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Musical percussion musical instrument

Gong

Ane of Javanese and Balinese mode gong for gamelan ensamble, hanging in a frame.
Classification	Metallophone

A gong drove in a gamelan ensemble of instruments – Indonesian Embassy Canberra

A gong ^{[note 1]} is a percussion instrument originating in Eastern asia and Southeast Asia. Gongs are a apartment, round metallic disc that is typically struck with a mallet. They can be small or big in size, and tuned or untuned.

The earliest mention of gongs tin be found in 6th century Chinese records, which mentioned the musical instrument to have come from the Western Regions (a region covering modern twenty-four hour period Tibet, Xinjiang, and Primal Asia). The term gong (Javanese: ꦒꦺꦴꦁ) originated in the Indonesian island of Java. Scientific and archaeological research has established that Burma, China, Java and Annam were the 4 main gong manufacturing centres of the ancient earth.^[1] The gong constitute its way into the Western World in the 18th century, when it was also used in the percussion section of a Western-style symphony orchestra.^{[ citation needed ]} A form of bronze cauldron gong known every bit a resting bong was widely used in ancient Greece and Rome: for instance in the famous Oracle of Dodona, where disc gongs were also used.^{[2] [3]}

Gongs broadly fall into ane of three types: Suspended gongs are more than or less flat, circular discs of metallic suspended vertically past means of a cord passed through holes nearly to the top rim. Bossed or nipple gongs have a raised heart boss, or knob, and are often suspended and played horizontally. Bowl gongs are basin-shaped and rest on cushions. The latter may be considered a member of the bell category. Gongs are fabricated mainly from bronze or brass but at that place are many other alloys in utilise.

Gongs produce two distinct types of sound. A gong with a substantially apartment surface vibrates in multiple modes, giving a "crash" rather than a tuned note. This category of gong is sometimes called a tam-tam to distinguish information technology from the bossed gongs that give a tuned annotation. In Indonesian gamelan ensembles, some bossed gongs are deliberately made to generate in addition a beat note in the range from about i to 5 Hz. The apply of the term "gong" for both these types of instrument is common.

Types [edit]

Suspended gongs are played with hammers and are of two main types: flat faced discs either with or without a turned edge, and gongs with a raised centre boss. In general, the larger the gong, the larger and softer the hammer. In Western symphonic music, the flat faced gongs are generally referred to as tam-tams to distinguish them from their bossed counterparts. Here, the term "gong" is reserved for the bossed type only. The gong has been a Chinese instrument for millennia. Its commencement employ may have been to signal peasant workers in from the fields, because some gongs are loud enough to exist heard from up to 5 miles (8 km) away.

Large flat gongs may exist 'primed' by lightly hitting them before the main stroke, greatly enhancing the audio and causing the instrument to "speak" sooner, with a shorter delay for the sound to "flower". Keeping this priming stroke inaudible calls for a corking deal of skill. The smallest suspended gongs are played with bamboo sticks or even western-fashion drumsticks. Contemporary and avant-garde music, where different sounds are sought, will ofttimes employ friction mallets (producing squeals and harmonics), bass bows (producing long tones and high overtones), and various striking implements (woods/plastic/metallic) to produce the desired tones.

Stone gongs are large stones struck with smaller stones to create a metallic resonating audio.

Traditional suspended gongs [edit]

Chau gong (tam-tam) [edit]

The familiar "Chinese" gong (a ten-inch (25 cm) chau gong)

By far the most familiar to almost Westerners is the chau gong or bullseye gong. Large chau gongs, called tam-tams ^[4] have go part of the symphony orchestra. Sometimes a chau gong is referred to as a Chinese gong, but in fact, it is just one of many types of suspended gongs that are associated with China. A chau gong is made of copper-based alloy, bronze, or contumely. It is almost flat except for the rim, which is turned up to make a shallow cylinder. On a 10-inch (25 cm) gong, for instance, the rim extends virtually 1⁄two inch (1 cm) perpendicular to the surface. The main surface is slightly concave when viewed from the management to which the rim is turned. The eye spot and rim of a chau gong are left coated on both sides with the black copper oxide that forms during industry; the rest is polished to remove this coating. Chau gongs range in size from 7 to 80 inches (18 to 203 cm) in bore.

