Mia playing in the gamelan for Museum School showcase, 2009
Mia Aust’s musical journey began in the 3rd grade at San Diego’s Museum School. There, she joined a Balinese gamelan class offered through the CWM’s World Music in the Schools program, which had been going strong at her school since 1999. Fast forward through a decade and a half of study, practice, and growth, and Mia is now a CWM teaching artist herself, specializing in Balinese gamelan angklung ensemble music. A full circle!
Her early experience in the Museum School gamelan, under the instruction of CWM teaching artists Alex Khalil and Andrea Hernandez, shaped the foundation of her musical understanding, emphasizing learning by ear and repetition over traditional Western notation. She also studied Balinese dance during this time, deepening her appreciation for Indonesian performing arts.
Mia played with the Museum School ensemble until 2013. But that wasn’t the end of her involvement. In 2016, while in high school, she discovered the University of San Diego (USD) gamelan ensemble. Led at that time by David Harnish and Tyler Yamin, the USD group was open to non-USD students. Mia joined and helped recruit fellow Museum School alumni. With few other opportunities to play gamelan available in San Diego, USD’s Gamelan Gunung Mas became a vital hub for community musicians. Mia continues to perform with this ensemble today, allowing her to study under Hirotaka Inuzuka and current director Meghan Hynson.
Mia (left) performing with USD Gamelan, 2019
Mia earned her Bachelor of Science in Plant Biology from UC Riverside in 2024. While at UCR, she briefly joined the university’s Javanese gamelan ensemble, directed by Pak Joko Sutrisno. Her dual passion for science and music has shaped her unique perspective, with gamelan providing a creative outlet that enhances her ability to recognize patterns, learn new skills, and teach others.
As a teaching artist for the CWM’s World Music in the Schools program, Mia brings a thoughtful and adaptive teaching style, rooted in her early experiences teaching swim lessons to children and adults. She excels at breaking down complex concepts for beginners, fostering an inclusive and supportive learning environment for students of all backgrounds.
https://centerforworldmusic.org/wp-content/uploads/2025/03/Mia-Aust.jpg7501200Staffhttps://centerforworldmusic.org/wp-content/uploads/2014/06/logo_w_red_type_52.pngStaff2025-03-14 16:57:162025-03-25 16:28:57Mia Aust, Early Schools Program Student, Returns as Teaching Artist
Born into the renowned Koné griot lineage in Burkina Faso, West Africa, Dramane Koné began playing the djembe (goblet drum) at just three years old. Taught by his father and grandfather—both master drummers—he quickly developed extraordinary skill. By his early teens, he was already recognized as a world-class djembefola, a dedicated practitioner of traditional djembe music.
As a griot, Dramane is a guardian of West African musical traditions, passed down orally through generations. His electrifying performances and deep cultural knowledge have earned him international acclaim. He has toured extensively across Europe and the U.S., performing as a soloist and with prestigious groups like the National Ballet of Burkina Faso. Now based in California, he continues to share the rich rhythms of West Africa through performances, teaching, and workshops. He is also an active member of Drum Café West, bringing high-energy drumming to corporate and cultural events.
During his childhood, Dramane’s family moved to Mali before returning to Burkina Faso. His early musical journey was featured in the award-winning 1997 film Great Great Great Grandparents’ Music by filmmaker Taale Laafi Rossellini. A four-year-old Dramane appears in the film (see clip below), already immersed in his craft.
Dramane playing balafon
Dramane on TEDx stage
His passion for music and teaching shines in every performance, where his mastery of the djembe and balafon (gourd-resonated xylophone) transports audiences into the heart of African traditions. He sees his mission as spreading joy, love, laughter, and cultural connection through rhythm and song.
For the Center for World Music, Dramane and his ensemble, Ballet Djelia Kadi, perform at school assemblies, senior programs, and community events in San Diego, inspiring new generations through the power of music.
For Further Exploration
Watch Dramane Koné and members of Ballet Djelia Kadi performing at Cedar Cove Academy:
A clip from the Grandparents’ Music video mentioned above, showing Dramane studying balafon with his father:
https://centerforworldmusic.org/wp-content/uploads/2025/02/Dramane-Kone-at-SD-High.jpg6751200Stefanie Schmitzhttps://centerforworldmusic.org/wp-content/uploads/2014/06/logo_w_red_type_52.pngStefanie Schmitz2025-03-03 12:15:382025-03-03 12:45:20Dramane Koné: Griot and Master Drummer
Danlee at Flower Mountain, Bali | Photo courtesy of Anita Mitchell
The Center for World Music mourns the loss of Professor Danlee Mitchell (October 5, 1936–July 31, 2024), a cherished board member who has been pivotal in shaping the organization since the early 1990s.
