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Unit Plan: Gamelan with Drum and Bass
TEACHER AUTHOR: Shane Morrow
Keywords: Asian, Gamelan, ‘Drum and Bass’, Percussion, Pentatonic
YEAR
10-11
LEVEL
5
Achievement Objectives Being
Assessed
Learning Outcomes
The Arts: Music
Developing Practical Knowledge in Music
Students will:
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The Arts: Music
Developing Ideas in Music
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The Arts: Music
Communicating and Interpreting in Music
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The Arts: Music
Understanding Music in Context
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DURATION
3 weeks
Create a pentatonic melody and play it back from
memory, using appropriate playing techniques and
available instruments. (PK, DI, CI)
Aurally learn a pentatonic melody and manipulate its
structure through using structural devices. (PK)
Identify, describe or analyse a range of gamelan music
through listening, describing, transcribing and
manipulating elements and structural devices using music
listened to as models. (PK, UC)
Play and improvise in groups with an awareness of
ensemble and musical expressiveness. (PK, DI, CI)
Rehearse and perform live music in gamelan style, and
evaluate the performance. (CI, UC)
Identify and compare the characteristics of different
musical styles and genres through viewing authentic
recorded performances. (UC)
Identify and describe a range of patterns, effects, sound
qualities and structural devices in traditional gamelan and
contemporised traditional music. (PK, UC)
Experiment with live and electronic sounds and musical
ideas and improvise with them to create extended
compositional material. (PK, DI)
Use appropriate instruments and technologies to create,
rehearse and perform an original gamelan melody with
sequenced drum and bass track to accompany it and
evaluate its effectiveness. (PK, DI, CI,)
Reflect on work in progress and improve compositions
because of feedback and feed-forward. (PK, DI)
Present, discuss and evaluate compositions using
appropriate vocabulary. (PK, DI)
AIMS
To explore the characteristic elements and features of traditional gamelan music and to create and perform an
original piece of music in a “contemporised” gamelan style with a sequenced drum and bass beat.
BACKGROUND INFORMATION FOR TEACHERS AND FOCUSING QUESTIONS
What is gamelan?
Gamelan is a grouping of mainly percussion instruments (metallophones, xylophones, gongs, cymbals,
drums), sometimes with flutes and string instruments and, occasionally, a vocalist. Large groups can have
more than 70 instruments and usually have a loud, full, ‘ringing’ sound.
What are the instruments of gamelan?
Gamelan sets are made up of differing numbers and groupings of instruments and can vary greatly in size
and range of timbres. Players do not own their own instrument; each specific group of instruments remains
together and each group is tuned slightly differently. There is no ‘standard set’ of instruments in gamelan but
generally there will be a collection of cymbals, drums, genders, large gongs and trompongs:
Gamelan
Description
Role of instrument
Close substitute found
in NZ classroom*
Cheng-cheng
(or Cengceng)
Small Balinese cymbals
Finger cymbals, bells,
cymbals
Gender
Middle-register metallophone with
thin metal strips suspended over
individual bamboo tubes which act
as resonators. It is hit with a metal
hammer.
Tuned instrument with up to seven
bronze bars suspended over a
hollow resonating box and played
with a small hammer. After it is
struck, each note is immediately
dampened by the thumb and
forefinger of the other hand. Comes
in four sizes and originates from
Indonesia
A set of small gongs set horizontally
in a single wooden frame which sits
on the ground. Originates from Java.
Provides rhythmic
interest and helps to
keep the beat
Provides melody
Provides melody
Metallophone
Embellishes the
melody (often plays
each melodic note
twice)
Provides melody (not
usually found in
Javanese ensemble)
Provides punctuation
or the beat and often
mark the ends of
sections
Glockenspiel
Saron
(Gangsa in
Bali)
Trompong
(Reong or
Bonang in
Bali)
Gambang
Wooden xylophone played with two
cloth-covered wooden beaters.
Large
suspended
Gongs
Up to a metre in diameter suspended vertically in wooden
frames and hit with large beaters
made of wood but with the tips
covered in soft fabric
Kendang
Drum shaped like a thin barrel with
Provides beat and
skins on both ends
rhythmic drive
* Suitable substitute sounds may also be available on electronic keyboards.
