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Topic: Kotekan

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	KOTEKAN STRUCTURE BALI MUSIC
		One of the primary characteristics of kotekan structure is the tendency to fill out all of the smallest units, or subdivisions, of the beat.
		Perhaps the simplest kind of kotekan structurally - though one of the most difficult to play because it usually appears at the fastest tempos - is one the Balinese call nyog cag.
		Kotekan may well have evolved out of the desire to play this figuration at faster and faster tempos, until a single player could no longer execute all of the notes.
	www.balivision.com /Article_Resources/Kotekanstruktur.asp (1367 words)

	KOTEKAN TELU BALI MUSIC
		In this case the pokok, itself a simple alternation between tones, is met on every beat by the kotekan - on the primary downbeats by the polos part, and on the secondary beats by the sangsih.
		More important, however, in understanding kotekan structure is the composition of each of the parts on a molecular level.
		In such cases the kotekan may be an inversion of one in which the pokok is on the low tone; this can be seen by comparing figures 8 and 10.
	www.balivision.com /Article_Resources/Kotekantelu.asp (1635 words)

	MTO 6.2: Tenzer, Theory and Analysis of Melody in Balinese Gamelan
		The style of the kotekan is an important aspect of the character of the composition as a whole.
		In each case, the kotekan is correlated with the source gamelan style on which it is based, adding to the associative richness of the music.
		In order to move, the kotekan substitutes one two-beat unit of a different contour--that shown in Example 4B--and then returns to either the original contour or a closely related variant at the new pitch level.
	www.societymusictheory.org /mto/issues/mto.00.6.2/mto.6.2.tenzer.html (5723 words)

	lacoste polos for sale (Site not responding. Last check: 2007-10-13)
		One of the composite kotekan are usually played on the higher-pitched gangsa and reyong as embellishment to the intended article.
		In kotekan there are two independent parts called polos and sangsih share a set of three pitches telu means three in Balinese.
		Since the kotekan patterns are either three notes telu or three sounds the empat has two solo However, the sangsih part is the exact same pattern played four or eight times faster than the pokok.
	ten.automaxcorp.org /lacoste-polos-for-sale.htm (931 words)

	NOTATION FOR GAMELAN BALI (Site not responding. Last check: 2007-10-13)
		The pengisep is assigned the polos (roughly the on-beat part of the kotekan pattern) part in the kotekan and the pengumbang is assigned the sangsih (roughly the off-beat part of the kotekan pattern) part of the kotekan.
		The kotekan is also a part of the characteristic sound of Gong Kebyar.
		The use of kotekan techniques also implies the physical arrangement of the instruments to coordinate the interlocking.
	www.cba.hawaii.edu /remus/gamelan/balinota.htm (626 words)

	Zack's Indonesia Bali pages a192
		Because of these irregularities, it will be difficult to grasp the kotekan parts unless the four subdivisions of the beat are clearly demarcated in your mind's ear.
		Notice further that the kotekan tones that coincide with the, kempli are in all cases the same as the ugal part at those points.
		It might therefore be said that the ugal tune is 'imbedded' in the kotekan, with the rest of the notes acting as decoration.The Hindu-Dharma religion is much dependent upon dances much as a ceremonial medium in its religious ceremonies and there are even dances which have the sole function of being offerings to God.
	www.indonesia-bali.com /bali-indonesia-2/indonesia-bali-aa192.htm (548 words)

	KOTEKAN FOR GAMELAN BALI (Site not responding. Last check: 2007-10-13)
		This could be simple like playing between each other's strokes but generally refers to syncopated patterns where the pattern includes pulses where only one instrument plays and pulses where the pair play harmonious tones (e.g., approximating a western fifth); collectively the instruments usually provide a continuous stream of sound.
		In many kotekan the polos coincides with important structural points like the point at which the gong is struck.The leadership for the parts is provided by the lanang (for polos) and wadon (for sangsih) drums.
		This kotekan cannot be played on the reyong since it require the simultaneous striking of notes.
	www.cba.hawaii.edu /remus/gamelan/balikote.htm (864 words)

