गेमेलान

गामेलान धाःगु छगु कथंया इन्दोनेसियन सांगीतिक परम्परा खः। थुकिलि मेटालोफोन, जाइलोफोन, ड्रम, गंग, पंया बांसुरी, तार बाजं नापं मे हालिगु जुइ। गामेलानयात छगू निश्चित रुपं नापं थायेज्युगु बाजंतेगु पुचः ख। थीथी गामेलानया बाजंत धाःसा हिलेमछिं।

गामेलान खँग्वः जाभानिज भासाया खँग्वः "गामेल" व "आन" स्वाना बुयावःगु ख। गामेलया अर्थ न्यायेकिगु वा मुगः जुइ। मलेय-इन्दोनेसियन उपसर्ग "आन" धाःसा मंका नामपदयात थुइकेगु खँग्वः खः।

 बाजं व गुण 
गामेलानया परम्परा इन्दोनेसियाया जाभा, मदुरा, बाली, व लोम्बोक (व मेमेगु सुन्दा द्वीप)य् खनेदु। थ्व बाजंखलःया आकार व रुप थाय्-कथं पाः। बाली व लोम्बोकय् वर्तमानय् व जाभाय् १८गू शताब्दी तक "गोङ्ग" खँग्वःयात गामेलानया पर्यायया रुपय् छ्यलातःगु खनेदु। गामेलान थें न्याःगु अन्य पुचः, गुकियात बाजंविज्ञतेसं गङ्ग-चाइम पुचः (gong-chime ensembles) धाइ, इन्दोनेसिया स्वया पिने, इन्दोनेसिया नापंया फिलिपिन्स, मलेसिया व स्थानातरणया कारणं सुरिनाम तक खनेदु। 

Although gamelan ensembles sometimes include solo and choral voices, plucked and/or bowed string and wind instruments, they are most notable for the large number of metal percussion instruments. A central Javanese gamelan ensemble includes: 
 metallophones, such as the saron, gendér, gangsa, and ugal (sets of metals bars laid out in a single row and struck like a glockenspiel)
 cradled gongs called bonang and kenong (sets of large, drum-shaped gongs laid out horizontally on stands)
 hanging gongs called kempul and a the large gong ageng
 xylophone-like instruments called gambang (similar to saron and gendér but with wooden bars instead of metal ones)
 drums called kendhang

Metals used include bronze, brass, and iron, with a 10:3 copper-to-tin bronze alloy usually considered the best material. In addition, there are gamelan ensembles composed entirely of bamboo-keyed instruments, of bamboo flutes, of zithers, or of unaccompanied voices with the functions of metallophones or gongs in the metal ensemble transferred to surrogates.

There are many ways to look at the musical structure of gamelan music. One is to consider three layers: a fixed melodic outline, with punctuated by lower pitched instruments and decorated by higher pitched instruments. A Javanese classification also adds a leader of the melody and a leader of time. Many of the music forms will be marked at the end by the largest gong in the ensemble, although there are some exceptions.

 प्रकार 
 बालीया गामेलान 

 Gamelan angklung 
 Gamelan bebonangan
 Gamelan gandrung
 Gamelan gambang
 Gamelan gender wayang
 Gamelan gong gede
 Gamelan gong kebyar
 Gamelan gong suling
 Gamelan jegog
 Gamelan joged bumbung
 Gamelan selunding
 Gamelan semar pegulingan
 Kecak
 Beleganjur
 Genje
 Gamelan Batel
 Gamelan Pearjaan
 Gamelan Gambuh
 Gamelan Gong Luang
 Gamelan Gong Saron
 Gamelan Semarandana
 Gamelan Trompong Beruk
 Gamelan Tembang Girang

 जाभानिज ग्यामेलान 
 मध्य जावा
 Ritual or "archaic" gamelan
 Classical gamelan
 Gamelan Gadhon
 Gamelan Siteran
 The court gamelan
 Mangkunagaran
 Pakualaman
 Surakarta
 Yogyakarta
 Banyumas
 Bamboo gamelan
 Gamelan without instruments
 Cirebon (Northwest Java)
 Gamelan Prawa
 Gamelan Pelog
 Renteng
 Sekati
 Dengung
 Gamelan Kedempling
 पूर्व जावा
 सुन्दा (West Java)
 Degung
 Jaipongan
 Kliningan
 Salendro 
 Kecapi suling
 Tembang sunda

