidding as with some other variants. A bid of "zero" is called "nil"; players must bid at least one if they don't want to bid "nil" (see below).


title: Spades (card game)

text: In partnership Spades, the standard rule is that the bids by the two members of each partnership are added together.


title: Spades (card game)

text: Two very common variants of bidding are for a player or partnership to bid "blind", without having looked at their cards, or to bid "nil", stating that they will not take a single trick during play of the hand. These bids give the partnership a bonus if the players exactly meet their bid, but penalizes them if the players takes more or fewer. A combined bid of two "blind nil" is usually allowed and is worth both the blind and nil bonuses or penalties. In some variants, the player bidding nil passes one or two of their cards (depending on the variant rules) to their partner and receives an equal number of cards back from said partner. Nil passing may be allowed only in the case of a blind nil. Usually teams must be down by 100 points to bid blind nil.


title: Spades (card game)

text: Each hand consists of a number of tricks; a four-handed game consists of thirteen tricks using all fifty-two cards. The player on the dealer's left makes the opening lead by playing a single card of their choice. Players in clockwise fashion then play cards of their choice. They must follow suit if possible; otherwise they may play any card, including a trump spade. Once a card has left the hand of a player, it stands and cannot be retrieved unless the player who threw the card makes an effort to correct his mistake before the next player lays down a card.


title: Spades (card game)

text: A common variant rule, borrowed from Hearts, is that a player may not lead spades until a spade has been played to trump another trick. This prevents a player who is "long" in spades (having a large number of them) from leading spades one after the other at the beginning of the hand to deplete them and thus prevent other players using them as trumps. The act of playing the first spade in a hand is known as "breaking spades", derived from its parent rule, "breaking hearts". When a player leads with a spade after spades has been broken, the other players must follow suit.


title: Spades (card game)

text: Another common variant rule, also borrowed from Hearts, is that a player cannot lead spades in the first trick.


title: Spades (card game)

text: The trick is won or taken by the player who played the highest card of the led suit; if trumps were played, the highest trump card wins. The player who wins the trick gathers the cards up into a facedown arrangement that allows players to count the number of tricks taken. The contents of each trick can "not" be viewed after this point, except to determine whether a player reneged. The number of tricks a player has won cannot be disguised; if asked, each player must count out his tricks until everyone has agreed on the "trick count". The player who wins any given trick leads the next. Play continues until all players have exhausted their hands, which should occur on the same (last) trick. Otherwise, it is declared a misdeal.


title: Spades (card game)

text: A partnership reneges on their contract if they violate the rules of play; most often this happens when a player plays offsuit when he could have—and therefore should have—followed suit. This may not be noticed until later in the game.


title: Spades (card game)

text: Common penalties for reneging are for the reneging player to automatically lose their bid, or for the reneger to have three tricks added to their bid as a penalty, meaning that the team may still make contract but must take three additional tricks to do so. It does not matter whether the player reneged on purpose.


title: Spades (card game)

text: Once the final trick is played, the hand is then scored. Many variants for scoring exist; what follows is the basic method. All players must align tricks earned from time played consecutively to last hand


title: Spades (card game)

text: Once a hand is completed, the players count the number of tricks they took and, in the case of partnerships or teams, the members' trick counts are summed to form a team count.


title: Spades (card game)

text: Each player's or team's trick count is then compared to their contract. If the player or team made at least the number of tricks bid, 10 points for each bid trick are awarded (a bid of 5 would earn 50 points if made). If a team did not make its contract, it was "set" and 10 points for each bid trick are deducted from the team's score (e.g.: six bid and any number less than six taken results in minus 60 points).


title: Spades (card game)

text: If a player/team took "more" tricks than they bid, a single point is scored for each overtrick, called an "overtrick", "bag" or "sandbag" (a bid of 5 tricks with 6 tricks taken results in a score of 51 points).


title: Spades (card game)

text: To this contract score, players add bonuses earned and subtract penalties assessed based on whether the player successfully did or failed to do any of the more specific things they said they would in the bidding phase. Many variants exist that award or penalize according to certain behaviors; they are covered below. For the basic Nil and blind bids, points are awarded as follows:


title: Spades (card game)

text: Though some variant bonuses or penalties are based on the contract score, normally a bonus or penalty does not affect and is not affected by any other bonus or penalty, or the contract score. As a result, a partnership can have a net positive score even if they failed to make their contract. For instance, if one player successfully made a Nil bid, but their partner bid 5 tricks and only took 4 tricks, the partnership still gets the bonus which is represented as −50 points + 100 points = 50 points. Conversely, a partnership can have a net negative score in much the same way; if a player failed a nil bid but the partnership bid and took 5 tricks, the net score is −50 points.


title: Spades (card game)

text: A common scoring variant is designed to penalize players for underestimating the number of tricks they will take, while at the same time not removing the possible strategy of intentionally taking overtricks, or "bags", in order to "set" the other team. This is accomplished by keeping track of bags in the ones place on the scorecard, and assessing a 100-point penalty when 10 bags are accumulated and the ones place rolls over. In shorter variants of the game, where players play to 250 points (instead of the standard 500 points), sandbag penalties can be assessed earlier. In these variants, a 50-point penalty would be assessed when 5 bags are accumulated.


title: Spades (card game)

text: For example, if a team's bid is 5 tricks and they take 8 tricks, the score for the hand is 53 points. If the team's total score before this hand had a first digit of 7 or more, for instance 108, the team has "bagged out" or been "sandbagged"; the hand's score is added to the total and then 100 points are deducted. In the example, the score would be 61 points after the penalty. The 10 bags could be considered to make the penalty 90 points (the penalty can instead be 110 points to offset this, or the ones' place can simply not be carried when adding). Anything over 10 sandbags is retained in the first digit and count towards future overtricks; a player or team can bag out multiple times in a game. Sandbags do not count as points.


title: Spades (card game)

text: One of the players is the scorer and has written the bids down, so that during the play and for the scoring afterward, this information will be available to all the players. When a hand is over, the scores should be recorded next to the bids. Alternatively, the scorer can turn the bid into the contract score by writing in the number of bags (zero if there were none) behind the bid, and a minus sign before it if the team was set, then add bonuses and subtract penalties beneath. A running score should be kept so that players can readily see each other's total points.


title: Spades (card game)

text: The most common condition is the first to reach 500 points, or forcing the opposing team to drop to −200 points. Alternatively, the game could be played for a fixed number of hands or a fixed time limit; with four players, eight hands can generally be played in about an hour. If there is a tie, then all players participate in one more round of play until a winner is decided.


title: Spades (card game)

text: As with any widely played game of such a flexible nature, Spades has many variations, ranging from significant changes in play to small tweaks that suit individual or household preference.


