Relevant bibliographies by topics / Gamelan

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Gamelan'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Gamelan"

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-, Irma Tri Anggraeni, Brilindra Pandanwangi, and Denis Setiaji. "Video Gagasan Konstruktif “Gameland” sebagai Representasi Masa Depan Kebudayaan Gamelan di Indonesia." CITRAWIRA : Journal of Advertising and Visual Communication 4, no. 1 (June 18, 2023): 109–28. http://dx.doi.org/10.33153/citrawira.v4i1.5097.

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Gamelan adalah salah satu warisan budaya pertunjukan yang tersebar di Indonesia. Melalui statusnya sebagai sebuah warisan, maka sudah menjadi keharusan untuk mempertahankan gamelan dari masa ke masa. Namun melihat perkembangan zaman yang ada, maka perlu adanya sebuah ide yang menjadi solusi untut mempertahankan serta membuat gamelan lebih muda diakses. Gameland menjadi sebuah gagasan yang mampu menjawab permasalahan tersebut. Gameland terbentuk sebagai ide konstruktif yang bertumbuh. Penggambaran Gameland tersebut tertuang dalam video gagasan konstruktif Gameland yang menghadirkan rangkuman dari realisasi ide konstruktif dalam sebuah video. Penelitian ini bertujuan untuk menemukan bentuk – bentuk representasi masa depan kebudayaan Indonesia dalam video gagasan konstruktif Gameland, menggunakan metode kualitatif dengan dasar teori semiotika Pierce.
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Saepudin, Asep. "Laras, Surupan, dan Patet dalam Praktik Menabuh Gamelan Salendro." Resital: Jurnal Seni Pertunjukan 16, no. 1 (February 17, 2016): 52–64. http://dx.doi.org/10.24821/resital.v16i1.1274.

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Tulisan ini membahas tentang peranan laras, surupan, dan patet dalam praktik menabuh gamelansaléndro. Gamelan saléndro termasuk salah satu perangkat gamelan yang terdapat dalam karawitanSunda. Penyajian gamelan saléndro dalam karawitan Sunda memiliki keunikan tersendiri yang tidakditemukan pada musik lain yakni terdapat perbedaan laras antara gamelan yang digunakan denganlagu yang dinyanyikan oleh pesinden (vokalis). Oleh karena itu, tidak mudah untuk menyajikansebuah lagu dalam permainan gamelan saléndro karena harus memahami terlebih dahulu laras,surupan, dan patet sebagai jembatan bagi perbedaan laras ini agar terjalin nuansa musikal yangharmonis. Berdasarkan hasil analisis dapat disimpulkan bahwa laras, surupan, dan patet memilikiperanan sangat penting dalam praktik bermain gamelan saléndro, sebagai kunci utama yang harusdikuasai seorang pengrawit (lebih khusus bagi seorang perebab) untuk menyajikan lagu atau gending.Selain itu, disimpulkan pula bahwa laras, surupan, dan patet sebagai satu kesatuan yang utuh, memilikiketerkaitan satu sama lainnya dalam praktik menabuh gamelan saléndro.Laras, Surupan, and Patet in Playing Salendro Gamelan.This paper discusses the role of laras(musical scale), surupan, and patet (Jawa: pathet) concepts in playing salendro gamelan. Salendro gamelanis one of gamelan instruments in Sundanese gamelan music. The performance of salendro gamelan inSundanese gamelan has its own uniqueness which is not found in other musical genre or characteristics, thatthere is a different laras between the used gamelan and the song sung by vocalist. Therefore, it is not easy topresent a song in a salendro gamelan play because we should understand laras, surupan, and patet conceptsfor bridging the difference to create the harmonious musical nuance. Based on the result analysis, it may beconcluded that laras, surupan, and patet concepts play the important role in playing the salendro gamelan.They are the main keys for gamelan players who should master to play the song or gending. In addition, laras,surupan, and patet concepts as a unity relate to each other in playing the salendro gamelan.
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I Putu Gede, Krisna Adinata, and Sujayathi Ni Wayan Masyuni. "Musical Creation “Jegong” | Tabuh Kreasi “Jegong”." GHURNITA: Jurnal Seni Karawitan 3, no. 3 (August 25, 2023): 255–62. http://dx.doi.org/10.59997/jurnalsenikarawitan.v3i3.2074.

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Building a work of art certainly goes through a lot of processes and stages, in this case an artist or a composer who explores several phenomena. Seeing this phenomenon, the stylists were motivated to create works that used ideas from a Balinese gamelan stylist's life experience of combining/collaborating both elements of Jegog gamelan and Gong Kebyar gamelan. In the form of depictions of gending, namely the life experience of playing gamelan and containing the structures, motifs and techniques of the two gamelans which are used as a form of percussion creations entitled Jegong. The purpose of making this work is to offer a new nuance to the Jegog gamelan in collaboration with the Gong Kebyar gamelan and to train arrangers to show their identity as potential composers in composing Balinese karawitan music. This Jegong work uses a method of creating works of art that uses the chopped pangi structure where this structure is used to create a composition work of Jegog stems in Jembrana Regency. To get the maximum artistic output, the stylist tries to convey Gong Kebyar playing in his own way and Jegog playing in his own way which is the focal point of the work made by the stylist to become innovative, creative and traditional ideas.
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Basset, Catherine. "Gamelan, architecture sonore (et Gamelan mécanique)." Moussons, no. 8 (December 1, 2005): 157–70. http://dx.doi.org/10.4000/moussons.2274.

