Music in Java: Its history, Its Theory and Its Technique by J. Kunst

By J. Kunst

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Additional resources for Music in Java: Its history, Its Theory and Its Technique

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100 100 ~ I li : ~ : : 1 240 'I f 100 • F : 1 I : 1 '"" 100 : ~"* 'f F# ~ 100 + 100 + 100 I :lt e w •J D'# 12() : I t li ! u: • ! , :aoo 100 100 210 I c. I ! I : I ! '! + 100 :, ~ t 1 T ""' I ~ e == 100 115 100 Pelog and Siendro compared with the European tempered chromatic scale : :240 - ;100 I I ltllli 100 I ! t> . ' I I ~ I :DAQAte : I ct ! e. e. e. Deva) Endra = Surendra = slendro. According to RANGGA WARSITA's "Pustaka Raja purwa" I} (vol. II, Chap. 4, p. e. D. 404; but the same author 2), in another place (vol.

M. A. KusuMADINATA called my attention-that the majority of the native officials in this district hail from the Sunda-districts (one of the exceptions was the former Regent, a Javanese). e. that the Central-Javanese emigrants, who must gradually have filled the sparsely populated Western Javanese lowlands, hailed from slendro districts, and therefore practiced slendro singing, but that they, as is usually the case with emigrants, did not belong to the possessing classes, and therefore did not bring any gamelans with them.

E. with five intervals of 240 C. in the octave); nevertheless several of the slendro tone-sequences measured possess one slightly larger interval-in accordance with the scale development outlined above-which, however, is placed now here, now there in the scale (cf. below Appendix 62), and has, therefore, no longer any functional importance. , Mangku Nagaran, Solo Deviations in cents: theoretical tone sequence derived from the cycle of blown fifths XXI 333! 383 IV 438 XXIII/II VI/VIII XVII/XIX 502 582 I 291 III 383 IV 439 v I' 331 500 582 0 -IJ 0 +4 -7 0 v VII/IX 371 XI 425 Ifill 283 II 324l XIII/XV I/111 v I' 565 566 4861 Gamelan slendro from Rancha-' iyuh, distr.

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