A FRIEND IS A TREASURE A Friend is a Treasure A friend is someone we turn to, when our spirits need a lift.

A friend is someone we treasure, for our friendship is a gift. A friend is someone who fills our lives, with beauty, joy and grace. And make the world we live in, a better and happier place. TRUE FRIENDSHIP True friends are for life Until the end They're more than special They're your bestest friends. They're the ones you can go to When you're in despair The ones that'll help you Even when you got gum in your hair! They're the ones who'll laugh And go laughing with you all through the night The ones who'll help you Help you with all their might To have a good friend You have to be one So be nice to one another So you can be friends forever And that\'s how to be the best friend you can be. A BEST FRIEND A best friend is always there, whether you need advice, or a pep talk, or even a shoulder to cry on. A best friend listens with her heart and is always honest with you, even though the truth may not be what you want to hear. A best friend knows all your secrets, understands your fears shares your dreams. A best friend never stops believing in you even if you give up on yourself. you are that kind of friend to me.

And no matter what happens, you always will be. You are my best friend.... my forever friend. FRIEND A friend is a person to laugh and cry with, An inspiration, Someone who lends a helping hand, though friends may not be forever, And they may not end up together, the memories of a true friendship will last forever. A friend is not a shadow nor a servant But someone who hold a piece of a person in his heart. Someone who shares a smile, Someone who brightens up your day What makes a person a friend? Is by saying your Love will stay. About Gamelan A gamelan is an Indonesian percussion orchestra. The word gamelan (pronounced gah-meh-lan) comes from the Javanese word gambel, meaning to strike or to play and most often refers to the sets of percussion orchestras of Bali and Java. The instruments consist mainly of bronze gongs of varying sizes and pitches, keyed metallophones, often suspended over bamboo resonators, doubleheaded drums, cymbals, vocals, bamboo flutes, and spiked fiddles. Gamelan music is known for its extensive use of polyphony. Musical compositions are often constructed so that lower pitched instruments, such as the larger gongs, play at a relatively slow pace to give structure to the musical composition, while the higher pitched instruments play much faster melodic passages to create a rich and entrancing musical texture. Balinese gamelan, the style which Gamelan Mitra Kusuma studies and performs, is known for its use of tightly interlocking polyphonic melodies, called kotekan, wherein one musician or group of musicians play one portion of a melody,while another musician or musicians play the other portion. Kotekan are often performed at very high speeds, requiring intensive rehearsal and group coordination. In Bali, music and dance are essential components of almost any activity, and a wide variety of ensembles has developed to accompany both religious and secular events. One might see gamelan performances at Balinese-Hindu temple ceremonies, weddings, tooth filing ceremonies, and cremations, as well as secular concerts, music competitions, and school and governmental functions. There are dozens of different types of gamelans in Bali to fulfill these functions, ranging from large metal orchestras to bamboo ensembles, vocal groups, and even groups dedicated to the imitation of frog sounds. Gamelan Mitra Kusuma studies and performs upon a number of these different ensembles, and they are briefly described below. Gong Kebyar Gamelan Gong Kebyar is often the first style of Balinese gamelan that a Westerner is exposed to, and it is by far the most popular