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Tenzer, Michael. "Gamelan, architecture sonore (et Gamelan mécanique)." Moussons, no. 8 (December 1, 2005): 171–76. http://dx.doi.org/10.4000/moussons.2276.

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Kurniawan, Septian Yoga, T. Arie Setiawan P, and Jasson Prestiliano. "Perancangan Realtime Board Game untuk Melestarikan Alat Musik Tradisional Jawa Tengah dengan Menggunakan Soundtrack dan Mechanics Tile Placement." Nirmana 19, no. 2 (October 11, 2021): 74–83. http://dx.doi.org/10.9744/nirmana.19.2.74-83.

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Alat musik tradisional adalah sebuah warisan budaya dalam suatu daerah. Namun dengan adanya perkembangan jaman, musik tradisional mulai ditinggalkan oleh masyarakat setempat. Masyarakat lebih suka mendengarkan dan memainkan alat musik modern dibandingkan musik tradisional yang kedepannya bisa menimbulkan kepunahan dari warisan budaya itu sendiri. Salah satu alat musik tradisional yang harus dilestarikan adalah gamelan. Gamelan berasal dari Jawa yang terdiri dari beberapa alat musik yang dimainkan secara bersamaan. Gamelan dimainkan ketika acara adat dan pertunjukan tari tradisional seperti kuda lumping. Maka dari itu dibutuhkan sebuah media untuk melestarikan dan memperkenalkan musik tradisional kepada masyarakat yang belum sadar akan pentingnya menjaga warisan budaya tersebut yaitu Board Game. Board Game dengan Gameplay yang menggunakan Soundtrack untuk mengenalkan gambaran musik gamelan dipilih karena bukan hanya sekedar permainan, namun juga bisa menjadi media edukasi untuk melestarikan alat musik tradisional bagi pemainya. Setelah memainkan permainan ini, pemain lebih tertarik untuk melestarikan kebudayaan daerah dan secara tidak langsung pengetahuan mengenai alat musik tradisonal Jawa Tengah bisa tersebar melalui permainan ini.
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Darya, I. Wayan. "Eksistensi Gamelan Gong Gede Saih Pitu Dalam Ritual Agama Hindu Di Banjar Kebon Singapadu ( Perspektif Teologi Hindu )." Jurnal Penelitian Agama Hindu 2, no. 2 (December 4, 2018): 510. http://dx.doi.org/10.25078/jpah.v2i2.652.

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<p><em>Types of gamelan that exist in the earth comes from the voice of Genta Pinara Pitu which became the inspiration of the birth gamelan in the realms of the Gods, Rsi, and also on the nature of Bhuta Kala. Furthermore, humans are also inspired to create various types of gamelan, including gamelan Gong Gede Saih Pitu in Banjar Kebon Singapadu. Gamelan can be used as a ritual medium that essentially has a deep theological meaning. Tones of the gamelan are the nyasa (sacred symbols) of the ista dewata who control all directions which form a circle called the pemgider bhuana. Playing one tone means having direct contact with one of the gods. However, the understanding of the existence of Gamelan Gong Gede Saih Pitu about the concept of ideas, structure, barrel, patih / saih, and the type of tetabuhan that it uses, need to be studied further to deepen the existence of Gong Gede Saih Pitu gamelan in Hindu theological perspective hindu ritual. This research uses qualitative research method with theological approach. Problem solving using Structural Theory, Symbol Theory, and Structural Functional Theory to dissect the gamelan's theatrical structure, function, and meaning of Gong Gede Saih Pitu in Banjar Kebon Singapadu.</em></p><p><em>Data obtained from the text and obtained in the field through observation and interview, then processed and analyzed in accordance with the theory used with the method of theological approach, then obtained the result that the gamelan Gong Gede Saih Pitu as a form of art that developed today, has the theological concept derived from the sound of pale pent in the pangider bhuana circle, and its existence not only as an accompaniment of ritual procession and as a cultural development, but has a religious function and psychological function, and contains philosophical-theological meaning, aesthetic meaning, and grandeur, and dignity, which shows how great the concept of the gamelan is as the implementation of Hindu theological tones.</em></p><p><em>Through the results of this research will materialize the understanding of gamelan theology contained in the lontar Prakempa and Aji Gurnitha, and dismissed the notion of the use of gamelan in Hindu rituals as a tradition of mule keto which is identical with the euphoria of splendor to enliven the atmosphere of the ceremony.</em></p>
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Fausta, Ega. "Sari Oneng Parakansalak Gamelan Tuning System and Its Comparison with Machjar’s Theory." International Journal of Visual and Performing Arts 1, no. 1 (June 1, 2019): 15–26. http://dx.doi.org/10.31763/viperarts.v1i1.6.

