Arts terms and Gamelan Karawitan
Nglaras. Tuning, giving a certain tone to the numbers or types of pencon, you equate the gamelan. In this way gamelan tuned to be good so do not listen to sound hollow (Blero).
Ngukel. Technique plays a xylophone melody on gender or the left hand with a circle-like movements. For example hitting tone 6 1 2 1 repeatedly.
Nguthik. Variations bonang game so I can coherently.
Nguyu-Uyu. Gamelan hit-piece by piece without accompanying instruments bonangs faces (gender, fiddle and pesindhen). Before pangih temanten ceremony, when the equipment used in the gamelan, then in the morning had sounded nguyu-Uyu gising.
Nitir. 1. technical instruments play in this type of piece kenong sampak, where in each one note DAU times filled with wasp or blow kenong; 2. motion attacked the Yogyakarta style of dance.
Musician. Gamelan (see gamelan) Java, sometimes referred to Pradangga or wiyaga.
Nyamleng. Serving uyon-uyon primarily by using instruments ngarep wasp (see wasp ngarep) and vocals.
Nyigar penjalin. The shape of keys and gender saron penampangnya similar shape halved rattan. This nyigar penjalin form on the keys used umumntya saron, whereas gender keys brass or iron.
Waves. Sound waves.
Ombakan. Form of a song from a ceremony dhalang using or placed generally at the end of a no-no.
Banyu waves. Motion transition is smooth on the dance and the gallant sons of Yogyakarta style. Waves means 'wave' banyu, banyu means 'water'. This motion is called the wave G_Building because at the time the body moves to the left and right is always preceded by an upward motion like the motion of water waves. This motion is used in Lawung and dance scenes in the dance dramas Audience.
Banyu Wirama rangkep waves. Banyu wave motion (see the waves G_Building) done with the rhythm of double (rangkep) which is two times slower than normal waves banyu. This motion is used in dance smooth and strong son of Yogyakarta as dance styles Lawung and Audience scenes in dance drama.
Ompak. Part of the piece (see piece) which is in advance of the main pieces. Usually sounded twice, but can also be repeated according to their needs.
Ompak-ompak. Same with embat (see the embat). The term is commonly used area of Yogyakarta.
Padhang moon. Shaped instrument used pencu (see pencu), but is blinded shining only on the pencu and rye alone.
Paku. The instrument used to hold the keys to saron (see saron) are not easily shift to the right or left.
Palenggahan. Registration cowhide belt nailed to the buffoonery of the right and left to put kendhang to be located such that mengantung became clear voice.
Ndhawah rank. Transition from pieces (see piece) to the ndhawah.
Rank minggah. Transition from pieces (see piece) to the minggah.
Pangkon. Venue type saron placed keys made from wood that looks like a torn right to the left is decorated like a noose, in the middle of such a hole is rectangular as a resonator. Has Pangkon footwear, and a good made of jackfruit wood.
Musicians. Same with Pradangga (see Pradangga).
Panungul. The name of the gamelan tones (see gamelan). For ordinary records replaced with the number 1. Tone found only in penunggul pelog gamelan.
Papa rara. People who learn to play gamelan in which these people have never learned the gamelan beat, so the lesson is starting from scratch and covers the basics.
Pasu. The edge rai (see rai) a curved connecting section and the smell of rye pencon type.
Patalon. Sequence number for the piece that is sounded before the puppet show begins. For the puppet in the Surakarta area using rangakaian piece begins Patalon forwarded Cucurbawuk piece is then passed again Pareanom Ladrang Srikaton and Ketawang Sukmailang, Sift-sifter, Srepegan and ending with Sampak, all pathet Manyura. Arrangement for shadowgraph purwa.
Patapukan. See puppet mask.
Pathet. Shows the level of the tone of a song or piece, and also limit the rise and fall tone.
Impairment. Backs of the keys of the center.
Pelog. Name tones in gamelan (see gamelan). For ordinary records replaced with 4 digits, tones pelog found only in cedar gamelanl pelog (see pelog).