A pillar of the San Diego music community, Danlee served as professor of percussion in the School of Music and Dance at San Diego State University (1964-2001), where he was much loved as a teacher and known especially for his tireless advocacy for world music. A renowned percussionist, he achieved distinction nationally for directing and performing with the Harry Partch Ensemble and locally for his performances with the San Diego Symphony, the La Jolla Symphony & Chorus, and the San Diego Opera.
As a passionate music archivist, Danlee meticulously captured performances across genres through audio and video recordings, preserving countless artistic moments for future generations.
We are profoundly grateful for Danlee’s decades of dedicated, steadfast contribution to our mission. His legacy will continue to inspire us, and we will hold his memory close in our hearts.
Danlee Mitchell playing Partch instruments (1987) | Photo: Randy Hoffman
Danlee’s life touched so many of us and he will be greatly missed.
The Center for World Music proudly dedicates its 2025 Concert Series to the memory of Danlee Mitchell.
The bandura, a lute-like instrument regarded as the national instrument of Ukraine, has become a symbol of Ukrainian nationhood and resilience. Deeply entwined with Ukrainian history, the instrument has come to be known as “the voice of Ukraine.” From a musical perspective, the bandura unifies acoustic principles of both the lute and the harp, its sound resembling that of a harpsichord but with a broader range of notes and tonal control.
The bandura’s history can be traced back to a 6th-century Greek chronicle, which mentions Ukrainian warriors playing lute-like instruments. This early instrument, known as the kobza, was smaller, more circular, and had fewer strings than the modern bandura. Over time, additional strings were added, some positioned along the side of the instrument, rendering frets on its neck unnecessary.
Cossack playing a bandura (early 19th century), National Art Museum of Ukraine
During the Middle Ages, the bandura became prominent in the courts of Eastern Europe, much like the lute in Western Europe. It was used primarily for accompanying dance and song. It also enjoyed great popularity among the Kozaks (Cossacks), semi-nomadic warriors who developed a unique repertoire for the instrument. From their ranks arose a new school of Ukrainian professional musicians called kobzari (singular form is kobzar). The kobzari often accompanied the Kozaks during times of war.
The kobzari developed a unique epic song form known as the duma (plural: dumy), meaning thought or reflection. Sung to the accompaniment of the bandura, dumy depicted the heroic exploits of the Ukrainian Kozaks and their quest for freedom. By the 18th century, the kobzari were unlike their kozak fore-bearers. A tradition that required all kobzari to be blind had developed.
In 1873, at the Third Archeological Conference held in Kyiv, Western scholars and composers first heard dumy performed by a blind kobzar named Ostap Veresai. His moving performance inspired the publication of numerous articles and books on the subject and had a significant influence on the development of the musical form known as dumky (e.g., Dvorak’s “Dumky Trios” and Tchaikovsky’s “Dumka”).
The Bandura in the 20th Century
At the beginning of the 20th century, urban Ukrainians developed a renewed interest in the bandura. Bandura ensembles became popular, and demands for new instruments grew. During this time, considerable innovation and experimentation were made in instrument design and construction. New banduras began to be mass produced with many strings, tuned chromatically rather than diatonically (like a piano rather than a guitar), and levers were added to expedite rapid transposition (playing in a different key). Conservatory courses were organized, and professional composers were hired to create new compositions specifically written for this instrument.
This period of the history of the bandura coincided with the rise of Ukrainian patriotism and nationalism and a subsequent flourishing of the arts. Unfortunately, it did not last long. In 1935, the Soviet government lured blind kobzari to Kharkiv under the guise of an ethnographic conference, only to execute them, symbolizing the regime’s broader effort to suppress Ukrainian cultural identity. Persecution, arrest, and exile became a way of life for countless Ukrainian artists and bandurists.
Renown street bandura player Ostap Kindrachuk (1937-2024) | photo by Roman Koval
Throughout the Cold War Era, the Soviet government resolved to wipe out all vestiges of Ukrainian nationalism by attacking and destroying Ukrainian culture. However, the Soviet authorities quickly realized that it would be impossible to fully eliminate the bandura from what proved to be a resilient Ukrainian identity. Instead, they attempted to separate the bandura from its past and traditions by developing the modern Kyiv bandura. Training to play the bandura was taken in a more academic direction. Its traditional repertoire was abandoned for the alien works of Bach, Beethoven, and other classical composers.
Continued persecution, arrest, and exile became a way of life for countless Ukrainian Bandurists clinging to their traditions. Many headed West, seeking refuge in the United States and Canada, where they could continue practicing their art unhindered. The Ukrainian Bandurist Chorus, founded in 1918 in Kyiv, survived repression by relocating to the United States in 1949, where they settled together in Detroit.
