Pelog - Revision history

FloraC at 18:13, 27 December 2025

2025-12-27T18:13:39Z

← Older revision		Revision as of 18:13, 27 December 2025
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	== Javanese gamelan ==		== Javanese gamelan ==

	In Javanese gamelan, the tones of Pelog are numbered 1 through 7 (traditionally associated with body parts: 1 = head, 2 = neck, 3 = chest, 4 = groin, 5 = knees, 6 = feet, 7 = hands). The exact tuning varies considerably between gamelan, but it is not uncommon for the pairs 1-5, 2-6, and 3-7 to be approximated by [[3/2]].		In Javanese gamelan, the tones of Pelog are numbered 1 through 7 (traditionally associated with body parts: 1 = head, 2 = neck, 3 = chest, 4 = groin, 5 = knees, 6 = feet, 7 = hands). The exact tuning varies considerably between gamelan, but it is not uncommon for the pairs 1-5, 2-6, and 3-7 to be approximated by [[3/2]].

	Traditionally, there are three ''pathet'', or modes, of Pelog. ''Pelog nem'' (or ''pathet nem'') uses the tones {{dash\|1, 2, 3, 5, 6\|d=med}} with an emphasis on either ~~6–2~~ or ~~5–1~~ depending on the piece (technically, depending whether the piece is emulating [[Slendro]] manyuro or Slendro songo). ''Pelog barang'' uses {{dash\|2, 3, 5, 6, 7\|d=med}}, usually emphasizing 6+2 or 3+7. ''Pelog lima'' is a sort of "odds and ends" for uses of the {{dash\|1, 2, 3, 5, 6\|d=med}} scale that don't really fit into anywhere else. Definitions are somewhat fuzzy and may vary by gamelan master. The 4 tone is not often encountered, and some elaborating instruments lack the tone entirely.		Traditionally, there are three ''pathet'', or modes, of Pelog. ''Pelog nem'' (or ''pathet nem'') uses the tones {{dash\|1, 2, 3, 5, 6\|d=med}} with an emphasis on either 6–2 or 5–1 depending on the piece (technically, depending whether the piece is emulating [[Slendro]] manyuro or Slendro songo). ''Pelog barang'' uses {{dash\|2, 3, 5, 6, 7\|d=med}}, usually emphasizing 6+2 or 3+7. ''Pelog lima'' is a sort of "odds and ends" for uses of the {{dash\|1, 2, 3, 5, 6\|d=med}} scale that don't really fit into anywhere else. Definitions are somewhat fuzzy and may vary by gamelan master. The 4 tone is not often encountered, and some elaborating instruments lack the tone entirely.

	The [[2L 5s\|2L 5s (antidiatonic)]] scale of [[9edo]] approximates many pelog tunings in Javanese gamelan.<ref>[http://www.neuroscience-of-music.se/pelog_main.htm Braun, Martin. ''Gamelan Pelog Scale of Central Java''.]</ref> However, in practice pelog's intervals are slightly different throughout the scale, while 9edo supposes exactly two distinct interval sizes.		The [[2L 5s\|2L 5s (antidiatonic)]] scale of [[9edo]] approximates many pelog tunings in Javanese gamelan.<ref>[http://www.neuroscience-of-music.se/pelog_main.htm Braun, Martin. ''Gamelan Pelog Scale of Central Java''.]</ref> However, in practice pelog's intervals are slightly different throughout the scale, while 9edo supposes exactly two distinct interval sizes.
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	== References ==		== References ==
	<references />		<references/>


	{{~~todo~~\|inline=1\|expand\|research\|~~Cultural~~ expertise}}		{{Todo\|inline=1\|expand\|research\|cultural expertise}}
	[[Category:Pelog\| ]] <!-- Main article -->		[[Category:Pelog\| ]] <!-- Main article -->

BudjarnLambeth at 23:24, 10 August 2025

2025-08-10T23:24:56Z

← Older revision		Revision as of 23:24, 10 August 2025
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	{{todo\|inline=1\|expand\|research\|~~cultural~~ expertise}}		{{todo\|inline=1\|expand\|research\|Cultural expertise}}
	[[Category:Pelog\| ]] <!-- Main article -->		[[Category:Pelog\| ]] <!-- Main article -->

BudjarnLambeth: {{todo|Cultural expertise}}

2025-08-10T23:24:44Z

← Older revision		Revision as of 23:24, 10 August 2025
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	{{todo\|inline=1\|expand\|research}}		{{todo\|inline=1\|expand\|research\|cultural expertise}}
	[[Category:Pelog\| ]] <!-- Main article -->		[[Category:Pelog\| ]] <!-- Main article -->

