|
''Colotomy'' is a description of the rhythmic and metric patterns of gamelan music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various sizes: the ''kempyang'', ''ketuk'', ''kempul'', ''kenong'', ''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 ((ジャワ語:''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"〔Lindsay (1992), p.10.〕). The Javanese names for these instruments are onomatopoeic, with the relative resonance of the words ''gong'', ''kempul'', ''kenong'', and ''ketuk'' being comparable to that of the instruments they name.〔Lindsay (1992), p.14.〕 In the system of cipher gamelan notation (kepatihan notation), the colotomic parts are notated as diacritical marks on the numbers used to show the core melody (''balungan''). ==History and usage== The English language term was coined, presumably in Dutch,〔Pickvance, Richard (2005). ''A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan'', p.63. ISBN 9780955029509.〕 from the Greek for a unit of rhythm (''colon'') and something that divides (-''tomy''/-''tomic''),〔Spiller, Henry (2004). ''Gamelan: The Traditional Sounds of Indonesia, Volume 1'', p.69. ISBN 9781851095063.〕 by the ethnomusicologist Jaap Kunst〔Malm, William P. (1977). ''Music Cultures of the Pacific, the Near East, and Asia'', 2nd ed. Englewood Cliffs, NJ: Prentice Hall. Page 43.〕 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.〔Malm, 123 and 194-195.〕 ==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, 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. 抄文引用元・出典: フリー百科事典『 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, 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.">ウィキペディア（Wikipedia）』 ■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, 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.">ウィキペディアで「'''''Colotomy''''' is a description of the rhythmic and metric patterns of gamelan music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various sizes: the ''kempyang'', ''ketuk'', ''kempul'', ''kenong'', ''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''' ((ジャワ語:'''''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"Lindsay (1992), p.10.). The Javanese names for these instruments are onomatopoeic, with the relative resonance of the words ''gong'', ''kempul'', ''kenong'', and ''ketuk'' being comparable to that of the instruments they name.Lindsay (1992), p.14. In the system of cipher gamelan notation (kepatihan notation), the colotomic parts are notated as diacritical marks on the numbers used to show the core melody (''balungan'').==History and usage==The English language term was coined, presumably in Dutch,Pickvance, Richard (2005). ''A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan'', p.63. ISBN 9780955029509. from the Greek for a unit of rhythm (''colon'') and something that divides (-''tomy''/-''tomic''),Spiller, Henry (2004). ''Gamelan: The Traditional Sounds of Indonesia, Volume 1'', p.69. ISBN 9781851095063. by the ethnomusicologist Jaap KunstMalm, William P. (1977). ''Music Cultures of the Pacific, the Near East, and Asia'', 2nd ed. Englewood Cliffs, NJ: Prentice Hall. Page 43. 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.Malm, 123 and 194-195.==Example of a colotomic structure==Wela redirects directly here-->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, 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.」の詳細全文を読む ''Colotomy'' is a description of the rhythmic and metric patterns of gamelan music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various sizes: the ''kempyang'', ''ketuk'', ''kempul'', ''kenong'', ''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 ((ジャワ語:''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"〔Lindsay (1992), p.10.〕). The Javanese names for these instruments are onomatopoeic, with the relative resonance of the words ''gong'', ''kempul'', ''kenong'', and ''ketuk'' being comparable to that of the instruments they name.〔Lindsay (1992), p.14.〕 In the system of cipher gamelan notation (kepatihan notation), the colotomic parts are notated as diacritical marks on the numbers used to show the core melody (''balungan''). ==History and usage== The English language term was coined, presumably in Dutch,〔Pickvance, Richard (2005). ''A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan'', p.63. ISBN 9780955029509.〕 from the Greek for a unit of rhythm (''colon'') and something that divides (-''tomy''/-''tomic''),〔Spiller, Henry (2004). ''Gamelan: The Traditional Sounds of Indonesia, Volume 1'', p.69. ISBN 9781851095063.〕 by the ethnomusicologist Jaap Kunst〔Malm, William P. (1977). ''Music Cultures of the Pacific, the Near East, and Asia'', 2nd ed. Englewood Cliffs, NJ: Prentice Hall. Page 43.〕 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.〔Malm, 123 and 194-195.〕 ==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, 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. 