The Ukrainian Bandurist Chorus of North America on stage
The Bandura Today
The bandura remains closely associated with vocal music, as it originally served as an accompaniment for singing. Bandura capellas, which combine the instrument’s orchestral capabilities with choral singing, are a natural expression of Ukrainian musical traditions. The Ukrainian Bandurist Chorus of North America is a leading example.
Today, there are three major types of banduras in concert use: The classical bandura, tuned diatonically with some 20 strings and wooden pegs; the Kharkiv bandura, tuned diatonically or chromatically with a single string mechanism and 34 to 65 strings; and the Kyiv bandura, with 55 to 64 strings tuned chromatically.
The bandura’s resilience and versatility reflect the enduring spirit of the Ukrainian people and their deep connection to their musical heritage.
Joko Sutrisno is a distinguished Javanese gamelan performer, composer, and educator whose career spans both Indonesia and the international stage. A graduate of the Indonesian Institute of Arts in Surakarta, Java, in 1987, Sutrisno has dedicated his life to sharing the beauty and complexity of gamelan music with diverse audiences worldwide.
He began his international teaching journey as the director of the gamelan ensemble at Victoria University in Wellington, New Zealand, a role he held for eight years. In 1995, he moved to Minnesota, where he served as the artistic director of the Sumunar Gamelan and Dance Ensemble until 2023.
Currently, Sutrisno holds dual appointments as a professor of gamelan at UCLA’s Herb Alpert School of Music and UC Riverside’s School of Music. Additionally, he is the consulting director for gamelan ensembles at Saint Thomas University, the University of South Dakota, Concordia College, and Hamilton College. In 2024, he was named an apprentice with the Alliance for California Traditional Arts (ACTA).
As a composer, Sutrisno has created over 20 original works that blend Javanese gamelan with a wide variety of art forms, including Western symphony and choir, Indian, Chinese, Arabic, Middle Eastern, and West African music. His innovative collaborations demonstrate his commitment to bridging cultural traditions and expanding the reach of gamelan music.
Sutrisno’s contributions have earned him numerous accolades, including the Creative Individuals Award from the Minnesota State Arts Board (2022, 2023), the Outstanding Alumni Award from the Indonesian Institute of Arts in Surakarta (2018), and a McKnight Composer Fellowship (2016).
Pak Joko in class at Canyon Crest Academy
Since 2010, Sutrisno has been a teaching artist with the Center for World Music, where he leads the Javanese gamelan program at Canyon Crest Academy High School. This thriving program reflects his dedication to inspiring the next generation of musicians. Alongside his wife and artistic partner, Tri Martodikromo, Sutrisno continues to share the rich traditions of Central Javanese court music, dance, and language.
It is a true privilege to have such a highly respected and accomplished artist as part of the Center for World Music’s teaching team in San Diego.
Videos for Further Exploration
Joko Sutrisno directing full gamelan performance with dancer:
And a short clip with Pak Joko playing gendèr:
https://centerforworldmusic.org/wp-content/uploads/2024/12/Joko-Sutrisno-Directs-UCLA-Java-Gamelan.jpg7501200Laurel Grinnell-Wilsonhttps://centerforworldmusic.org/wp-content/uploads/2014/06/logo_w_red_type_52.pngLaurel Grinnell-Wilson2024-12-09 10:49:582025-03-01 15:21:34Joko Sutrisno: 35 Years of Sharing Javanese Music
Originally from Plano, Texas, and raised in La Mesa, California, Quin Herron was drawn to traditional Irish music after being captivated by the sounds of James Galway and The Chieftains. Today, he serves as chair of the San Diego chapter of Comhaltas Ceoltóirí Éireann (Irish Gaelic: “Gathering of Musicians of Ireland”), an international organization dedicated to promoting Irish music, dance, language, and culture. Whenever he has the chance, Quin travels to Ireland to deepen his connection to the music and culture.
As a high school junior, Quin spent a year in Belgium as a Rotary exchange student. Later, while studying creative writing and music at the University of San Francisco, he completed a junior year abroad at Trinity College Dublin. This experience allowed him to travel extensively across Europe and especially in Ireland.
A skilled musician, Quin plays both the Irish tin whistle—a keyless, end-blown flute ideal for beginners—and the Irish flute, typically crafted from wood and based on the classical flute design of the 19th century. Known for its rhythmic, percussive, and expressive qualities, the Irish flute perfectly suits Ireland’s vibrant dance music. Quin honed his flute skills by studying with some of Ireland’s top musicians and playing in traditional music sessions across the country.
In addition to his instrumental work, Quin is an accomplished vocalist, performing Irish songs in the unaccompanied Sean-nós (old style) tradition. He also lends his voice as a tenor with the San Diego Master Chorale and serves as a cantor at Santa Sophia Catholic Church.
