Clarines et Sonnailles скачать в хорошем качестве

Clarines et Sonnailles

Clarines et Sonnailles Jean-Luc Herelle, 1995 "Ce vous emmène écouter les clarines et les sonnailles de troupeaux de vaches en montagne, de chèvres et de moutons en pays méditerranéen. Différentes plages sonores se succèdent en une seule « symphonie pastorale ». Ces sons qui aujourd'hui tendent à disparaître forment une musique féerique et reposante, évocatrice de l'harmonie entre l'homme et la nature dans des régions restées pastorales." Across Indonesia, but particularly on the islands of Java and Bali, gamelan is the most popular form of traditional music. A gamelan ensemble consists of a variety of metal percussion instruments, usually made of bronze or brass, including xylophones, drums, and gongs. It may also feature bamboo flutes, wooden stringed instruments, and vocalists, but the focus is on the percussion. The name "gamelan" comes from gamel, a Javanese word for a type of hammer used by a blacksmith. Gamelan instruments are often made of metal, and many are played with hammer-shaped mallets, as well. Although metal instruments are expensive to make, compared with those of wood or bamboo, they will not mold or deteriorate in Indonesia's hot, steamy climate. Scholars suggest that this may be one of the reasons that gamelan developed, with its signature metallic sound. Where and when was gamelan invented? How has it changed over the centuries? Gamelan seems to have developed early in the history of what is now Indonesia. Unfortunately, however, we have very few good sources of information from the early period. There are two predominant scales in traditional Indonesian music, Slendro and Pelog. Each has a unique character identified by the intervallic relationships between tones. Though both of these scales vary considerably in actual measurement from one gamelan to another, their basic form is consistent throughout Indonesia and much of S.E. Asia. In common practice, Slendro is a five tone scale consisting of, approximately, whole step and minor third intervals. The basic order of intervals from low to high, where 2 equals an approx. whole step and 3 equals an approx. minor third, is 2 3 2 2 3. This scale is said to be derived from an equidistant ten tone master scale. This ten tone scale is never played as such and only serves as a basis for scale theory. A few different combinations of the ten tones may be derived which sound like Slendro, but each will have a slightly different character which may be best suited for one "modality" (term used loosely) or another. When building a Gamelan, one of these derivations is chosen as best suited for it's purpose and the maker must commit to that interpretation of the Slendro scale. Every tuner also has their own preferences within those derived scales, adding to the wide variety of interpretations of both Slendro and Pelog from Gamelan to Gamelan. String, vocal, and wind instruments have the ability to transcend this limitation and explore other interpretations of the scale by virtue of their unfixed pitch. Pelog is a seven tone scale, although only five of the seven pitches are typically used at one time. Pelog may also originate from the ten tone master scale mentioned above. The basic seven intervals, where 1 equals an approx. half step, 2 equals an approx. whole step, and 3 equals an approx. minor third, are 1 2 3 1 1 2 2. There are wide variations of Pelog. Some may be closer to the intervals 2 1 3 1 1 2 2. In real practice, Pelog is best described as a combination of mostly approx. half steps and major thirds. The presence of a half step, or lack of it, is an easy indicator for distinguishing by ear between Pelog and Slendro. If we number the pitches 1 through 7, the actual five tone Pelog scales used in Gamelan are predominantly 1 2 3 5 6, 1 2 4 5 6, and 2 3 5 6 7. Calling an approx. major third 3+ and a near fourth 4, this gives intervallic relationships of 1 2 3+ 1 3+, 1 4 1 1 3+, 2 3+ 1 2 2, respectively. These scales sometimes intermesh and overlap, particularly in Java. Balinese pelog is also theoretically seven tones, but most instruments only have the pitches 1 2 3 5 6 available. There are only a few types of Balinese instruments capable of producing seven tones, mostly classical ensembles, such as Semar Pegulingan and Gong Suling, not in great use anymore. Playing these intervals on a piano or other instrument, if no gamelan is available, can help to gain a sense of the character of the different scales and how the pitch substitutions occur.