History [edit]

The earliest Chau gong is from a tomb discovered at the Guixian site in the Guangxi Zhuang Autonomous Region of China. It dates from the early Western Han Dynasty. Gongs are depicted in Chinese visual art as of the 6th century CE,^[5] and were known for their very intense and spiritual drumming in rituals and tribal meetings.^[6] Traditionally, chau gongs were used to clear the manner for important officials and processions, much like a law siren today. Sometimes the number of strokes was used to betoken the seniority of the official. In this way, two officials meeting unexpectedly on the road would know before the meeting which of them should bow down before the other.

Use in symphony orchestras [edit]

The tam-tam was starting time introduced as an orchestral musical instrument by François-Joseph Gossec in 1790, and it was also taken up by Gaspare Spontini and Jean-François Le Sueur.^[7] Hector Berlioz deployed the instrument throughout his compositional career, and in his Treatise on Instrumentation he recommended its use "for scenes of mourning or for the dramatic depiction of extreme horror."^[seven] Other composers who adopted the tam-tam in the opera business firm included Gioachino Rossini, Vincenzo Bellini, and Richard Wagner;^[viii] Rossini in the final of human action 3 of Armida (1817),^[9] Bellini in Norma (1831) and Wagner in Rienzi (1842). Within a few decades the tam-tam became an important member of the percussion section of a mod symphony orchestra. It figures prominently in the symphonies of Peter Ilyich Tchaikovsky,^[10] Gustav Mahler,^[11] Dmitri Shostakovich^[12] and, to a bottom extent, Sergei Rachmaninov and Sergei Prokofiev. Giacomo Puccini used gongs and tam-tams in his operas. Igor Stravinsky profoundly expanded the playing techniques of the tam-tam in his The Rite Of Jump to include curt, quickly damped notes, quick crescendos, and a triangle beater scraped across the front of the musical instrument. Karlheinz Stockhausen used a 60" Paiste tam-tam in his Momente.

Dora [edit]

A dora is one of the Japanese Percussion instruments and an idiphone. It is made of bronze, contumely or fe, and is suspended onto a dora stand. It is widely used in Buddhist memorial services, hayashi performances, kabuki music, and ship divergence signals.^[xiii]

Nipple gong [edit]

Nipple gongs at Wat Chulaphonwararam, a Wat (Buddhist temple) in Nakhon Nayok

A nipple gong has a central raised boss or nipple, often made of unlike metals than other gongs with varying degrees of quality and resonance. They have a tone with less shimmer than other gongs, and 2 distinct sounds depending on whether they are struck on the boss or next to it. They are well-nigh often but not always tuned to various pitches.

Nipple gongs range in size from 6 to twenty inches (xv to 51 cm) or larger. Sets of smaller, tuned nipple gongs can be used to play a melody.

Nipple gongs are used in Chinese temples for worship and Buddhist temples in Southeast Asia.

These are the primary gong in the traditional Philippine music of kulintang.

In Indonesian gamelan ensembles, instruments that are organologically gongs come in various sizes with dissimilar functions and dissimilar names. For example, in the key Javanese gamelan, the largest gong is called gong ageng, ranges in size upward to 1 meter in diameter, has the deepest pitch and is played to the lowest degree oft; the next smaller gong is the gong suwukan or siyem, has a slightly higher pitch and replaces the gong ageng in pieces where gong strokes are close together; the kempul is smaller still, has a higher pitch, and is played more than oft. The gong ageng and some gong suwukan have a crush annotation.

Opera gongs [edit]

An essential part of the orchestra for Chinese opera is a pair of gongs, the larger with a descending tone, the smaller with a rising tone. The larger gong is used to denote the entrance of major players or men and to place points of drama and issue. The smaller gong is used to announce the entry of lesser players or women and to identify points of sense of humour.