Metallophone, Alto
glockenspiel,
Vibraphone (with motor
off)
Xylophone
Gong (if available),
stamping tubes, timpani,
large ride cymbal
Floor Tom, conga,
bongo drum
Some gamelan, particularly Javanese, may also include some or all of the following:
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Suling - bamboo flutes
Rebab - two-string fiddle
Celempung - plucked zither with 26 strings
Voice
In West Java it is possible to see an Anklung Gamelan consisting of a collection of instruments made out of
two or more bamboo tubes, set in frame and tuned in octaves. Anklung rattle and sound a pitch when shaken.
Where does Gamelan come from?
Gamelan was originally developed in Indonesia, which is made up of a large number of islands including Bali
and Java. The islands of Indonesia each have a unique culture. There are regional variations in the sound and
make-up of gamelan:
 Gamelan from Bali is often fast and sounds bright and lively because it uses lots of metallic
percussion instruments with bronze bars.
 Gamelan from Java is often slow and sounds calm because it usually features more wooden, rather
than metal, percussion instruments. Javanese gamelan often includes bamboo flutes, string
instruments and, sometimes, a vocalist.
Gamelan is now spread throughout many parts of Asia including countries like Malaysia, Philippines, Thailand
and Vietnam. Just like all other types of music, gamelan continues to evolve, develop and change.
Today there are “arrangements” of folk melodies and even a few pieces of popular music available for
gamelan. Recently too there have been several groups who have combined traditional gamelan music with
electronica dance beats to create a ‘contemporarised’ form of gamelan.
How does Gamelan work?
Eastern music tends to be learned aurally - the melodies are either worked out communally or handed down
from one generation to the next from the hundreds of traditional themes, patterns and rhythms. They are then
memorised and can be ornamented or used as a basis for improvisation. The improvisation occurs in
rehearsal rather than spontaneously in performance.
The music is either not notated at all or not notated in the same way as western music. Sometimes you can
see a numerical system (similar to guitar tablature) which is used as a memory aid in rehearsal.
The texture is heterophonic: the simultaneous performance of a melody and a variant of the same melody.
What are the musical characteristics of Gamelan?
Gamelan sounds distinctly different to western music because:
 it uses different timbres
 doesn’t use major or minor scales
 the tuning system of the instruments is different to western equal temperament tuning
 it has a characteristic heterophonic texture
 it is based on ostinati and, therefore, sounds quite repetitive
Melody is the most important feature of gamelan. Melodies are generally based around pentatonic scales
called the slendro or around a seven-note (heptatonic) scale called the pelog:
 The slendro is approximately represented by the notes C D E G A
 The pelog is approximately represented by the notes C Db Eb F G Ab Bb
Gamelan does not use chordal or harmonic accompaniment for the melodies as each part usually plays a
version of the main melody, often at a different speed. Pentatonic scales have very limited harmonic
implications and this helps to avoid discords. The accompaniment is rhythmic. Rhythm is also provided by the
gongs and drums.
Tuning: The pitches of the notes are not evenly spaced like they are in western music. Each set of gamelan is
tuned differently so the individual instruments cannot move between groups. In addition to this, in Balinese
gamelan some of the instruments occur in “male” and “female” pairs and each member of the pair is tuned
slightly differently: the female slightly lower than the male.
Layering of Sound: Usually the melody is played first unaccompanied and unornamented by a single
instrument (e.g. the rompong) and then the other instruments join in. Each instrument has its own version of
the melodic ostinato pattern. This is what gives gamelan its characteristic heterophonic texture.
Ostinato: there is a main melody that is repeated throughout, usually in a middle part. It is then doubled and
decorated in an upper part. The large gongs often help to provide structure to the pieces by being used to
mark the beginnings and ends of cycles of phrases. The ostinati evolve and change in character and shape.