Kandha hyper. Interpreters read (pemaca) text story (kandha) on wayang wong dance drama style of Yogyakarta. Interpreters read this sitting front row. Javanese Krama (high, smooth) for pemaca kandha (see pemaos kandha).
Stakeholders song. Instruments which serve to bring the main track or balungan (see balungan). That includes stakeholders song is saron, demung, howl and slenthem.
Rhythm stakeholders. Instruments kendhang duty use in the form of pieces (see piece), and shows like rhythm, which includes stakeholders rhythm is kethuik, kenong, kempul and gongs.
Pemurba rhythm. Instruments are leading or determine the song, bertuigas instruments as the song is pemurba rebab, genders, and bonang.
Pencon. (song pencu).
Pencu. Part ½ prominent oval-shaped, located at the top of kenong, bonangs, kethuk, kempyang, slentho, kempul, gongs, bendhe.
Pengirit. People who have led a group of positions in the royal palace gamelan.
Penitir. At the gamelan instruments monggang (see gamelan monggang) shape similar to but slightly larger bonangs slightly, amounting to 3 pencon (see pencu), arranged row above rancakan (see rancakan) with 1.6 tones and beaten by 3 people.
Penonthong. At the gamelan instruments monggang (see gamelan monggang), kenong shape similar to but somewhat smaller, the number of fruit with 2 tone 4 and 7 (pelog and goods).
Penthat. The back of bathokan (see bathokan).
Penyenther. Dancers who led the way on the dance performances, especially in areas Dhoger Gunung Kidul. The dancer was brought on cue pieces or other dancers, often also serves as a trainer (see the trainer).
Pesindhen. Vocalist daughter, sometimes called waranggana or sinden.
Pethat. Artificial comb made from buffalo or cow leather, prada colored carved and ornamented Ketep and remote, mounted on the rear-irahan Irah tied tepen (see tepen).
Pi. Abbreviations of pitu, ie seven or the tone is called a gamelan.
Pidih. Materials makeup or make-up on wayang wong that it was black. Its function is to provide clarity on the parts that need to be black.
Pilesan. The second variation kendhang game sticks to the rhythm 3.
Pindhah pathet. Transposition.
Pindharsa. Climb (see the climb) at the end of the first part merong (see merong) of a song or piece gamelan (see piece).
Cheek. Mencembung sides of the instrument kemanak (see kemanak) where the fall of a club.
Pipilan. From the pipil yatiu a job to take something little by little done continuously. Bonang Pipilan intended to hit one by one.
Placak. The place holder (buffer) kendhang, square-shaped right and left were given skin-like belt as a buffer when placed kendhang.
Plajaran. Form of pieces in which each subject with a blow balungan kenong the even with a blow kempul.
2 2 2 1 3 2 1 2 balungan principal
nn / pn / pn / pn / pn / p blow kenong (n) and kempul (p).
PlayOn. (see plajaran).
Plesedan. Hitting kenong incompatible with balungan tone (see balungan) in order to inform that the variation will be replaced by songs that have been diualang.
Ploncon. 1. Four of the dancers on the dance Lawung (see Lawung Ageng) Yogyakarta style that served as the carrier Lawung (spear) which will be used for war exercises by the dancers and dancers Jajar Lurah; 2. Goal with a wooden pole with holes which held up a spear; 3. Java Kendhang skin that has not been given, made of wood with the hole in the center right and left. A good material is ploncon jackfruit wood.
Pluntur. Rope to stretch gender blades, slethem, boning, kenong, are lined made from yarn that is great about ½ cm in red.
Pencu group. Pencu the bottom section under widheng (see widheng).
Ndhuwur butt. Part of the fiddle located below watangan (see watangan) spherical cone with diameters of about 5 cm and berkerat-pieces. This is ndhuwur butt fiddle upper stem attached to the menthak (see menthak), the resonator device of wood or shell.
