Irama is the term used for tempo in Indonesiangamelan in Java and Bali. It can be used with elaborating instruments. It is a concept used in Javanese gamelan music,[2] describing melodic tempo and relationships in density between the balungan, elaborating instruments, and gong structure.[3] It is distinct from tempo (Javanese:Laya), as each Irama can be played in different tempi.[4][5]Irama thus combines "the rate of temporal flow and temporal density"; and the temporal density is the primary factor.[6]
Number of saron panerus notes per saron note in each irama.[1]
One way to think of Irama is to use the most consistently struck instrument in the gamelan, the saron panerus (or peking). In some pieces, it plays once per note in the balungan (such as played by the saron barung). In others, it may play twice as often, or four times, as the notes of the balungan are more spread out. This corresponds to a slower Irama. In most cases, the more spread out the balungan is, the longer it takes to reach a gong ageng.[7]
^Guberman, Daniel. "Gamelan Nyai Saraswati". Introduction to the Peking. University of North Carolina. Retrieved December 5, 2011.
March 26, 2023
irama, italian, singer, singer, indonesian, musician, rhoma, term, used, tempo, indonesian, gamelan, java, bali, used, with, elaborating, instruments, concept, used, javanese, gamelan, music, describing, melodic, tempo, relationships, density, between, balunga. For the Italian singer see Irama singer For the Indonesian musician see Rhoma Irama Irama is the term used for tempo in Indonesian gamelan in Java and Bali It can be used with elaborating instruments It is a concept used in Javanese gamelan music 2 describing melodic tempo and relationships in density between the balungan elaborating instruments and gong structure 3 It is distinct from tempo Javanese Laya as each Irama can be played in different tempi 4 5 Irama thus combines the rate of temporal flow and temporal density and the temporal density is the primary factor 6 Number of saron panerus notes per saron note in each irama 1 One way to think of Irama is to use the most consistently struck instrument in the gamelan the saron panerus or peking In some pieces it plays once per note in the balungan such as played by the saron barung In others it may play twice as often or four times as the notes of the balungan are more spread out This corresponds to a slower Irama In most cases the more spread out the balungan is the longer it takes to reach a gong ageng 7 There are five Irama 2 Irama number Irama name Saron panerus beats per balungan note1 2 Irama lancar 1I Irama tanggung 2II Irama dados or dadi 4III Irama wilet 8IV Irama rangkep 16In slower Irama there is more space to be filled and typically elaborating instruments become more important Each Irama can be played in three Laya tempi Seseg fast Sedeng medium Tamban slow Frequently a change of Laya signals a new section See also Edit Music portal Indonesia portalGamelan Gamelan notation Music of Indonesia Music of JavaBibliography EditSpiller Henry Gamelan the traditional sounds of Indonesia ABC Clio 2004 ISBN 978 1 85109 506 3 Sumarsan Gamelan cultural interaction and musical development in central Java University of Chicago Press 2nd Edition 1996 ISBN 978 0 226 78011 5References Edit Lindsay Jennifer 1992 Javanese Gamelan p 54 ISBN 0 19 588582 1 a b Peeters Geoffroy The Javanese Gamelan The Javanese Gamelan Retrieved December 5 2011 Spiller 2004 Sumarsam 2008 Gamelan of Central Java Gamelan of Central Java XII PANGKUR ONE Yantra Productions gamelan to Retrieved December 5 2011 Jordan Bern May 25 2002 Javanese Gamelan Javanese Gamelan Glossary Archived from the original on February 12 2012 Retrieved December 5 2011 Sumarsan 1996 page 156 Guberman Daniel Gamelan Nyai Saraswati Introduction to the Peking University of North Carolina Retrieved December 5 2011 Retrieved from https en wikipedia org w index php title Irama amp oldid 1115310289, wikipedia, wiki, book, books, library,