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The research of measuring laras of Sari Oneng Parakansalak gamelan uses convergent parallel mixed methods. It attempts to find out the interval arrangement, which forms a scheme called laras system. This research give a provides clues about the existence of pelog gamelan in Sunda which is still debated until nowadays, which becomes the main reason why the writer is interested to measure the laras of Sari Oneng Parakansalak gamelan. In this research, laras theory of R.M.A. Koesoemadinata is used as the comparison to investigate what kind of laras is the laras scheme resulted from Sari Oneng Parakansalak gamelan’s interval arrangement. The result of this research is in form of persentation numbers which reveals the similarity between laras system of Sari Oneng Parakansalak gamelan and laras theory of R.M.A. Koesoemadinata. Besides giving a conclusion about the conformity between laras theory of R.M.A. Koesoemadinata and the fact found in the field, this research also informs about Sundanese pélog gamelan, which its existence is still hesitated/questioned by some Sundanese society. This study uses Da Tuner Lite which is validated with Korg Orchestral Tuner (OT-12) as the measuring instrument. The data of each waditra and the average of whole measured waditra are used to analyze the data of measurement result. From those two techniques, it can be detected that there are some waditra which are inappropriate to be used as samples. Therefore, the result of this study is taken from three waditra saron which indicates that Sari Oneng Parakansalak gamelan tends to have laras pélog djawar with its 87,19% of similarity. That result can also reveal that pélog gamelan really exists in Sundanese culture, proven by Sari Oneng Parakansalak gamelan which is made in Sumedang in 1825.
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Widyanta, Nugrahanstya Cahya. "GAMELAN SOEPRA AS A RECONTEXTUALIZATION OF JAVANESE GAMELAN." Jantra. 14, no. 2 (December 27, 2019): 139–48. http://dx.doi.org/10.52829/jantra.v14i2.92.

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Gamelan Soepra is an adaptation of Javanese gamelan. The difference lies in the tuning system and the physical form of the gamelan foot which is made higher. This difference has shifted the contextual meaning of Javanese gamelan. This descriptive qualitative research collected the data from field observations. Javanese gamelan has its own philosophical meanings which contain noble values. For example, the cross-legged sitting position on the floor for Javanese gamelan player implies the meaning of modesty. Gamelan Soepra does not have such meaning because of the higher physical form of its foot. The Gamelan has its own philosophical meaning.
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Lin, Peihan. "A Gamelan Palette: Examining the Integration of Indonesian Javanese Gamelan Elements in Debussys Piano Work." Advances in Humanities Research 6, no. 1 (June 27, 2024): 37–42. http://dx.doi.org/10.54254/2753-7080/6/2024062.

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Debussys Pagodas fosters an attractive musical dialogue within the rich traditions of Indonesian Gamelan. This exploration surpasses geographical boundaries, as Debussy integrates Gamelans distinctive timbres and rhythmic intricacies into a Western piano repertoire. Through the juxtaposition of resonant tones and percussive elements, Pagodas becomes intriguing cross-cultural encounter. It invites listeners to navigate an intricate weave of Javanese musical influence within Debussys impressionistic language. This musical dialogue progresses organically while Debussy navigates East and West intersections. This creates a sonic tapestry that resonates with the mystique of Gamelan traditions and the haunting expression of Debussys artistic vision. Pagodas is a testament to the transformative power of cross-cultural musical conversations. In this piece, Debussys mastery transcends borders to shape a harmonious synthesis of diverse musical worlds.
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Dissertations / Theses on the topic "Gamelan"

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Jiménez, Manuel Anthony. "Bamboo power : performance in gamelan jégog and comparisons with UK gamelan performance." Thesis, SOAS, University of London, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.690468.

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Jacobs, John. "Gamelan composition : extended garap." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/6214/.