Sintel: wording (see talk page)

2025-04-18T10:19:54Z

wording (see talk page)

← Older revision		Revision as of 10:19, 18 April 2025
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	Traditionally, there are three ''pathet'', or modes, of Pelog. ''Pelog nem'' (or ''pathet nem'') uses the tones {{dash\|1, 2, 3, 5, 6\|d=med}} with an emphasis on either 6–2 or 5–1 depending on the piece (technically, depending whether the piece is emulating [[Slendro]] manyuro or Slendro songo). ''Pelog barang'' uses {{dash\|2, 3, 5, 6, 7\|d=med}}, usually emphasizing 6+2 or 3+7. ''Pelog lima'' is a sort of "odds and ends" for uses of the {{dash\|1, 2, 3, 5, 6\|d=med}} scale that don't really fit into anywhere else. Definitions are somewhat fuzzy and may vary by gamelan master. The 4 tone is not often encountered, and some elaborating instruments lack the tone entirely.		Traditionally, there are three ''pathet'', or modes, of Pelog. ''Pelog nem'' (or ''pathet nem'') uses the tones {{dash\|1, 2, 3, 5, 6\|d=med}} with an emphasis on either 6–2 or 5–1 depending on the piece (technically, depending whether the piece is emulating [[Slendro]] manyuro or Slendro songo). ''Pelog barang'' uses {{dash\|2, 3, 5, 6, 7\|d=med}}, usually emphasizing 6+2 or 3+7. ''Pelog lima'' is a sort of "odds and ends" for uses of the {{dash\|1, 2, 3, 5, 6\|d=med}} scale that don't really fit into anywhere else. Definitions are somewhat fuzzy and may vary by gamelan master. The 4 tone is not often encountered, and some elaborating instruments lack the tone entirely.

	The [[2L 5s\|2L 5s (antidiatonic)]] scale of [[9edo]] approximates many pelog tunings in Javanese gamelan ~~in a statistically significant manner~~.<ref>[http://www.neuroscience-of-music.se/pelog_main.htm Braun, Martin. ''Gamelan Pelog Scale of Central Java''.]</ref> However, in practice pelog's intervals are slightly different throughout the scale, while 9edo supposes exactly two distinct interval sizes.		The [[2L 5s\|2L 5s (antidiatonic)]] scale of [[9edo]] approximates many pelog tunings in Javanese gamelan.<ref>[http://www.neuroscience-of-music.se/pelog_main.htm Braun, Martin. ''Gamelan Pelog Scale of Central Java''.]</ref> However, in practice pelog's intervals are slightly different throughout the scale, while 9edo supposes exactly two distinct interval sizes.

	== Music ==		== Music ==

BudjarnLambeth: Update todo

2024-12-21T07:03:38Z

Update todo

← Older revision		Revision as of 07:03, 21 December 2024
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	<references />		<references />


			{{todo\|inline=1\|expand\|research}}
	[[Category:Pelog\| ]] <!-- Main article -->		[[Category:Pelog\| ]] <!-- Main article -->

	~~{{todo\|inline=1\|expand}}~~

BudjarnLambeth: /* See also */

2024-11-06T12:37:19Z

BudjarnLambeth at 12:21, 6 November 2024

2024-11-06T12:21:12Z

← Older revision		Revision as of 12:21, 6 November 2024
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	{{Wikipedia\|Pelog}}		{{Wikipedia\|Pelog}}

	'''Pelog''' refers to 7-note [[tuning]]s used in Indonesian gamelan music. There is no one definitive pelog scale, as there is considerable variation between gamelan, and especially between different regions (in particular Java, Bali, and Sunda). The other major traditional Indonesian tuning is [[slendro]], which has 5 tones.		'''Pelog''' refers to 7-note [[tuning]]s used in [[Indonesian]] gamelan music. There is no one definitive pelog scale, as there is considerable variation between gamelan, and especially between different regions (in particular Java, Bali, and Sunda). The other major traditional Indonesian tuning is [[slendro]], which has 5 tones.