Opera gongs range in size from 7 to 12 inches (eighteen to 30 cm), with the larger of a pair 1 or 2 inches (3 or five cm) larger than the smaller.

Pasi gongs [edit]

A Pasi gong is a medium-size gong 12 to xv inches (30 to 38 cm) in size, with a crashing audio. It is used traditionally to denote the start of a operation, play or magic. Construction varies, some having nipples and some not, so this type is named more for its function than for its structure or fifty-fifty its sound.

Pasi gongs without nipples accept found favour with adventurous center-of-the-route kit drummers.

Tiger gong [edit]

A tiger gong is a slightly descending or less unremarkably ascending gong, larger than an opera gong and with a less pronounced pitch shift. Most unremarkably xv inches (38 cm) but bachelor downwardly to 8 inches (20 cm).

Shueng Kwong [edit]

A Shueng Kwong gong is a medium to large gong with a precipitous staccato sound.

Wind gong [edit]

Current of air gongs (also known as Feng or Lion Gongs) are flat bronze discs, with little fundamental pitch, heavy tuned overtones, and long sustain. They are most commonly fabricated of B20 bronze, but can also be made of M63 contumely or NS12 nickel-silver. Traditionally, a wind gong is played with a big soft mallet, which gives information technology a roaring crash to friction match their namesake. They are lathed on both sides and are medium to large in size, typically 15 to 22 inches (38 to 56 cm) just sizes from 7 to 60 inches (xviii to 152 cm) are bachelor. The 22-inch (56 cm) size is most popular due to its portability and large sound.

They are commonly used by drummers in stone music. Played with a nylon tip drumstick they sound rather like the coil chimes in a pall clock. Some accept holes in the centre, but they are mounted like all suspended gongs by other holes most the rim. The smaller sizes, vii to 12 inches (eighteen to 30 cm), have a more than bell-like tone due to their thickness and pocket-size bore.

Sculptural gongs [edit]

Sculptural gong made by Steve Hubback

Sculptural gongs (also known as Gong Sculptures) are gongs which serve the dual purpose of being a musical instrument and a work of visual art. They are generally non disc shaped, but instead take more than complex, even abstruse forms. Sculptural gongs were pioneered in the early 1990s past Welsh percussionist and metal crafter, Steve Hubback, who was partially inspired by the work of the French Sound Sculptors, Francois and Bernard Baschet.

Hubback's works have been used by many musicians including solo percussionist Dame Evelyn Glennie and stone drummer Carl Palmer.

English gong and cymbal maker, Matt Nolan, partially inspired by the piece of work of Hubback, besides creates sculptural gongs of his ain blueprint or to private commission.

United kingdom based sculptor Barry Mason^[fourteen] makes gongs in titanium and other elemental metals.

Other uses [edit]

In older Javanese usage and in modern Balinese usage, gong is used to identify an ensemble of instruments. In gimmicky primal Javanese usage, the term gamelan is preferred and the term gong is reserved for the gong ageng, the largest instrument of the type, or for surrogate instruments such as the gong komodong or gong bumbung (diddled gong) which make full the same musical part in ensembles lacking the large gong. In Balinese usage, gong refers to Gamelan Gong Kebyar.

Gong manufacturers [edit]

Also many traditional and centuries former manufacturers all around China, including Tibet, every bit well equally Burma, Java and Annam gongs have also been fabricated in Europe and America since the 20th century.

Paiste is the largest not-Asian manufacturer of gongs. This Swiss company of Estonian lineage makes gongs at their German factory. Also in Germany, Meinl have gongs made for them by former Paiste employee, Broder Oetken, who also has his own branded range of gongs. Italian company UFIP make a range of gongs at their factory in Pistoia. Michael Paiste, outside of the larger family business organisation, makes gongs independently in Lucerne, Switzerland. Other independent gong manufacturers in Europe include Welshman Steve Hubback, currently based in the netherlands; Matt Nolan and Michal Milas in the Great britain; Barry Mason in the UK; and Joao Pais-Filipe in Portugal.

