Pelog: Difference between revisions

(7 intermediate revisions by 4 users not shown)

Line 1:

'''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>

Line 11:

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.<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 ==

Line 18:

== See also ==

* [[Slendro]]

* [http://www.neuroscience-of-music.se/pelog_main.htm Neuroscience of Music: Pelog]

== References ==

[[Category:Pelog| ]]

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

@@ Line 1: / Line 1: @@
 {{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>
@@ Line 11: / Line 11: @@
 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&ndash;2 or 5&ndash;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.<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 ==
@@ Line 18: / Line 18: @@
 == See also ==
 * [[Slendro]]
+* [http://www.neuroscience-of-music.se/pelog_main.htm Neuroscience of Music: Pelog]
 == References ==
 <references />
+{{todo|inline=1|expand|research|Cultural expertise}}
 [[Category:Pelog| ]] <!-- Main article -->
-{{todo|inline=1|expand}}