Ngisor butt. It looked like the butt ndhuwur (see the butt ndhuwur) lies only just below menthak (see menthak) and slightly shorter than the butt ndhuwur bit.
Pencu shoots. Pencu the top section where the collapse of percussion when he was beaten.
Pundhak bloom. Range of motion in his left arm bent forward ngruji hand position (see ngruji), ending with the right hand gestures like, wiping the face with nyempurit position (see nyempurit). This motion is the daughter of dance styles of Yogyakarta.
Swatch Sekaten. Bonangan form of a song that sounded at the beginning of each piece sekaten (see gamelan sekaten).
Rai. The surface of the type KONANG pencu lies beneath.
Rancakan. Place to put the planks saron, gender, bonang made of wood. Commonly used by jackfruit and teak wood.
Rangkung. Scrubber that looks like a fiddle with a bow made of myrtle wood species. Rangkung also called sengreng.
Rau. Klowongan kendhang hole shaped as a semicircle concave resonator, so that voice becomes more clear kendhang.
Fiddle. Friction on gamelan instruments, serves as the opening piece on the type-piece fiddle. Having a long neck made of wood or ivory, the end of the neck there are two pin (kupingan) votes for each of the two strings (strings). Bottom of the fiddle body parts made from the shell or timber (menthak) where the face covered with a thin skin that serves as a resonator. Stringed fiddle propped up with some kind of wooden comb called (srenten). In addition to the opening also serves as filler ornaments or pieces of songs played saron subject. Rebab swiped with pengesek made of wood with horse hair from the tail stretched by the fingers of the player.
Rebab SLOSH. Same with the fiddle (see fiddle). In a complete gamelan there are two fiddle, SLOSH and phontang. SLOSH fiddle piece played for pelog, fiddle slendro ponthang to pieces.
Recep. The flat part on the side edge kenong instruments, over the smell.
Recap nglengkeh. Recap shaped more dicekungkan (see recap).
Recep pajeg. Recap the flat shape (see recep).
Rengeng-rengeng. Sing or intone a tembang (see tembang) tetpai more directed to himself. Sing or melagukannya slowly.
Rep. gamelan game turnover of heavy blows to slow.
Gamelan confidential information. The division of gamelan instruments on the basis of class-golongannya. (1). Group that was hit (idiophone) includes types saron, gender, bonang. (2). Ditepak group that includes various kendhang, (membrandphone). (3). Group learned (crodophone) siter and clempung, (4). Group blown (aerophone) is distilled and (5). Groups who swiped the fiddle.
Rijal. Instruments similar to the shape at bonangs successor (see bonangs successor) amounted to 8 pencu (see pencu) with the same tone of voice Gulu or 2, beaten by 4 people, is the completeness monggang gamelan instruments (see gamelan monggang).
Goose bumps. Name of instrument, made of bamboo with a mouth as a resonator.
Rog-rog asem. Lamba (see Lamba) who is in the middle piece (see piece), or the end of the piece. Rog-rog asem usually found in pieces-pieces that often gangsaran alternating rhythm.
Sak ulihan. Play a piece from the beginning until the end of the fall of the gong and then come back to the beginning. If repeated twice called ulihan rong.
One gumun. Beat 2 fruit tones that exceed 2 blades of the respective tones of causing accordnya choir pleasant.
Example: 3 - 6: 6 / 3
5 to 1: 1 / 5
Salisir. A form tembang to gerongan (see gerongan) which consists of 4 stanzas.
Samopa. Gamelan (see gamelan).
Sampak. Pieces which form each with 2 main balungan kenong blow, the blow is even accompanied kenong kempul blow.
2 2 2 2 2 balungan principal
nn / pn / pn / pn / p blow kenong (n) and kempul (p).
Samya swara. Choir in a piece in gerongan without sindhenan (see sindhenan). In the world of Javanese gamelan music is a new term, especially after developing musical performed by wayang and penggerong (see Gerong) is played by small children.
