Editing Angklung (section)

== Gamelan {{Lang|su|angklung}} ==
[[File:Single note angklung ('G'), 2015-05-21.jpg|thumb|upright|Single pitch {{Lang|su|angklung}}, for use in orchestras]]
In [[Bali]], an ensemble of {{Lang|su|angklung}} is called a {{Lang|su|'''gamelan angklung'''}}.  While the ensemble gets its name from the bamboo shakers, they are nowadays rarely included outside of East Bali. An ensemble of mostly bronze [[metallophone]]s is used instead, generally with about 20 musicians.

While the instrumentation of the {{Lang|su|gamelan angklung}} is similar to ''[[gamelan gong kebyar]]'', there are several critical differences. The instruments in the {{Lang|su|gamelan angklung}} are tuned to a 5-tone {{Lang|su|[[slendro]]}} scale, although most ensembles use a four-tone mode of the five-tone scale played on instruments with four keys. An exception is the five-tone {{Lang|su|angklung}} from the north of Bali, which is what as many as seven keys.<ref>{{Cite journal|last=Ornstein|first=Ruby|date=1971|title=The Five-Tone Gamelan Angklung of North Bali|journal=Ethnomusicology|volume=15|issue=1|pages=71–80|doi=10.2307/850388|jstor=850388}}</ref> In four-tone {{Lang|su|angklung}} groups, the flute players will occasionally use an implied fifth tone. Additionally, whereas many of the instruments in {{Lang|su|gong kebyar}} span multiple octaves of its pentatonic scale, most {{Lang|su|gamelan angklung}} instruments only contain one octave, although some five-tone ensembles have roughly an octave and a half. The instruments are considerably smaller than those of the {{Lang|su|gong kebyar}}.

{{Lang|su|Gamelan angklung}} is heard in Balinese temples, where it supplies musical accompaniment to temple anniversaries ({{Lang|su|odalan}}). It is also characteristic of rituals related to death ({{Lang|su|pitra yadnya}}), and is therefore connected in Balinese culture to the invisible spiritual realm and transitions from life to death and beyond. Because of their portability, {{Lang|su|gamelan angklung}} instruments may be carried in processions while a funeral bier is carried from temporary burial in a cemetery to the cremation site. The musicians also often play music to accompany the cremation ceremony. Thus, many Balinese listeners associate {{Lang|su|angklung}} music and its {{Lang|su|slendro}} scale with strong emotions evoking a combination of sacred sweetness and sadness.

The structure of the music is similar to {{Lang|su|gong kebyar}}, although employing a four-tone scale. A pair of {{Lang|su|jegog}} metallophones carries the basic melody, which is elaborated by ''[[gangsa]]'', ''[[reyong]]'', {{Lang|su|ceng-ceng}}, flute, and small drums played with mallets. A medium-sized gong, called {{Lang|su|kempur}}, is generally used to punctuate a piece's major sections.

Most older compositions do not employ the {{Lang|su|gong kebyar}}'s more ostentatious virtuosity and showmanship. Recently, many Balinese composers have created {{Lang|su|kebyar}}-style works for {{Lang|su|gamelan angklung}} or have rearranged {{Lang|su|kebyar}} melodies to fit the {{Lang|su|angklung}}{{'}}s more restricted four-tone scale. These new pieces often feature [[dance]], so the {{Lang|su|gamelan angklung}} is augmented with heavier gongs and larger drums. Additionally, some modern composers have created experimental instrumental pieces for the {{Lang|su|gamelan angklung}}.