In his role with CWM’s World Music in the Schools program, Quin introduces students to Irish melodies on the tin whistle and teaches them traditional Irish songs. A tin whistle is available for each student thanks to donations from the community collected by Comhaltas.
If there’s traditional Irish music happening in San Diego, you’re likely to find Quin there. He’s a regular on Tuesdays at The Ould Sod in Normal Heights and on Saturdays at The Pub in Bay Park. His band, Gallowglass, is also preparing to release a new album.
Videos for Further Exploration
Gallowglass, with Quin on flute, performing “Over the Moor to Maggie”:
And a short clip with Quin on vocal:
https://centerforworldmusic.org/wp-content/uploads/2024/02/Quin-Herron-with-Tin-Wistle.jpg6751200CWM Staffhttps://centerforworldmusic.org/wp-content/uploads/2014/06/logo_w_red_type_52.pngCWM Staff2024-11-08 13:32:062025-03-01 15:45:54Quin Herron: Bringing People Together with Irish Music
Yale Strom is a San Diego-based violinist and leading authority on klezmer traditions of the Jewish and Roma communities of Central and Eastern Europe and the Balkans. A versatile and prolific artist, Strom’s expertise spans roles as a musician, composer, ethnographer, filmmaker, educator, playwright, and more. He regularly performs in San Diego, New York, and internationally, with a broad portfolio of creative work, as detailed on his Wikipedia page.
Born in Detroit in 1957, Strom’s journey with the violin began at the age of eight, sparked by free music lessons offered in his primary school. Growing up in a musically rich family—his mother a pianist, his father an avid music lover—he was naturally drawn to the world of music. In 1982, he formed his first band, Hot Pstromi, a project that has been central to his artistic life. Based in both San Diego and New York, Strom continues to compose and perform with the group, demonstrating his unwavering dedication to his craft.
Through the CWM’s World Music in the Schools Assemblies program, Strom and his now-renowned band introduce students to the diverse sounds of klezmer, blending Khasidic nigunim (vocal music) with Romani, jazz, classical, Balkan, and Sephardic elements. Whether in school programs or the CWM’s Access to the Arts for Seniors, Strom enriches performances with storytelling, helping audiences—whether familiar with klezmer music or not—discover the depth and history of this vibrant musical tradition.
Enjoy Yale Strom performing with Hot Pstromi at the historic Museum at Eldridge Street, New York City:
And Yale and Hot Pstromi at UCSD’s Park & Market in San Diego:
https://centerforworldmusic.org/wp-content/uploads/2024/09/Yale-Strom-Photo-by-Robert-Sanchez.jpg8001200Laurel Grinnell-Wilsonhttps://centerforworldmusic.org/wp-content/uploads/2014/06/logo_w_red_type_52.pngLaurel Grinnell-Wilson2024-09-30 16:36:022025-03-01 16:12:42Yale Strom: Bringing Klezmer Music to San Diego Schools
An internationally acclaimed musician and one of the foremost qanun players of his generation, Ali Paris is celebrated for his exceptional mastery and innovative artistry on his 14th-century traditional instrument. Blending the rich traditions of Middle Eastern music with elements of Western styles, Ali has captivated audiences around the world. He has been described as an “unrivaled, unique artist” by the legendary Quincy Jones and “one of the most eclectic and diverse artists” by Grammy-winning musician Paul Simon, who attended many of Ali’s concerts at Lincoln Center in New York.
Born in Morocco, Ali began his musical education at the age of five. By the age of nine, he was discovered by Simon Shaheen, a master performer and educator of traditional Arabic music. Recognizing Ali’s potential, Shaheen mentored him as a protégé. Soon, Ali was performing in prestigious concert halls, and by eleven, he had embarked on his first European tour.
Since then, Ali has garnered numerous international accolades, including the prestigious Marcel Khalife Best Artist of the Year award, which he won for four consecutive years. His career has expanded exponentially, earning him a degree from Boston’s renowned Berklee College of Music on a full scholarship. Throughout his journey, he has collaborated with an illustrious list of world-renowned artists, including the late Paco De Lucia, Buika, Alicia Keys, Bobby McFerrin, and Javier Limón.
Ali has performed at many of the world’s most esteemed venues, from the White House and the Newport and Montreux jazz festivals to the Royal Palace in Jordan, where he gave a solo performance for Queen Rania of Jordan. He has also performed as a soloist with the Boston Symphony Orchestra and the Michigan Philharmonic and was featured in the Grammy-winning Spanish documentary Entre2aguas, as well as the Hollywood film Noah.
