Colotomy

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Ladrang form on the phrase making or colotomic instruments. p = kempyang, t = ketuk, ⋅ = pause, N = kenong, P = kempul, GONG = gong ageng.[1]

Colotomy is an

gong suwukan, and gong ageng. The fast-playing instruments, kempyang and ketuk, keep a regular beat. The larger gongs group together these hits into larger groupings, playing once per each grouping. The largest gong, the gong ageng
, represents the largest time cycle and generally indicates that that section will be repeated, or the piece will move on to a new section.

The details of the rhythmic patterns depend on the colotomic structure (Javanese: bentuk), also known as gendhing structure. There are a number of different structures, which differ greatly in length and complexity; however, all of them have some colotomic characteristics.

In the gamelan, the instruments which articulate this structure are sometimes called the colotomic instruments (also interpunctuating instruments or structural instruments, while Lindsay refers to them as "phrase-making instruments"

diacritical marks on the numbers used to show the core melody (balungan
).

History and usage

The

ethnomusicologist Jaap Kunst.[6]

Although the term "colotomic" was derived from Indonesian music theory, it can be applied to other musical traditions as well. In particular, it has been used to describe Japanese gagaku and Thai piphat.[7]

Example of a colotomic structure

The

lancaran
is a cycle of 16 beats (keteg) in the following order:

TWTN TPTN TPTN TPTG

where T indicates the strike of the

ketuk, P the kempul, N the kenong, and G the simultaneous stroke of the gong and kenong. The W indicates the wela, the pause where the kempul is omitted. Thus, the gong plays once, the kenong divides that into four parts, the kempul divides each of those in two, and the ketuk divides each of those further in two. Note that except for the kenong playing on the gong, the instruments do not play when the next one plays. (Remember that the gatras of gamelan music have the strong beat (seleh
) at the end, not at the beginning as is often considered normal for Western music. Thus the more important structural instruments coincide with the stressed beats.)

Colotomic structures occur on even larger scales in most gamelan pieces as well. For example, a typical lancaran has four gongs,[clarification needed] at the end of which the larger gong ageng is played. Groupings of four are most common at all levels of structure, although there are numerous exceptions at larger levels.

The colotomic structure of a piece is the length of the cycle and how the interpunctuating instruments play during that cycle, but they are also musical forms which are associated with specific structural patterns on a larger scale than the colotomic cycle, and guidelines for what tempi and irama may be used.

Colotomic structures in Javanese gamelan

Colotomic structures or Gendhing structure refers to the colotomic structure of gamelan compositions in general. Gendhing (also written, as in the old orthography, gending) can also be used to refer to a specific class of colotomic structures used in Javanese gamelan music.

At its simplest, colotomic may be taken to mean, "cyclicly punctuating".

meter.[9]

Most gendhing in Javanese music conform to one of these structures, except for some special ceremonial pieces and experimental new compositions.

General

Colotomic structures from the general repertoire.

Gendhing

Gendhing is the longest and most complicated of the gendhing structures. It is typically played in a slow

gong suwukan
.

Gendhing have two parts, a

interpunctuating instruments
.

For an example of the gendhing structure, consider "gendhing kethuk 2 kerep minggah kethuk 4." This means that in the merong, there will be two kethuk strokes that happen on odd-numbered gatra, and in the minggah, there will be four gatras per nongan. The structure would then look like:

Merong:

...T .... ...T ...N
...T .... ...T ...N
...T .... ...T ...N
...T .... ...T ...G

Minggah:

pTp. pTp. pTp. pTpN
pTp. pTp. pTp. pTpN
pTp. pTp. pTp. pTpN
pTp. pTp. pTp. pTpG

where "." indicates no interpunctuating instrument plays, p indicates the stroke of the

ketuk, N the kenong, and G the simultaneous stroke of the gong
and kenong. Thus, in each section, the gong plays once, the kenong divides that into four parts, and then that is divided into parts according to the given structure. Here, in each part, each nongan lasts 16 beats (keteg), and thus the gongan lasts 64.

That was a fairly short example; a "kethuk 4 arang" merong, for example, would look like:

.... ...T .... .... .... ...T .... .... .... ...T .... .... .... ...T .... ...N
.... ...T .... .... .... ...T .... .... .... ...T .... .... .... ...T .... ...N
.... ...T .... .... .... ...T .... .... .... ...T .... .... .... ...T .... ...N
.... ...T .... .... .... ...T .... .... .... ...T .... .... .... ...T .... ...G

and thus a nongan would last 16 gatras (64 beats), and a gongan 64 gatras (256 beats). Obviously, in a long structure like that, especially at a slow tempo, a single gongan may last many minutes.

The merong section may include a

ladrang
. If that is the case, the piece will be noted something like "minggah ladrang". If the other section has a different name, that will be given as well.