Sanggan. Such nails forked tops, keys used to sack gender, slenthem, which is made of brass. Head of forked sanggan that the entry of the rope pluntur (see pluntur).
Santiswaran. A form of vocal track that takes the piece of Java and slawatan combined so that is a form of certain songs, with accompaniment kendhang, jedhor, flying, and kemanak. Inside it looks santiswaran sense of solidarity between Muslims and Java.
Sapangkon. Same with sarancak (see sarancak).
Saparangkat. Complete gamelan composition, consisting of groups and pelog slendro barreled.
Saput. One of the things the court (see ampilan palace) as the place from all kinds of tools, is a symbol of preparedness readiness.
Sarancak. 1. called for a gamelan instruments such as bonangs sarancak, saron sarancak; 2. to mention a complete gamelan composition but consisting only of slendro or pelog only.
Sari swara. Notation songs or point the barrel (see point the barrel), based tonika.
Single sari. The composition of a single dance style of Yogyakarta, the daughter of a variety of diverse composition beksa daughters (see beksa daughter) or daughter dance. The composition is mostly danced in the form of group composition and more just for practice.
Saron. Instrument name, shape keys (see keys), function to play a song saron principal or balungan (see balungan).
Saron demung. Name the instruments in the group saron smallest form with the highest oktafnya.
Ricik Saron. Name the instruments in the beroktaf saron group was and is sometimes called a saron barung.
Sekar. Ornaments in tembang (see tembang) or gamelan (see gamelan).
Sekardlima. Name of the instrument, there is the dirt kodhok gamelan, made a few bells (kelithing) are arranged into several groups and hung on a pole.
Sekar piece. Tembang (see tembang) accompanied by the sound of gamelan (see gamelan), usually in the form or Ketawang Ladrang.
Sekar medura. Dance composition Yogyakarta-style partner groups hosted by 8 male dancers are created by the Sultan Hamengku Buwana I-18th century. This dance is a ceremony that ended with a fun drink that is poured in the bottle into the glass. Because this dance is also called Beksan gendul. Gendul means 'bottle'. Medura Sekar name to honor the troops allegedly Sultanate of Yogyakarta who got help from people Medura. Amounting to 8 dancers divided into two groups, first group consisted of 4 dancers who danced with the type of fine daughter dance, the second group consisted of 4 dancers who danced with a dance type Batak (leader) and 3 endhel (followers).
Sekati. Name heirloom gamelan set of Surakarta and Yogyakarta. Sounded on every 5 to 12 months maulud memorial to honor birth and death of the Prophet Muhammad, including the type of gamelan pakurmatan (respect), barreled pelog. This Sekati gamelan sounded in two buildings located at the Agung Mosque page. Gamelan Surakarta Sekati named Kyai Gunturmadu Kanjeng heritage of Majapahit and Guntursari made at the time Pakubuwono IV, in Yogyakarta named Kanjeng Kyai Gunturmadu Nagawilaga and made both at the time of Sultan Hamengku Buwana I.
Seleh. Stopping places in a song or a piece tembang.
. Semeleh. End of the stanza.
Sendhon. Songs from a dhalang taken from sekar ageng or tembang, accompanied by gender, xylophone, and flute. For instance in describing the atmosphere of sadness in accompaniment with Sendhon Tlutur, sad mood was generally accompanied by Surakarta style. In Yogyakarta for atmosphere sad songs besides the above-mentioned instruments were added to the fiddle.
Senggakan. Vocal arrangements sound to fill the vacancy on the sidelines of the vowel.
Senggaren. (see kosok).
Seseg. Fast rhythm.
Sesegan. A special form of song is used only for rhythm seseg (fast) only. This section is a separate form, if not beat sesegan not beaten.
Seser. Benag ring linked to two stringed fiddle order eneng (see eneng) did not fall there fiddle sound becomes louder and smoother. This Seser located under srenten (see srenten).
Sindhenan. The song is usually sung by pesindhen (pesindhen).
