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                  <text>Nelayan is another composition included in the Miami University Gamelan Library. This performance was recorded in Bali on March 25th 2010, and features the resident ensemble at the Yayasan Polosenni School, Douglas Myers, Director. This version of Nelayan was taught by Made Sukanda. &#13;
&#13;
Tari Nelayan, the fisherman’s dance, is based on a traditional children’s melody that occurs only at the end of the composition. The dance and musical accompaniment originated in the mid-1960s and is among the few Balinese dance/theater pieces that focus on the sea. &#13;
&#13;
The choreography depicts the various actions of a fisherman: searching for a fishing spot, casting a net, retrieving the catch, and returning home. The three dancers in this performance are: Putu Bagus, Kadek Yuni, and Komang Padmi. A notated musical score and examples are included on this website. &#13;
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                  <text>&lt;p&gt;NELAYAN SCORE&lt;/p&gt;&#13;
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&#13;
Tari Nelayan, the fisherman’s dance, is based on a traditional children’s melody that occurs only at the end of the composition. The dance and musical accompaniment originated in the mid-1960s and is among the few Balinese dance/theater pieces that focus on the sea. &#13;
&#13;
The choreography depicts the various actions of a fisherman: searching for a fishing spot, casting a net, retrieving the catch, and returning home. The three dancers in this performance are: Putu Bagus, Kadek Yuni, and Komang Padmi. A notated musical score and examples are included on this website. &#13;
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                <text>In this clip the full ensemble is learning the two interlocking kotekan parts. This particular segment  occurs in bars 58-85 in the full score.</text>
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                  <text>Nelayan is another composition included in the Miami University Gamelan Library. This performance was recorded in Bali on March 25th 2010, and features the resident ensemble at the Yayasan Polosenni School, Douglas Myers, Director. This version of Nelayan was taught by Made Sukanda. &#13;
&#13;
Tari Nelayan, the fisherman’s dance, is based on a traditional children’s melody that occurs only at the end of the composition. The dance and musical accompaniment originated in the mid-1960s and is among the few Balinese dance/theater pieces that focus on the sea. &#13;
&#13;
The choreography depicts the various actions of a fisherman: searching for a fishing spot, casting a net, retrieving the catch, and returning home. The three dancers in this performance are: Putu Bagus, Kadek Yuni, and Komang Padmi. A notated musical score and examples are included on this website. &#13;
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                  <text>&lt;p&gt;NELAYAN SCORE&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://albinwml.lib.miamioh.edu/items/show/77"&gt; &lt;img border="0" alt="Demo #1 Score Link" src="https://albinwml.lib.miamioh.edu/files/square_thumbnails/40749c48e7cccfea3eabb2b3d77ef335.jpg" a="" /&gt;&lt;/a&gt;&lt;/p&gt;</text>
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                <text>In this clip Made teaches the slower section, bars 88 to 103, to the full ensemble.</text>
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                <text>In this clip a Balinese group rehearses their version of gamelan beleganjur. It is similar to the version performed by the Yayasan Polosenni ensemble. One variation however, is the reyong melody.</text>
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                <text>In this clip the group rehearses the reyong part at a slower tempo</text>
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                <text>In this clip the Miami ensemble performs one a final rehearsal prior to the performance. The guest conductor is Professor I Ketut Asnawa director of the gamelan program at the University of Illinois. Professor Asnawa’s beleganjur composition is titled The Fire of Youth, Bara Kumara. A transcription of this composition is included in the notated examples on this website.</text>
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                <text>In the first clip, Made plays the individual reyong parts. He uses the tromping instrument from the gamelan gong kebyar ensemble for the demonstration. The tromping; however,   is never used in a gamelan beleganjur ensemble.&#13;
&#13;
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                <text>In the second clip Made plays the two-note skeletal melody, He again uses the tromping for this demonstration. This part requires two performers each carrying a lower pitched gong. The skeletal melody repeats with no variation throughout the performance.</text>
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