A further ascetic element is that dhalangs never eat during the performance, although almost all drink sweet tea and many also smoke heavily. Such practices are felt to be essential in building up the stamina to perform for nine hours at a stretch. This included meditation and a form of ascetic exercise known as kungkum, in which meditation is carried out naked at night while immersed up to the neck in water. Much of the traditional training of dhalangs was in the form of a practical apprenticeship, with a certain amount of spiritual training thrown in. The social aspects of the dalang caste are covered by Victoria Clara van Groenendael's book "The dalang behind the wayang" (Dordrecht, 1985) He would also frequently end up marrying his master's daughter, who would have been trained as a gendér player by her mother. His role included helping to set up the screen ahead of a performance, performing the afternoon show before a main all-night wayang, and sometimes acting as an accompanying musician or as an assistant puppeteer. The sons of dalangs were often apprenticed out around the age of 13 to another dhalang. The women of these families traditionally were expert players of the gendér, an instrument which has a particularly important role in accompanying wayang performances. The art of puppetry (pedhalangan) was traditionally handed down within families, and dalangs formed a type of informal caste within Javanese society. This is done principally by playing the kepyak, a metal plate or set of plates played with his foot, or by rapping on the puppet chest (kotak) with a wooden mallet held in the left hand. In addition to moving the puppets and speaking their lines, the dalang is also responsible for giving cues to the gamelan. To his left is the puppet chest (kotak), and to his right is the puppet chest's lid, on which the puppets sit ready for use. In front of the dhalang is a stage (debog), traditionally made from the trunk of a banana tree, into which the sharpened control rods of the puppets can be pushed to keep them in position during the performance. Above his head, hanging from beams attached to the top of the screen, is the lamp (blencong), which projects the shadows onto the screen. In a performance of wayang kulit, the dalang sits behind a screen (kelir) made of white cotton stretched on a wooden frame. Piano Music D.The dhalang or dalang (Javanese: dhalang Indonesian and Malay: dalang) is the puppeteer in an Indonesian wayang performance. What kind of music is Symphonie Fantastique? A. What period of music refers to the cultural movement that stressed emotion, imagination, individualism, and freedom of expression? A. It portrays literature, history, emotional, and nature 9. It enriches the knowledge of the musician. Which of the following is a characteristic of a romantic music? A. Who among the following composers is regarded as the "Poet of the Piano"? A. It is an instrumental composition that conveys the images, or scenes, a story without text or lyrics. Which of the following is NOT a type of Program music? A. Forms are more expansive and is freely treated D. Music is related to other art form especially literature C. Composers had freedom in writing and designed an intensed personal expression of self-emotion B. Which of these is NOT a characteristic of the Romantic Period? A. Name the composer who bridged the Classical period to the Romantic Period. using folk songs, dances, legends from the composer's homeland to the compositions 3. M "Nationalism" mean in relation to music during the Romantic period/era? nation A. Frederic Chopin wrote most of his music for this instrument.
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