Singgetan. Transition or displacement.
Singir. (see modring).
Sirig. Name an instrument, stringed instrument groups.
Siteran. Composition of gamelan instruments consisting of siter barung, siter successor, siter howl, siter penembung, small kendhang ciblon, and gong tube. Before the tube is often replaced with gong gong gendul (liquor bottles).
Siter howl. Name of instrument, stringed instrument groups. Tone-tone 1 octave higher than the siter (see siter).
Siyak. Signal from dhalang or kendhang to create a piece of slow to fast pace, and then slows down again, which is read only instrument rebab, genders, kendhang, slethem and gongs.
Slenthem. Name of instrument shaped like penembung gender but on bilahannya use pencu (see pencu).
Slentho. Name of instrument shaped like demung but wearing pencu.
Slepengan. Form of pieces in which each subject with 2 balungan kenong blow, the blow kenong that even with a blow to kempul, whereas in the odd main balungan with a blow (kethuk).
3 5 2 3 5 6 5 3 balungan principal tntn / ptnt / NTN / p blow kethuk (t), kenong (n) and kempul (p).
Soran. Serving pieces-pieces (see piece) with sora or hard, usually gender instruments, xylophone and fiddle not sound.
Sorogan. Xylophone keys or gender is used to replace the other keys, resulting in changes in the barrel. Generally from pathet pelog nem five or switch to pelog pathet goods. The way the road is basically sorogan due to instrument xylophone or gender is not complete, which should be for each instrument pathet must have its own xylophone or gender, so there is a single-barreled xylophone or gender or nem pelog five and one-barreled pelog goods.
Srambahan. 1. kendhang playing technique in which the song was played only once after the open (see open). Srambahan have on the type of piece kendhangan launch, Ketawang. 2. in the sulukan (see mysticism) is the song of the mysticism that can be used for a variety of scenes or the atmosphere in a scene or atmosphere in the puppet scene.
Srenten. Thin wood with a foot that extends horizontally approximately 14 cm, there was a kind dibagian neck with a head shaped like gendjang ranks and there are two pieces in the middle of the fourth put the strings. Srenten as a brace attached to the string quilts (see bedding) is a tool to fiddle resonator.
Srokal. Mondring (see mondring) which contains the story of the birth of the Prophet Muhammad.
Conduct. The form of a song dhalang usually taken from Sekar Agung or tembang macapat, with fiddle accompaniment instrument, gender, xylophone and flute, in Yogyakarta called Lagon.
Suwekan. Close to the top of the hole bumbungan in the middle, this hole size is adjusted with the tone keys. In the tone of this hole gets smaller at small tone hole is bigger. The hole is called suwekan.
Suwukan. 1. a small gong with a diameter size of about 60-70 cm, common to the fall of the gong on the piece of launch (see launch) that struck alternately with kempul and gongs ageng; 2. one of the songs will only pass if suwuk course (see suwuk). Not all pieces have this form for tilah suwukan Surakarta style.
Suwuk gropak. Signal to stop the fast rhythm. Usually used in the form of wayang accompaniment piece to accompany the scene where a giant.
Swara nyorog. The voice of one who was singing a song or tembang where for high voice because not reached that connect with sorogan voice. Generally done by the pesindhen (see pesindhen).
Percussion. Gamelan bat.
Wasp. Gamelan hitting technique.
Ngajeng wasp. Gamelan instruments group consisting of fiddle, barung gender, gender successor, xylophone, clempung, flute.
Rampak wasp. Techniques play a entire gamelan instruments, where all instruments can be heard in harmony with the other one does not stand each other.
Wasp middle. Gamelan instruments group consisting of the demung, saron successor, howl, kethuk, kempyang, engkuk kemong, kenong, kempul, and gongs.
Sampur Pond. Sampur (see sampur) the right and left draped on the right shoulder and left too, but still held in his right hand and left.
Sampur mine. Sampur (see sampur) superimposed on the right side of the left shoulder, left sampur are superimposed on the right shoulder.