	It provides an octave-repeating heptatonic [[scale]], although [[stretched and compressed tuning\|octaves are usually stretched]] to account for the high inharmonicity inherent to gamelans and (in Bali) to produce complex beating patterns known as ''ombak''.<ref>Sethares, W. A., & Vitale, W. (2020). ''Ombak'' and octave stretching in Balinese gamelan. Journal of Mathematics and Music, 16(1), 1–17. https://doi.org/10.1080/17459737.2020.1812128</ref>		It provides an octave-repeating heptatonic [[scale]], although [[stretched and compressed tuning\|octaves are usually stretched]] to account for the high inharmonicity inherent to gamelans and (in Bali) to produce complex beating patterns known as ''ombak''.<ref>Sethares, W. A., & Vitale, W. (2020). ''Ombak'' and octave stretching in Balinese gamelan. Journal of Mathematics and Music, 16(1), 1–17. https://doi.org/10.1080/17459737.2020.1812128</ref>

FloraC: 2L 5s / antidiatonic is clear enough; no need to specify the steps (if we do we should use "sLLsLLL" instead of "HWWHWWW"). Antidiatonic is saliently un-Western with no claim of explaining the origin of pelog so the question of origin can go. Being tuned by ear isn't a distinctive feature as 9edo can also be tuned by ear with imprecision.

2024-07-04T04:52:22Z

2L 5s / antidiatonic is clear enough; no need to specify the steps (if we do we should use "sLLsLLL" instead of "HWWHWWW"). Antidiatonic is saliently un-Western with no claim of explaining the origin of pelog so the question of origin can go. Being tuned by ear isn't a distinctive feature as 9edo can also be tuned by ear with imprecision.

← Older revision		Revision as of 04:52, 4 July 2024
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	Traditionally, there are three ''pathet'', or modes, of Pelog. ''Pelog nem'' (or ''pathet nem'') uses the tones {{dash\|1, 2, 3, 5, 6\|d=med}} with an emphasis on either 6–2 or 5–1 depending on the piece (technically, depending whether the piece is emulating [[Slendro]] manyuro or Slendro songo). ''Pelog barang'' uses {{dash\|2, 3, 5, 6, 7\|d=med}}, usually emphasizing 6+2 or 3+7. ''Pelog lima'' is a sort of "odds and ends" for uses of the {{dash\|1, 2, 3, 5, 6\|d=med}} scale that don't really fit into anywhere else. Definitions are somewhat fuzzy and may vary by gamelan master. The 4 tone is not often encountered, and some elaborating instruments lack the tone entirely.		Traditionally, there are three ''pathet'', or modes, of Pelog. ''Pelog nem'' (or ''pathet nem'') uses the tones {{dash\|1, 2, 3, 5, 6\|d=med}} with an emphasis on either 6–2 or 5–1 depending on the piece (technically, depending whether the piece is emulating [[Slendro]] manyuro or Slendro songo). ''Pelog barang'' uses {{dash\|2, 3, 5, 6, 7\|d=med}}, usually emphasizing 6+2 or 3+7. ''Pelog lima'' is a sort of "odds and ends" for uses of the {{dash\|1, 2, 3, 5, 6\|d=med}} scale that don't really fit into anywhere else. Definitions are somewhat fuzzy and may vary by gamelan master. The 4 tone is not often encountered, and some elaborating instruments lack the tone entirely.

	~~A few studies have found that the~~ [[9edo]] ~~scale with steps {{dash\|Half, Half, Whole, Half, Half, Half, Whole\|s=\|d=med}}~~ approximates many pelog tunings in Javanese gamelan in a statistically significant manner.<ref>http://www.neuroscience-of-music.se/pelog_main.htm</ref> ~~(In [[MOS]] jargon~~, ~~this is~~ the ~~[[2L 5s]]~~ scale~~.) But keep in mind that this is an approximation~~, ~~and it is difficult to say whether it explains the origin of pelog, which is traditionally tuned by ear~~.		The [[2L 5s\|2L 5s (antidiatonic)]] scale of [[9edo]] approximates many pelog tunings in Javanese gamelan in a statistically significant manner.<ref>[http://www.neuroscience-of-music.se/pelog_main.htm Braun, Martin. ''Gamelan Pelog Scale of Central Java''.]</ref> However, in practice pelog's intervals are slightly different throughout the scale, while 9edo supposes exactly two distinct interval sizes.

	== Music ==		== Music ==

A at 20:23, 3 July 2024

2024-07-03T20:23:50Z

← Older revision		Revision as of 20:23, 3 July 2024
Line 1:		Line 1:
	{{Wikipedia\|Pelog}}		{{Wikipedia\|Pelog}}

	'''Pelog''' refers to 7-note [[tuning]]s used in Indonesian gamelan music. There is no one definitive pelog scale, as there is considerable variation between gamelan, and especially between different regions (in particular Java, Bali, and Sunda).		'''Pelog''' refers to 7-note [[tuning]]s used in Indonesian gamelan music. There is no one definitive pelog scale, as there is considerable variation between gamelan, and especially between different regions (in particular Java, Bali, and Sunda). The other major traditional Indonesian tuning is [[slendro]], which has 5 tones.