	Lesson 33: Southeast Asia 2
		Kotekan, which means "interlocking," is a method whereby metallophones ploy notes that interlock with each other.
		In Bali, however, each musician who plays reyong kotekan performs several gongs of the reyong at a time, which must interlock with a neighboring musician who plays another group of several gongs in the same set.
		The reason for kotekan among both the reyong and the gender players is to make possible the performance of fast melodies without great effort.
	muh2051-04.fa04.fsu.edu /students/lessons/33/33.html (3015 words)

	Bali.go.id - (Site not responding. Last check: 2007-10-13)
		This quirk of nature has been exploited by local musicians with the creation of the gamelan jegog, so named for the remarkable jegogan that is the sonic core of the ensemble.
		One of the most striking features of Balinese gamelan music - especially the modern gong kebyar orchestra - is kotekan, the rapid interlocking figuration that permeates nearly all kebyar compositions.
		With kotekan empat, the possibilities for combining polos and sangsih part into intricate figurations again expand dramatically.
	bali.go.id /Aboutbali/index_e.asp?idList=422&nCat=Balinese+Music&... (431 words)

	Sikote (Site not responding. Last check: 2007-10-13)
		Kotekan is melodic ornamentation in which 2 voices are braided together in interlocking patterns.
		Other than that, there is no relationship to gamelan music except for the fact that I have been influenced by its mood and quality of expression.
		For us, many intricate kotekan patterns, typical for gamelan, would be considered completely unplayable at the tempos that Balinese musicians are used to.
	www.notam02.no /~rob/Sikote.html (522 words)

	Kotekan (E)
		These were based on techniques like canon, interlocking (a pattern or melody is divided amongst various parts) and kecak (the Balinese Hindu-legend monkey dance, with dazzling vocal interlocking).
		Kotekan (= a Balinese interlocking technique) has been created as a sequel to these three short studies.
		Kotekan involves some contemporary flute techniques like wind tones, harmonics, and bamboo tones as well as a non-western approach concerning ensemble playing.
	www.wiloffermans.com /pages/books/kot.html (229 words)

	Javanese Music in Suriname
		Traditional Javanese music in Suriname is gamelan music, which is commonly used to accompany dances, songs and scenes.
		Other types of music are the kotekan, kelingbang, terbangan, krontyong, angklung, kulintan and arumba.
		Gamelan music is common in Javanese cultural activities, whilst the kotekan and kelingbang are unknown under the younger genereration.
	www.angelfire.com /stars3/amatali/MusicJav.html (332 words)

	The balinese Gamelan Gong Kebyar
		Each instrument is assigned a specific row and each box marks a regular unit of time.
		The two interlocking parts, sangsih and polos (kotekan), are written on separate rows.
		The gong tone is regarded as the final of melody and is placed at the end rather than the beginning of the cycle.
	web.hku.hk /~gamelano/notation.htm (217 words)

	What is tingklik? (Site not responding. Last check: 2007-10-13)
		A tingklik is played using a difficult two-handed technique, usually with two beaters, by bouncing on the keys.
		The left hand holds the melody while the right plays complex patterns called kotekan to fill out the sound.
		If there are two players the right hand and occasionally the left play different parts to create a bubbling chatter of bamboo brilliance.
	www.baliadvertiser.biz /articles/kulturekids/2004/2tingklik.html (291 words)

	A response to Janette Tilley's Eternal Recurrence: Aspects of Melody in the Orchestral Music of Claude Vivier (Site not responding. Last check: 2007-10-13)
		I especially agree with her point that a two-part canon, as based on the first "limb" of the melody in the second section of Orion, is a good example of kotekan.
		The simultaneous statement of up to three motivic "limbs" is another example of kotekan, elegantly analysed through one passage of Orion at rehearsal number five.
		The simultaneous statement of various motivic "limbs" is nonetheless an important kotekan feature for Vivier, and Tilley's reference and analysis is indeed insightful.
	www.discourses.ca /v2n2a2.html (632 words)