Tampi. Commerce (see the commercial) is given the task of beating the gamelan (see gamelan).
Tanggep anerangbaya. One way to teach rhythm to the way delay cutting steps and rhythm in the rhythm dropped foot kenong or gong.
Response raras. Step back from one foot to adjust the order exactly as intended.
Sawega Response. Attitudes held position at the foot before the climb (see the climb) on the rhythm kenong or gong.
Sudira Response. Same with hadilaga (see hadilaga).
Harsaya climb. Climb (see climb) the right to fall in rhythm kenong (see kenong).
Tread starlings. Move on the dance in the Mount Dhoger south, which took from the martial art movements. Called footprint starlings because of the position of the hand movements are similar footprint (former stamping) starlings feet.
Tawonan. Rattan woven squares with a size of approximately 5 x 5 cm, thickness approximately 3 cm, is used as a base saron keys, and held on the nails fastening rancakan given order can not be separated.
Tebokan bem. Kait ox or deer round used to cover the head of kendhang in large part. This bem Tebokan for type striped ciblon upright kendhang about 35 to 40 cm, type kendhang ketipung smaller diameters again, was kind pieces or kendhang ageng kendhang diameters reaching 60 to 75 cm.
Tebokan kemyang. Its function is similar to tebokan bem (see tebokan bem), only the smaller size that is about 25 to 27 cm mounted on the head of a small kendhang.
Teka njejak. A dhalang who called for mendhalang, where by the call has been provided all the equipment for the puppet show, both puppets and gamelan and penabuhnya.
Thelengan. How to make up part of the eye (see gabahan) for strong characters who have a variety of dance kambeng (see kambeng), such as Bima, Gathutkaca, Antareja and others.
Tembang. Song of Java.
Thetheg. Name of instrument, shaped like bedhug but smaller.
Bedding. The skin layer that is attached as membram stretch on menthak (see menthak).
Buckle. Pengecang dictionaries (see dictionaries) also serves as a decoration on Javanese dance. Buckle made of metal, usually given a jewel.
Tindhih. The person in charge in a gamelan gamelan performances at the Palace.
Titir. Continuous sound.
Tledhak-tledhuk. Gender play technique, in which the portrayal of gender melodies as if a little slow, but at the end of the fall of the temple of a song can just sounded good.
Tluntur. Form of songs, tembang, pieces that contain a sense of sadness.
Hood. (see flute).
Mashed barrel. Two sets of gamelan barreled slendro and pelog where there is one barrel of the same tone of voice tone and the tone slendro barrel on pelog. In general, at the same time that the tone barrel nem or five or two. For Surakarta gamelan in general much mashed nem barrel, while in Yogyakarta mashed barrel five or bem (see bem).
Mashed nem. Nem tone sequence contained in the tone of the gamelan slendro same barrel with the barrel of his voice tone nem on pelog gamelan.
Single sense. Type of wasp which kenong in separate places in the fall kenong titilaras, select or use a barrel kenong together with the barrel of his voice struck by balungan (see balungan), for instance balungan fell five votes on the barrel of the kenong also hitting a five tones.
Lotus. Such shaft is located at the bottom of the fiddle, serves as footwear, namely meteng form at the top of the smaller and middle dibagian bottom mencembung and shrink back, and there are flat spots as the base foundation of the fiddle.
Rebab cover. Tata finger on the fiddle playing technique. This cover is done by the left finger in such a way that emphasized the strings (string) fiddle.
Cover the flute. Finger technique in closing the hole to give the tone of the flute being played.
Speech. Hitting kenong inconsistent with balungan tone but the tone was played.
Speech. Hitting kenong not in accordance with tone on tone balungan but kempyung above.
Ukel pancat. Gender plays a technique has many variations and was already commonly used in agile ingah form (see ingah).