Ali’s performances are distinguished by his exploration of fertile ground between Eastern and Western musical traditions, creating a powerful dialog between cultures and genres. His dedication to humanitarian causes has seen him collaborate with numerous world-class artists to support initiatives such as Doctors Without Borders, Save a Child’s Heart, and Keep A Child Alive. His work with Alejandro Sanz has also helped fund vital humanitarian projects in Africa and the Middle East.
If students walked away from one of my assemblies with one profound lesson, it would be the realization that music is not just a series of notes and rhythms but a powerful, universal language that bridges cultures, nurtures empathy, and celebrates diversity
Through the vibrant sounds of Arabic music, the unique textures of traditional instruments, and the joy of shared songs and dances, I want each child to understand that while we may come from different corners of the world, our hearts beat to the same rhythm. This rhythm, rooted in our collective human experience, reminds us that we are all connected.
—Ali Paris
In June 2023, Ali was featured in the CWM series Music on the Move at Mingei International Museum. He is deeply committed to education through his involvement with the CWM’s World Music in the Schools program, regularly visiting school partners to conduct dynamic workshops and assemblies. Through these programs, he shares the beauty and depth of Middle Eastern music and culture, providing students with an engaging introduction to Arabic music and traditions.
https://centerforworldmusic.org/wp-content/uploads/2024/07/Ali-Paris-LA-Concert-with-Save-a-Childs-Heart-Fnd.jpg6501156Laurel Grinnell-Wilsonhttps://centerforworldmusic.org/wp-content/uploads/2014/06/logo_w_red_type_52.pngLaurel Grinnell-Wilson2024-07-20 15:09:232025-03-01 20:27:36Ali Paris: Master of the Middle Eastern Qanun
James Stanley is a San Diego native who was raised embracing, embodying, and sharing Hawaiian culture and arts. He is the eldest son of Kumu (Hula Teacher) Kathy Heali’i Gore Stanley, the founder of San Diego’s Heali’i’s Polynesian Revue. As such, James was immersed in Polynesian arts and began performing dance and playing the ukulele at a very young age. His love of dance and movement eventually inspired him to earn a BA in kinesiology from CSU Northridge in 2018.
James Stanley performing traditional Hawaiian dance
James has performed with many of Hawai’i’s music legends, including HAPA, Na Leo Pilimehana, Amy Hānaiali’i, Makaha Sons, and Kalani Pe’a. Today, James is an alakaʻi (co-leader) and kāne director (men’s director) for Heali’i’s Polynesian Revue. He pours his aloha into nurturing his family’s hālau (Hawaiian dance school) through music, dancing, and traditional practices.
We are proud to have James as a teaching artist for the CWM’s youth education program, World Music in the Schools. James engages over 900 San Diego County school children a week with Hawaiian language and traditions, ukulele, and dancing.
James Stanley in a World Music in the Schools classroom
James’ brother, Anthony Kauka Stanley is also a teaching artist for the School’s program. Learn more about Anthony from his profile on our website.
For Further Exploration
Watch James Stanley on stage performing Hawaiian dance to the music of the Mākaha Sons:
This is the third in a series of articles exploring the various instruments of the Javanese gamelan.
The rebab is a bowed two-string lute of the royal court gamelan orchestras of the central Javanese cities of Yogyakarta and Surakarta, Indonesia. Like all gamelan instruments, the rebab is played by a musician sitting cross-legged on the floor or stage, with the player bowing the instrument while holding it upright.
Instrument Construction
Pak Djoko Walujo with Rebab
The resonating chamber of the rebab is a hollowed-out piece of wood about the size of a large coconut, curved in the back and decorated with a velvet cloth and beaded tassels. The front surface of the resonating chamber consists of a membrane made from a bull bladder. Protruding from the bottom of the chamber is a decorative, lathe-turned spike several inches long—forming a leg which rests on the floor. This gives the rebab a striking appearance suggestive of the description “spike fiddle,” as the instrument is sometimes called. Extending from the top of the chamber is the neck, also turned on a lathe.
At the top of the neck is the peg box, in which the wire strings are wound onto two long tuning pegs. Extending from the top of the peg box is a tall pointed spire. Although it serves no musical function, Javanese musicians feel that, in both an aesthetic and a spiritual sense, the rebab represents a conduit between Heaven and Earth. In fact, the entire gamelan orchestra is regarded as highly venerable, even sacred, possessed of mystical powers. Partly for this reason, gamelan sets are given majestic, honorific titles, such as “The Venerable Torrent of Honey,” a gamelan housed in the Sultan’s Palace in Yogyakarta.