抄文引用元・出典: フリー百科事典『 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, 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.">ウィキペディア（Wikipedia）』 ■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, 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.">ウィキペディアで「'''''Colotomy''''' is a description of the rhythmic and metric patterns of gamelan music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various sizes: the ''kempyang'', ''ketuk'', ''kempul'', ''kenong'', ''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''' ((ジャワ語:'''''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"Lindsay (1992), p.10.). The Javanese names for these instruments are onomatopoeic, with the relative resonance of the words ''gong'', ''kempul'', ''kenong'', and ''ketuk'' being comparable to that of the instruments they name.Lindsay (1992), p.14. In the system of cipher gamelan notation (kepatihan notation), the colotomic parts are notated as diacritical marks on the numbers used to show the core melody (''balungan'').==History and usage==The English language term was coined, presumably in Dutch,Pickvance, Richard (2005). ''A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan'', p.63. ISBN 9780955029509. from the Greek for a unit of rhythm (''colon'') and something that divides (-''tomy''/-''tomic''),Spiller, Henry (2004). ''Gamelan: The Traditional Sounds of Indonesia, Volume 1'', p.69. ISBN 9781851095063. by the ethnomusicologist Jaap KunstMalm, William P. (1977). ''Music Cultures of the Pacific, the Near East, and Asia'', 2nd ed. Englewood Cliffs, NJ: Prentice Hall. Page 43. 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.Malm, 123 and 194-195.==Example of a colotomic structure==Wela redirects directly here-->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, 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.」の詳細全文を読む ''Colotomy'' is a description of the rhythmic and metric patterns of gamelan music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various sizes: the ''kempyang'', ''ketuk'', ''kempul'', ''kenong'', ''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 ((ジャワ語:''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"〔Lindsay (1992), p.10.〕). The Javanese names for these instruments are onomatopoeic, with the relative resonance of the words ''gong'', ''kempul'', ''kenong'', and ''ketuk'' being comparable to that of the instruments they name.〔Lindsay (1992), p.14.〕 In the system of cipher gamelan notation (kepatihan notation), the colotomic parts are notated as diacritical marks on the numbers used to show the core melody (''balungan''). ==History and usage== The English language term was coined, presumably in Dutch,〔Pickvance, Richard (2005). ''A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan'', p.63. ISBN 9780955029509.〕 from the Greek for a unit of rhythm (''colon'') and something that divides (-''tomy''/-''tomic''),〔Spiller, Henry (2004). ''Gamelan: The Traditional Sounds of Indonesia, Volume 1'', p.69. ISBN 9781851095063.〕 by the ethnomusicologist Jaap Kunst〔Malm, William P. (1977). ''Music Cultures of the Pacific, the Near East, and Asia'', 2nd ed. Englewood Cliffs, NJ: Prentice Hall. Page 43.〕 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.〔Malm, 123 and 194-195.〕 ==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, 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. 抄文引用元・出典: フリー百科事典『 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, 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.">ウィキペディア（Wikipedia）』 ■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, 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.">ウィキペディアで「'''''Colotomy''''' is a description of the rhythmic and metric patterns of gamelan music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various sizes: the ''kempyang'', ''ketuk'', ''kempul'', ''kenong'', ''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''' ((ジャワ語:'''''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"Lindsay (1992), p.10.). The Javanese names for these instruments are onomatopoeic, with the relative resonance of the words ''gong'', ''kempul'', ''kenong'', and ''ketuk'' being comparable to that of the instruments they name.Lindsay (1992), p.14. In the system of cipher gamelan notation (kepatihan notation), the colotomic parts are notated as diacritical marks on the numbers used to show the core melody (''balungan'').==History and usage==The English language term was coined, presumably in Dutch,Pickvance, Richard (2005). ''A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan'', p.63. ISBN 9780955029509. from the Greek for a unit of rhythm (''colon'') and something that divides (-''tomy''/-''tomic''),Spiller, Henry (2004). ''Gamelan: The Traditional Sounds of Indonesia, Volume 1'', p.69. ISBN 9781851095063. by the ethnomusicologist Jaap KunstMalm, William P. (1977). ''Music Cultures of the Pacific, the Near East, and Asia'', 2nd ed. Englewood Cliffs, NJ: Prentice Hall. Page 43. 