title: Spades (card game)

text: Traditionally Spades is played with four players in two partnerships. However, there are variations that allow for greater or fewer players. Partnerships are optional even with four players. All other rules should be agreed upon beforehand by the players.


title: Spades (card game)

text: The differences Partners Spades and Cutthroat bidding and play are substantial. In Partners, a player would bid a trick for every Ace, King, and Queen in a side suit (i.e.: non-Spade). In Cutthroat, a player would rarely bid on a King in a long side suit (5+ cards) nor a Queen in any length side suit because of the risk of their being trumped. This risk is reduced in Partners by the possibility that partner may be out of the long suit and able to discard or to overtrump an opponent.


title: Spades (card game)

text: In Partners, Nil bids are easier to make because the Nil bidder's partner can overtake or trump the Nil bidder's high cards. In Cutthroat, this safety valve is not available.


title: Spades (card game)

text: Partners allows a mix of weak and strong players by pairing a weak player with a strong one, resulting in a more satisfying game (provided that the division of talent is about even) than in Cutthroat where individual weak players would stand little or no chance against strong players.


title: Spades (card game)

text: Conversely, against a computer program where the object is for a human to beat the computer software, being saddled with a weak computer partner does "not" provide a satisfying game. Thus, Cutthroat makes more sense for a computer game than Partners.


title: Flag of Indonesia

text: The Flag of Indonesia is a simple bicolor with two horizontal bands, red (top) and white (bottom) with an overall ratio of 2:3. It was introduced and hoisted in public during the proclamation of independence on 17 August 1945 at 56 Proklamasi Street (formerly Pegangsaan Timur Street) in Jakarta, and again when the Dutch formally transferred sovereignty on 27 December 1949. The design of the flag has remained unchanged since.


title: Flag of Indonesia

text: The flag of Indonesia is graphically similar to the flag of Monaco, with a slight difference in the shade of red, and ratio of its dimensions. The flag of Poland has similar dimensions but has the colours reversed: white on top and red on the bottom. In both, the red is of a slightly darker shade.


title: Flag of Indonesia

text: The "Naval Jack of Indonesia" is reserved for sole use by the Indonesian Navy. It flies from the jackstaff of every active Indonesian warship while anchored or moored pierside and on special occasions. The design of the jack is described as nine alternating stripes, consisted of five red and four white stripes. It is nicknamed Sang Saka Merah Putih (Red-and-White or "The Heirloom Red-White"). The naval jack dates to the age of Majapahit Empire. This empire, renowned for its great maritime strength, flew similar jacks on its vessels.


title: Flag of Indonesia

text: The flag's colours are derived from the banner of the 13th century Majapahit Empire. However, it has been suggested that the red and white symbolism can trace its origin to the older common Austronesian mythology of the duality of Mother Earth (red) and Father Sky (white). This is why these colours appear in so many flags throughout Austronesia, from Tahiti to Madagascar. The earliest records of the red and white "panji" or "pataka" (a long flag on a curved bamboo pole) can be found in the Pararaton chronicle; according to this source, the Jayakatwang troops from Gelang-Gelang hoisted the red and white banner during their invasion of Singhasari in the early 12th century. This suggests that even before the Majapahit era, the red and white colours were already revered and used as the kingdom's banner in the Kediri era (1042-c.1222).


title: Flag of Indonesia

text: Red and white textile colouring was available in ancient Indonesia. White is the natural colour of woven cotton fabrics, while red is one of the earliest natural dyes, acquired either from teak leaves, the flowers of "Averrhoa bilimbi", or the skin of mangosteen fruits.


title: Flag of Indonesia

text: It was not only the Javanese kingdoms that used red and white. The battle flag of King Sisingamangaraja IX of Batak lands bore an image of white twin swords called "piso gaja dompak" against a red background. During the Aceh War of 1873–1904, Aceh warriors used a battle flag with the image of a sword, star and crescent, sun, and some Quranic script in white on a red background. The red and white flag of the Buginese Bone kingdom in South Sulawesi is called "Woromporang". The Balinese Badung (Puri Pamecutan) royal banner is red, white, and black. During the Java War (1825–1830) Prince Diponegoro also used a red and white banner.


title: Flag of Indonesia

text: In the early 20th century these colours were revived by students and then nationalists, as an expression of nationalism against the Dutch. The modern red and white flag which was first flown in Java in 1928, was prohibited under Dutch rule. It became the flag adopted by the Kesatuan Melayu Muda to symbolise Malay nationalism against European colonialism. Upon Indonesia's declaration of independence on 17 August 1945 it was adopted as the national flag, and has been in use ever since. After Indonesia's independence was recognized, Monaco, which had a similar flag, filed a complaint which was largely ignored.


title: Flag of Indonesia

text: The flag featured in a well-known incident during the Indonesian War of Independence when during the lead-up to the Battle of Surabaya in late 1945, Indonesian youths removed a colonial Dutch flag flying over the Yamato Hotel, tore off the blue strip and re-hoisted it as an Indonesian flag. The hotel was subsequently renamed briefly as Hotel Merdeka, meaning "independence hotel".


title: Flag of Indonesia

text: The official name of the flag is "Sang Saka Merah-Putih" (meaning "lofty bicolour Red and White") according to Article 35 of the 1945 Constitution. The flag is commonly called "Bendera Merah-Putih" (Red-and-White Flag). Occasionally, it is also called "Sang Dwiwarna" (The bicolour).


title: Flag of Indonesia

text: "Sang Saka Merah-Putih" (The Lofty Red-and-White) refers to the historical flag called "Bendera Pusaka" (heirloom flag) and its replica. The Bendera Pusaka is the flag that was flown in front of Sukarno's house after he proclaimed Indonesia's independence on 17 August 1945. The original "Bendera Pusaka" was sewn by Fatmawati, and was hoisted every year in front of the Merdeka Palace during the independence day ceremony. It was hoisted for the last time on 17 August 1968. Since then it has been preserved and replaced by a replica since the original flag was deemed to be too fragile.


title: Flag of Indonesia

text: Several opinions have been expressed on the meaning of the red and white in the Indonesian flag. One of them is that the red stands for courage, while the white stands for purity. Another opinion is that red represents the human body or physical life, while white represents the soul or spiritual life; together they stand for a complete human being."


title: Flag of Indonesia

text: The flag is described in Article 35, Chapter XV, of the Constitution of Indonesia; Government Regulation No. 24/2009; and Government Regulation No. 40/1958.<ref name="UU No 24/2009"> </ref>


title: Flag of Indonesia

text: The raising of the flag should be conducted in the time between sunrise until sunset, but in certain circumstances, it can be done at night. In daily use, the flag should be flown at every commemoration such as Indonesian Independence Day on 17 August every year, by the citizens who have a right to use it at house, building or office, schools, colleges, public and private transport and the representative office of Indonesia in overseas.