Dynamic Contrast: it is common to have sections of the music that are played loudly contrasting with
sections that are played softly. This provides variation in pieces built up from ostinati. These dynamic changes
are worked out communally in rehearsal. Dynamic contrast also enables individual timbres to come through
better.
How is it different to western traditional musical ensembles?
Gamelan
Each gamelan is named after the specific set of
instruments of the ensemble.
Western Ensembles
Western ensembles are usually named after the
town or city they are based in or after a key
performer in the ensemble.
While the players in the ensemble might change,
the instruments stay together as they are tuned as
a set and each set has slightly different tuning.
Gamelan music is learned aurally or developed
communally. Therefore, the music works flow and
evolve.
Nearly all western musicians ‘own’ their instrument
and take it with them when they change ensembles.
There is no distinction between amateur and
professional players – it is the communal, overall
sound which is important.
No formal lessons or private individual tuition is
provided. Players learn through rehearsing and
performing with the whole group and often move
around various instruments in the ensemble.
Western audiences often celebrate virtuoso
soloists.
The music is learned aurally and not usually
notated.
Music is often initially learned through printed sheet
music in a standardised form of notation.
Western music is normally written to established
‘plans’, structures or forms mostly by a single
composer.
Professional musicians usually have many years of
specialist individual training on a particular
instrument.
How does gamelan link to Asian social, historical and cultural contexts?
Gamelan is not usually performed in concert settings but is usually linked to some kind of social or cultural
event. Its use differs from place to place. Gamelan can be used to accompany dances, dramas and
ceremonies (e.g. weddings, funerals, coronations).
LEARNING SEQUENCE
Teaching and Learning Experiences
Ongoing Assessment Approaches
Create or transcribe a short, simple pentatonic (slendro)
melody - perhaps using the notes C D E G A
Students work in pairs or small groups
and compose a pentatonic melody that
they then play to the class.
(The students could do this in small groups and then the class
could select one or two to work on together.)
Use available classroom instruments (see suggestions above)
and divide the class into three groups. Aim to have a group of
higher-pitched instruments, a middle-pitched group and lowerpitched group.
Success Criteria:
I have created an effective, simple
melody that has direction using a
pentatonic scale.
Success Criteria:
I am able to reproduce the pentatonic
melody, in time, on my allocated
instrument.
In true gamelan fashion, teach each group a melody aurally:
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Middle instruments play the melody in its original form.
After an agreed number of repetitions this group needs
to smoothly, but obviously, slow the tempo of their last
repeat in order to signal to the other groups that the
piece is about to end.
High instruments play the melody at the original tempo
but repeat each note (i.e.: a single crotchet becomes a
pair of repeated quavers)
Low instruments play the melody in augmentation (half
speed)
Each group memorises and rehearses their part.
Bring the groups back so the whole class can play the
gamelan piece together. Arrange the players so they are near
others playing the same part. Warn the high and low parts that
they will need to listen for the slower tempo which will signal
the end of the piece. (It may help to ‘conduct’ the first time
through and then leave the students to listen in subsequent
performances. Remember though that conducting is not part of
the tradition)
 Start with the middle instruments and then add the
other parts.
 Add drum parts to reinforce the rhythm
 Evaluate the performance
Class discussion and evaluation:
Listen to and/or watch some recordings of authentic gamelan:
Teacher facilitates and monitors
feedback to brainstorm and focus
questions.
http://www.youtube.com/results?search_query=Gamelan
Brainstorm:
What countries / cultures have these kinds of instrumental
ensembles?
Students describe the use of elements and features (e.g.
timbre, texture, rhythm, style…) then answer focus questions
1. How is the piece we listened to similar to what we’ve
just played?
Success Criteria:
I performed my part accurately and in
time.
I could hear and understand how my
part fitted in to the overall sound.
2. What is different?
3. How can we adapt and refineour performance to make
it sound more like the recordings?
Rehearse and refine class piece and then perform and
evaluate again.
Class discussion and evaluation
Success Criteria:
I performed my part accurately and in
tim.
