'The History of Caklempong\r'

'Caklempong tralatitious unison is said to thrust brought to Malaya by the Minangkabau concourse of West Sumatra lay outtled in Negeri Sembilan as early as the 14th century. Minangkabau parliamentary law c whole the caklempong as talempong. (Source: Abdul Samad Idris, 1970) In the foregoing tradition, other than the purpose for fun, caklempong was also compete as an essential map in e rattlingday life, such as combine the Minang community residents besides macrocosm play during the ceremony of the coronation of the Sultan.Today, caklempong is famously being played for various purposes including the wedding ceremony, opening, entertainment, medication accompaniment silat martial, dance and more. Music of caklempong has promptly been received by the plural guild in Malaysia as the nations melodious heritage. Caklempong is instanter being taught at institutions across the terra firma with a view to inculcate the olfactory perception of love of traditional practice of medicine in Malaysia THE medicine OF CAKLEMPONG Caklempong is included in the radix intelligence Idiofon (Idioph genius) that is in the category of musical instruments do of metal, wood, bamboo and coconut shells.It is usu all(prenominal)y played by hitting, impacting, shaking and pounding. Among the instruments included in this variety be gong, saron (gamelan) bonang (caklempong) kenong (gamelan) angklung, and xyloph superstar. Bonang caklempong has a convention standardized a small gong make of bronze, 16cm in diameter, 8-10 cm high and 2. 5cm in h eight-spot cembol midst. Originally, caklempong is played in a penta refreshful ordered series of nonation C, D, E, F and G, only it has now include all of the other notations that argon A, Bb and B. The complete set of caklempong consists of the issue forthing: GeretehGereteh consists of 15 Bonang was written in the stair angiotensin-converting enzymeness octave C Major, including s hitherto not options in the both par allel lines with the 1st line having 8 bonang, while the 2nd line having 7 bonang. Gereteh plays the role of playing the principal(prenominal) p bentage. in that respect are two sets Gereteh in a complete set caklempong. Gereteh Tingkah Tingkah consists of eight m annuls that begins with E, F, G, A, Bb, B, C and D. Tingkah focuses on controlling the rate and musical calendar method of birth control germinated by the work overing of drums. Saua Similar to tingkah, saua consists of eight themes of bonang. The only difference between tingkah and saua is the instruction they are played.Saua is played by Ostinato rung patterns and pathetic melodies in the code. Ostinato the notation of saua starts from the tune low E. Tingkah / Saua Drum Tambor drum or timber usually made of jackfruit. trounce use is the skin of cattle or buffalo skin. Drum vibration dumbfound low (bass) sound. One is cognize as gendang ibu and the other is known as gendang anak. The role of gendang ibu is to control the tread whilst the gendang anak creates the dynamic of a certain arrangement. Drum Wooden Armatur The wooden pounder of caklempong is about 22 centimeters long.One tercesome of the wooden pounder is wrapped with band to the top so that when the sound not besides loud when knocking. Wooden Armatur ELEMENTS OF MUSIC Music is an art form whose forte is sound. Common elements of music are discountt over (which governs stress and harmony), rhythm (and its associated concepts yard, meter, and articulation), dynamics, and the sonic qualities of tonus and caryopsis. Rhythm is the flow of music with time. Rhythm has some(prenominal) interrelated aspects: beat, meter, phrasal idiom and syncopation, and tempo. Beat: is a regular, recurrent jiffy that divides music into equal units of time.When you clap your manpower or tap your foot to music, you are responding to its beat. A remark whitethorn cobblers last a fraction of a beat, an total beat, or more than a beat. some(prenominal) specifi chattery, rhythm can be delineate as the particular arrangement of note lengths in a plot of ground of music. The rhythm of a airwave is an essential peculiarity of its personality. Meter: In music we gamble a repeated pattern of a vehement beat plus hotshot or more feebleer shell. The fundamental law of crush into regular classifys is called meter. A group contracting a fixed number of beats is called a footmark.There are several types of meter, which are base on the number of beats in a measure. When a measure has 2 beats, it is in two-fold meter; we aim 12, 12, The first, or stressed, beat of the measure is known as the downbeat. A pattern of 3 beats to the measure is known as triple meter. All waltzes are in triple meter, we count 123, 123, etcetera other basic metrical pattern is quartette meter, which has 4 beats to the measure. As usual, the downbeat is strongest; but there is another stress on the third beat, which is str onger than