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The pathet (Javanese spelling; also patet) is an organizing concept in gamelan music. It is difficult to explain, but is similar to the melody types, that is, for example, modes, ragas, or maqamat, of other musics. The term means 'to restrain' in Javanese and ''patet'' is "a limitation on the player's choice of variation, so that while in one ''patet'' a certain note may be prominent, in another it must be avoided, or used only for special effect. Awareness of such limitations, and exploration of variation within them reflects a basic philosophical aim of gamelan music, and indeed all art in central Java, namely, the restraint and refinement of one's own behaviour."〔Lindsay (1992), p.40.〕 Javanese often give poetic explanations of pathet, such as "Pathet is the couch or bed of a melody."〔R.M. Jayadipura, cited in Jaap Kunst, ''Music in Java'' (The Hague, 1949), page 72.〕 In essence, a pathet indicates which notes are stressed in the melody, especially at the end of phrases (seleh), as well as determines which elaborations (cengkok and sekaran) are appropriate. In many cases, however, pieces are seen as in a mixture of pathets, and the reality is often more complicated than the generalizations indicated here, and depend on the particular composition and style. ==Classification== In Javanese music there are traditionally six pathet, three for each tuning system, pelog and slendro. The systems correspond to each other in emphasized pitches, as in the table given below (given in kepatihan notation), although of course the numbers do not indicate the same frequencies. It will be noticed that manyura is one step higher than sanga, and indeed it is common to transpose entire pieces from one patet to the other as well as to share cengkok at different transpositions. Note that in pélog, 4 is always a dissonant pitch, since elaborating instruments such as gendér and gambang cannot play it, and usually play the adjacent pitches 3 or 5 instead. Pathet barang is the only pathet to feature 7 as a common note. The avoided notes are only rare as seleh, especially in slendro; in pélog the rare notes are rare anywhere. The names "tonic" and "dominant," though the analogy to classical music is not strong, are used by some sources. Another system of designation, used by Mantle Hood, is Gong Tone I for the stressed note, Dasar for the strong note, and Gong Tone II for another strong note involved in the cadential system. Two other terms are sometimes encountered for pélog: ''pathet bem'' and ''pathet manyura''. Pathet bem is used as a general term to cover pélog pathet nem and lima (especially in Jogya, where that distinction is not traditionally made), which use the same subset (121356) of the pélog scale and are sometimes difficult to distinguish. Mantle Hood found through an analysis of gendhing in these pathet that they remain distinct in their typical patterns.〔Hood 1977, p. 232-234〕 The other pathet, pélog pathet manyura, also called pélog nyamat, is a direct transfer from slendro manyura into pélog, without the substitution of 7 for 1 as in pathet barang. It is observed in a small collection of gendhing.〔Hood 1977, p. 148〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Pathet」の詳細全文を読む スポンサード リンク
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