title: Flag of Indonesia

text: It can be used as the cover of the coffin of a President or former Presidents, Vice President or former Vice Presidents, Members of Cabinet, Speaker of People's Representative Council, and Head of Government, members of the Indonesian Armed Forces, and persons who are members of the Indonesian National Police who died in service, or an Indonesian citizen who made contributions to their nation as a badge of honor.


title: Flag of Indonesia

text: The flag must be displayed everyday in places such as the Presidential Palace, government and private office buildings, border posts and outer islands in the territory of Indonesia, and the National Heroes Cemetery.


title: Flag of Indonesia

text: Usually, the Indonesian flag is also flown at half-mast on 30 September, in remembrance of the 30 September Movement, but after the New Order ended in 1998, this tradition stopped. However, this tradition is restarted in recent days.


title: Gamelan

text: Gamelan () (, , ) is the traditional ensemble music of the Javanese, Sundanese, and Balinese peoples of Indonesia, made up predominantly of percussive instruments. The most common instruments used are metallophones played by mallets and a set of hand-played drums called "kendhang/Kendang", which register the beat. The kemanak (a banana-shaped idiophone) and gangsa (another metallophone) are commonly used gamelan instruments in Bali. Other instruments include xylophones, bamboo flutes, a bowed instrument called a "rebab", a zither-like instrument "siter" (in Javanese ensemble) and vocalists named "sindhen" (female) or "gerong" (male).


title: Gamelan

text: Although the popularity of gamelan has declined since the introduction of pop music, gamelan is still commonly played in many traditional ceremonies and other modern activities in Indonesia, both at formal and informal events. Gamelan is played to accompany religious rituals, ceremonies, dance, dance-drama, traditional theater, wayang puppets theatre, singing, concerts, festivals, exhibitions, and many more. Many consider gamelan to be an integral part of Indonesian culture.


title: Gamelan

text: In 2014, Gamelan traditions were recognized as part of the National Intangible Cultural Heritage of Indonesia by the Indonesian Ministry of Education and Culture.


title: Gamelan

text: On December 15, 2021, Gamelan was inscribed onto the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. The nomination builds on the archaeological connection to the Borobudur, and includes a focus on its role in fostering a sense of national identity and pride, in addition to wellbeing aspects such as mental health, the development of interpersonal skills and the connection between its cosmology and an ethics of mutual respect and care. The listing consists of Javanese gamelan (gamelan jawa) of Central Java and Special Region of Yogyakarta, Balinese gamelan (gamelan bali) of Bali, Sundanese gamelan (gamelan sunda) of West Java, Madurese gamelan (gamelan madura) and Banyuwangian Gamelan (gamelan banyuwangi) of East Java, Gendang beleq of West Nusa Tenggara, Banjarese gamelan (gamelan banjar) of South Kalimantan, Gamelan peking of Lampung, and Talempong of West Sumatra as a Masterpiece of Oral and Intangible Heritage of Humanity from Indonesia, and encouraged the Indonesian people and the Indonesian government to safeguard, transmit, promote, and develop the gamelan. Methods include the support of national, international and provincial festivals, the establishment of educational curricula including the Gamelan Goes to School program, an intention to increase the numbers of regional gamelan associations, and cultural diplomacy by sending gamelan specialists to global universities.


title: Gamelan

text: The word gamelan comes from the Javanese word gamel (), which refer to playing of percussion instruments or the act of striking with a mallet, + an (noun-forming suffix). The gamelan in the Sundanese is Degung (), the word "Degung" apparently is an old Sundanese term, which refers to gongs and Gong ensembles. For this reason, the words degung and gong are essentially synonyms for the word "gamelan". At the same time, the expression "Gamelan degung" may be a way to point at a gamelan ensemble tuned to degung scale. The term karawitan () refers to classical gamelan music and performance practice, and comes from the word "rawit" (), meaning 'intricate' or 'finely worked'. The word derives from the Javanese word of Sanskrit origin, "rawit", which refers to the sense of smoothness and elegance idealized in Javanese music. Another word from this root, "pangrawit" (), means a person with such sense, and is used as an honorific when discussing esteemed gamelan musicians. The high Javanese word for "gamelan" is gangsa (), formed either from the words "tembaga" () and "rejasa" () referring to the materials used in bronze gamelan construction (copper and tin), or "tiga" () and "sedasa" () referring to their proportions (three and ten).


title: Gamelan

text: The gamelan predates the Hindu-Buddhist culture that dominated Indonesia in its earliest records and thus represents an indigenous art form of Indonesia. In contrast to the heavy Indian influence in other art forms, the only obvious Indian influence in gamelan music is in the Javanese, Sundanese, and Balinese style of singing, and in the themes of the Wayang kulit and Wayang Golek (shadow puppet plays).


title: Gamelan

text: In Javanese mythology, the gamelan was created by Sang Hyang Guru in Saka era 167 (c. AD 230), the god who ruled as king of all Java from a palace on the Maendra mountain in Medang Kamulan (now Mount Lawu). He needed a signal to summon the gods and thus invented the gong. For more complex messages, he invented two other gongs, thus forming the original gamelan set.


title: Gamelan

text: The earliest image of a musical ensemble is found on the bas-relief of the 8th century Buddhist monument of Borobudur, Central Java. The Borobudur's musicians play lute-like stringed instruments, various of "kendang" drums, various of "suling" flutes, cymbals, bells, metallophones, and xylophones. Some of these musical instruments are indeed included in a complete gamelan orchestra. Musical instruments such as metallophones (saron, kenong, kecer), xylophones (gambang), the bamboo flute (suling), drums in various sizes (kendang), cymbals, bell (genta), lute, and bowed and plucked string instruments were identified in this image. These reliefs of this musical ensemble are suggested to be the ancient form of the gamelan.


title: Gamelan

text: The instruments developed into their current form during the Majapahit Empire. According to the inscriptions and manuscripts (Nagarakretagama and Kakawin Sutasoma) dated from the Majapahit period, the kingdom even had a government office in charge of supervising the performing arts, including the gamelan. The arts office oversaw the construction of musical instruments, as well as scheduling performances at the court.


title: Gamelan

text: In Bali, there are several gamelan selonding that have existed since the 9th century during the Sri Kesari Warmadewa reign. Some words refer to gamelan selonding was found in some ancient Balinese inscriptions and manuscripts. Today, gamelan selonding is stored and preserved well in ancient temples of Bali. It is considered sacred and used for religious ceremony purposes, especially when the big ceremony is held. Gamelan Selonding is part of daily life and culture for some indigenous people in ancient villages such as Bungaya, Bugbug, Seraya, Tenganan Pegringsingan, Timbrah, Asak, Ngis, Bebandem, Besakih, and Selat in Karangasem Regency.