ensemble in Bali. Gong kebyar developed in the early 20th-century, and its rise in popularity is believed to be tied to the loss of power of the Balinese royal courts during Bali's brief period of Dutch colonization. At this time, many traditional court-owned gamelan instruments were passed down to village authorities who, realizing an opportunity to create an entirely new style of music, modified these old ensembles to fulfill their creative ambitions. Because of its early association with the royal court gamelan traditions, gong kebyar is often viewed as a direct descendant of the grand gong gede, which played a slow, stately, and very loud style of gamelan called lelambatan for royal ceremonies. Thus, gong kebyar groups are often called upon to play a somewhat updated version of this court music to accompany certain rituals and festivals. However, gong kebyar's earliest composers, wishing to make an unforgettable impact on their audience, also developed new compositions with unexpected and explosive changes in tempo and dynamics, and extremely fast and dazzlingly syncopated melodies, requiring virtuosic musicians and tightly coordinated ensemble playing. The word kebyar, in fact, means "a sudden burst", as in the sudden blooming of a flower, and also describes the arrhythmic and unpredictable introductions, transitions and conclusions of most gong kebyar compositions. The core melody of most gong kebyar compositions is played by large five-keyed xylophone-like instruments called jegog and jublag (or calung). This melody is subdivided by a seven-keyed instrument called penyacah. The jegog, jublag and penyacah are accompanied by a set of ten-keyed instruments called gangsa, played by nine musicians, and a set of 12 small horizontally suspended gongs, called reyong, played by four musicians. These instruments play kotekan, which in gong kebyar can be quite difficult and elaborate, as well as many other elaborations on the core melody. Two drummers act as the conductor, cueing the many changes in tempo and dynamics. A set of small cymbals, called ceng-ceng, accompany the drummer, and quite often the reyong, ceng-ceng and drummers overlay elaborate rhythmic constructs, called ocak-ocakan, over the melody. Bamboo flutes, called suling, and occasionally a spike fiddle, called rebab, reinforce and further elaborate the song's core melody. The texture as a whole is punctuated by the large suspended gongs, considered to be the spiritual centre of the ensemble. Gong kebyar uses a five-tone modal scale, called selisir, which is derived from a seven-note scale used in several older Balinese ensembles. The gangsa are two octave instruments, and the reyong's 12 gongs contain a little more than two octaves. A gong kebyar's pitch range for its melodic instruments is a little over four octaves. Much of the gong kebyar repetoire is designed to accompany dance and other theatric performances, and musicians and dancers in Bali often work for days on end to perfectly coordinate a dancer's every movement with a musical counterpart, from a simple walk from one end of the stage to another, to the eye movements and facial expressions of the dancer. Gamelan Angklung While the instrumentation of gamelan angklung is similar to gong kebyar, it has several critical differences. First, the scale of gamelan angklung only uses four pitches, derived from a different set of notes in the traditional seven-note scale. Secondly, whereas many of the instruments in gong kebyar span multiple octaves of its pentatonic scale, gamelan angklung instruments only contain one octave. Gamelan angklung also has a more delicate and sweeter sound than gong kebyar. The instruments are considerably smaller, and hence more portable, than gong kebyar. Part of the reason for this

portability is its use in cremation rituals in Bali, where the musicians often play in a procession as the funeral bier is carried from the cemetary to the cremation site, in addition to playing music to accompany the ceremony. The structure of the music is similar to gong kebyar. Jublag and jegog carry the basic melody, which is elaborated by gangsa, reyong, ceng-ceng, drum, and flute. A medium sized gong, called kempur, is generally used to punctuate a song's major sections. And although most older compositions generally do not employ gong kebyar's more ostentatious virtuosity and showmanship, many Balinese composers have created kebyar-style works for gamelan angklung, often featuring dance.

Gender Wayang A gender (pronounced with a hard "g" sound) is a bronze-keyed metallaphone, similar to gangsa, but with somewhat thinner, more delicate keys. It also differs from gangsa in the way it is played. Whereas the gangsa is played with a single mallet, the gender is played with two mallets. Gender wayang is an ensemble of four gender used to accompany shadow puppet plays, or wayang kulit. It is considered one of the most difficult gamelan instruments to play, partly because of the playing technique, but also because these four instruments, along with a puppeteer and his assistants, perform all of the duties of a gamelan group. The gender players play a slower basic melody, similar to what the jublag, jegog and penyacah would play in gong kebyar, with their left hands, while playing elaborations similar to gangsa and reyong with their right. The puppeteer, or dalang, acts as conductor, knocking a small piece of wood , called cepala, against the puppet box, giving signals similar to those given by a drummer, while he maneuvers the puppets, speaking and/or singing all their parts. The themes of the puppet shows are generally derived from the Hindu epic, the Mahabharata. Sometimes the Ramayana, a tale of the exile of Prince Rama of Ayuda, is used as a basis of the plot, but in this case, the gender wayang is augmented with additional instruments such as drums, ceng-ceng, flute, a cluster of bells called gentorag, and many of the smaller gongs used for time keeping in other gamelan ensembles. Gender wayang is also played as an accompaniment the Balinese ceremonial tooth filing, where a young person's teeth are ritually filed to refine his or her appearance, weddings, and other temple ceremonies. Joged Bumbung A Joged bumbung ensemble consists of four ten-keyed bamboo instruments played with rubber mallets. The technique for playing is similar to gender wayang, with the left hand playing a basic melody while the right hand plays elaboration. It is an ensemble used for social occasions, and accompanies a flirtatious social dance. Female joged dancers invite members of the audience to dance with them, giving young men an opportunity to show off their dance skills and flirt with the dancers.