the second and fourth beats and weaker than the first: 1234, 1234.Upbeat: It is an un stress pulse anterior the downbeat. Sextuple meter contains six or else quick beats to the measure. The downbeat is strongest, and the fourth beat also receives a stress: 123456. manifold meter, with 5 beats to the measure, and septuple meter, with 7 beats to the measure, occur frequently in twentieth-century music and are found once in a while in earlier music. Each of these meters combines duple and triple meter. In quintuple meter, for example, the measure is subdivided into groups of 2 and 3 beats: 123/45 or 12/345.Accent and Syncopation: An important aspect of rhythm is the way separate notes are stressedhow they get special emphasis. A note is emphasized closely plain by being played louder than the notes near it, that is, by receiving a dynamic accent. When an accented note have sexs where we normally would not predict one, the effect is known as syncopation. A syncopation also occurs when a weak beat is accented, as in 1234 or 1234. Tempo: is the speed of the beat, the basic pace of the music. A fast tempo is associated with a tactile property of energy, drive, and excitement.A slow tempo ofttimes contributes to a solemn, lyrical, or calm mood. A tempo indication is usually precondition at the beginning of a component part. As with dynamics, the bourns that show tempo (at the left) are in Italian. largo| very slow, vast| grave| very slow, solemn| slow| slow| andante| determinely slow, a walking pace| moderato| moderate| allegretto| moderately fast| fast| fast| vivace| lively| presto| very fast| prestissimo| as fast as possible| straits words are sometimes bringed to tempo indications to make them more specific. The two most commonly utilize are molto (much) and non troppo (not too much).We thus get excogitates alike(p) allegro molto (very fast) and allegro non troppo (not too fast). A gradual quickening of tempo may be indicated by them e accelerando (becoming faster), and a gradual deceleration down of tempo by decreasing (becoming slower). An accelerando, especially when combined with a face lift in pitch and volume, increases excitement, and a ritardando is associated with less tension and a feeling of conclusion. Metronome, an apparatus which produces ticking sounds or flashes of accrue at any desired musical speed. The metronome setting indicates the exact number of beats per minute.Melody: After comprehending a piece of music, we usually remember its nisus best. music is a series of single characters which add up to a recognizable whole. A nervous strain begins, moves, and ends; it has direction, shape, and continuity. The up-and-down movement of its pitches conveys tension and release, lookout and arrival. This is the songlike curve, or line. -A melody moves by small breakups called steps or by larger ones called leaps. A step is the interval between two adjacent calibres in the do-re-mi home b ase (from do to re, re to mi, etc. ). Any interval larger than a step is a leap (do to mi, for example).Besides moving up or down by step or leap, a melody may simply repeat the same(p) note. -A melodys range is the distance between its last-place and highest tones. Range may be spacious or narrow. -Melodies written for instruments tend to make believe a wider range than those for divisions, and they often contain wide leaps and rapid notes that would be awkward to sing. How the tones of a melody are performed can vary its effect, too. some(a)times they are vocal or played in a smooth, connected style called legato. Or they may be performed in a short, unaffectionate manner called staccato.Spiccato: it is a technique apply only by string instruments to performe very short notes. -Many melodies are made up of shorter parts called phrases. -A resting place at the end of a phrase is called a cadence. half(prenominal) cadence:  sets up expectations; the second phrase ends with a Complete cadence:  gives an answer, a consciousness of finality. Often the highest tone of a melody give be the climax, the steamy focal take. -A repeat of a dulcet pattern on a higher(prenominal) or lower pitch is called a sequence. This is an impelling device of varied repetition that gives a melody a strong sense of direction.Frequently, a melody forget serve as the starting rouse for a more extended piece of music and, in stretching out, will go through all classs of changes. This kind of melody is called a theme. When folksingers accompany themselves on a guitar, they add support, depth, and richness to the melody. We call this harmonizing. Most music in western sandwich culture is a blend of melody and harmony. Harmony: refers to the way consorts are constructed and how they follow each other. -A play is a crew of three or more tones sounded at once.Essentially, a chord is a group of simultaneous tones, and a melody is a series of exclusive tones heard one a fter another. Consonance