title: Gamelan

text: In the court of Java (Surakarta Sunanate and Yogyakarta Sultanate) the oldest known ensembles, Gamelan Munggang and Gamelan Kodok Ngorek, are apparently from the 12th century. These formed the basis of a "loud style" of music. These Gamelan are the oldest existing gamelan instruments and still preserved well in the courts. The Gamelans become the heirloom of the Javanese courts. Gamelan Kodhok Ngorek and Gamelan Monggang are sacred gamelan that will only be sounded for Javanese court ritual ceremonies such as the Sultan's Jumenengan (coronation ceremony), welcoming highly respected guests at the palace, royal weddings, and Garebeg. This gamelan is only owned by the court and the general public is not allowed to have a similar gamelan set.


title: Gamelan

text: In the wengker or Ponorogo culture, in the 15th century Gamelan Reyog was not only used to accompany the art of Reog Ponorogo but was also used during war, the troops of ki Ageng Surya Alam from the village of Kutu played gamelan reyog before the war took place against Majapahit, which was in coalition with Demak during the attack. Wengker, as a result Wengker always gets his victory before the heirloom of ki Ageng Surya Alam falls into the hands of the enemy.


title: Gamelan

text: A "soft style" developed out of the "kemanak" tradition and is related to the traditions of singing Javanese poetry, in a manner often believed to be similar to the chorus that accompanies the modern "bedhaya" dance. In the 17th century, these loud and soft styles mixed, and to a large extent, the variety of modern gamelan styles of Bali, Java, and Sunda resulted from different ways of mixing these elements. Thus, despite the seeming diversity of styles, many of the same theoretical concepts, instruments, and techniques are shared between the styles.


title: Gamelan

text: In the Sultanate of Cirebon, on the north coast of Java. The gamelan Sakati in the Keraton Kasepuhan is originated from Demak Sultanate in 1495 which was a gift from Sultan Trenggono of Demak for the marriage of Ratu Mas Nyawa (daughter of Raden Patah, king of Demak) to Prince Bratakelana (son of Sunan Gunung Jati from his wife Syarifah Bagdad). This gamelan is closely related to the early days of the spread of Islam by Wali Sanga in Java. At the Keraton Kasepuhan, the gamelan Sakati is played on the Idul Adha month of Hajj (Zulhijah) in the Sri Manganti building when the sultan and his relatives head to the Grand Mosque. This gamelan is kept in the Museum Pusaka Keraton Kasepuhan Cirebon.


title: Gamelan

text: In Lamongan, East Java, there is an ancient gamelan from the 15th century called Gamelan "Singo Mengkok". This gamelan is a legacy of the Sunan Drajat (one of the Wali Sanga) which was used for broadcasting the Islamic religion in Paciran, Lamongan. Beaten by the Friends of Sunan Drajat to accompany the tembang Pangkur (panguri isine Qur'an) created by Sunan Drajat himself. This gamelan ensemble is an acculturation of Hindu-Buddhist and Islamic culture, considering that the surrounding community is Hindus, so that it is easily accepted by the community. The Gamelan Singo Mengkok is now stored in the Museum Sunan Drajat in Lamongan.


title: Gamelan

text: In the kingdom of Islamic Mataram, Gamelan Kanjeng Kyai Guntur Sari was made in 1566 and Gamelan Kanjeng Kyai Guntur Madu was made in 1642 during the reign of Sultan Agung. Both gamelans called Gamelan Sekati (Gamelan Sekaten) which is only beaten/sounded to accompany the Sekaten ceremony. Gamelan Sekaten in Surakarta and Yogyakarta will be played once a year for one week in front of the Grand Mosque. This gamelan is only played by the royal family and courtiers under strict conditions, wearing prescribed traditional clothes, and playing certain sacred music that has existed for centuries. The Gamelan Sekaten exists in halves: divided between the two rival courts in Surakarta and Yogyakarta, each court had a matching second half made.


title: Gamelan

text: In Sumedang, West Java, there is an heirloom of the Kingdom of Sumedang Larang, there is a Gamelan Panglipur belonging to Prince Rangga Gede / Kusumahdinata IV (1625-1633) who is also the regent of Mataram. Gamelan was deliberately made to entertain himself after his beloved child died. The Panglipur gamelan along with 9 other ancient gamelan sets are kept at the Museum Prabu Geusan Ulun in Sumedang Regency. One of the ten sets of gamelan is the gamelan "Sari Oneng Parakansalak" from Sukabumi, West Java, which on 31 March 1889, participated in celebrating the inauguration of the Eiffel tower in Paris, France.


title: Gamelan

text: On 5 September 1977, "Gending ketawang puspawarna" (Javanese gamelan music) which was created by Mangkunegara IV (1853-1881) was carried by two satellites of The National Aeronautics and Space Administration (NASA) named Voyager I and Voyager II. The satellites are in charge of making observations on planets in outer space. The two satellites are equipped with gold-plated copper disks with a diameter of 12 inches. This disc contains recorded messages from Earth for extraterrestrials who can find them.


title: Gamelan

text: A gamelan is a multi-timbre ensemble consisting of metallophones, xylophones, flutes, gongs, voices, as well as bowed and plucked strings. The hand-played drum called "kendhang" controls the tempo and rhythm of pieces as well as transitions from one section to another, while one instrument gives melodic cues to indicate treatment or sections of a piece.


title: Gamelan

text: In the courts of Java, Javanese gamelan is grouped into 2 groups of gamelan, namely gamelan Pakurmatan and gamelan Ageng. Gamelan pakurmatan is the gamelan used for special Javanese court events and all of them are sacred gamelan. The gamelan pakurmatan consists of the gamelan kodhok ngorek, the gamelan monggang, the gamelan sekati, and the gamelan carabalen. As for the gamelan ageng is considered the most complete in the Javanese court. The Gamelan Ageng instruments are usually owned by the general public (artists, schools, studios, and other communities) in Java and outside Java. This gamelan is used to accompany arts or rituals either in the palace or in the general public, the gamelan can use a complete gamelan or less.


title: Gamelan

text: In Bali, the Gamelan instruments are all kept together in a "balé", a large open space with a roof over the top of it and several open sides. Gambelan (the Balinese term) are owned by a "banjar", nobility or temples and kept in their respective compounds. In case of "banjar" ownership the instruments are all kept there together because people believe that all the instruments belong to the community as a whole and that no one person has ownership over an instrument. Not only is this where the instruments are stored, but this is also the practice space for the "sekaha" (Gamelan orchestra group). The open walls allow for the music to flow out into the community where the rest of the people may enjoy it. Balinese gamelan cannot be heard inside closed rooms, because it easily crosses the threshold of pain. This does not apply to small ensembles like a gamelan "gendér".