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.Malm, 123 and 194-195.==Example of a colotomic structure==Wela redirects directly here-->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, 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.」の詳細全文を読む ''Colotomy'' is a description of the rhythmic and metric patterns of gamelan music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various sizes: the ''kempyang'', ''ketuk'', ''kempul'', ''kenong'', ''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 ((ジャワ語:''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"〔Lindsay (1992), p.10.〕). The Javanese names for these instruments are onomatopoeic, with the relative resonance of the words ''gong'', ''kempul'', ''kenong'', and ''ketuk'' being comparable to that of the instruments they name.〔Lindsay (1992), p.14.〕 In the system of cipher gamelan notation (kepatihan notation), the colotomic parts are notated as diacritical marks on the numbers used to show the core melody (''balungan''). ==History and usage== The English language term was coined, presumably in Dutch,〔Pickvance, Richard (2005). ''A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan'', p.63. ISBN 9780955029509.〕 from the Greek for a unit of rhythm (''colon'') and something that divides (-''tomy''/-''tomic''),〔Spiller, Henry (2004). ''Gamelan: The Traditional Sounds of Indonesia, Volume 1'', p.69. ISBN 9781851095063.〕 by the ethnomusicologist Jaap Kunst〔Malm, William P. (1977). ''Music Cultures of the Pacific, the Near East, and Asia'', 2nd ed. Englewood Cliffs, NJ: Prentice Hall. Page 43.〕 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.〔Malm, 123 and 194-195.〕 ==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, 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. 抄文引用元・出典: フリー百科事典『 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, 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.">ウィキペディア（Wikipedia）』 ■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, 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.">ウィキペディアで「'''''Colotomy''''' is a description of the rhythmic and metric patterns of gamelan music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various sizes: the ''kempyang'', ''ketuk'', ''kempul'', ''kenong'', ''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''' ((ジャワ語:'''''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"Lindsay (1992), p.10.). The Javanese names for these instruments are onomatopoeic, with the relative resonance of the words ''gong'', ''kempul'', ''kenong'', and ''ketuk'' being comparable to that of the instruments they name.Lindsay (1992), p.14. In the system of cipher gamelan notation (kepatihan notation), the colotomic parts are notated as diacritical marks on the numbers used to show the core melody (''balungan'').==History and usage==The English language term was coined, presumably in Dutch,Pickvance, Richard (2005). ''A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan'', p.63. ISBN 9780955029509. from the Greek for a unit of rhythm (''colon'') and something that divides (-''tomy''/-''tomic''),Spiller, Henry (2004). ''Gamelan: The Traditional Sounds of Indonesia, Volume 1'', p.69. ISBN 9781851095063. by the ethnomusicologist Jaap KunstMalm, William P. (1977). ''Music Cultures of the Pacific, the Near East, and Asia'', 2nd ed. Englewood Cliffs, NJ: Prentice Hall. Page 43. 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.Malm, 123 and 194-195.==Example of a colotomic structure==Wela redirects directly here-->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, 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.」の詳細全文を読む ''Colotomy'' is a description of the rhythmic and metric patterns of gamelan music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various sizes: the ''kempyang'', ''ketuk'', ''kempul'', ''kenong'', ''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 ((ジャワ語:''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"〔Lindsay (1992), p.10.〕). The Javanese names for these instruments are onomatopoeic, with the relative resonance of the words ''gong'', ''kempul'', ''kenong'', and ''ketuk'' being comparable to that of the instruments they name.〔Lindsay (1992), p.14.〕 In the system of cipher gamelan notation (kepatihan notation), the colotomic parts are notated as diacritical marks on the numbers used to show the core melody (''balungan''). ==History and usage== The English language term was coined, presumably in Dutch,〔Pickvance, Richard (2005). ''A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan'', p.63. ISBN 9780955029509.