Measure relatives. Melaras gamelan (see Nglaras) just by relying on hearing the gamelan pelaras without gauges or tuning fork tone. The way this kind of gamelan melaras been done by the piece (pelaras builders and makers of gamelan) since the past until now.
Ulem. Term to refer to a soft voice, both for voice and sound of gamelan.
Ulihan. The last part of pedotan (see pedotan).
Umbaran. Rub fiddle with fingerless left hand, point to see if the barrel of the second string has been matched with the desired tone. For example for slendro barrel with two tone and nem (nem Ian ro).
Ura-ura. (see nembang).
Uran-uran. Ura-ura is accompanied by a gamelan instruments (see the gamelan, and ura-ura), namely gender, xylophone, kenong, kempul, gongs, and kendhang. Uran-Uran sometimes referred to rambangan.
Uyon-uyon. Cultural or serving pieces-pieces (see piece) of Java.
Waditra. Gamelan (see gamelan).
Waranggana or sinden. (see pesindhen).
Watangan. Part of the instrument to fiddle the handle, located above menthak (see menthak). This Watangan round, small on top and the bottom mencembung.
Puppet. Meaning wide performing arts, both displayed with the dolls and hosted by humans, such as wayang kulit, wayang puppet, wayang wong, and also a white puppet. 1 is the strict sense of the leather puppets in wayang kulit performances, 2. dancer in the dance dramas of Java lyrical prose dialogue called wayang wong.
Wayuh. Mashed together with the barrel (see mashed barrel), the term for the area of Yogyakarta.
Wayuh Jangga. Same with wayuh nem (see wayuh nem), only the barrel of the same here is the tone of his voice jangga two. The term for the area of Yogyakarta.
Wayuh nem. Same with mashed nem (see mashed nem), the term for the area of Yogyakarta.
Wengku. Small split bamboo for about half of the little finger, round and flat. While the size of this sphere depends on wengku size tebokan.
Widheng. 1. Such a curved scratches around the base pencu (see pencu). Generally, the use pencu basic widheng have long made the gamelan. According to some uses of the instrument maker is in addition to the form widheng be better pencu also added his voice clear; 2. godheg makeup added to the decoration or picture niches like ukel, or as a curved branches.
Wilahan. Blade of gamelan.
Wilambitalaya. Slow tempo.
Wiled. Composition of the rhythmic and melodic tunes in the processing of twisted (see crooked).
Wirama Dados. Same as Wirama kalih (see Wirama kalih). The term for the area of Yogyakarta.
Wirama stretchy. Same as Wirama wiled (see Wirama wiled). The term is commonly used among drummers in the area of Yogyakarta.
Papat Wirama. Same as Wirama wiled rangkep (see Wirama wiled rangkep).
Wirama telu. Same as Wirama wiled (see Wirama wiled).
Wiled Wirama. A form of rhythm in which a blow demung, saron howl can be hit with a punch 8 times.
Wiraswara. (see kanca Gerong).
Wiyaga. (see musicians).
Wiyaga. People are working as wayang. Term Yogyakarta area.
Wudahar. Played loud or cresscendo.
Wudelan. The lower section of the keys saron the consequences of making melted off to the nail (see nail). Wudelan usually found on the ancient gamelan, as way of making a hole at a time is not the road but the road drilled heated (cast).
Yaga. People who work as wayang. This term is commonly used in the Jogjakarta area.
Remaca Kandha. The term for dhalang (see dhalang) in wayang wong performances, which appeared in the days of Hamengku Buwana VI. Also called pemaos kandha or reader before the story on the show.
Nggrudha. Encot ngeceng also called the basic motion pattern for the daughter of dance styles of Yogyakarta. This basic movement pattern shaped forearm bending forward symmetrical with a low level like the wings of a bird Garuda, and accompanied by encot footwork. Symmetrical pattern of arm done with a bit tensed (ngeceng) and the position of the legs and feet are covered with feminine characteristics suggest that not much embarrassed. When will distinguish between a gentle woman with a rather dynamic way to use expressions and face branyak (look ahead).
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