703:
75:
37:
56:
697:
276:(Note: Pelog lima and slendro nem are not musically parallel.) The musical relationship between pathet makes it possible to transpose some pieces from one pathet to the other, as well as to share cengkok at different transpositions. Some of the direct transpositions of balungan: from manyura to sanga by dropping notes one scale degree; from manyura to pelog barang by changing pitch one to seven, and altering 2126 to 2756; from slendro sanga to pelog nem by playing the slendro balungan in pelog.
385:, the pathet of the accompaniment in progresses in throughout the performance. In slendro, the sequence is from nem to sanga to manyura; in pelog, from lima to nem to barang. Very early wayang was in slendro only, but it is now common to combine slendro and pelog in wayang, dance, and klenengan (pure music) performances. The sections of the wayang are also associated with stages of life and a range of emotions; this influences the feeling, playing, and interpretation of pieces in each pathet.
429:
403:, melodies in free meter which are often said to express the essence of the pathet. In wayang, these are based on the melodic structure of solo songs performed by the dhalang, such as suluk or ada-ada. When gamelan is played independently of wayang, pathetan are played instrumentally by the soft elaborating instruments—rebab, gender, gambang, and suling—at the beginning or conclusion of pieces, following the contour of the associated vocal melody.
69:
1222:
31:
50:
415:
340:, particularly at the ends of phrases marked by kenong or gong. These ideas have been largely disproven as Javanese performance practice has been better understood, and later research has shown that matters of pathet and lagu are represented more clearly by multi-octave instruments such as rebab and voice.
494:
shown above should not be regarded in any sense as absolute. Not only is it difficult to convey non-Western scales with
Western notation, but also because, in general, no two gamelan sets will have exactly the same tuning, either in pitch or in interval structure. There are no Javanese standard forms
133:
a certain note may be prominent, in another it must be avoided, or used only for special effect. Awareness of such limitations, and exploration of variation within them reflects a basic philosophical aim of gamelan music, and indeed all art in central Java, namely, the restraint and refinement of
322:
in these pathet that they remain distinct in their typical patterns. The other pathet, pélog pathet manyura, also called pélog nyamat, is a direct transfer from slendro manyura into pélog, without the substitution of 7 for 1 as in pathet barang. It occurs in a small collection of gendhing.
331:
The scholar and ethnomusicologist Mantle Hood proposed certain ideas based on a single octave displacement of these characteristic cadences. In his early
Western writing on pathet, he surmised that one of the clearest distinctions between the pathet are the typical
314:. Pathet bem, meaning the pelog pathet that use pitch one as the first degree of the scale 1 2 3 5 6, is used as a general term to indicate pélog pathet nem and lima (especially in Yogya, where that distinction is not traditionally made ).
158:) are appropriate. In many cases, however, pieces are seen as in a mixture of pathets, and the reality is often more complicated than the generalizations indicated here, and depend on the particular composition and style.
76:
38:
57:
279:
Mantle Hood's writing on pathet, no longer considered authoritative, proposed that in pélog, 4 is a "dissonant" pitch; elaborating instruments such as
125:. It is a system of tonal hierarchies in which some notes are emphasized more than others. The word means '"to damp, or to restrain from" in Javanese.
1160:
1155:
845:
880:
303:, was Gong Tone I for the stressed note, Dasar for the strong note, and Gong Tone II for another strong note involved in the cadential system.
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1339:
1202:
299:, or question and answer, to describe the semantics of a balungan or lagu (melody). Another system of designation proposed by
602:
573:
Balungan, by Rahayu
Supanggah, translated by Marc Perlman. Balungan, Vol. III, No. 2, October 1988. Published by the
504:
388:
Many pieces can be transposed from one pathet to another. Sometimes this involves some substitutions of notes. Many
134:
one's own behaviour." Javanese often give poetic explanations of pathet, such as "Pathet is the couch or bed of a
1195:
174:. The systems correspond to each other in emphasized pitches, as in the table given below (given in
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1372:
291:. The terms "tonic" and "dominant," are used by some sources. The Javanese use the terminology
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870:
835:
734:
729:
462:
175:
819:
804:
759:
500:
91:
166:
In
Javanese music there are traditionally six pathet, three for each tuning system,
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794:
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588:
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often play the adjacent pitches 3 or 5 instead. The "avoided" notes are rare as
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is "a limitation on the player's choice of variation, so that while in one
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178:), although of course the numbers do not indicate the same frequencies.
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490:"The representations of slendro and pelog tuning systems in Western
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The
Nuclear Theme as a Determinant of Patet in Javanese Music
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288:
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147:
30:
49:
1313:
913:
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574:
1221:
495:
of these two tuning systems." Lindsay, Jennifer (1992).
102:
306:
Two other terms are sometimes encountered for pélog:
142:
are stressed in the melody, especially at the end of
410:
396:have corresponding versions in different pathet.
1354:
1196:
596:
150:), as well as determines which elaborations (
27:Indonesian musical notation used in Gamelan
1203:
1189:
603:
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486:
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482:
138:." In essence, a pathet indicates which
67:
48:
34:Pelog approximated in Western notation.