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A major part of gamelan’s appeal lies in the prevalence of aural transmission for both karawitan (traditional gamelan music) and new compositions. It is a medium through which I hope to have created music that departs from existing repertoire to an interesting degree, satisfyingly rich with fresh ideas even to specialists’ ears, without losing the players’ comprehension-of-the-whole that is a prerequisite of good ensemble. This comprehension can be much aided by building on existing norms, to make use of that which has been honed over generations by knowledgeable players, to extend rather than replace conventions of garap (musical realisation from an abstraction of, and/or partial notation of a piece). For this reason the pieces presented here tend to start with an initial tweak to a karawitan norm which then requires a cascade of related tweaks to garap. The initial modifications I explore in this body of work fall into two strands: 1) Garap for 3-beat gatra; and 2) Garap to three-note seleh-chords – to seleh notes harmonised with the kempyung above and the kempyung above that, for example harmonisation of seleh low 6 with 3 and high 1. For subsequent transmission of music initially created in these ways, full scores will not most usefully aid other musicians whether their wish is to play, to lead rehearsal of, or to analyse pieces. What is required instead is a guide to the interconnected set of ideas and skills required to realise a piece from various media. Ideally this guide will convey the desirability of adaptation of those realisations to context: to sets of players, to sets of instruments, to performance situation, to musical whims. That is, the means of transmission ought not inadvertently define “the piece” as an immutable ideal. Hence the submission as a website, for clear connecting of multiple media sources in the communication of my extended garap methods. This PhD/website is hosted by the University of York at http://php.york.ac.uk/library/dlib/johnjacobsphd/
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Roth, Alec R. "New composition for Javanese gamelan." Thesis, Durham University, 1986. http://etheses.dur.ac.uk/917/.

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The Akademi Seni Karawitan (ASKI), in Sukarta, Central Java, one of Indonesia's leading performing arts institutes, has in the last few years (1979-1985) been the centre of a radical experimental movement exploring and extending the resources of traditional gamaeln music (karawitan). The purpose of this thesis is to describe and analyse this development and resulting new works. The term used for the creative process and the resulting compositions themselves "komposisi", leading some observers to conclude that Western influence is a decisive factor. Closer investigation, however, raises important questions, e. g. Is the Western concept of "composition" compatible with traditional karawitan? Why are young Javanese musicians expressing their creativity in this way? The context of the traditional music system and recent cultural change which form the background to the experimental movement are examined in 5 preliminary essays. Chapters 2 and 3 cover physical resources (gamelan) and conceptual resources (karawitan) providing the point of departure for the young composers. The very different creative role of the "composer" in traditional karawitan is then outlined in Chapter 4. Recent changes affecting the traditional arts are examined in Chapter 5; and in Chapter 6, the aesthetic and artistic goals of ASKI's director S.D. Humardani are discussed, together with the initial steps in putting these into effect. In Chapter 7, the new creative process is examined, while in Chapter 8 twenty-one compositions are subjected to systematic analysis, making extensive use of written and recorded musical examples. Questions of form and structure are raised in Chapter 9; and in Chapter 10 six representative works are given in full, recordings being provided on cassette, and translated editions of the composers' original notations in an appendix. The problems of critical evaluation are raised in Chapter 11, which goes on to consider the implications of these new compositions in a wider context.
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Basset, Catherine. "Gamelan : royaume concentrique du gong." Paris 10, 2004. http://www.theses.fr/2004PA100190.

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Tome I : " Gong : 20 ans de recherches " présente les 5 tomes, la recherche (Bali, puis Java et Sunda) et 2 publications non-jointes. Tome II : " Musiques de Bali à Java, l'ordre et la fête " (livre+CD, Actes Sud/Cité de la Musique). Gamelan = instrument collectif ; styles musicaux et culturels de Bali, Java et Sunda comparés. Tome III : " Gamelan, architecture sonore ", site internet, version papier + CD Rom multimédia interactif (ed. Cité de la Musique). Paramètres d'analyse pertinents ; création d'une notation musicale concentrique, qui révèle la structure musicale en mandala autour du gong et ses assises culturelles. Tome IV : "Tabuh, tawur, retourner le son, renverser le sort. Roue sonore, cosmogonie et structures de l'offrande ". Relation entre la musique et le symbolisme du cosmogramme-mandala ; découverte de l'analogie de structure (i. E. La réversion) entre musique, sacrifice rituel et méditation (tantrisme). Tome V : Annexes. Biblio. 815 titres, table des matières des 5 tomes
Tome I : " Gong : 20 years of research " presents the 5 volumes, the research (Bali, then Java & Sunda), and 2 not included publications. Tome II : " Music from Bali to Java, the order and the feast " (book+CD, ed. Actes Sud/Cité de la musique) ; gamelan = collective instrument ; musical and cultural styles of Bali, Java & Sunda compared. Tome III : Gamelan, acoustic architecture ", web site, paper version + CD Rom multimedia interactive (ed. Cité de la Musique) ; valuable parameters for analysis ; création of a concentric musical notation revealing the mandala musical structure around the gong, and its cultural basis. Tome IV : " Tabuh, tawur, returning the sound, reversing the spell. Sounding rod, cosmogony and structures of the offering ". Relation between music and the mandala-cosmogram's symbolism ; discovering of the same structure (concentric and reversion) in music, ritual sacrifice and meditation (tantrism). Tome V : Appendices. Biblio. 815 titles & the 5 tomes' table of contents
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Skog, Inge. "North Borneo gongs and the Javanese gamelan : studies in Southeast Asian gong traditions /." Stockholm : Universitet, 1993. http://catalogue.bnf.fr/ark:/12148/cb35731849p.

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Salm, Andreas. "Soundcolours : a composition for Javanese gamelan and western instruments." Thesis, Birmingham City University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421809.