title: Gamelan

text: The "sekaha" is led by a single instructor whose job it is in the community to lead this group and to come up with new pieces. When they are working on a new piece, the instructor will lead the group in practice and help the group form the new music as they are practicing. When the instructor creates a new song, he leaves enough open for interpretation that the group can improvise, so the group will write the music as they practice it. There are many styles in Balinese gamelan. "Kebyar" is one of the most recent ones. Some Balinese gamelan groups constantly change their music by taking older pieces they know and mixing them together, as well as trying new variations of the music. Their music constantly changes because they believe that music should grow and change; the only exception to this is with their most sacred songs which they do not change. A single new piece of music can take several months before it is completed. Men and women usually perform in separate groups.


title: Gamelan

text: The tuning and construction of a gamelan orchestra is a complex process. Javanese gamelan use two tuning systems: "sléndro" and "pélog". There are other tuning systems such as "degung" (exclusive to Sunda, or West Java, similar with Japanese "ryukyuan scale"), and "madenda" (similar to a Japanese hirajoshi scale). In central Javanese gamelan, "sléndro" is a system with five notes to the octave, with large intervals, while "pélog" has seven notes to the octave, with uneven intervals, usually played in five note subsets of the seven-tone collection. A full gamelan will include a set of instruments in each tuning, and classically only one tuning is used at a time. The precise tuning used differs from ensemble to ensemble and gives each ensemble its own particular flavor. A set of gamelan instruments will be tuned to the same set of notes, but the tuning will vary from one gamelan to the next, including variations in the size of intervals.


title: Gamelan

text: Colin McPhee, a Canadian composer who spent much time in Bali, remarked, "Deviations in what is considered the same scale are so large that one might with reason state that there are as many scales as there are gamelans." This view is contested, however, by some teachers of gamelan, and there have been efforts to combine multiple ensembles and tuning structures into one gamelan to ease transportation at festival time. One such ensemble is gamelan "Manikasanti", which can play the repertoire of many different ensembles.


title: Gamelan

text: Balinese gamelan instruments are built in pairs that are tuned slightly apart to produce interference beats, ideally at a consistent speed for all pairs of notes in all registers. This concept is referred to as "ombak," translating to "wave," communicating the idea of cyclical undulation. One instrument, tuned slightly higher, is thought of as the "inhale," and the other, slightly lower, is called the "exhale" (Also called the "blower" and the "sucker," or "pengimbang" and "pengisep" in Bali). When the inhale and the exhale are combined, beating is produced, meant to represent the beating of the heart, or the symbol of being alive. It is thought that this contributes to the "shimmering" sound of Balinese gamelan ensembles. In the religious ceremonies that contain gamelan, these interference beats are meant to give the listener a feeling of a god's presence or a stepping stone to a meditative state. The scale roughly approximates that of the phrygian mode of the Western major scale (E-E on the white keys of the piano), with the notes EFGBC corresponding to the note positions 12356 in the "slendro" scale used by most gamelan.


title: Gamelan

text: In addition to non-western scales, Javanese gamelan uses a combination of tempo and density known as "Irama", relating how many beats on the "saron panerus" instrument there are to notes in the core melody or "balungan"; density is considered primary.


title: Gamelan

text: Slendro notation generally produces a light, cheerful atmosphere and feels busier. This is evidenced by the scenes in the wayang kulit and wayang wong performances such as scenes of war and marching that accompanied by slendro notation. The use of the slendro can also have the opposite impression, such as sad or romantic. As in the case of gending that uses a slendro miring. Slendro miring is a slendro notation tone that is played out of place on purpose. Therefore, there are many scenes of homesickness, love missing, sadness, death, languishing accompanied by slendro tunes.


title: Gamelan

text: Pelog notation produces an atmosphere that gives the impression of being manly, regal, and sacred, especially in the musical play that uses the pelog nem (six) notation. Therefore, there are many scenes that are accompanied by pelog tunings, such as scenes where a king enters the pamelegan (place of worship), scenes of heartache, scenes of anger, or scenes that express revenge. However, in the play of certain notes, the pelog tunings can also give the impression of being happy, light, and lively, for example in the music played on the pelog tunings of barang.


title: Gamelan

text: Gamelan music is traditionally not notated and began as an oral tradition. In the 19th century, however, the kraton (palaces) of Yogyakarta and Surakarta developed distinct notations for transcribing the repertoire. These were not used to read the music, which was memorized, but to preserve pieces in the court records. The Yogyanese notation is a checkerboard notation, which uses six or seven vertical lines to represent notes of higher pitch in the balungan (melodic framework), and horizontal lines which represent the series of beats, read downward with time. The fourth vertical line and every fourth horizontal line (completing a "gatra") are darkened for legibility. Symbols on the left indicate the colotomic or metric structure of gongs and so forth, while specific drum features are notated in symbols to the right. The Solonese notation reads horizontally, like Western notation, but does not use barlines. Instead, note values and rests are squiggled between the notes.


title: Gamelan

text: Today this notation is relatively rare, and has been replaced by kepatihan notation, which is a cipher system. Kepatihan notation developed around 1900 at the kepatihan Palace in Surakarta, which had become a high-school conservatory. The pitches are numbered (see the articles on the scales "slendro" and "pélog" for an explanation of how), and are read across with dots below or above the numbers indicating the register, and lines above notes showing time values; In vocal notation, there are also brackets under groups of notes to indicate melisma. Like the palace notation, however, Kepatihan records mostly the "balungan" part and its metric phrases as marked by a variety of gongs. The other parts are created in real time, and depend on the knowledge each musician has of his instrument, and his awareness of what others are playing; this "realization" is sometimes called "garap." Some teachers have also devised certain notations, generally using kepatihan principles, for the "cengkok" (melodic patterns) of the elaborating instruments. Some ethnomusicologists, trained in European music, may make transcriptions onto a Western staff. This entails particular challenges of tuning and time, sometimes resulting in unusual clefs.


title: Gamelan

text: Varieties of gamelan are distinguished by their collection of instruments and use of voice, tunings, repertoire, style, and cultural context. In general, no two gamelan ensembles are the same, and those that arose in prestigious courts are often considered to have their own style and tuning. Certain styles may also be shared by nearby ensembles, leading to a regional style. The varieties are generally grouped geographically, with the principal division between the styles favored by the Balinese, Javanese, and Sundanese peoples. Javanese gamelan has soft and slow tones, while Balinese gamelan has strong and dynamic tones with fast music rhythms, while Sundanese gamelan which is dominated by the sound of flutes makes it not only soft but also mellow.