In North America, Sabian make a modest number of gongs and Zildjian sell Zildjian-branded gongs which have in the past been made by Zildjian, but current production looks to be Chinese in origin. Ryan Shelledy is an contained gong maker based in the Midwestern United States.^[15]

Some of the smaller Turkish cymbal companies have too been seen to dabble in gongs just very much as a sideline to their cadre business of hand-hammered cymbals.

Materials and size [edit]

Gongs vary in diameter from about 20 to threescore inches (l to 150 cm). They are made of a bronze alloy composed of a maximum of 22 parts tin to 78 parts copper, but in many cases the proportion of tin is considerably less. This alloy is excessively brittle when cast and allowed to cool slowly, only it can be tempered and annealed in a peculiar manner to alleviate this. When suddenly cooled from red heat, the alloy becomes so soft that information technology can be hammered and worked on the lathe then hardened past reheating. Later on, the gong has all of the qualities and timbre of the Chinese instruments. The composition of the alloy of bronze used for making gongs is stated to be equally follows: 76.52% Cu, 22.43% Sn, 0.26% Pb, 0.23% Zn, 0.81% Fe. In Turkish Cymbal making there is also sulfur and silicon in the alloy.

Turkish Cymbals and Gamelan Gongs share beta phase bronze as a metallurgical roots. Tin and copper mix phase transition graphs show a very narrow up-down triangle at 21–24% tin content and 780 °C (1,440 °F) symbolized past β. This is the secret of all past bronze musical instrument making. When bronze is mixed and heated, it glows orangish-ruby which indicates it has been heated to the beta phase borders where the metal needs to be submerged in cold water to lock the alloy in the beta phase for cymbal making. The gong is and then browbeaten with a round, hard, leather-covered pad that is fitted on a curt stick or handle. It emits a especially sonorous audio which can be varied by detail ways of striking the disk. Its complex vibrations outburst into a wave-like succession of tones that can be either shrill or deep. In China and Nihon gongs are used in religious ceremonies, state processions, marriages and other festivals.

Orchestral usage [edit]

The gong has been used in the orchestra to intensify the impression of fear and horror in melodramatic scenes. The tam-tam was first introduced into a western orchestra by François-Joseph Gossec in the funeral march equanimous at the expiry of Mirabeau in 1791. Gaspare Spontini used the tam-tam in La Vestale's (1807) Human action II finale. Berlioz called for iv tam-tams in his Requiem of 1837. The tam-tam was too used in the funeral music played when the remains of Napoleon were brought dorsum to France in 1840. Meyerbeer made use of the musical instrument in the scene of the resurrection of the 3 nuns in Robert le diable. 4 tam-tams are used at Bayreuth in Parsifal to reinforce the bell instruments although at that place is no indication given in the score. In more than modernistic music, the tam-tam has been used by composers such as Karlheinz Stockhausen in Mikrophonie I (1964–65) and by George Crumb. in Makrokosmos III: Music For A Summer Evening (1974), Crumb expanded the timbral range of the tam-tam by giving performance directions such as using a "well-rosined contrabass bow" to bow the tam-tam. This produced an eerie harmonic audio. Stockhausen created more interesting sounds using mitt-held microphones and a wide range of scraping, tapping, rubbing, and beating techniques with anarchistic implements such as plastic dishes, egg timers, and cardboard tubes. Gongs can besides exist immersed into a tub of water after being struck. This is called "water gong" and is called for in several orchestral pieces.

Tuned gongs have besides been used with the symphony orchestra, east.one thousand. sets of differently tuned gongs used by Messiaen in pieces such every bit Des canyons aux étoiles and Et exspecto resurrectionem mortuorum.

Betoken gongs [edit]

Gongs are too used as signal devices in a number of applications.

Boxing (sport) [edit]

A basin-shaped, center mounted, electrically controlled gong is standard equipment in a boxing ring. Ordinarily referred to as the gong, it is struck with a hammer to signal the start and end of each round.