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The aim of my project is to compose a large work for Javanese Gamelan and Western Chamber Orchestra in which all the instruments keep their original tuning. I am interested in the question of combining different tuning system and the effect of such combined tuning on the whole aesthetic properties of the music. One of the main research questions is: "how may Javanese Gamelan and Western instruments fit together? " My curiosity as a composer led me to try out a large number of exercises. The final score is the combined result of these exercises, the first performance of soundcolours and the solutions to the problems to unexpected sounds. My writing generally depends on practical knowledge - the working process becoming the interlocking activity of theory and practice. The folio contains the score of the main work, the score of exercises, early versions and related works, accompanied by four live recordings. There is also an extended essay in which I critically examine the problems arising from the project, the aesthetic ideas behind it, and the quality of the outcomes. In order to understand Gamelan tuning from the perspective of the Western player, I include acoustic analysis of the tuning of selected Gamelan instruments.
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Hastanto, S. "The concept of pathet in Central Javanese gamelan music." Thesis, Durham University, 1985. http://etheses.dur.ac.uk/1214/.

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Pathet, one of the most important elements of Central Javanese amelan music making, is a kind of 'musical quality' which is often related to the concept of mode in Western music. There are two kinds of tuning system operative in gamelan music, namely slendro and pelog. The Javanese distinguish three pathet in each system: pathet manyura, pathet sanga and pathet nem in slendro, and pathet lima, pathet nem and pathet barang in pelog. Some attempts at explaining the concept of pathet have been made by both Western and Indonesian theorists and indeed their theories have succeeded in identifying some characteristics of each pathet. The characteristics thus identified, however, are often too general or too specific and consequently are unable to predict the pathet of a given melody reliably. In exploring the concept of pathet, the present study gathers the materials of musical phenomena which are agreed by native musicians as being strong or even invariable in terms of impressions of pathet and constructs them into a theory. It introduces a method of analysis for Javanese gamelan music based on the structure of melodic sentences, phrases, and figures, taking into account contour, content, and context. The impressions of pathet are felt when a melody is being performed and in fact an impression of a particular pathet is established in the musicians' and listeners' minds by three interdependent aspects: contours, content and contexts of the melody constituents - melodic figures, phrases and sentences. Through the interlocking of these three aspects the process of establishment, further growth, consolidation and change of pathet in the musicians' minds and their performances are described
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Parris, Stephen. "Towards a harmonic approach to composing for central Javanese gamelan." Thesis, Mills College, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1589493.

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The purpose of this thesis is to share the process behind the development of an approach to composing for central Javanese gamelans that utilizes vertical harmony. This paper will include my history with Javanese gamelan, work on the development of a piano tuning that would work with a gamelan, compositional works that led to the development of the system, a study of existing Javanese gamelan tunings, and a presentation of intervallic relationships and cadences that can be utilized with any gamelan. All of this is done with hope that others who may take interest in writing for central Javanese gamelan will have a new tool at their disposal, and to pique the interest of others in the rich world of possibilities that exist within the instruments.

There is also an explanation of the process of developing a piano tuning to be used with a traditional gamelan to perform the Concerto for PIano And Javanese Gamelan by Lou Harrison.

There is some brief discussion on the cognition of interval, and how the brain simplifies complex intervals, and begins to hear them as more simple intervals.

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Posnett, David Mark. "Gendhing Gambir Sawit : context and association in Javanese gamelan music." Thesis, Durham University, 1990. http://etheses.dur.ac.uk/1153/.

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This dissertation examines the nature and influence of one piece of Central Javanese gamelan music (Gendhing "Gambir Sawit") from as many standpoints as possible. The central premise is that greater understanding of the music and its cultural context results from the compatibility afforded to a broad spectrum of information by a concentrated focus on one composition. "Gambir Sawit" was chosen because of its popularity, accessibility, educational value and the wide variety of applicable contexts. Chapter I discusses general background, the "one composition" idea and the research methods employed, concluding with the basic musical material of "Gambir Sawit". Chapter II deals with the relevant traditional and contemporary literature - historical texts, vocal texts and aspects of "Gambir Sawit" in recent scholarly writings. Chapter III concerns interpretation - the theoretical and practical elements of gamelan are brought together in a description of selected possibilities for realising a single version.In the fourth chapter, different possibilities for tempo and levels of subdivision (irama) are discussed, as is the influence of "Gambir Sawit" on the repertoire as a whole. This includes a change of tuning system, experimentation, melodic connections, and adapting to different formal structures. Chapter V examines how "Gambir Sawit" adjusts to a variety of performance contexts, including shadow-puppetry (wavang kulit), two contrasting dance categories (bedhava-srimpi and gambyong) and praise singing (santiswara). In the regional contexts described in Chapter VI, the four selected locations - Yogyakarta, Tulungagung, Surabaya and Banyumas - all display their own sense of place as well as interrelated connections in performances of "Gambir Sawit". In the final chapter, a summary of the accumulated information provides an overview of the relevant contexts and associations. The concluding pages relate these to the individuality of "Gambir Sawit" and the underlying philosophies of the Javanese musical system. Appendices include range-charts, notations, bibliography and a list of recordings cited.
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House, Ginevra. "Strange flowers : cultivating new music for gamelan on British soil." Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/6793/.