Tektekan Tektekan is played with bamboo slit drums, called kul-kul, that are cradled in the players' arms and struck with a wooden mallet,

producing a sharp rhythmic sound. Groups of between 10 and 20 players strike these in interlocking patterns similar to kotekan, and they are sometimes accompanied by drum and gongs to punctuate rhythmic cycles. Tektekan is often used to accompany a performance called calanarong, a ritual drama wherein men go into trance and are possessed by the spirits of witches, led by a queen named Rangda. This ritual is believed to be dangerous to both participants and spectators, and is only carried out at specific times under conditions very carefully controlled by a Balinese priest. Today, a more benign form of calanarong is staged for tourists in Bali, where the participants simply enact the possession. However, many of the same precautions are taken, as there is always a danger that the reenactment could become real. Other uses of tektekan include processions, since the instruments are very portable. Tektekan has also recently been incorporated into new gong kebyar pieces.

Each gamelan has a unique tuning and characterinstruments in one set are tuned to each other and are not interchangeable with instruments from other sets. Gamelan sets are often named to reflect their individual character. The University of Pittsburgh gamelan, which arrived in October 1995, is named appropriately "Kyai Tirta Rukmi," or "Venerable Rivers of Gold." The gamelan is actually composed of two sets of instruments, and each set is tuned to a different intervallic structure (laras). One set is tuned to laras salendro (a five-tone tuning system made up of approximately equidistant intervals), and the other set is tuned to laras pelog (a seven-tone tuning system with large and small intervals). Pitt's gamelan group includes students as well as community members. Participants in the gamelan program are encouraged to use Sundanese processes of learning as much as possible; oral transmission of musical parts is preferred over written notation and working together as an ensemble is more important than developing

Bebonangan/Beleganjur Bebonangan, or beleganjur, is processional music, and has a very similar history and function as marching bands in the West. Like marching bands, it was originally used to lead armies into battle, and today it is used for parades and festivals. However, beleganjur has an additional use in religious ceremonies such as odalan, held on the anniversary of a temple's concecration, and cremations. In fact, if a particular gamelan is not available for a ceremony, beleganjur often takes its place, because the instruments used are comparatively less expensive than most other gamelan. The simplest form of beleganjur can consist of only about nine instruments: a large gong ageng, a second gong called bend, four pairs of large, handheld cymbals called ceng-ceng, two drums played with mallets, and some kind of small time-keeping instrument called ketuk, kempli, or tawa-tawa. The drums and cymbals play interlocking patterns of a repeating gong pattern. This form of gamelan can be then augmented with more cymbals, a smaller gong to compliment the gong ageng, two tuned, handheld gongs called ponggang, and small tuned gongs often taken from the reyong of a gong kebyar. When these gongs are used in this context, they are often called bonang, hence the name bebonangan or beleganjur bebonangan. In recent years, this ensemble has gain popularity among young men, who are attracted by its martial qualities, high volume, and the challenge of playing the instruments, particularly the ceng-ceng, bonang, and drum, as they demand physical strength and endurance. Ensembles often compete fiercely for prizes in competition, and the performances often include elaborate, bewildering and physically exhausting compositions played at breakneck speed, accompanied by detailed and difficult choreography. The University of Pittsburgh Gamelan Ensemble plays the gamelan music of the Sundanese people, an ethnic group that inhabits roughly the western third of the island of Java. Gamelan refers to a set of predominantly percussion instruments including tuned gongs, metalkeyed instruments, and drums (as well as bowed lute and voice). Gamelan music is played as accompaniment to dance, drama, puppet theater, and martial arts, as well as for concerts of listening music. Gamelan is performed in conjunction with special occasions and to mark important life-cycle events.

individual talent. Students are also encouraged to learn and play more than one instrument and to learn the relationships among them. Therefore, in our concerts, the musicians move from one position to another in order to put into practice what they have learned. Each year, the Department of Music sponsors a large-scale gamelan concert. The department invites guest artists from Indonesia to serve as artists-in-residence. During their residence in Pittsburgh, guest artists present lecture-demonstrations, public lectures, workshops, and performances that reach people from a variety of sectors in the University and the broader Pittsburgh community. These events are intended to increase the community's awareness of Indonesian performing arts and culture.