The rebab player does not press the strings to the neck while playing. Actually, the neck has no fingerboard. The player merely needs to gently press the string at the correct locations along its length in order to render the pitches of the melody. It is standard practice to play some of the pitches a “hint” higher than the exact fixed pitches of the keyed metal instruments. Doing so makes the rebab—a relatively quiet instrument—brighter and more audible.
Upon close inspection, one will notice that the two bronze strings of the rebab are in fact only one. That is, a single string is wound, at its middle point, several times around the upper base of the leg and then around a small peg. From there, each half of the string extends upward over an adjustable bridge (held on by the tension of the strings), continuing up to the tuning pegs. If the string breaks—depending on where it breaks—it can be unwound a couple of turns from around the leg, and then restrung and retuned. However, restringing a rebab is a relatively time-consuming task. This is one reason why gamelans generally have extra rebabs available during a performance, even though only one is played at any given time.
History
Our understanding of the history of the rebab is based on informed inference and speculation rather than hard archeological or documentary evidence. On ancient ruins and temples (for example, Borobudur, a large Buddhist monument built in Java during the 8th to 9th centuries CE), one can see reliefs of performing musicians and various instruments carved on the stone walls. However, images of rebabs are lacking. The rebab (Arabic: rabāba) has a long history in the Muslim world, and it is probable that early models of rebab-like bowed lutes were introduced into Java by Islamic traders and sailors sometime during the Middle Ages, perhaps during the 15th and 16th centuries.
Contemporary Bedouin Rebab Payer, Jordan
How, then, did rebabs come to be included in gamelan orchestras in modern Java? Perhaps rebabs were played by itinerant musicians outside of the courts, mostly for accompanying themselves or others while singing. If so, over time they would likely have gradually gained acceptance in Javanese culture and eventually been introduced into gamelans to musically support the vocalists.
The validity of this idea may be reinforced by the general function of the rebab in gamelans today, where it melodically supports singers, both male (gerong) and female (pesindhen), in formal compositions. Also, the rebab aids various elaborating instruments (e.g., gender, gambang, suling, siter) by announcing structurally significant pitches just before the elaborating instrument are to sound the same notes. Thus in performance, when the melodic line played by rebab ascends into the upper range, the elaborating instruments and the singers tend to immediately follow.
Javanese Rebab in Case
Playing the Rebab
There are two main categories of gamelan repertoire: the “loud” style and the “soft.” In the soft repertoire, the rebab (or sometimes another instrument or a singer) leads the gamelan with an introductory phrase called a buka (“opening”). In soft-style compositions (gendhing rebab), the instrument first plays a senggrengang—a short phrase that alerts the other musicians to be ready to play. Then, the rebab will play the buka, leading into the composition’s first section. The rebab always plays an unfretted, open stroke on both strings at the sounding of the large gong (gong ageng), which marks the major structural sections of the composition. It plays on other rhythmically and structurally significant points, such as on strokes of one of the kenongs, medium-sized gongs resembling inverted bronze pots that are horizontally suspended on a rack.
Master rebab players can improvise appropriate melodic phrases effortlessly, while students often rely on written cipher notation of fixed compositions provided by their teachers. It is challenging for foreign students to achieve with authenticity the sound and subtleties of the rebab playing that they hear when seasoned Javanese musicians perform.
The melodic phrases most characteristic of traditional Javanese rebab playing are typically elaborate and ornamental—but may occasionally be quite simple. Either way, they should always be played with an expressive yet calm mood and should sound languid and graceful, in keeping with the rebab‘s role as an elaborating instrument. In this, the tradition of the rebab truly reflects the exquisite refinement characteristic of Javanese royal culture.
Series: Instruments of the Central Javanese Gamelan
https://centerforworldmusic.org/wp-content/uploads/2024/05/Rebab-and-Gamelan.jpg6751200Garth Winterlinghttps://centerforworldmusic.org/wp-content/uploads/2014/06/logo_w_red_type_52.pngGarth Winterling2024-05-09 14:11:402025-03-01 20:43:05Instruments of the Central Javanese Gamelan: Rebab
The modern bandura is crafted with meticulous attention to materials and acoustic engineering, combining traditional techniques with modern innovations to achieve its distinctive sound. Combining elements of a lute and a harp, the bandura consists of a resonant body, a soundboard, strings, tuning mechanisms, a bridge, and decorative elements.
The body is typically made from high-quality woods like spruce, maple, or mahogany, chosen for their superior acoustic properties. The resonator amplifies the instrument’s sound and gives the bandura its characteristic timbre. The soundboard is the flat top of the body of the instrument and is often constructed from spruce or cedar. Modern banduras feature between 20 and 65 strings, made from steel or nylon, depending on the tonal and dynamic range desired.