title: Gamelan

text: Javanese gamelan is a gamelan that originates and develops in the Central Java and East Java, including the Special Region of Yogyakarta. In the Javanese palaces, the gamelan is divided into two, namely the gamelan pakurmatan and gamelan ageng. Gamelan pakurmatan is used for certain events or rituals in the royal environment. The gamelan pakurmatan set is not as complete as the ageng gamelan, and its shape and pitch are somewhat different from the traditional gamelan owned by the community. Gamelan pakurmatan consists of gamelan kodhok Ngorek, gamelan munggang, gamelan sekati, and gamelan carabalen, while gamelan ageng is the most complete gamelan used for various traditional ceremonies and events in the palace.


title: Gamelan

text: Gamelan outside the palace, owned by the general public, is usually the gamelan ageng, although it is not as complete as that of the palace, according to the needs and objectives of the gamelan ownership. The Javanese gamelan used by the communities has many kinds and types including the gamelan gadhon, gamelan siteran, gamelan Wayang, gamelan bambu, gamelan prawa, gamelan pelog, gamelan renteng, gamelan slendro, gamelan Banyuwangi, and gamelan Madura.


title: Gamelan

text: In oral Javanese culture distinctions are made between complete or incomplete, archaic and modern, and large standard and small village gamelan. The various archaic ensembles are distinguished by their unique combinations of instruments and possession of obsolete instruments such as the bell-tree ("byong") in the 3-toned "gamelan kodhok ngorek". Regionally variable village gamelan are often distinguished from standard gamelan (which have the "rebab" as the main melodic instrument) by their inclusion of a double-reed wind ("selompret", "slompret", or "sompret") in addition to variable drum and gong components, with some also including the shaken bamboo "angklung".


title: Gamelan

text: Gamelan in Javanese society is a product of local wisdom that has survived to this day. The long history that has been passed by Javanese gamelan is a cultural struggle that continues to be sustainable until now and in the future. Gamelan is inseparable from Javanese customs and human life, where gamelan is almost always there in every Javanese ceremony are held. Javanese gamelan is generally used to accompany dances, dance dramas, theater, puppets, rituals, events and festivals. Until then it developed in such a way that it was able to stand as a separate musical performance, complete with the accompaniment of the voices of the sindhen.


title: Gamelan

text: Most of the music rhythms are generally soft and reflect the harmony of life, as the principles of life are generally adopted by Javanese society. Some of them sound quickly according to the event or ritual being held or accompanied by the gamelan like gamelan Banyuwangi which has a faster tempo and uses high notes. Javanese gamelan has pelog and slendro tunings, if the pelog consists of notations 1, 2, 3, 4, 5, 6, 7 (ji, ro lu, pat, mo, nem, tu), slendro has notation 1, 2, 3, 5, 6, i (ji, ro, lu, mo, nem, i).


title: Gamelan

text: Balinese gamelan is one type of traditional gamelan ensemble that originates and develops in the island of Bali. Balinese gamelan is an inseparable ensemble of Balinese life, almost all villages in Bali have gamelan. The gamelan can be used as part of Hindu worship in Bali or as community entertainment in the Banjar in villages of Bali. Because gamelan also functions as a medium for socializing with each other, it can be seen that playing gamelan requires cooperation between players to get the desired tone or sound harmony. This Balinese gamelan has several differences from gamelan instruments in general, both in form and how to play it. This Balinese gamelan is usually performed as an accompaniment to an art performance in Bali, both sacred and entertainment.


title: Gamelan

text: Balinese gamelan is often used to accompany religious ceremonies and entertainment. In terms of religion, Balinese Gamelan is often displayed to accompany the running of religious ceremonies or to accompany sacred traditional dances. Meanwhile, in terms of entertainment, Balinese Gamelan is often presented as a musical performance as well as accompaniment to various arts that are entertainment in Bali.


title: Gamelan

text: Gamelan in Bali known as gambelan is commonly used in traditional ritual processions such as death ceremonies which we know as the Ngaben tradition. Meanwhile, for human ceremonies, gender is used and for ceremonies in temples, gong gede is usually used. In terms of the development of the era, Balinese gamelan can be divided into 3 types:


title: Gamelan

text: The Sundanese gamelan is one of the typical gamelan ensemble from West Java and Banten province (Tatar Pasundan ) in Indonesia. In the manuscript Sanghyang Siksa Kandang Karesian, the art of gamelan is estimated to have entered in the 16th century. In this text, at that time there was a gamelan player called K"umbang Gending" and a musical expert called "Paraguna". Sundanese gamelan is also called Degung. The word Degung is said to have originated from the word "Ratu-agung" or "Tumenggung", because at that time Gamelan Degung was very popular with the officials. There are three types of Sundanese gamelan, including:


title: Gamelan

text: Outside the main core on Java and Bali, gamelan has spread through migration and cultural interest, new styles sometimes resulting as well. The variety of gamelan can be found in over 25 countries outside Indonesia, presenting both traditional and experimental repertoire.


title: Gamelan

text: For some Indonesians, gamelan has high philosophical values, in terms of sound, roles, and the feelings of the players. Playing gamelan is not just the ability to play various musical instruments together, thus giving birth to the harmony of tones and rhythms. But also, by playing the gamelan there is a meaning that describes the system of deliberation and consensus in the midst of society, through each gamelan musical instrument. Gamelan symbolizes the spirit of cohesiveness and mutual cooperation, together, and in line. So that it gives birth to a harmonious tone in social life. In Indonesia, gamelan accompanies many cultural activities such as:


title: Gamelan

text: Under the influence of the Hindu-Buddhist Majapahit kingdom, gamelan was used as accompaniment in religious ceremonies with tembang (singing) and wayang performances. Even an accompaniment to a king's performance. In the Negarakertagama manuscripts written by Mpu Prapanca in the 14th century. It is said that the gamelan accompaniment was used by King Hayam Wuruk in performing a mask dance with eight young people accompanied by a song from the Queen Mother. With the collapse of the Majapahit kingdom and being replaced by the Islamic kingdom of Demak led by Raden Patah, gamelan as a traditional musical instrument did not just disappear. Its function is used as a media tool for preaching Islam.


title: Gamelan

text: Gamelan's role in rituals is so important that there is a Javanese saying, "It is not official until the gong is hung". Some performances are associated with royalty, such as visits by the sultan of Yogyakarta. Certain gamelans are associated with specific rituals, such as the "Gamelan Sekaten", which is used in the celebration of "Mawlid an-Nabi" (Muhammad's birthday). In Bali, almost all religious rituals include gamelan performance. Gamelan is also used in the ceremonies of the Catholic church in Indonesia. Certain pieces are designated for starting and ending performances or ceremonies. When an "ending" piece (such as "Udan Mas") is begun, the audience will know that the event is nearly finished and will begin to leave. Certain pieces are also believed to possess magic powers and can be used to ward off evil spirits. The religious rituals that accompanied by gamelan such as: sekaten, temple rituals, melasti, galungan, Ogoh-ogoh, etc.


