kemanak
Kemanak is a banana-shaped idiophone made of bronze, used in Javanese gamelan music. It is actually a metal slit drum. It is struck with a padded stick and then allowed to resonate.
kemanak
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- Kemanak
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- concussion vessel.
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Kemanak is a banana-shaped idiophone made of bronze, used in Javanese gamelan music. It is actually a metal slit drum. It is struck with a padded stick and then allowed to resonate.
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In this article
Overview
Overview
It has a specific pitch, which can be varied by covering the slit, but it is not matched to the other instruments of the gamelan. Kemanak are usually played in pairs, although they can be played in sets of four as well. They are used to accompany the bedhaya and serimpi, female court dances. Also the name of a style of gendhing which includes, in addition to kemanak, only colotomic instruments, a kendang, and a sindhen. In the region of Cirebon on the Northwest Coast of Java, Kemanak are played in pairs by striking one against the other in a repetitive fashion. Unlike in Central Java, Kemanak in Cirebon are not reserved for specific performance idioms and are considered indispensable in the standard Gamelan repertoire.
Key facts
Key facts
• Name — Kemanak
Notes from the source article
Cited by Wikipedia
Notes from the source article
These works are cited by the source article, in its own numbering. They are recorded as its citations, not as sources VALÉORINE has verified.
- 1.Sibyl Marcuse: A Survey of Musical Instruments. Harper & Row, New York 1975, S. 3f
- 2.Robert Heine-Geldern: The Early Metal Ages of Indonesia. In: American Anthropologist, New Series, Band 62, Nr. 2, April 1960, S. 330–334, hier S. 331
- 3.Mantle Hood: Ethnomusicology’s Bronze Age in Y2K. In: Ethnomusicology, Band 44, Nr. 3, Herbst 2000, S. 365–375, hier S. 366
- 4.Hendrik Robert van Heekeren: The bronze-iron age of Indonesia. [PDF] (Verhandelingen van het Koninklijk Instituut vor Taal-, Land- en Volkenkunde) Martinus Nijhoff, S-Gravenhage 1965, S. 3
- 5.H. H. E. Loofs-Wissowa: The Development and Spread of Metallurgy in Southeast Asia: A Review of the Present Evidence. In: Journal of Southeast Asian Studies, Band 14, Nr. 1, März 1983, S. 1–11, hier S. 2
- 6.Hendrik Robert van Heekeren, 1958, S. 5
- 7.Mantle Hood: Bronze drum. 1. General. In: Stanley Sadie (Hrsg.): The New Grove Dictionary of Music and Musicians. Band 4. Macmillan Publishers, London 2001, S. 426
- 8.R. Anderson Sutton, Endo Suanda, Sean Williams: Java. In: Terry E. Miller, Sean Williams (Hrsg.): The Garland Encyclopedia of World Music. Band 4. Southeast Asia. Garland, New York / London 1998, S. 632
- 9.Kakawin Wretasancaya, altjavanische Sprache in Kawi-Schrift auf einem Palmblattmanuskript; bei
- 10.Jaap Kunst, Band 1, 1973, S. 110f
- 11.Jaap Kunst, 1960, S. 268
- 12.Jaap Kunst, Band 1, 1973, S. 180
- 13.Jaap Kunst, Band 1, 1973, S. 183–185
- 14.Abbildung 76: cheluring. In: Jaap Kunst: Music in Java. Its History, its Theory and its Technique, Band 2, S. 427
- 15.Jaap Kunst, Band 1, 1973, S. 182f
- 16.Hardja Susilo: The Javanese Court Dance. In: The World of Music, Band 21, Nr. 1, 1979, S. 90–102, hier S. 90
- 17.Nusjirwan Tirtaamidjaja: A Beḍaja Ketawang Dance Performance at the Court of Surakarta. In: Indonesia, Nr. 3, April 1967, S. 30–61, hier S. 30, 33–35
- 18.Miriam J. Morrison: The Bedaya-Serimpi Dances of Java. In: Dance Chronicle, Band 2, Nr. 3, 1978, S. 188–212, hier S. 189, 206
- 19.Miriam Morrison: The Expression of Emotion in Court Dances of Yogjakarta. In: Asian Music, Band 7, Nr. 1 (Southeast Asia Issue) 1975, S. 33–38, hier S. 35
- 20.Ernst L. Heins: The Music of the Serimpi “Anglir Menḍung”. In: Indonesia, Nr. 3, April 1967, S. 135–151, hier S. 138
- 21.I. Made Bandem, Fredrik deBoer: Gambuh: A Classical Balinese Dance-Drama. In: Asian Music, Band 10, Nr. 1, 1978, S. 115–127
- 22.Edward Herbst: Voices in Bali: Energies and Perceptions in Vocal Music and Dance Theater. Wesleyan University Press, Middletown 1997, S. 62
- 23.Marianne Ariyanto: Gambuh: The Source of Balinese Dance. In: Asian Theatre Journal, Band 2, Nr. 2 (Traditional Asian Play Issue: Part I) Herbst 1985, S. 221–230, hier S. 222–224
- 24.Robert Heine-Geldern: Das Tocharerproblem und die Pontische Wanderung. In: Saeculum. Jahrbuch für Universalgeschichte, Band 2. Karl Alber, Freiburg 1951
- 25.Laurence Picken: Folk Musical Instruments of Turkey. Oxford University Press, London 1975, S. 177
- 26.Philip Yampolsky: Making the ‚Music of Indonesia’ Series: A Memoir. In: Timothy Rice (Hrsg.): Ethnomusicological Encounters with Music and Musicians. Essays in Honor of Robert Garfias. Ashgate, Farnham 2011, S. 167
- 27.André Schaeffner: Les Kissi. Une société noire et ses instruments de musique. Herman, Paris 1951
- 28.Henry Hamilton Johnston: A History of the Colonization of Africa by Alien Races. University Press, Cambridge 1899 ( )
- 29.Henry Hamilton Johnston: A History of the Colonization of Africa by Alien Races. Auflage 1913, S. 20
- 30.Erich Moritz von Hornbostel: Über ein akustisches Kriterium für Kulturzusammenhänge. In: Zeitschrift für Ethnologie, 1911, S. 601–615
- 31.Arthur Morris Jones: Africa and Indonesia: The Evidence of the Xylophone and Other Musical and Cultural Factors: With an Additional Chapter – More Evidence on Africa and Indonesia. (Asian Studies) E. J. Brill, Leiden 1964
- 32.Fritz Bose: Review: Africa and Indonesia. The evidence of the xylophone and other musical and cultural factors by A. M. Jones. In: Die Musikforschung, 20. Jahrgang, Heft 2, April/Juni 1967, S. 214–218, hier S. 215
- 33.Roger Blench: Evidence for the Indonesian origins of certain elements of African culture: A review, with special reference to the arguments of A. M. Jones. In: African Music, Band 6, Nr. 2, International Library of African Music, 1982, S. 81–93, hier S. 89
- 34.Motherland Music
- 35.„Exactly the same curious instrument [wie atoke] is found in Java, where it is called the Kemanak.“ In: Arthur Morris Jones, 1964, S. 158
- 36.Roger Blench, 1982, S. 86
- 37.Arthur Morris Jones, 1964, S. 160
- 38.Jaap Kunst, 1960, S. 269
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