Between the merong and inggah is a bridge section called the ompak. Typically it has the length of one nongan, and a contrasting balungan melody to the merong.

Ketawang

Ketawang structure as a clock diagram.[10]
T = kethuk, P = kempul, N = kenong, Gong = gong ageng.

The ketawang is one of the gendhing structures used in Javanese gamelan music.

Its colotomic structure is:

pTpW pTpN pTpP pTpG

where p indicates the strike of the

kendhang
usually plays in kendhang kalih style.

Ketawang usually have the specific form of an

irama dadi
or slower.

The ketawang developed in the court of Prince Mangkunegara IV (r. 1853–1881) of Surakarta.

Famous ketawang: Puspawarna.

Lancaran

The lancaran is one of the

gendhing structures used in Javanese gamelan music. It is the shortest of the gendhing structures that are not from the wayang
repertoire. Gangsaran and bubaran are related structures that share the same colotomic structure.

Groupings of four are most common at all levels of this structure. The basic

colotomic structure
is a cycle of 16 beats (keteg) in the following order:

TWTN TPTN TPTN TPTG

where T indicates the strike of the

wela, the pause where the kempul is omitted. Thus, the gong plays once, the kenong divides that into four parts, the kempul divides each of those in two, and the ketuk divides each of those further in two. Note that except for the kenong playing on the gong, the instruments do not play when the next one plays. The kendhang plays in kendhang kalih style. A typical lancaran has four gongs, at the end of which the larger gong ageng
is played.

Lancaran are usually played fast, usually in

balungan nibani
.

Bubaran are played more moderately, usually in

balungan mlaku. They also use a distinctive kendhang pattern. A bubaran is used as an ending piece, to be played while the audience is departing. The best-known bubaran is Udan Mas
.

Gangsaran is a variety of lancaran which consists of simply a repeated tone. It originates from the wayang repertoire. It can appear at the end of a composition as well.

Ladrang

Ladrang form on the balungan instruments. GONG = gong ageng.[1]

The ladrang is one of the

gendhing structures used in Javanese gamelan
music.

The basic

colotomic structure
is a cycle of 32 beats (keteg) in the following order:

pTpW pTpN pTpP pTpN pTpP pTpN pTpP pTpG

where p indicates the strike of the

kendhang usually plays in kendhang kalih style.[11]

The ladrang is similar to the

lancaran, except it is twice as slow, and the kempyang plays in between each beat of the lancaran.[11]

Many ladrang have two sections, an ompak and a ngelik, each of which typically last one gongan. Ladrang can be played in any irama except for lancar.[11]

Wayang

In

gendhing structures derived from the wayang repertoire: Ayak-ayakan, Sampak, and Srepeg
.

Ayak-ayakan

The ayak-ayakan is one structure.

The colotomic structure is:

...P ...P
TNTN TNTN

with both lines played together, and T indicating a stroke of the

gong suwukan
is used instead of the kempul.

kendhang or kepyak
.

It usually begins in

irama lancar
, and then slows down to tanggung, dados, or rangkep.

The ayak-ayakan is often used to accompany the entrance of puppets, or the transition between pathets.

Sampak

Sampak is another structure. A sampak often follows a srepeg. It is the fastest of the wayang structures.

The colotomic structure is:

NNNNNNNN NNNNNNNN
TPTPTPTP TPTPTPTP

with both lines played together, and T indicating a stroke of the

kempyang
.

irama lancar
.

Example

Sampak

pélog
barang:

2222 3333 7777
7777 2222 6666
6666 3333 2222
Suwuk: xx22

This sampak has three gongan. The signal to end can come at any gong, where the player plays the next two notes as normal, and then 22 (as indicated by xx22).

Srepeg

Srepeg is another colotomic structure:

...P...P ...P...P
TNTNTNTN TNTNTNTN

with both lines played together, and T indicating a stroke of the

kethuk, P the kempul, and N the kenong. The kenong and kempul always play the seleh
.

neighbor tone
.

It is usually fast and played in

irama lancar
.

See also

Notes

  1. ^
    ISBN 0-19-588582-1
    .
  2. ^ Lindsay (1992), p.10.
  3. ^ Lindsay (1992), p.14.
  4. ISBN 9780955029509
    .
  5. ISBN 9781851095063
    .
  6. ^ Malm, William P. (1977). Music Cultures of the Pacific, the Near East, and Asia, 2nd ed. Englewood Cliffs, NJ: Prentice Hall. Page 43.
  7. ^ Malm, 123 and 194-195.
  8. ISBN 9780549702917
    .
  9. ^
    ISBN 9780226792835
    .
  10. ISBN 0131823876
    .
  11. ^ a b c Sorrell, Neil (1990). A Guide to the Gamelan, p.68-69. London: Faber and Faber.

Further reading

  • Neil Sorrell. A Guide to the Gamelan. London: Faber and Faber, 1990. Page 67–73.

External links

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