Dinner gong [edit]

During the Victorian and Edwardian eras, it was often the custom in hotels, on ships and in big, upper-course houses to sound a dinner gong to announce a meal was almost to exist served.^{[16] [17] [xviii]}

Track crossing [edit]

A railroad crossing with a flashing traffic point or wigwag volition also typically accept a warning bell. Mechanical bells, known in some places as a gong, are struck past an electric-powered hammer to audibly warn motorists and pedestrians of an oncoming train. Many railroad crossing gongs are at present being replaced by electronic devices with no moving parts.

Railcar mounted [edit]

Gongs are present on rails vehicles, such as trams, streetcars, trains, cablevision cars or light rail trains, in the course of a bowl-shaped signal bell typically mounted on the front of the leading car. It was designed to exist sounded to human action as a alert in areas where whistles and horns are prohibited, and the "clang of the trolley" refers to this sound. Traditionally, the gong was operated past a foot pedal, simply is nowadays controlled by a push button mounted on the driving panel. Early trams had a smaller gong with a bong pull mounted by the rear door of these railcars. This was operated by the conductor to notify the commuter that information technology is prophylactic to go along.

Shipping [edit]

A vessel over 100 metres (330 ft) in length must carry a gong in addition to a bell and whistle, the volume of which is defined in the International Regulations for Preventing Collisions at Sea.^{[19] [20]} A vessel at anchor or ashore sounds the gong in the stern immediately later on ringing a bong in her bows so every bit to indicate her length.^[21]

Theater [edit]

Electromechanical, electromagnetic or electronic devices producing the audio of gongs have been installed in theatres (particularly those in the Czech Republic) to gather the audience from the lounge to the auditorium before the testify begins or proceeds afterward interlude.^{[22] [23] [24]}

Time signal [edit]

German radio stations use a gong audio for the time signal.^{[ citation needed ]}

Vehicle mounted [edit]

In the Commonwealth, emergency vehicles were fitted with electric, manual, or vacuum operated Winkworth bong gongs in the fourth dimension before Martin'south horns became bachelor or rotary sirens came into use

List of gongs [edit]

• Agung
• Babendil
• Bonang
• Darkhuang
• Gandingan
• Gong ageng
• Gungsa
• Kempul
• Kempyang and ketuk
• Kenong
• Khong mon
• Kulintang
• Chau gong
• Rin gong
• Umpan
• Tagonggo
• Bor Kaah used in Assam and other parts of the NE India region

See also [edit]

• Gong chime
• Space of gong civilisation in the Central Highlands of Vietnam
• Bronze pulsate
• Music of Indonesia
• Music of Java
• Music of Bali

Notes [edit]

1. ^ From Indonesian and Malay: gong; Javanese: ꦒꦺꦴꦁ gong ; Chinese: 鑼; pinyin: luó ; Japanese: 銅鑼（ どら ） , romanized: dora ; Khmer: គង kong ; Thai: ฆ้อง khong ; Vietnamese: cồng chiêng; Assamese: কাঁহ kãh

References [edit]

