A category of gendhing of a solemn and stately character in which the chief instrument is the bonang barung. Only the “loud” gamelan instruments perform in a gendhing bonang, including the bonang, saron, slentho (largely replaced by the slenthem nowadays), kendhang, gong, kempul, kenong, kethuk and kempyang. Most gendhing bonang are in pelog lima or barang. The piece progresses from a slow merong section to a faster minggah section which accelerates considerably before it ends.
A word which refers to gamelan music performed for its own sake rather than as an accompaniment to dance or wayang kulit, for example. By extension, klenengan also refers to a performance of such music, usually as part of an event but sometimes as a kind of concert. A full program typically lasts for around three hours, beginning with a gendhing bonang followed by suites of interconnected pieces organised in pathet order and alternating laras (if both are present). Refreshments, snacks and sometimes a meal are served between pieces.
The Javanese equivalent of musical mode. A pathet is determined by its mood and character, by its association with a particular time of day or night, and by the melodic combinations and motifs employed. In each scale, there are three standard pathet which follow a particular order: nem, sanga and manyura in slendro; lima, nem and barang in pelog. An additional pathet manyuri is encountered in a few wayang pieces in slendro, while in pelog both pathet nem and barang show evidence of “sub-pathet” including the well-known pathet nyamat under pathet nem.
Shadow puppets made of leather and manipulated by means of buffalo horn handles and rods by a dhalang (puppeteer). The term is often abbreviated in Central Java to wayang and refers to a performance involving such puppets with gamelan accompaniment.