The strings are arranged chromatically, covering nearly five octaves. The lowest notes are positioned at the top of the instrument, often on a separate bridge, while the higher notes are aligned parallel along the length of the instrument. The bridge supports the strings and transmits their vibrations to the soundboard. Each of the strings are tuned with tuning pegs made of metal or hard wood, and are designed for precise and stable tuning.
Many banduras are adorned with traditional Ukrainian motifs, showcasing intricate wood carving, inlays, or painted designs, reflecting the cultural heritage of the instrument.
Mia Aust, Early Schools Program Student, Returns as Teaching Artist
in CWM News/by StaffMia playing in the gamelan for Museum School showcase, 2009
Mia Aust’s musical journey began in the 3rd grade at San Diego’s Museum School. There, she joined a Balinese gamelan class offered through the CWM’s World Music in the Schools program, which had been going strong at her school since 1999. Fast forward through a decade and a half of study, practice, and growth, and Mia is now a CWM teaching artist herself, specializing in Balinese gamelan angklung ensemble music. A full circle!
Her early experience in the Museum School gamelan, under the instruction of CWM teaching artists Alex Khalil and Andrea Hernandez, shaped the foundation of her musical understanding, emphasizing learning by ear and repetition over traditional Western notation. She also studied Balinese dance during this time, deepening her appreciation for Indonesian performing arts.
Mia played with the Museum School ensemble until 2013. But that wasn’t the end of her involvement. In 2016, while in high school, she discovered the University of San Diego (USD) gamelan ensemble. Led at that time by David Harnish and Tyler Yamin, the USD group was open to non-USD students. Mia joined and helped recruit fellow Museum School alumni. With few other opportunities to play gamelan available in San Diego, USD’s Gamelan Gunung Mas became a vital hub for community musicians. Mia continues to perform with this ensemble today, allowing her to study under Hirotaka Inuzuka and current director Meghan Hynson.
Mia (left) performing with USD Gamelan, 2019
Mia earned her Bachelor of Science in Plant Biology from UC Riverside in 2024. While at UCR, she briefly joined the university’s Javanese gamelan ensemble, directed by Pak Joko Sutrisno. Her dual passion for science and music has shaped her unique perspective, with gamelan providing a creative outlet that enhances her ability to recognize patterns, learn new skills, and teach others.
As a teaching artist for the CWM’s World Music in the Schools program, Mia brings a thoughtful and adaptive teaching style, rooted in her early experiences teaching swim lessons to children and adults. She excels at breaking down complex concepts for beginners, fostering an inclusive and supportive learning environment for students of all backgrounds.
For Further Exploration
Watch Mia Aust (far left) playing with the USD Gamelan Gunung Mas:
Dramane Koné: Griot and Master Drummer
in CWM News, World Music in the Schools/by Stefanie SchmitzAs a griot, Dramane is a guardian of West African musical traditions, passed down orally through generations. His electrifying performances and deep cultural knowledge have earned him international acclaim. He has toured extensively across Europe and the U.S., performing as a soloist and with prestigious groups like the National Ballet of Burkina Faso. Now based in California, he continues to share the rich rhythms of West Africa through performances, teaching, and workshops. He is also an active member of Drum Café West, bringing high-energy drumming to corporate and cultural events.
During his childhood, Dramane’s family moved to Mali before returning to Burkina Faso. His early musical journey was featured in the award-winning 1997 film Great Great Great Grandparents’ Music by filmmaker Taale Laafi Rossellini. A four-year-old Dramane appears in the film (see clip below), already immersed in his craft.
Dramane playing balafon
Dramane on TEDx stage
His passion for music and teaching shines in every performance, where his mastery of the djembe and balafon (gourd-resonated xylophone) transports audiences into the heart of African traditions. He sees his mission as spreading joy, love, laughter, and cultural connection through rhythm and song.
For the Center for World Music, Dramane and his ensemble, Ballet Djelia Kadi, perform at school assemblies, senior programs, and community events in San Diego, inspiring new generations through the power of music.
For Further Exploration
Watch Dramane Koné and members of Ballet Djelia Kadi performing at Cedar Cove Academy:
A clip from the Grandparents’ Music video mentioned above, showing Dramane studying balafon with his father:
Remembering Danlee Mitchell
in CWM News/by Laurel Grinnell-WilsonDanlee at Flower Mountain, Bali | Photo courtesy of Anita Mitchell
The Center for World Music mourns the loss of Professor Danlee Mitchell (October 5, 1936–July 31, 2024), a cherished board member who has been pivotal in shaping the organization since the early 1990s.
A pillar of the San Diego music community, Danlee served as professor of percussion in the School of Music and Dance at San Diego State University (1964-2001), where he was much loved as a teacher and known especially for his tireless advocacy for world music. A renowned percussionist, he achieved distinction nationally for directing and performing with the Harry Partch Ensemble and locally for his performances with the San Diego Symphony, the La Jolla Symphony & Chorus, and the San Diego Opera.