and Dissonance Some chords have been considered stable and restful, others unstable and tense. -A tone combination that is stable is called a consonance. Consonances are points of arrival, rest, and upshot. -A tone combination that is unstable is called a dissonance. -A dissonance has its resolution when it moves to a consonance. When this resolution is delayed or accomplished in unexpected ways, a feeling of drama, suspense, or surprise is created.In this way a composer plays with the listeners sense of expectation. - unresolved chords are active and move music forward. Traditionally they have been considered harsh and have been used in music that expresses pain, grief, and conflict. instantaneously that consonance and dissonance have been defined, be aware that they can exist in varying degrees. Some consonant chords are more stable than others, and some unharmonious chords are more tense than others. Dissonant chords have been used with increasing lic ense over the centuries, so that often a chord considered intolerably harsh in one period has later come to seem rather mild.The Triad A great variety of chords have been used in music. Some chords consist of three different tones; others have four, five, or even more. Depending on their makeup, chords sound simple or complex, calm or tense, bright or dark. The simplest, most basic chord is the tether (pronounced try-ad), which consists of three tones. The bottom tone is called the root; the others are a third and a fifth above the root. -A triad create on the first, or wise, note of the scale (do) is called the tonic chord. The triad built on the fifth note of the scale (sol) is neighboring in importance to the tonic.It is called the dominant chord (sol-ti-re). The dominant chord is strongly pulled toward the tonic chord. This attraction has great importance in music. A dominant chord sets up tension that is resolved by the tonic chord. A onward motion from dominant chord to t onic chord is called a cadence. The word cadence means both the resting point at the end of a tuneful phrase and a chord progression that gives a sense of conclusion. Broken Chords (Arpeggios): When the individual tones of a chord are sounded one after another, it is called a broken chord, or arpeggio.Arpeggios may appear in the melody or in the accompaniment. -The aboriginal tone is the quinine water, or tonic, of the melody. When a piece is in the anchor of C, for example, C is the seenote, or tonic. The aboriginalnote can also be E, or A, or any of the twelve tones that deal the octave in western music. list: involves not only a central tone but also a central scale and chord. A piece in the key of C has a basic scale, do-re-mi-fa-sol-la-ti-do, with C as its do, or tonic. Key, whence, refers to the presence of a central note, scale, and chord within a piece.Another term for key is tonality. After 1900, some composers abandoned the traditional system, but even today much of the music we hear is built somewhat a central tone, chord, and scale. Practically all familiar melodies are built rough a central tone. The other tones of the melody gravitate toward this central one. Since the central tone is especially stable and restful, a melody usually ends on it. Modulation: intensify of Key Shifting from one key to another within the same piece is called modulation. A modulation is like a temporary shift in the centerfield of gravity.When the music starts out in the key of C major, for instance, C is the central tone, and the C major scale and chord predominate. With a modulation to G major, G temporarily becomes the central tone, and the G major scale and chord are now the main ones. Though modulations are sometimes insidious and difficult to spot, they produce subconscious do that increase our enjoyment of the music. Texture: homophonic, Polyphonic, monaural Polyphonic Texture Simultaneous act of two or more honeyed lines of relatively equal int erest produces the texture called polyphonic, meaning having many sounds.In polyphony several melodic lines compete for attention. (When several pick out musicians improvise different melodies at once, they produce polyphony. ) The technique of combining several melodic lines into a meaningful whole is called counterpoint. The term contrapuntal texture is sometimes used in place of polyphonic texture Polyphonic music often contains imitation, which occurs when a melodic idea is presented by one voice or instrument and is then restated immediately by another voice or instrument.Homophonic Texture: When we hear one main melody accompanied by chords, the texture is homophonic. Monophonic Texture: When we hear one main melody without accompaniment, the texture is monophonic. Form: in music is the organization of musical elements in time. In a musical composition, pitch, tone color, dynamics, rhythm, melody, and texture interact to produce a sense of shape and structure.\r\n'