 मेमेगु इन्डोनेशियाली ग्यामेलान 

 सांस्कृतिक पक्ष 
Gamelan is often used to accompany dance, wayang puppet performances, and rituals. Some performances are associated with royalty, such as visits by the sultan of Yogyakarta. Certain gamelans are associated with rituals, such as the Gamelan Sekaten, which is used in celebration of Mawlid an-Nabi (Muhammad's birthday). In Bali, almost all religious rituals include gamelan performance.

In the West, gamelan is often performed in a concert context, but may also incorporate dance or wayang.

 ट्युनिंग 
The tuning and construction of a gamelan orchestra is a complex process. Javanese gamelans use two tuning systems: sléndro and pélog. There are other tuning systems such as degung (exclusive to Sunda, or West Java), and madenda (also known as diatonis, similar to a European natural minor scale). In central Javanese gamelan, sléndro is a system with five notes to the diapason (octave), fairly evenly spaced, while pélog has seven notes to the octave, with uneven intervals, usually played in five note subsets of the seven-tone collection. This results in sound quite different from music played in a western tuning system. Many gamelan orchestras will include instruments in each tuning, but each individual instrument will only be able to play notes in one. The precise tuning used differs from ensemble to ensemble, and give each ensemble its own particular flavour. Colin McPhee (1966) remarks, "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." However, this is a view that is contested by some teachers of gamelan, and there have been efforts to combine multiple ensembles and tuning structures into one gamelan so as to ease transportation issues at the times of festivals. One such ensemble is gamelan Manikasanti, which can play the repertoire of many different ensembles.

A peculiarity of gamelans is that, although the intervals between notes in a scale are very close to identical for different instruments within each gamelan, the intervals vary from one gamelan to the next. The occasion for the word approximately is that it is common in Balinese gamelan that instruments are played in pairs which are tuned slightly apart so as to produce interference beating which are ideally at a consistent speed for all pairs of notes in all registers. It is thought that this contributes to the very "busy" and "shimmering" sound of 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.

 स्वयादिसँ 

 कुलिनताङ्ग
 इन्दोनेसियाया संगीत
 लेगोङ्ग

 ब्वना दिसं 
 बालीनिज गामेलान 
 Balinese Music (1991) by Michael Tenzer, ISBN 0-945971-30-3. Included is an excellent sampler CD of Balinese Music.
 Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese Music (2000) by Michael Tenzer, ISBN 0-226-79281-1 and ISBN 0-226-79283-8.
 Music in Bali (1966) by Colin McPhee. New Haven, CT: Yale University Press.
 Javanese gamelan 
 Gamelan: Cultural Interaction and Musical Development in Central Java (1995) by Sumarsam, ISBN 0-226-78010-4 (cloth) 0226780112 (paper)
 Music in Java: History Its Theory and Its Technique (1949) edited by Jaap Kunst, ISBN 90-247-1519-9. An appendix of this book includes some statistical data on intervals in scales used by gamelans.
 A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan (2005) by Richard Pickvance, Jaman Mas Books, London, ISBN 0-9550295-0-3

 लिखँ

 पिनेयागु स्वापू 
 Balinese Music
 Introduction to Gamelan Music by Qehn, Javanese only.
 American Gamelan Institute
 France Gamelan Information (special section on 1889)
 Yogyakarta Gamelan Festival
 Javanese gamelan notation - a huge collection maintained by Barry Drummond (in PDF format)
 Javanese gamelan notation - prepared by Vi King Lim
 Balinese and Javanese Gamelan

 न्येनादिसँ 
 Gongcast - Webcast of gamelan recordings
 Play a gamelan instrument online (saron, slentem, bonang, kempuls)
 Another virtual gamelan. Allows to play, and "program" (sequencer like) gamelans. Text is in French.
 The Virtual Javanese Gamelan play and compose Javanese music using this award winning free resource

पुचः:संस्कृति