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This thesis explores new music created for gamelan in Britain, focusing primarily upon works for Javanese gamelan. It explores the historical conditions and human motivations which have made composition for gamelan such a distinctive part of the UK scene, and explores the range of works created through a series of taxonomical spectra. It considers how composers writing for gamelan in the UK situate themselves amongst the transcultural influences they are at play with in their composition. This is explored through a variety of lenses: looking at how composers use, avoid or mix musical structures associated with gamelan and those from other systems; whether or not they draw upon creative processes and methods of transmission associated with traditional gamelan music; and what happens when gamelan instruments are combined with those from other systems or with electronically-generated sound. It also explores narratives of authenticity and hybridity, and the interrelationship between British gamelan composition and the wider cultural scene. It questions the extent to which the British gamelan scene is distinct from other international gamelan communities, and the extent to which it is not, suggesting that the appearance of difference is in fact more of an inflection, coloured by local conditions, history and individuals, but nevertheless an expression of the same contemporary trans-state cosmopolitan flows (Turino 2003) that characterise gamelan cultures around the world.
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Books on the topic "Gamelan"

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Santoso, Hadi. Gamelan: Tuntunan memukul gamelan. Semarang: Dahara Prize, 1986.

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Cowan, Joan Bell. Gamelan range of light: The influence of instrument building on composition. Oakland, CA: Distributed by the American Gamelan Institute, 1985.

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Ohara, Toshio. Pesona gamelan =: [Gamuran mugen] = Fantastic gamelan. [Jakarta]: Diterbitkan oleh Dian Rakyat bekerjasama dengan Universitas Nasional, 1992.

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Benary, Barbara. Gamelan works. [New York]: Gamelon Son of Lion, 1993.

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Saleh, Mohamad Idwar. Gamelan Banjar. Banjarbaru: Museum Negeri Lambung Mangkurat Propinsi Kalimantan Selatan, Direktorat Permuseuman, Direktorat Jenderal Kebudayaan, Departemen Pendidikan dan Kebudayaan, 1987.

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Universitas Pendidikan Indonesia. Pusat Penelitian dan Pengembangan Pendidikan Seni Tradisional., ed. Gamelan Bali. Bandung: P4ST UPI, 2006.

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Sukerna, I. Nyoman. Gamelan jegog Bali. Semarang: Intra Pustaka Utama, 2003.

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Taman Budaya Propinsi Daerah Istimewa Yogyakarta., ed. Gamelan pakurmatan Kraton Yogyakarta. [Yogyakarta]: Taman Budaya Propinsi Daerah Istimewa Yogyakarta, 1993.

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Maman, Mukhlis. Gamelan Banjar, Kalimantan Selatan. [Banjarmasin]: Dinas Kebudayaan dan Pariwisata, Provinsi Kalimantan Selatan, Taman Budaya Provinsi Kalimantan Selatan, 2007.

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Volz, Augusta. Au son du gamelan. Paris: Kergour, 1999.

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Book chapters on the topic "Gamelan"

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Sethares, William A. "The Gamelan." In Tuning, Timbre, Spectrum, Scale, 165–87. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-4177-8_8.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Balinese Gamelan." In Anthology to Accompany Gateways to Understanding Music, 278–96. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-42.

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Spiller, Henry, and Elizabeth A. Clendinning. "Sundanese Gamelan Degung." In Focus: Gamelan Music of Indonesia, 144–61. 3rd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003014836-9.

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Spiller, Henry, and Elizabeth A. Clendinning. "Gamelan in West Java." In Focus: Gamelan Music of Indonesia, 111–43. 3rd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003014836-8.

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Spiller, Henry. "University Gamelan Ensembles as Research." In Mapping Landscapes for Performance as Research, 171–78. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230244481_26.

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Hopkin, Bart. "Daniel Schmidt's American Gamelan Instruments." In Sound Inventions, 59–71. London: Focal Press, 2021. http://dx.doi.org/10.4324/9781003003526-9.

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Ramdani, Fitrawati, and Yudi Sukmayadi. "Composition Music Gamelan with VSTi." In Proceedings of the Fifth International Conference on Arts and Design Education (ICADE 2022), 200–209. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-100-5_29.

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Spiller, Henry, and Elizabeth A. Clendinning. "Identity, Authenticity, and Tradition in Sundanese Dance Music." In Focus: Gamelan Music of Indonesia, 162–202. 3rd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003014836-10.

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Spiller, Henry, and Elizabeth A. Clendinning. "Music and Culture in Southeast Asia." In Focus: Gamelan Music of Indonesia, 23–38. 3rd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003014836-3.