title: Gamelan

text: Gamelan is used to accompany various traditional ceremonies in Indonesia, gamelan kodhok ngorek, gamelan monggang, gamelan carabalen, and gamelan ageng are used for important ceremonies related to kings in the Yogyakarta and Surakarta palaces such as the king's coronations ceremony, the king's birthday ceremony, the coronation anniversary, royal guest reception, baby birth, marriage, death, and so on.


title: Gamelan

text: Outside the palace in Java, gamelan is used for Wedding reception, birth ceremonies, circumcision ceremonies, rice harvesting, ruwatan ceremonies, and death ceremonies (dhukitan). The musical presentation in the dhukitan ceremony in the general public is different from that in Palace. Gendhing at dhukitan ceremonies in the palace use the kodhok ngorek gamelan instrument, only intended for the death of the king and his family and only served when the corpse departs to the cemetery. Meanwhile, gendhing offerings at duhkitan ceremonies in the general public (outside the palace environment) are usually served at the time of the death of musical artists of dance, musical puppetry, wayang orang, cultural observers, and theater using the gamelan gadhon ensemble.


title: Gamelan

text: Almost all dances originating from the island of Java and Bali are accompanied by gamelan music. Gamelan gives spirit and beauty to live dance performances. The beautiful sound of the gamelan music brings dance to life and graceful to see. The main function of the gamelan as a dance accompaniment is to provide rhythm, beat, or tempo guidance. So that the selection of accompanying music must be adjusted to the rhythm and theme of the dance. Dance performance using live gamelan is a complex artistic activity. Gamelan in dance is used as an illustration or support for the atmosphere. The accompanying gamelan music must give the impression of "speaking" or communication and constitute the perfect unity between music and dance. Typically players in the gamelan will be familiar with dance moves and poetry, while dancers are able to play in the ensemble. Some examples of famous dance include: bedhaya, serimpi, gambyong, Bambangan Cakil, legong, oleg tamulilingan, pendet, cendrawasih, barong, baris, jaipong, topeng, Bajidor Kahot, gandrung, etc.


title: Gamelan

text: Dance drama in Indonesia is a show that combines dance and drama, which tells a story with dialogue or without dialogue between the players, usually guided by a puppeteer. This show is accompanied by gamelan music and involves many players who wear a typical costume. Gamelan music as accompaniment is widely used for choreography in the form of storytelling performances, both drama, and dance drama. Gamelan music that accompanies dance drama is a combination of music whose rhythm is in accordance with the dance movements and as an illustration. Most dance-dramas use music to avoid monotony and be more varied, and for the sake of harmony between dance and music.


title: Gamelan

text: Ramayana Ballet is a form of Javanese dance-drama performance that does not use dialogue. Dialogue in ballet performances is replaced with gesticulation or meaningful movements, especially with attitudes, hand movements, and head. Gesticulation or meaningful movements are movements that have a visual meaning or purpose that can be used and implemented by the audiences. Some examples of dance-dramas in Indonesia are as follows: wayang wong, wayang topeng, Ramayana Ballet, etc.


title: Gamelan

text: Gamelan is used to accompany all puppet shows, including wayang kulit, wayang golek, wayang klithik, wayang beber, etc. In "wayang", the "dalang" (puppeteer) must have a thorough knowledge of gamelan, as he gives the cues for the music. Gamelan is a complement and supporter of wayang performances, which is still favored by Indonesians. Gamelan is played to support the atmosphere that Dalang (puppet master) wants to build in a wayang performance. Gamelan, which is the music accompanying the puppet show, is played in pelog or slendro tones according to the atmosphere of the scene being played. Gamelan music supports the delivery of values in wayang performances. The type of gamelan music for puppetry is different from gamelan music for dance or ordinary musical songs.


title: Gamelan

text: Traditional theater, especially on the islands of Java and Bali, is mostly accompanied by gamelan. Traditional theaters such as kethoprak, ludruk, and sandiwara are accompanied by gamelan to enliven the show. Ketoprak is a traditional theater founded in central Java. The story is usually about the life of Javanese palaces and noblemen, often about the romance of the royal family members. Ketoprak is often performed in celebrations, such as weddings, circumcision, and Independence Day. It differs from Ludruk from east Java, which uses a contemporary setting and the story of common people and their economic struggles. All the performers of ludruk are males, even the female role is played by males. While Sandiwara is a traditional theatrical drama from west Java.


title: Gamelan

text: Gamelan can be performed by itself – in ""klenengan"" style, or for radio broadcasts – and concerts presentation are common in national arts conservatories founded in the middle of the 20th century. Gamelan is frequently played on the radio. For example, the "Pura Pakualaman" gamelan performs live on the radio every "Minggu Pon" (a day in the 35-day cycle of the Javanese calendar). In major towns, the Radio Republik Indonesia employs professional musicians and actors, and broadcast programs of a wide variety of gamelan music and drama. In the court tradition of central Java, gamelan is often played in the "pendopo", an open pavilion with a cavernous, double-pitched roof, no side walls, and a hard marble or tile floor. The instruments are placed on a platform to one side, which allows the sound to reverberate in the roof space and enhances the acoustics. Some traditional genre music that accompanied by gamelan ensemble like javanese poetry, tembang sunda, campursari, etc.


title: Gamelan

text: Many festivals are held in Indonesia, most of them using gamelan to enliven the event. Usually, gamelan is used for entertainment performances or even gamelan becomes the theme of the festival. Several gamelan festivals in Indonesia are held regularly, such as the Gamelan festival in Solo, Yogyakarta International gamelan festival, Balinese art festival, and many more.


title: Gamelan

text: Most of the metal gamelan instruments are made of bronze or brass or iron, while some are made of wood, bamboo, leather, and strings. Gangsa is short for Tigang (three) and Sedasa (ten), the term for gamelan in the high Javanese language based on the composition of the ingredients for making the best gamelan (bronze), namely three parts copper and ten parts tin. Pande is the name for a gamelan maker, while Pelaras is a person who adjusts the gamelan tone to match the existing gamelan standards. In the process of making gamelan, there are at least five stages that must be passed to make a good gamelan. The five stages include:


title: Gamelan

text: "Membesot" – to melt the mixture, a gamelan craftsman will prepare the kowi, which is a bowl-like container made of clay. In this process, a fireplace equipped with a heating device is prepared to produce maximum heat. The kowi is then filled with metals and other alloys, such as copper or silver to produce a nice plate color.