〕 from the Greek for a unit of rhythm (''colon'') and something that divides (-''tomy''/-''tomic''),〔Spiller, Henry (2004). ''Gamelan: The Traditional Sounds of Indonesia, Volume 1'', p.69. ISBN 9781851095063.〕 by the ethnomusicologist Jaap Kunst〔Malm, William P. (1977). ''Music Cultures of the Pacific, the Near East, and Asia'', 2nd ed. Englewood Cliffs, NJ: Prentice Hall. Page 43.〕 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.〔Malm, 123 and 194-195.〕 ==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, 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. 抄文引用元・出典: フリー百科事典『 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, 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.">ウィキペディア（Wikipedia）』 ■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, 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.">ウィキペディアで「'''''Colotomy''''' is a description of the rhythmic and metric patterns of gamelan music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various sizes: the ''kempyang'', ''ketuk'', ''kempul'', ''kenong'', ''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''' ((ジャワ語:'''''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"Lindsay (1992), p.10.). The Javanese names for these instruments are onomatopoeic, with the relative resonance of the words ''gong'', ''kempul'', ''kenong'', and ''ketuk'' being comparable to that of the instruments they name.Lindsay (1992), p.14. In the system of cipher gamelan notation (kepatihan notation), the colotomic parts are notated as diacritical marks on the numbers used to show the core melody (''balungan'').==History and usage==The English language term was coined, presumably in Dutch,Pickvance, Richard (2005). ''A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan'', p.63. ISBN 9780955029509. from the Greek for a unit of rhythm (''colon'') and something that divides (-''tomy''/-''tomic''),Spiller, Henry (2004). ''Gamelan: The Traditional Sounds of Indonesia, Volume 1'', p.69. ISBN 9781851095063. by the ethnomusicologist Jaap KunstMalm, William P. (1977). ''Music Cultures of the Pacific, the Near East, and Asia'', 2nd ed. Englewood Cliffs, NJ: Prentice Hall. Page 43. 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.Malm, 123 and 194-195.==Example of a colotomic structure==Wela redirects directly here-->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, 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.」の詳細全文を読む ''Colotomy'' is a description of the rhythmic and metric patterns of gamelan music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various sizes: the ''kempyang'', ''ketuk'', ''kempul'', ''kenong'', ''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 ((ジャワ語:''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"〔Lindsay (1992), p.10.〕). The Javanese names for these instruments are onomatopoeic, with the relative resonance of the words ''gong'', ''kempul'', ''kenong'', and ''ketuk'' being comparable to that of the instruments they name.〔Lindsay (1992), p.14.〕 In the system of cipher gamelan notation (kepatihan notation), the colotomic parts are notated as diacritical marks on the numbers used to show the core melody (''balungan''). ==History and usage== The English language term was coined, presumably in Dutch,〔Pickvance, Richard (2005). ''A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan'', p.63. ISBN 9780955029509.〕 from the Greek for a unit of rhythm (''colon'') and something that divides (-''tomy''/-''tomic''),〔Spiller, Henry (2004). ''Gamelan: The Traditional Sounds of Indonesia, Volume 1'', p.69. ISBN 9781851095063.〕 by the ethnomusicologist Jaap Kunst〔Malm, William P. (1977). ''Music Cultures of the Pacific, the Near East, and Asia'', 2nd ed. Englewood Cliffs, NJ: Prentice Hall. Page 43.〕 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.〔Malm, 123 and 194-195.〕 ==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, 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. 抄文引用元・出典: フリー百科事典『 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, 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.">ウィキペディア（Wikipedia）』 ■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, 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.">ウィキペディアで「'''''Colotomy''''' is a description of the rhythmic and metric patterns of gamelan music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various sizes: the ''kempyang'', ''ketuk'', ''kempul'', ''kenong'', ''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''' ((ジャワ語:'''''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"Lindsay (1992), p.10.). The Javanese names for these instruments are onomatopoeic, with the relative resonance of the words ''gong'', ''kempul'', ''kenong'', and ''ketuk'' being comparable to that of the instruments they name.Lindsay (1992), p.14. In the system of cipher gamelan notation (kepatihan notation), the colotomic parts are notated as diacritical marks on the numbers used to show the core melody (''balungan'').