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Spiller, Henry, and Elizabeth A. Clendinning. "Music and the Future." In Focus: Gamelan Music of Indonesia, 203–9. 3rd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003014836-11.

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Conference papers on the topic "Gamelan"

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Aji, Dimas Maulana Alif Sukma, Rita Milyartini, and Diah Latifah. "Creativity: The Millennial Gamelan." In 4th International Conference on Arts and Design Education (ICADE 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220601.019.

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Suprapto, Yoyon Kusnendar, Syahri Maulana Ramadhan, and Eko Pramunanto. "Gamelan Simulator Multiplatform Application Development." In 2018 International Conference on Computer Engineering, Network and Intelligent Multimedia (CENIM). IEEE, 2018. http://dx.doi.org/10.1109/cenim.2018.8711366.

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Sutyasadi, Petrus. "Gamelan Listrik: A Low-cost Solution to Introduce Javanese Gamelan to the Young Generation." In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008556901720176.

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Nurdiyah, Dewi, Yoyon K. Suprapto, and Eko Mulyanto Yuniarno. "Gamelan Orchestra Transcription Using Neural Network." In 2020 International Conference on Computer Engineering, Network, and Intelligent Multimedia (CENIM). IEEE, 2020. http://dx.doi.org/10.1109/cenim51130.2020.9297988.

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Yi, Wong Huey, Colleen Wong, and Christine Augustine. "Implementing Malay Gamelan Module through Digitalization." In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0009446705020504.

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PERRIN, R., S. HAMDAN, B. HALKON, and GM SWALLOWE. "STUDIES WITH A SMALL GAMELAN GONG." In SPRING CONFERENCE ACOUSTICS 2013. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/16372.

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Wulandari, D. P., Y. K. Suprapto, and M. H. Purnomo. "Gamelan music onset detection using Elman Network." In 2012 IEEE International Conference on Computational Intelligence for Measurement Systems and Applications (CIMSA). IEEE, 2012. http://dx.doi.org/10.1109/cimsa.2012.6269604.

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Latief, Muhammad Nur, Ford Lumban Gaol, and Bambang Heru Iswanto. "Analysis and Identification Gamelan Bonang Sound Spectrum." In 2010 Second International Conference on Computational Intelligence, Modelling and Simulation (CIMSiM). IEEE, 2010. http://dx.doi.org/10.1109/cimsim.2010.78.

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setiyawan, Clemens felix, and Mohammad Shobri. "Blocking gamelan instruments frequency in virtual reality." In International Workshop on Advanced Imaging Technologies 2020 (IWAIT 2020), edited by Phooi Yee Lau and Mohammad Shobri. SPIE, 2020. http://dx.doi.org/10.1117/12.2566939.

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Priyanto, Priyanto. "Exploring Leadership Values in Javanese Gamelan Art." In International Conference on Vocational Education Applied Science and Technology. Basel Switzerland: MDPI, 2023. http://dx.doi.org/10.3390/proceedings2022083066.

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Reports on the topic "Gamelan"

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Crowell, Robin. Gender Bias and the Evaluation of Players: Voice and Gender in Narrated Gameplay Videos. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.3150.

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Rinuado, Christina, William Leonard, Christopher Morey, Theresa Coumbe, Jaylen Hopson, and Robert Hilborn. Artificial intelligence (AI)–enabled wargaming agent training. Engineer Research and Development Center (U.S.), April 2024. http://dx.doi.org/10.21079/11681/48419.

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Fiscal Year 2021 (FY21) work from the Engineer Research and Development Center Institute for Systems Engineering Research lever-aged deep reinforcement learning to develop intelligent systems (red team agents) capable of exhibiting credible behavior within a military course of action wargaming maritime framework infrastructure. Building from the FY21 research, this research effort sought to explore options to improve upon the wargaming framework infrastructure and to investigate opportunities to improve artificial intelligence (AI) agent behavior. Wargaming framework infrastructure enhancements included updates related to supporting agent training, leveraging high-performance computing resources, and developing infrastructure to support AI versus AI agent training and gameplay. After evaluating agent training across different algorithm options, Deep Q-Network–trained agents performed better compared to those trained with Advantage Actor Critic or Proximal Policy Optimization algorithms. Experimentation in varying scenarios revealed acceptable performance from agents trained in the original baseline scenario. By training a blue agent against a previously trained red agent, researchers successfully demonstrated the AI versus AI training and gameplay capability. Observing results from agent gameplay revealed the emergence of behavior indicative of two principles of war, which were economy of force and mass.
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Tusor, Anita. COMTOG Report on “The Light in the Darkness”. European Center for Populism Studies (ECPS), April 2023. http://dx.doi.org/10.55271/rp0038.