1. ^ Blades, James (1992). Percussion Instruments and Their History. Bold Strummer. p. 93. ISBN978-0933224612.
2. ^ Montagu, Jeremy (2007). Origins and Development of Musical Instruments. Scarecrow Press. pp. 16–17. ISBN9780810856578. OCLC 123539614.
3. ^ Cook, Arthur Bernard (1902). "The Gong at Dodona". The Journal of Hellenic Studies. 22: 5–28. doi:10.2307/623918. JSTOR 623918.
4. ^ Morris Goldberg in his Modern School... Guide for The Artist Percussionist (Chappell & Co., Inc., New York City, 1955), says that "in modern symphony orchestra names gong and tam-tam mean the same thing, that in scholarly circles, tam-tam is considered to be a slang expression taken from an African word pregnant drum", later associated with gongs of indefinite pitch, and every bit such was adopted by virtually all composers using the term and thus is used now interchangeably.
5. ^ "Gong". Encyclopedia Britannica . Retrieved 4 June 2019.
6. ^ Muller, Max. The Diamond Sutra (translation based on the Tang Dynasty text, 蛇年的马年的第一天), sutra ane–4487, Oxford Academy Press, 1894.
7. ^ ^{a b} Macdonald, Hugh (2002). Berlioz'south Orchestration Treatise: A Translation and Commentary. Cambridge Musical Texts and Monographs. Cambridge University Press. p. 286. ISBN978-1-139-43300-6.
8. ^ Although in modern, 20th century and across, performances sometimes conductors were adapting tam-tam in orchestra for the performances of Gluck's Alceste and Orfeo ed Euridice (equally ones used in the Metropolitan Opera historical productions), there is no trace of it in original scores of Gluck himself, so it must exist considered an result additions rather than the wish of the composer himself.
9. ^ "Instrumentation used in Armida past Rossini". Humanities.uchicago.edu. Archived from the original on 26 September 2013. Retrieved eleven July 2013.
10. ^ Symphony No.6
11. ^ Symphony No.6 and Das Lied von der Erde
12. ^ Symphony No.4, No.eight, No.10. No.11, and No.13
13. ^ "教材として活用し得る民俗資料 どら（銅ら）". www.edu.city.yokosuka.kanagawa.jp . Retrieved 12 May 2021.
14. ^ "Gongs For Sale : Sound Bathroom Gong : Barry Stonemason". Barrymasonfineart.com . Retrieved nineteen April 2021.
15. ^ "Archived copy". Archived from the original on 8 August 2016. Retrieved seven August 2016. {{cite web}}: CS1 maint: archived copy equally title (link)
16. ^ Haravu Venkatanarasingha Verada Raj Iengar (2002). Snapshots of History: Through the Writings of H.V.R. Iengar. Ananya Publications. Equally we were walking through the corridor he showed me the dinner gong, which customarily is sounded by one of the servants to announce that a meal was ready .
17. ^ THE ILLUSTRATED LONDON MAGAZINE. 1855. p. 257. How startling is the audio of the dinner gong The tympanum all of a sudden recoils beneath the swell of the brazen instrument and echoes the alarum to its fellow member of the lower house of which Appetite is the speaker. In a big hotel the upshot is magical What a rush from all quarters of the house to the dining room!
18. ^ Jane Greer (2003). Girls and literacy in America: historical perspectives to the present. ABC-CLIO. ISBN9791576076667. The dinner gong rang, so I walked to the mess hall slowly with my sister.
19. ^ International Regulations for Preventing Collisions at Sea. 1972. Rule 33 – via Wikisource.
20. ^ International Regulations for Preventing Collisions at Ocean. 1972. Annexe III – via Wikisource.
21. ^ International Regulations for Preventing Collisions at Sea. 1972. Rule 35 – via Wikisource.
22. ^ "Palantir". Sfkpalantir.net. Retrieved 11 July 2013.
23. ^ "Webmagazín Rozhledna .::. nezávislý kulturně-společenský deník". Webmagazin.cz. 29 Oct 2001. Retrieved 11 July 2013.
24. ^ "Město Rumburk – oficiální stránky města". Rn.rumburk.cz. six January 2013. Retrieved xi July 2013.

Further reading [edit]

• Luobowan Han Dynasty Tombs in Guixian Canton (Guangxi Zuang A. R.), by the Museum of the Guangxi Zhuang Nationality (1988, Beijing)
• Chisholm, Hugh, ed. (1911). "Gong". Encyclopædia Britannica (11th ed.). Cambridge University Printing.

External links [edit]

Wikimedia Commons has media related to Gongs.

• Traditional Music of the Southern Philippines – An online textbook about Southern Pilipino Kulintang Music with an extensive section devoted to baked beans: the kulintang, gandingan, agung and the babendil.
• Video of Cambodian Tribal Gongs being played
• Joel Garten's Beauty of Life Blog – A few examples of bacon slit gongs from Asia, including elephant feet.
• American Gamelan Establish (AGI)

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Source: https://en.wikipedia.org/wiki/Gong

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