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Gong Kebyar is a new barungan. In accordance with the name given to this barungan (Kebyar a meaningful fast, sudden and loud) gamelan music produced loud and dynamic. The gamelan is used to accompany dance or play percussion instrumental. Physically Kebyar Gong is the development of the Gong Gede then reduced role, or reduction of several instruments. For example, the role of Gong Gebyar trompong reduced, even in certain percussion percussion-not used at all, a bladed squatting gangsa converted into 5-bladed gangsa pendant 9 or 10. cengceng kopyak consisting of 4 to 6 pairs changed to 1 or 2 sets of small cengceng. Kendang originally played by using the hip replaced with a buffet.

In concept Kebyar Gong is a combination of Gender Wayang, Gong Gede and Pelegongan. Musical flavors and stroke patterns Kebyar Gong instruments sometimes feels Gender Wayang a lively, solid or Gedeyang Gong Pelegonganyang melodic. Gender Wayang Gagineman patterns, patterns and blow Gegambangan Gong Gede Kaklenyongan appeared in various percussion Gong Kebyar. Gamelan Gong Kebyar is a product of modern Balinese culture. It is estimated Barungan appeared in Singaraja in the year 1915 (McPhee, 1966: 328). Village mention the origin of the appearance of Kebyar Gong is Jagaraga (Buleleng) who also started the tradition Kebyar. There are also other information which states that Gong Kebyar appears first in the village Bungkulan (Buleleng). Gong Kebyar development reaches a peak in 1925 with the arrival of a dancer named Jauk I Mario of Tabanan that creates a sit dance or Kebyar Kebyar Trompong.

Gong Kebyar barreled pelog five tones and most of the instruments have a 10 to 12 tones, because the construction of lighter instrument if dibandingkandengan Gong Gede. Percussion, percussion Gong Kebyar more agile with the composition of a more free, only on certain parts only laws of classical percussion is still used, such as Pisan Hit, Hit Two, Hit Telu and so on.

His songs are often the re-cultivation of the forms (repertoire) classical percussion with changing composition, melody, tempo and melodic ornamentation. Matra not always consistent, odd rhythm pattern emerged in some parts of percussion composition.

Posted by Adith Dith Saturday, October 3, 2009


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