title: Gamelan

text: "Menyinggi" – the metal base material is melted back to be printed into a blade or round shape. There are three forms of gamelan that are made at this stage, namely, the long form (dawan), the long semicircle, and the cebongan form. To maintain sacredness, usually at this stage flower water is used to soak the gamelan that has been printed.


title: Gamelan

text: "Menempa" – the gamelan that has been printed then goes into the forging or shaping stage to produce a perfect shape. The forging stage is the most complex stage in the gamelan-making process. In this stage, the process is carried out by people who really understand the ins and outs of gamelan, considering that the forging process is not done carelessly, but uses various hitting techniques using various kinds of hammers.


title: Gamelan

text: "Membabar" – the forged gamelan is then examined again at the spreading stage. At this stage, if there are still defects in the shape, it will be corrected again.


title: Gamelan

text: "Melaras" – there is one more important process that must be done to produce a perfect gamelan set, namely the process of adjusting the scales. Therefore, one more stage is needed to produce a gamelan with perfect physical and function, that stage is to adjust the scale.


title: Gamelan

text: After adjusting to the scale, the blades and circles are ready to be installed in the cage. It is at this stage that the manufacture of various gamelan instruments has been physically and functionally completed. Some craftsmen, although rarely found, complement the making of gamelan with various rituals, such as fasting and providing offerings. This is of course to produce a gamelan that is not only perfect physically and functionally, but also philosophically.


title: Gamelan

text: Gamelan production centers are spread across the islands of Java and Bali. These gamelan producers have exported hundreds and supplied gamelan all over the world. Several gamelan production centers are located in Sukoharjo, Boyolali, Wonogiri, Nganjuk, Magetan, Bantul, Ponorogo, Klaten, Banyuwangi, Gunung Kidul, Cimahi, Bogor, Gianyar, and Klungkung.


title: Gamelan

text: The gamelan has been appreciated by several western composers of classical music, most famously Claude Debussy, who heard a Javanese gamelan in the premiere of Louis-Albert Bourgault-Ducoudray's "Rhapsodie Cambodgienne" at the Paris Exposition of 1889 (World's Fair). The work had been written seven years earlier in 1882, but received its premiere only in 1889. The gamelan Debussy heard in it was in the "slendro" scale and was played by Central Javanese musicians. Despite his enthusiasm, direct citations of gamelan scales, melodies, rhythms, or ensemble textures have not been located in any of Debussy's own compositions. However, the equal-tempered whole tone scale appears in his music of this time and afterward, and a Javanese gamelan-like heterophonic texture is emulated on occasion, particularly in "Pagodes", from "Estampes" (solo piano, 1903), in which the great gong's cyclic punctuation is symbolized by a prominent perfect fifth.


title: Gamelan

text: The composer Erik Satie, an influential contemporary of Debussy, also heard the Javanese gamelan play at the Paris Exposition of 1889. The repetitively hypnotic effects of the gamelan were incorporated into Satie's Gnossienne set for piano.


title: Gamelan

text: Direct homages to gamelan music are to be found in works for western instruments by John Cage, particularly his prepared piano pieces, Béla Bartók, Francis Poulenc, Leopold Godowsky, Olivier Messiaen, Pierre Boulez, Bronislaw Kaper and Benjamin Britten. Colin McPhee, Lou Harrison and Claude Vivier would travel to Bali and Java to document the theory of gamelan, and subsequently incorporated it in their compositions. In more recent times, American composers such as Henry Brant, Steve Reich, Philip Glass, Dennis Murphy, Loren Nerell, Michael Tenzer, Evan Ziporyn, Daniel James Wolf and Jody Diamond as well as Australian composers such as Peter Sculthorpe, Andrew Schultz, Paul Grabowsky and Ross Edwards have written several works with parts for gamelan instruments or full gamelan ensembles. Several New Zealand composers have composed for gamelan or incorporated elements of gamelan into their music such as Jack Body, Gareth Farr and Anthony Ritchie.


title: Gamelan

text: I Nyoman Windha is among contemporary Indonesian composers who have written compositions using western instruments along with Gamelan. Hungarian composer György Ligeti wrote a piano étude called "Galamb Borong" influenced by gamelan. Avant-garde composer Harry Partch, one of America's most idiosyncratic composers, was also influenced by Gamelan, both in his microtonal compositions and the instruments he built for their performance


title: Gamelan

text: In jazz, the music of Don Cherry, especially his 1968 record "Eternal Rhythm", shows influences of gamelan music.


title: Gamelan

text: American folk guitarist John Fahey included elements of gamelan in many of his late-1960s sound collages, and again in his 1997 collaboration with Cul de Sac, "The Epiphany of Glenn Jones." Influenced by gamelan, Robert Fripp and Adrian Belew used rhythmically interlocking guitars in their duets with each other in the 1981–1984 trilogy of albums ("Discipline", "Beat", "Three of a Perfect Pair") by rock band King Crimson and with "The League of Crafty Guitarists". The gamelan has also been used by British multi-instrumentalist Mike Oldfield at least three times, "Woodhenge" (1979), "The Wind Chimes (Part II)" (1987) and "Nightshade" (2005).


title: Gamelan

text: On the debut EP of Sonic Youth the track 'She's not Alone' has a gamelan timbre. Experimental pop groups The Residents, 23 Skidoo (whose 1984 album was even titled "Urban Gamelan"), Mouse on Mars, His Name Is Alive, Xiu Xiu, Macha, Saudade, The Raincoats and the Sun City Girls have used gamelan percussion. Avant-garde performance band Melted Men uses Balinese gamelan instruments as well as gamelan-influenced costumes and dance in their shows. The Moodswinger built by Yuri Landman gives gamelan–like clock and bell sounds, because of its 3rd bridge construction. Indonesian-Dutch composer Sinta Wullur has integrated Western music and gamelan for opera.


title: Gamelan

text: In contemporary Indonesian music scene, some groups fuse contemporary westernized jazz fusion music with the legacy of traditional ethnic music traditions. In the case of Krakatau and SambaSunda, the bands from West Java, the traditional Sundanese kacapi suling and gamelan degung Sunda orchestra is performed alongside drum set, keyboard and guitars. Other bands such as Bossanova Java fused Javanese music with bossa nova, while the Kulkul band fuse jazz with Balinese gamelan.


title: Gamelan

text: The Indonesian singer Anggun often incorporated in her works Indonesian traditional tunes from the gamelan and tembang style of singing. Typical gamelan tunes can be traced in several songs in her album "Snow on the Sahara" such as "Snow on the Sahara", "A Rose in the Wind", and also in her collaboration works with Deep Forest on "Deep Blue Sea" on their 2002 album, "Music Detected". Philippine-born Indonesian singer Maribeth Pascua also features gamelan tunes in her songs "Denpasar Moon" and "Borobudur".