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14:
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479:
1184:
584:
361:Lima: 5-4-2-1 (old) or 5-3-2-1 (new)
24:
25:
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399:In each pathet there are several
161:
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413:
1331:
881:List of U.S. gamelan ensembles
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111:) is an organizing concept in
13:
1:
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318:found through an analysis of
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7:
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533:(The Hague, 1949), page 72.
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326:
103:
10:
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1338:Supanggah, Rahayu (1988).
575:American Gamelan Institute
570:. New York: Da Capo, 1977.
525:R.M. Jayadipura, cited in
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810:Semar pegulingan gamelan
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780:Joged bumbung gamelan
755:Gender wayang gamelan
542:Hood 1977, p. 232-234
516:Lindsay (1992), p.40.
71:
52:
33:
876:Gamelan Son of Lion
765:Gong kebyar gamelan
675:Gendhing structures
336:that appear in the
871:Gamelan Sekar Jaya
836:K. P. H. Notoprojo
820:Surakartan gamelan
735:Beleganjur gamelan
730:Bebonangan gamelan
463:Music of Indonesia
176:kepatihan notation
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805:Selunding gamelan
760:Gong gede gamelan
551:Hood 1977, p. 148
381:In an evening of
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16:(Redirected from
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1342:. Archived from
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1262:Ladder of thirds
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1116:Kendang ketipung
976:Bonang panembung
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851:Rahayu Supanggah
795:Salendro gamelan
790:Munggang gamelan
725:Angklung gamelan
720:American gamelan
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353:Manyura: 3-2-1-6
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1346:on 2017-10-16.
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72:Pelog barang.
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188:Corresponding
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1368:Melody types
1344:the original
1333:
1298:
1257:Double tonic
1212:Melody types
1003:Saron demung
998:Saron barung
988:Saron peking
866:Evan Ziporyn
711:Genres &
635:
567:
564:Hood, Mantle
547:
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530:
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421:Music portal
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364:Nem: 2-1-6-5
347:Nem: 6-5-3-2
330:
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255:PĂ©log barang
184:PĂ©log Pathet
165:
130:
126:
108:
87:
86:
1282:Tune-family
1252:Modal frame
1029:elaborating
895:Instruments
499:, p.39-41.
316:Mantle Hood
301:Mantle Hood
218:Slendro nem
205:in slendro
200:"dominant"
53:Pelog bem.
1357:Categories
1340:"Balungan"
1319:Shashmaqam
1132:Vocals and
919:Gong ageng
841:Nartosabdo
558:References
527:Jaap Kunst
308:pathet bem
215:PĂ©log lima
1161:Senggakan
1079:Unpitched
1063:Celempung
1025:Panerusan
954:or melody
903:Colotomic
829:Musicians
713:ensembles
474:Footnotes
235:PĂ©log nem
210:in pélog
123:Indonesia
121:music in
1151:Pesinden
1146:Sindenan
1141:Gerongan
1134:clapping
951:Balungan
931:Kempyang
856:Sumarsam
670:Colotomy
492:notation
407:See also
401:pathetan
344:Slendro
338:balungan
334:cadences
327:Cadences
320:gendhing
195:"tonic"
193:Stressed
116:Javanese
92:Javanese
1232:Dastgah
1101:Kendang
1096:Kemanak
1036:Gambang
1015:Slentho
1010:Slentem
660:kotekan
651:Sekaran
641:Cengkok
631:Slendro
612:Gamelan
458:Sekaran
448:Cengkok
443:Gamelan
394:sekaran
390:cengkok
293:padhang
285:gambang
203:Avoided
172:slendro
156:sekaran
152:cengkok
144:phrases
119:gamelan
113:central
107:, also
1299:Pathet
1289:Mugham
1166:Keplok
1123:Kepyak
1070:Suling
1041:Gender
961:Bonang
936:Kenong
926:Kempul
658:&
636:Pathet
619:Theory
503:
383:wayang
358:PĂ©log
297:ulihan
281:gendér
198:Strong
136:melody
131:pathet
127:Pathet
104:Pathet
88:Pathet
1309:Radif
1304:Qupai
1294:Muqam
1267:Level
1247:Maqam
1242:Makam
1237:Echos
1091:Kecer
1086:Bedug
1058:Siter
1053:Rebab
983:Saron
941:Ketuk
682:Irama
665:Gatra
656:Imbal
646:Seleh
626:Pelog
453:Seleh
289:seleh
168:pelog
148:seleh
140:notes
109:patet
96:ę¦Ąę¦›ę¦Ľę¦ ę§€
18:Patet
1314:Raga
1156:Alok
914:Gong
501:ISBN
392:and
310:and
295:and
283:and
208:Rare
170:and
154:and
78:Play
59:Play
40:Play
377:Use
1359::
1027:or
905:or
566:.
529:,
481:^
270:1
250:7
230:7
98:,
94::
1204:e
1197:t
1190:v
604:e
597:t
590:v
577:.
507:.
267:5
264:2
261:6
247:3
244:1
241:5
227:1
224:5
221:2
146:(
90:(
20:)
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