gamelan angklung造句

• Additionally, some modern composers have created experimental instrumental pieces for the gamelan angklung.
• While the instrumentation of gamelan angklung is similar to gamelan gong kebyar, there are several critical differences.
• These new pieces often feature dance, so the gamelan angklung is augmented with more gongs and heavier gongs.
• Gamelan angklung is heard in Balinese temples, where it supplies musical accompaniment to temple anniversaries ( " odalan " ).
• Because of its portability, gamelan angklung may be carried in processions while a funeral bier is carried from temporary burial in a cemetery to the cremation site.
• Recently, many Balinese composers have created kebyar-style works for gamelan angklung or have rearranged kebyar melodies to fit the angklung's more restricted four-tone scale.
• Additionally, whereas many of the instruments in gong kebyar span multiple octaves of its pentatonic scale, mosts gamelan angklung instruments only contain one octave, although some five-tone ensembles have roughly an octave and a half.
• At Dartmouth College in Hanover NH, she is a Senior Lecturer in AMES ( Asian and Middle Eastern Studies ) and Indonesian Gamelan Ensemble Director, for which she has used her own Javanese gadon, " a chamber ensemble built by Tentrem Sarwanto of Surakarta in Central Java, as well as a Balinese Gamelan Angklung Sleeping Fox.
• Looking for her " own traditions " of the contemporary music and multicultural work, she aligned her interests since middle of 2009 very intensively in the direction of the " world music ", above all of the African traditional music as well as the Indonesian Gamelan music ( Gamelan Angklung ), exposing herself to the term of " world music " as a composer, and introducing by this the new possible ways and perspectives for the new music advancement, which she shapes, among other things, in the melody  the crucial elements of her work as the so-called " perpetua melodia " ( " the everlasting melody " ) and " cantica infinita " ( " the infinite song " ) or " cantiche infinite " ( " the infinite songs " ), for whose main principle she drew her inspiration, above all, from her Russian origin as well as Russian music melodiousness, but furthermore, from the expressive melody of the Italian language and poetry, and first formulated in her piece " Cadenza " for violin and live electronics in 2003-as well as in the form and principles, primarily, of the world music, among other things, of the African and Gamelan music, characterized furthermore by the African music rhythms and dances as well as West European compositional techniques of the 20th century, US-American-including the rhythms of ragtime and jazz-and electronic music, in particular, by the electronic dance music.