Rampak refers to a group performance and kendang is a set of three drums made up of one large drum and two small drums. Each set is played by one person and there are three sets played in this recording. Conventional rhythmic patterns played on the kendang are arranged and coordinated to create a feeling of excitement. The piece played on the gamelan is a new composition (karangan anyar) based on the tonal structure of a traditional piece ("Gendu"). Almost every where in Yogya, Solo, Semarang and other cities in Central Java, in Karatons, in the market, in the villages, in the hotel's lobby, you should hear the magical melodious percussion music - the gamelan Javanese orchestra. In his book 'music of Java' Jaap Kunst says, "Gamelan is comparable to only two things, moonlight and flowing water. ...mysterious like moonlight and always changing like flowing water ...". Gamelan music is an integral part of all cultural activities in Java such as wayang kulit (leather puppets) performance, court dance, uyon-uyon (symphony orchestra performance), etc. There are two kinds of laras (tuning) in gamelan, namely slendro (comparable to minor key in Western music) and Pelog (major key). A complete set of gamelan consist of two sets of different instruments of Slendro and Pelog, such as: 1. Kendang (double ended drum beaten by hands) It is a leading instrument. The pengendang (drumer) is the conductor of the gamelan orchestra. There are five (5) different sizes of kendang from 20 cm to 45 cm. Saron A glockenspiel with bronze bar struck with wooden mallet. There are three kinds; Saron Barung, Saron Peking, Saron Demung.

4.

at the striking end. Bonang Penerus

5.

Slentem

2.

3.

Bonang Barung A double row of bronze kettles resting on a horizontal frame, played with two long stick bound with red cord Thin bronze bars suspended over bamboo resonating chambers, struck with a padded disc on the end of a stick. Gender Similar to slentem with more bronze keys and smaller bamboo chamber, struck with two disc-shaped hammers.

6.

7.

Gambang Wooden bars laid over a wooden frame struck with two sticks of supple buffalo horn, ending with a small, round, padded disc.

8.

Gong Each slendro and pelog set had three gongs. Two big gongs (Gong Ageng) and one gong Suwukan about

90 cm, made from bronze, suspended on a wooden frame. It marks the end of the largest phrase of the melody.

9.

Kempul Smaller gongs, marks a smaller phrase. In each slendro and pelog set, there are 6 (six) or 10 (ten) kempuls. 10. Kenong Smaller gongs lay horizontally on crossed cord, inside a wooden frame. A complete set of kenong in each slendro and pelog consist of 10 (ten) kenongs.

11. Ketug The kenong player also plays it smaller kenong, marks subdivisions of phrases. 12. Clempung A string instrument, each slendro and pelog set needs one clempung. 13. Siter Smaller cemplung, each slendro and pelog set needs one siter

14. Suling It is a flute, each slendro and pelog set, needs one suling. 15. Rebab A two stringed viol, the same as slendro and pelog. 16. Keprak and Kepyak Needed for gamelan to accompany dances.

17. Bedug It is a very big drum.

In the laras pelog, there are:

The bars of the gamelan instruments can be made either from iron, copper or bronze. The bronze bars are the best choice. All the gamelan players are sitting cross-legged on a mat during a performance. In a gamelan music concert or karawitan performance, the Kendang player or pengendang conducts the Tempo, while the melody is led by the bonang player The gamelan orchestra includes some singers (Pesinden), female as well as male. There are some very famous Pesindens, their names are almost known by everybody in this region. Some believe that in the ancient time, the first set of gamelan, by the name of Lokananta was created by gods and played in Mount Lawu, Eastward of Solo. In short the history of gamelan was as follow: The first gamelan was the three-toned Munggang, then the five-toned slendro gamelan and the last: the seven-toned pelog gamelan. Patet In the laras slendro, there are:

y y y

Pelog patet lima Pelog patet nem Pelog patet barong

Patet is a place to lay the gending or to establish the gending. In the wayang kulit (shadow puppet) whole night show, the gamelan plays, Slendro patet nem from 9.00-12.00 p.m. Slendro patet sanga from 00.00-03.00 a.m. Slendro patet manyura from 03.00-06.00 a.m. For an experienced gamelan player it should not difficult to determine the patet of a particular gamelan music. Or it can be said that patet is used to create mood, with the gamelan accompaniment. It is already known that various gamelan tunes are played to create different atmosphere of the situation or feeling such as joy, sorrow, anger etc.

y y y

Slendro patet nem Slendro patet sanga Slendro patet manyura