I could hear and understand how my part
contributes to the gamelan style
Provide background characteristics of gamelan (use
information from Background Information from Teachers
section and / or other resources)
Students complete table of instruments
of gamelan: picture, name and role
Provide students with a table similar to the one on page two of
this resource (perhaps with pictures of the instruments in the
first column) Have the students research the name, description
and role of the instruments and get them to identify which
instrument’s part they have been playing.
Play the students some examples of traditional music that has
been contemporised using sequenced rhythm parts
(e.g.: Music Rough Guide Asian Underground, CD - London
World Music Network, 2003)
Discuss the use of elements and features and how these might
be recreated using available instruments and technologies.
Group work – share findings and devise
peer evaluation criteria
e.g.
1. I found this presentation interesting
because…
2. The thing that surprised me was ….
3. This could have been improved if …
Working in groups of around six, students:
 Create an original gamelan melody (or refine one
created above in the first activity) based on a pelog or
slendro.
 Rehearse and audio record it (students will need
access to the recording for the next step)
Recording completed.
Each student* uses available technologies to ‘contemporise’
their group’s gamelan piece by creating an original sequenced
drum and bass backing which will be played alongside a live
performance of their group’s gamelan piece.
Peer Assessment of sequenced
backings:
* this may need to be done in groups or pairs depending on
time and equipment available
Students complete the following
statements:
 I think your sequenced
accompaniment is effective
because…
 Three strengths of it are…
 Suggestions I would make to improve
it are…
Students return to their groups and rehearse, refine, present
and evaluate their ‘contemporised gamelan’ pieces.
Summative assessment criteria below.
Summative Assessment
Students perform a gamelan melody in groups accompanied by an original sequenced drum and bass
accompaniment. (DI, CI)
Performance Assessment Criteria(Teacher):
Achievement
Presents contemporised gamelan
piece with original sequenced
drum and bass accompaniment.
Achievement with Merit
Presents contemporised gamelan
piece with effective original
sequenced drum and bass
accompaniment.
Achievement with Excellence
Presents contemporised gamelan
piece with convincing original
sequenced drum and bass
accompaniment.
Demonstrates appropriate
ensemble awareness and
presentation skills.
Demonstrates effective ensemble
awareness and presentation skills.
Confidently demonstrates
convincing ensemble awareness
and communication skills.
RESOURCES
Electronic / Web Resources
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http://www.youtube.com/results?search_query=Gamelan
http://www.musicmall-asia.com/malaysia/classical/gamelan.html
http://www.musicmall-asia.com/malaysia/instruments/index.html
http://en.wikipedia.org/wiki/Category:Gamelan
http://arts.unitec.ac.nz/resources/links/Uploaded+Music/
http://www.sonycreativesoftware.com/download/freestuff.asp
http://www.nytimes.com/learning/teachers/lessons/20010309friday.html
http://www.tki.org.nz/r/ict/software/
http://arts.unitec.ac.nz/resources/ict.php?discipline=Music
New Zealand Curriculum Exemplars
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The Arts Exemplars
http://www.tki.org.nz/r/assessment/exemplars/arts/index_e.php
Print
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Music: A Practical Teaching Guide - Hodge, Pollack, Dunbar-Hall, Science Press.
Aspects of Music - Hodge, Pollack, Dunbar-Hall, Science Press.
More Aspects of Music - Hodge, Pollack, Dunbar-Hall, Science Press.
Listening to Music – Schindler, Holt Rinehart and Winston.
Sound Matters - Bowman and Cole, Schott Educational Publications.
Aural Matters - Bowman and Cole, Schott Educational Publications.
In Tune With Music Book 1 - Dorricot and Allan, McGraw-Hill.
Heinemann GCSE Music – Phillips, Heinemann.
School / Community
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University of Canterbury / Christchurch Music Centre Gamelan
Victoria University Gamelan
Appropriate community groups
Possible Software
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Logic
Acid Xpress
Super Duper Music Looper
Shane Morrow (pictured concentrating hard and playing trompong) is Head of the the Arts Faculty at
Riccarton High School in Christchurch.
He spent three weeks Malaysia in July 2007 as a participant in the Asia:NZ AFS Educators’ Programme