==History and usage==The English language term was coined, presumably in Dutch,Pickvance, Richard (2005). ''A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan'', p.63. ISBN 9780955029509. from the Greek for a unit of rhythm (''colon'') and something that divides (-''tomy''/-''tomic''),Spiller, Henry (2004). ''Gamelan: The Traditional Sounds of Indonesia, Volume 1'', p.69. ISBN 9781851095063. by the ethnomusicologist Jaap KunstMalm, William P. (1977). ''Music Cultures of the Pacific, the Near East, and Asia'', 2nd ed. Englewood Cliffs, NJ: Prentice Hall. Page 43. 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.Malm, 123 and 194-195.==Example of a colotomic structure==Wela redirects directly here-->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, 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.」の詳細全文を読む ''Colotomy'' is a description of the rhythmic and metric patterns of gamelan music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various sizes: the ''kempyang'', ''ketuk'', ''kempul'', ''kenong'', ''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 ((ジャワ語:''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"〔Lindsay (1992), p.10.〕). The Javanese names for these instruments are onomatopoeic, with the relative resonance of the words ''gong'', ''kempul'', ''kenong'', and ''ketuk'' being comparable to that of the instruments they name.〔Lindsay (1992), p.14.〕 In the system of cipher gamelan notation (kepatihan notation), the colotomic parts are notated as diacritical marks on the numbers used to show the core melody (''balungan''). ==History and usage== The English language term was coined, presumably in Dutch,〔Pickvance, Richard (2005). ''A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan'', p.63. ISBN 9780955029509.〕 from the Greek for a unit of rhythm (''colon'') and something that divides (-''tomy''/-''tomic''),〔Spiller, Henry (2004). ''Gamelan: The Traditional Sounds of Indonesia, Volume 1'', p.69. ISBN 9781851095063.〕 by the ethnomusicologist Jaap Kunst〔Malm, William P. (1977). ''Music Cultures of the Pacific, the Near East, and Asia'', 2nd ed. Englewood Cliffs, NJ: Prentice Hall. Page 43.〕 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.〔Malm, 123 and 194-195.〕 ==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, 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. 抄文引用元・出典: フリー百科事典『 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, 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.">ウィキペディア（Wikipedia）』 ■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, 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.">ウィキペディアで「'''''Colotomy''''' is a description of the rhythmic and metric patterns of gamelan music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various sizes: the ''kempyang'', ''ketuk'', ''kempul'', ''kenong'', ''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''' ((ジャワ語:'''''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"Lindsay (1992), p.10.). The Javanese names for these instruments are onomatopoeic, with the relative resonance of the words ''gong'', ''kempul'', ''kenong'', and ''ketuk'' being comparable to that of the instruments they name.Lindsay (1992), p.14. In the system of cipher gamelan notation (kepatihan notation), the colotomic parts are notated as diacritical marks on the numbers used to show the core melody (''balungan'').==History and usage==The English language term was coined, presumably in Dutch,Pickvance, Richard (2005). ''A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan'', p.63. ISBN 9780955029509. from the Greek for a unit of rhythm (''colon'') and something that divides (-''tomy''/-''tomic''),Spiller, Henry (2004). ''Gamelan: The Traditional Sounds of Indonesia, Volume 1'', p.69. ISBN 9781851095063. by the ethnomusicologist Jaap KunstMalm, William P. (1977). ''Music Cultures of the Pacific, the Near East, and Asia'', 2nd ed. Englewood Cliffs, NJ: Prentice Hall. Page 43. 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.Malm, 123 and 194-195.==Example of a colotomic structure==Wela redirects directly here-->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, 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.」の詳細全文を読む ■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, 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.">ウィキペディアで「'''''Colotomy''''' is a description of the rhythmic and metric patterns of gamelan music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various sizes: the ''kempyang'', ''ketuk'', ''kempul'', ''kenong'', ''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''' ((ジャワ語:'''''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"Lindsay (1992), p.10.). The Javanese names for these instruments are onomatopoeic, with the relative resonance of the words ''gong'', ''kempul'', ''kenong'', and ''ketuk'' being comparable to that of the instruments they name.Lindsay (1992), p.14. In the system of cipher gamelan notation (kepatihan notation), the colotomic parts are notated as diacritical marks on the numbers used to show the core melody (''balungan'').