	Gamelan Sekar Jaya (Site not responding. Last check: 2007-10-13)
		While to many outsiders the slendro-derived tuning of the gamelan produces a mood of playfulness and charm, to the Balinese it is sentimental, bittersweet, and an indispensable component of the atmosphere at any meaningful ceremony.
		A modern Balinese gamelan angklung comprises 8-12 4-keyed metallophones used for melody or kotekan, a reyong of 8 pots, 2 jegogans, a small kempur, 2 tiny drums, cengceng, suling and a kind of kempli called tawa-tawa.
		Yet as a rule angklung music is full of supple melodies and inventive kotekans, which often breathe and flow in quite unexpected directions.
	www.gsj.org /gsj/index.cfm?fuseaction=Window.DisplayDescription&Entity=Description&EntityID=2 (487 words)

	Zack's Indonesia Bali pages a193
		Indeed, this is what is meant when the kotekan is referred to as ornamentation of the main melody.
		Today dances that used to be exclusively offerings to God, such as the Pendet Dance for example, can be shown as an ordinary performance, for instance on such occasions as welcoming guests of honour who visit Bali.
		The coincidence of the outer tones, however, produces accents which emerge from the running line of the kotekan each time they are sounded, creating the aural sensation of an independent and irregular level of rhythm protruding from the texture.
	www.indonesia-bali.com /bali-indonesia-2/indonesia-bali-aa193.htm (502 words)

	Skala-Niskala by Bill Alves (Site not responding. Last check: 2007-10-13)
		This dualism is represented everywhere in Balinese music -- the pairing of instruments, the existence of two tuning systems, the contrasting dynamics, fast/slow, exciting/refined, etc. It was with this very much in mind that I layered onto this tradition the contrast of the Western keyboard concerto.
		In particular, I have adapted some Balinese forms and techniques, such as the explosive, fantasia-like kebyar opening, the intricate interlocking kotekan polyrhythms, and the syncopated 5+3 ostinati.
		These are elements of the "seen" (or heard) world of Balinese music, which are no more important than their counterparts in the unseen world of the spirituality of music.
	www2.hmc.edu /~alves/gamelancto.html (168 words)

	Indonesian Music - Page 202 (Site not responding. Last check: 2007-10-13)
		The two drums play highly virtuosic interlocking rhythmic patterns intimately associated with different musical forms, while also providing important signals for the rest of the players in the gamelan, especially to coordinate frequent dramatic rhythmic breaks for pieces that accompany dance.
		The fixed melody, called pokok in Bali, is rendered by only two instruments in unison (the two calung), producing a slow-moving melody that is punctuated by the colotomic layer, controlled by the drum layer, and decorated by interlocking melodic variations (called kotekan) by the elaborating instruments.
		In Balinese gamelan music the vocal-tone layer does not sound pitches from outside the basic pelog tuning system, but is used for variety, contrast in timbre
	trumpet.sdsu.edu /M345/Indonesian_Music1n.html (212 words)

	Gamelan - Body
		Like a bell choir, each player is responsible for fitting his own his three or four gongs into a seamless musical flow.
		This technique of interlocking rhythms, which is also employed by the gangsa and by the orchestra as a whole, is called Kotekan.
		One might imagine, as an analogy, the text on this page being read by two narrators, one of whom pronouncing only the letters athrough m, and the other n through z, yet fitting those sounds together so perfectly that we hear them as one speaker.
	www.fredonia.edu /mayo/me250/gamelan/body.htm (1151 words)

	Gamelan Mitra Kusuma- Music (Site not responding. Last check: 2007-10-13)
		The introduction is made up of a series of short, fast parts tied together by improvised breaks on the ugal (lead metallophone).
		Several styles of kotekan (interlocking patterns) can be heard played by the gangsa (metallophones) and reyong (kettle gongs).
		The main body of the piece begins with a slow section during which the female dancer enters.
	www.dcgamelan.com /music.html (497 words)

