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                  <text>Nelayan</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 demonstrates the melody that occurs in bars 88-103. This segment of the composition is in a slower tempo.</text>
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                <text>&lt;p&gt;SLOW MELODY SCORE&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://albinwml.lib.miamioh.edu/items/show/81"&gt; &lt;img border="0" alt="Demo #1 Score Link" src="https://albinwml.lib.miamioh.edu/files/square_thumbnails/ea6550c77a7bffa7fed873c415a8887d.jpg" a="" /&gt;&lt;/a&gt;&lt;/p&gt;</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 Made teaches me the transition to the main melody. This section is characteristic of the changing tempos that occur in Balinese gamelan compositions. The section is called a kebyar. It occurs between bars 120 and 126 in the 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>Final Section </text>
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                <text>In this clip Made teaches the final section, prior to the main melody, to the full ensemble. This occurs between bars 103 through 119. Also included in the clip is the kebyar section from bars 120 to 126.</text>
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                <text>&lt;p&gt;KEBYAR SCORE&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://albinwml.lib.miamioh.edu/items/show/82"&gt; &lt;img border="0" alt="Demo #1 Score Link" src="https://albinwml.lib.miamioh.edu/files/square_thumbnails/3c51c40033bd5f4ab980fd1331a2510e.jpg" a="" /&gt;&lt;/a&gt;&lt;/p&gt;</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 an ensemble member the entire gong part. The various unpitched gongs serve a variety of functions within a Balinese gamelan ensemble. First, they define the tempo. The gongs also mark the segments of the beat cycle. An important Balinese musical scholar, Michael Tenzer, refers to this beat cycle as the colotomic structure. This structure provides guidance for musicians during a performance, it can also identify the specific segment of a composition, as well as guiding the choreography for the dancers.  Nelayan is written in an 8 beat cycle, which is a common. The largest gong is played at the beginning of each cycle. The kempur, the middle-sized gong, is played on beats 3 and 7, and the kemong, the smallest, is played on beat 5. Made gives visual and vocal cues to the gong player during this clip. When cueing the largest gong, he will say “gong.” For the kempur, he uses the shorten phrase “pur.” The full score is written in a Western style time signature, 4/4; therefore, the 8 beat gong cycle of Nelayan sometimes spans 2, 4, or even 8 measures in 4/4 time. For a Balinese musician, the gong (marked G in the score) defines the beginning of each cycle.</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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&#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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&#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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&#13;
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&#13;
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&#13;
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&#13;
In first year of this program the Miami University Steel Band presented three student assembly programs that sparked the idea for the residency. The following year Chris Tanner and Bill Albin, faculty members of Miami University Department of Music, designed a one-week residency model geared to the fourth grade class. A select group of these students experience hands-on steel drum and gamelan training, while all fourth graders attend presentations throughout the residency week to learn more about the history and origins of these instruments. Each year the residency concludes with school concerts featuring the selected groups of fourth grade students. &#13;
&#13;
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&#13;
The steel band and gamelan ensembles rehearse for one hour on each of the first four days of the residency, with a dress rehearsal prior to the concerts on the final day.&#13;
Original compositions are written each year by Dr. Tanner and Dr. Albin. The compositions are designed to be learned in three, one-hour rehearsals. The teaching is accomplished entirely by rote. The gamelan pieces are typically adapted from traditional music collected in Bali by Dr. Albin.&#13;
Examples of these gamelan pieces are included in this web-site archive.&#13;
&#13;
&#13;
Ohio Music Educators Association Presentation&#13;
January 28, 2011&#13;
&#13;
The 2011 OMEA presentation featured students of Doug Bruestle, music specialist at West Elementary, 2004-2013. The presentation was co-designed by Miami Music Department Professors, Dr. Albin and Dr. Kay Edwards.&#13;
&#13;
The clinic focus was the teaching of a composition adapted by Dr. Albin, Bapand Selisir.  Dr. Edwards adapted the pieces for the Orff-style keyboard instruments that are used in teaching general music in elementary grade schools throughout this region. The metallophones of the gamelan ensemble are similar to Orff instruments that many students already use in their general music classes. One difference that presents a coordination challenge is the muffling technique unique to gamelan, in which one of the performer’s hands is used to execute the melody and the other hand follows to muffle the previously struck note.  &#13;
&#13;
Transcriptions of both versions of these compositions are included on this web site.&#13;
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