==History and usage==The English language term was coined, presumably in Dutch,Pickvance, Richard (2005). ''A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan'', p.63. ISBN 9780955029509. from the Greek for a unit of rhythm (''colon'') and something that divides (-''tomy''/-''tomic''),Spiller, Henry (2004). ''Gamelan: The Traditional Sounds of Indonesia, Volume 1'', p.69. ISBN 9781851095063. by the ethnomusicologist Jaap KunstMalm, William P. (1977). ''Music Cultures of the Pacific, the Near East, and Asia'', 2nd ed. Englewood Cliffs, NJ: Prentice Hall. Page 43. 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.Malm, 123 and 194-195.==Example of a colotomic structure==Wela redirects directly here-->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, 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.」の詳細全文を読む ■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, 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.">ウィキペディアで「'''''Colotomy''''' is a description of the rhythmic and metric patterns of gamelan music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various sizes: the ''kempyang'', ''ketuk'', ''kempul'', ''kenong'', ''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''' ((ジャワ語:'''''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"Lindsay (1992), p.10.). The Javanese names for these instruments are onomatopoeic, with the relative resonance of the words ''gong'', ''kempul'', ''kenong'', and ''ketuk'' being comparable to that of the instruments they name.Lindsay (1992), p.14. In the system of cipher gamelan notation (kepatihan notation), the colotomic parts are notated as diacritical marks on the numbers used to show the core melody (''balungan'').==History and usage==The English language term was coined, presumably in Dutch,Pickvance, Richard (2005). ''A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan'', p.63. ISBN 9780955029509. from the Greek for a unit of rhythm (''colon'') and something that divides (-''tomy''/-''tomic''),Spiller, Henry (2004). ''Gamelan: The Traditional Sounds of Indonesia, Volume 1'', p.69. ISBN 9781851095063. by the ethnomusicologist Jaap KunstMalm, William P. (1977). ''Music Cultures of the Pacific, the Near East, and Asia'', 2nd ed. Englewood Cliffs, NJ: Prentice Hall. Page 43. 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.Malm, 123 and 194-195.==Example of a colotomic structure==Wela redirects directly here-->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, 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.」の詳細全文を読む ■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, 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.">ウィキペディアで「'''''Colotomy''''' is a description of the rhythmic and metric patterns of gamelan music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various sizes: the ''kempyang'', ''ketuk'', ''kempul'', ''kenong'', ''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''' ((ジャワ語:'''''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"Lindsay (1992), p.10.). The Javanese names for these instruments are onomatopoeic, with the relative resonance of the words ''gong'', ''kempul'', ''kenong'', and ''ketuk'' being comparable to that of the instruments they name.Lindsay (1992), p.14. In the system of cipher gamelan notation (kepatihan notation), the colotomic parts are notated as diacritical marks on the numbers used to show the core melody (''balungan'').==History and usage==The English language term was coined, presumably in Dutch,Pickvance, Richard (2005). ''A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan'', p.63. ISBN 9780955029509. from the Greek for a unit of rhythm (''colon'') and something that divides (-''tomy''/-''tomic''),Spiller, Henry (2004). ''Gamelan: The Traditional Sounds of Indonesia, Volume 1'', p.69. ISBN 9781851095063. by the ethnomusicologist Jaap KunstMalm, William P. (1977). ''Music Cultures of the Pacific, the Near East, and Asia'', 2nd ed. Englewood Cliffs, NJ: Prentice Hall. Page 43. 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.Malm, 123 and 194-195.==Example of a colotomic structure==Wela redirects directly here-->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, 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.」