	Gamelan Bamboo Bali - Hear Us (Site not responding. Last check: 2007-10-13)
		These two instruments add a subtle musical punctuation which marks the musical cycles and phrases.
		This third excerpt was chosen to highlight the complex interlocking patterns, called kotekan, which characterize Balinese music.
		Together the two grantang players create a seamless stream of notes which ripple over the music's surface.
	www.sftsunami.org /bamboobali/hear_us.shtml (272 words)

	MHSchool: McGraw-Hill Music 2005
		In the Balinese gamelan style called gong kebyar, the sound is quite different, with an emphasis on rapid, rippling pitches.
		To create the incredibly fast melodies, two players alternate every other note using a technique called kotekan.
		In Java, another function of the gamelan ensemble is to accompany the incredibly popular wayang kulit, or shadow plays.
	www.mhschool.com /music/2005/teacher/teachingideas/folk/indonesian/index.html (697 words)

	The Database of Recorded American Music (Site not responding. Last check: 2007-10-13)
		As the piece progresses, the guitars and gamelan try out various ways to use cycles and kotekan, viewing the same basic melodic materials from different angles.
		Only at the end do both groups find idioms appropriate to their respective instruments, as a repeating bass line unites the kotekan of the gamelan and the rock stylings of the guitars.
		The interlocking figuration here is unusual but not unheard-of in the Balinese context; it vaguely suggests the peculiar kotekan of gandrung, a now-rare bamboo ensemble.
	dlib.nyu.edu /dram/note.cgi?id=3275 (2985 words)

	Gamelan Galak Tika
		There are dozens of different types of gamelans in Bali, ranging from large metal orchestras to bamboo ensembles, vocal groups, and groups dedicated to the imitation of frog sounds.
		All the music is marked by the use of one of two non-tempered pentatonic scales - pelog or slendro - and by rhythmically precise interlocking parts known as kotekan.
		We play on two complete sets of instruments, both custom-built to our specifications by Balinese master smiths.
	www.galaktika.org /aboutgt.shtml (598 words)

	Gamelan Pacifica / cdRoots-cdFronds
		Traditional gamelan interlocking rhythmic techniques, such as imbal and kotekan, are employed in unusual ways.
		A digital signal processor is used to harmonize the suling (bamboo flute).
		Several permutations of kotekan are juxtaposed and, by varying orchestration, the role of the kotekan is shifted from a decorative filigree to a central, structural melody.
	www.cdroots.com /cdr-06.html (1100 words)

	Arts Education 10, 20, 30 - Model Module: Music (Lesson Eight)
		Using resources such as World Music or Music: Its Role and Importance in our Lives, play examples of traditional music of the world's cultures.
		For example, explore the interlocking, syncopated rhythms of Balinese music called kotekan (ko-TEH-kahn).
		Use a process such as "Responding to Arts Expressions".
	www.sasked.gov.sk.ca /docs/artsed/g10arts_ed/g10mu5ae.html (287 words)

	Re: Can Musicians practice with hearing protectors? (latency) - (Rodney Berry )
		The same point can > be made for musical styles.
		For example, Balinese gamelan music employs a > technique called kotekan, where a very fast 16th-note melody is divided into > two syncopated interlocking parts, played by two groups of musicians.
		Very > precise timing is required to ensure that the two parts join seamlessly to > create the fast melody.
	www.auditory.org /postings/2002/383.html (635 words)

	Westmusic - Music in Bali
		Pangecet (final) section of "Jaya Semara", alternating between 2 types of gangsa interlocking
		Same kotekan as in track 21, played at a faster tempo
		Expansion and contraction of a kotekan empat (4) pattern
	www.westmusic.com /ProductDetails.aspx?id=72&prodid=815596 (453 words)

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