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Video games can be used to counter extremist ideologies by highlighting the dangers of hate speech and promoting tolerance and understanding. This can be done through educational games and by incorporating messages of inclusivity and diversity into the gameplay and storyline. Holocaust education through video games make people to learn about the events of the Holocaust more interactively and engagingly. It allows players to experience the stories of individuals who lived through the Holocaust, better understand its impact on the world and make connections to present-day political events, and understand what democracy is and why it is crucial to protect it.
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Prokhorov, Оleksandr V., Vladyslav O. Lisovichenko, Mariia S. Mazorchuk, and Olena H. Kuzminska. Developing a 3D quest game for career guidance to estimate students’ digital competences. [б. в.], November 2020. http://dx.doi.org/10.31812/123456789/4416.

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This paper reveals the process of creating a career guidance 3D quest game for applicants who aim to apply for IT departments. The game bases on 3D model of computer science and information technologies department in the National Aerospace University “Kharkiv Aviation Institute”. The quest challenges aim to assess the digital competency level of the applicants and first- year students. The paper features leveraged software tools, development stages, implementation challenges, and the gaming application scenario. The game scenario provides for a virtual tour around a department of the 3D university. As far as the game replicates the real-life objects, applicants can see the department's equipment and class-rooms. For the gaming application development team utilized С# and C++, Unity 3D, and Source Engine. For object modeling, we leveraged Hammer Editor, Agisoft PhotoScan Pro, and the photogrammetry technology, that allowed for realistic gameplay. Players are offered various formats of assessment of digital competencies: test task, puzzle, assembling a computer and setting up an IT-specialist workplace. The experiment conducted at the open house day proved the 3D quest game efficiency. The results of digital competence evaluation do not depend on the testing format. The applicants mostly preferred to take a 3D quest, as more up-to-date and attractive engagement.
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Rinaudo, Christina, William Leonard, Jaylen Hopson, Christopher Morey, Robert Hilborn, and Theresa Coumbe. Enabling understanding of artificial intelligence (AI) agent wargaming decisions through visualizations. Engineer Research and Development Center (U.S.), April 2024. http://dx.doi.org/10.21079/11681/48418.

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The process to develop options for military planning course of action (COA) development and analysis relies on human subject matter expertise. Analyzing COAs requires examining several factors and understanding complex interactions and dependencies associated with actions, reactions, proposed counteractions, and multiple reasonable outcomes. In Fiscal Year 2021, the Institute for Systems Engineering Research team completed efforts resulting in a wargaming maritime framework capable of training an artificial intelligence (AI) agent with deep reinforcement learning (DRL) techniques within a maritime scenario where the AI agent credibly competes against blue agents in gameplay. However, a limitation of using DRL for agent training relates to the transparency of how the AI agent makes decisions. If leaders were to rely on AI agents for COA development or analysis, they would want to understand those decisions. In or-der to support increased understanding, researchers engaged with stakeholders to determine visualization requirements and developed initial prototypes for stakeholder feedback in order to support increased understanding of AI-generated decisions and recommendations. This report describes the prototype visualizations developed to support the use case of a mission planner and an AI agent trainer. The prototypes include training results charts, heat map visualizations of agent paths, weight matrix visualizations, and ablation testing graphs.
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Aleksandrov, Pavlo. NEWS GAMES IN THE UKRAINIAN MEDIA SPACE DURING THE FULL-SCALE RUSSIAN INVASION. Ivan Franko National University of Lviv, March 2024. http://dx.doi.org/10.30970/vjo.2024.54-55.12140.

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The phenomenon of news games on the topic of the Russian-Ukrainian war of 2022-2023 has been explored in the article. During the research, a number of gaming projects from this period were analyzed, their genre and thematic specificity were determined, examples of gaming products were provided, and our own concept of a news game on the topical subject of wartime was presented. In 2022-2023, many game projects on the theme of the war in Ukraine appeared, which can be fully or partially classified as news games, conditionally dividing them into “civilian” ones, where the game character is a volunteer, an immigrant, a peaceful resident of the occupied territory, etc. and “combat”, in which the character is a Ukrainian soldier or combat unit. These games are primarily developed by gaming studios or individual game developers, rather than journalistic editorial teams, and they target an international audience (almost all the analyzed games have an English version). We categorize these news games as “entertainment” (those primarily oriented towards humor, boosting morale, and using current information or media images) and “serious” (those attempting to explain, reveal the essence, and show the war through the eyes of witnesses). According to the level of technical implementation, these games can be divided into “simple” ones (browser-based, requiring no download or payment) and “complex” ones that offer extended gameplay and are available only through subscription. Almost all gaming projects encourage donations to the Armed Forces of Ukraine and charitable funds, and the authors of paid games always emphasize that a portion of the proceeds will go towards supporting Ukrainian military personnel. Despite their significant potential, news games currently occupy a small niche in the Ukrainian media landscape. At the same time, in our opinion, the creative possibilities offered by the gaming mechanism of this interactive narrative are quite promising for explaining and revealing various socially important topics related to the Russian-Ukrainian war. Keywords: gamification; news games; game format; game research.
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