の詳細全文を読む ■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, 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.">ウィキペディアで「'''''Colotomy''''' is a description of the rhythmic and metric patterns of gamelan music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various sizes: the ''kempyang'', ''ketuk'', ''kempul'', ''kenong'', ''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''' ((ジャワ語:'''''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"Lindsay (1992), p.10.). The Javanese names for these instruments are onomatopoeic, with the relative resonance of the words ''gong'', ''kempul'', ''kenong'', and ''ketuk'' being comparable to that of the instruments they name.Lindsay (1992), p.14. In the system of cipher gamelan notation (kepatihan notation), the colotomic parts are notated as diacritical marks on the numbers used to show the core melody (''balungan'').==History and usage==The English language term was coined, presumably in Dutch,Pickvance, Richard (2005). ''A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan'', p.63. ISBN 9780955029509. from the Greek for a unit of rhythm (''colon'') and something that divides (-''tomy''/-''tomic''),Spiller, Henry (2004). ''Gamelan: The Traditional Sounds of Indonesia, Volume 1'', p.69. ISBN 9781851095063. by the ethnomusicologist Jaap KunstMalm, William P. (1977). ''Music Cultures of the Pacific, the Near East, and Asia'', 2nd ed. Englewood Cliffs, NJ: Prentice Hall. Page 43. 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.Malm, 123 and 194-195.==Example of a colotomic structure==Wela redirects directly here-->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, 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.」の詳細全文を読む ■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, 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.">ウィキペディアで「'''''Colotomy''''' is a description of the rhythmic and metric patterns of gamelan music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various sizes: the ''kempyang'', ''ketuk'', ''kempul'', ''kenong'', ''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''' ((ジャワ語:'''''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"Lindsay (1992), p.10.). The Javanese names for these instruments are onomatopoeic, with the relative resonance of the words ''gong'', ''kempul'', ''kenong'', and ''ketuk'' being comparable to that of the instruments they name.Lindsay (1992), p.14. In the system of cipher gamelan notation (kepatihan notation), the colotomic parts are notated as diacritical marks on the numbers used to show the core melody (''balungan'').==History and usage==The English language term was coined, presumably in Dutch,Pickvance, Richard (2005). ''A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan'', p.63. ISBN 9780955029509. from the Greek for a unit of rhythm (''colon'') and something that divides (-''tomy''/-''tomic''),Spiller, Henry (2004). ''Gamelan: The Traditional Sounds of Indonesia, Volume 1'', p.69. ISBN 9781851095063. by the ethnomusicologist Jaap KunstMalm, William P. (1977). ''Music Cultures of the Pacific, the Near East, and Asia'', 2nd ed. Englewood Cliffs, NJ: Prentice Hall. Page 43. 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.Malm, 123 and 194-195.==Example of a colotomic structure==Wela redirects directly here-->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, 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.」の詳細全文を読む ■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, 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.">ウィキペディアで「'''''Colotomy''''' is a description of the rhythmic and metric patterns of gamelan music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various sizes: the ''kempyang'', ''ketuk'', ''kempul'', ''kenong'', ''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''' ((ジャワ語:'''''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"Lindsay (1992), p.10.). The Javanese names for these instruments are onomatopoeic, with the relative resonance of the words ''gong'', ''kempul'', ''kenong'', and ''ketuk'' being comparable to that of the instruments they name.Lindsay (1992), p.14. In the system of cipher gamelan notation (kepatihan notation), the colotomic parts are notated as diacritical marks on the numbers used to show the core melody (''balungan'').==History and usage==The English language term was coined, presumably in Dutch,Pickvance, Richard (2005). ''A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan'', p.63. ISBN 9780955029509. from the Greek for a unit of rhythm (''colon'') and something that divides (-''tomy''/-''tomic''),Spiller, Henry (2004). ''Gamelan: The Traditional Sounds of Indonesia, Volume 1'', p.69. ISBN 9781851095063. by the ethnomusicologist Jaap KunstMalm, William P. (1977). ''Music Cultures of the Pacific, the Near East, and Asia'', 2nd ed. Englewood Cliffs, NJ: Prentice Hall. Page 43. 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.Malm, 123 and 194-195.==Example of a colotomic structure==Wela redirects directly here-->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, 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.」の詳細全文を読む スポンサード リンク
|