	It provides an octave-repeating heptatonic [[scale]], although [[stretched and compressed tuning\|octaves are usually stretched]] to account for the high inharmonicity inherent to gamelans and (in Bali) to produce complex beating patterns known as ''ombak''.<ref>Sethares, W. A., & Vitale, W. (2020). ''Ombak'' and octave stretching in Balinese gamelan. Journal of Mathematics and Music, 16(1), 1–17. https://doi.org/10.1080/17459737.2020.1812128</ref>		It provides an octave-repeating heptatonic [[scale]], although [[stretched and compressed tuning\|octaves are usually stretched]] to account for the high inharmonicity inherent to gamelans and (in Bali) to produce complex beating patterns known as ''ombak''.<ref>Sethares, W. A., & Vitale, W. (2020). ''Ombak'' and octave stretching in Balinese gamelan. Journal of Mathematics and Music, 16(1), 1–17. https://doi.org/10.1080/17459737.2020.1812128</ref>

A: revise paragraph on 9edo approximation -- we can talk about non-Western tunings without comparing them to tangential Western ones

2024-07-03T20:17:25Z

revise paragraph on 9edo approximation -- we can talk about non-Western tunings without comparing them to tangential Western ones

← Older revision		Revision as of 20:17, 3 July 2024
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	Traditionally, there are three ''pathet'', or modes, of Pelog. ''Pelog nem'' (or ''pathet nem'') uses the tones {{dash\|1, 2, 3, 5, 6\|d=med}} with an emphasis on either 6–2 or 5–1 depending on the piece (technically, depending whether the piece is emulating [[Slendro]] manyuro or Slendro songo). ''Pelog barang'' uses {{dash\|2, 3, 5, 6, 7\|d=med}}, usually emphasizing 6+2 or 3+7. ''Pelog lima'' is a sort of "odds and ends" for uses of the {{dash\|1, 2, 3, 5, 6\|d=med}} scale that don't really fit into anywhere else. Definitions are somewhat fuzzy and may vary by gamelan master. The 4 tone is not often encountered, and some elaborating instruments lack the tone entirely.		Traditionally, there are three ''pathet'', or modes, of Pelog. ''Pelog nem'' (or ''pathet nem'') uses the tones {{dash\|1, 2, 3, 5, 6\|d=med}} with an emphasis on either 6–2 or 5–1 depending on the piece (technically, depending whether the piece is emulating [[Slendro]] manyuro or Slendro songo). ''Pelog barang'' uses {{dash\|2, 3, 5, 6, 7\|d=med}}, usually emphasizing 6+2 or 3+7. ''Pelog lima'' is a sort of "odds and ends" for uses of the {{dash\|1, 2, 3, 5, 6\|d=med}} scale that don't really fit into anywhere else. Definitions are somewhat fuzzy and may vary by gamelan master. The 4 tone is not often encountered, and some elaborating instruments lack the tone entirely.

	~~Javanese Pelog tunings are well-approximated by~~ the ~~seven note "antidiatonic" ([[2L 5s]]) scale of~~ [[9edo]]~~. This is essentially an inverted version of the [[12edo]]'s [[5L 2s\|diatonic~~ scale~~]], where the~~ steps ~~are~~ {{dash\|Half, Half, Whole, Half, Half, Half, Whole\|s=\|d=med}} ~~instead~~ of ~~{{dash\|Whole~~, ~~Whole, Half, Whole, Whole, Whole, Half\|s=\|d=med}}~~. ~~However~~, ~~in practice Pelog's exact intervals are slightly different throughout~~ the ~~scale~~, ~~while 9edo supposes exactly two distinct interval sizes~~.		A few studies have found that the [[9edo]] scale with steps {{dash\|Half, Half, Whole, Half, Half, Half, Whole\|s=\|d=med}} approximates many pelog tunings in Javanese gamelan in a statistically significant manner.<ref>http://www.neuroscience-of-music.se/pelog_main.htm</ref> (In [[MOS]] jargon, this is the [[2L 5s]] scale.) But keep in mind that this is an approximation, and it is difficult to say whether it explains the origin of pelog, which is traditionally tuned by ear.

	== Music ==		== Music ==

← Older revision		Revision as of 12:37, 6 November 2024
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	== See also ==		== See also ==
	* [[Slendro]]		* [[Slendro]]
			* [http://www.neuroscience-of-music.se/pelog_main.htm Neuroscience of Music: Pelog]

	== References ==		== References ==