As a passionate music archivist, Danlee meticulously captured performances across genres through audio and video recordings, preserving countless artistic moments for future generations.
We are profoundly grateful for Danlee’s decades of dedicated, steadfast contribution to our mission. His legacy will continue to inspire us, and we will hold his memory close in our hearts.
Danlee Mitchell playing Partch instruments (1987) | Photo: Randy Hoffman
Danlee’s life touched so many of us and he will be greatly missed.
The Center for World Music proudly dedicates its 2025 Concert Series to the memory of Danlee Mitchell.
There is also a fine tribute “Danlee Mitchell (1936 – 2024): the ‘sine qua non’” by Jon Szanto, executor of the Harry Partch Estate.
Last but certainly not least, a heartfelt thank you to George Varga at the San Diego Union-Tribune for his feature-length obit for our esteemed colleague, “Danlee Mitchell, a nationally acclaimed San Diego music treasure, is dead at 87.”
The Ukrainian Bandura
in CWM News, World Music Instruments/by Luke Lashchuk MillerThe bandura, a lute-like instrument regarded as the national instrument of Ukraine, has become a symbol of Ukrainian nationhood and resilience. Deeply entwined with Ukrainian history, the instrument has come to be known as “the voice of Ukraine.” From a musical perspective, the bandura unifies acoustic principles of both the lute and the harp, its sound resembling that of a harpsichord but with a broader range of notes and tonal control.
The bandura’s history can be traced back to a 6th-century Greek chronicle, which mentions Ukrainian warriors playing lute-like instruments. This early instrument, known as the kobza, was smaller, more circular, and had fewer strings than the modern bandura. Over time, additional strings were added, some positioned along the side of the instrument, rendering frets on its neck unnecessary.
Cossack playing a bandura (early 19th century), National Art Museum of Ukraine
During the Middle Ages, the bandura became prominent in the courts of Eastern Europe, much like the lute in Western Europe. It was used primarily for accompanying dance and song. It also enjoyed great popularity among the Kozaks (Cossacks), semi-nomadic warriors who developed a unique repertoire for the instrument. From their ranks arose a new school of Ukrainian professional musicians called kobzari (singular form is kobzar). The kobzari often accompanied the Kozaks during times of war.
The kobzari developed a unique epic song form known as the duma (plural: dumy), meaning thought or reflection. Sung to the accompaniment of the bandura, dumy depicted the heroic exploits of the Ukrainian Kozaks and their quest for freedom. By the 18th century, the kobzari were unlike their kozak fore-bearers. A tradition that required all kobzari to be blind had developed.
In 1873, at the Third Archeological Conference held in Kyiv, Western scholars and composers first heard dumy performed by a blind kobzar named Ostap Veresai. His moving performance inspired the publication of numerous articles and books on the subject and had a significant influence on the development of the musical form known as dumky (e.g., Dvorak’s “Dumky Trios” and Tchaikovsky’s “Dumka”).
The Bandura in the 20th Century
At the beginning of the 20th century, urban Ukrainians developed a renewed interest in the bandura. Bandura ensembles became popular, and demands for new instruments grew. During this time, considerable innovation and experimentation were made in instrument design and construction. New banduras began to be mass produced with many strings, tuned chromatically rather than diatonically (like a piano rather than a guitar), and levers were added to expedite rapid transposition (playing in a different key). Conservatory courses were organized, and professional composers were hired to create new compositions specifically written for this instrument.
This period of the history of the bandura coincided with the rise of Ukrainian patriotism and nationalism and a subsequent flourishing of the arts. Unfortunately, it did not last long. In 1935, the Soviet government lured blind kobzari to Kharkiv under the guise of an ethnographic conference, only to execute them, symbolizing the regime’s broader effort to suppress Ukrainian cultural identity. Persecution, arrest, and exile became a way of life for countless Ukrainian artists and bandurists.
Renown street bandura player Ostap Kindrachuk (1937-2024) | photo by Roman Koval
Throughout the Cold War Era, the Soviet government resolved to wipe out all vestiges of Ukrainian nationalism by attacking and destroying Ukrainian culture. However, the Soviet authorities quickly realized that it would be impossible to fully eliminate the bandura from what proved to be a resilient Ukrainian identity. Instead, they attempted to separate the bandura from its past and traditions by developing the modern Kyiv bandura. Training to play the bandura was taken in a more academic direction. Its traditional repertoire was abandoned for the alien works of Bach, Beethoven, and other classical composers.
Continued persecution, arrest, and exile became a way of life for countless Ukrainian Bandurists clinging to their traditions. Many headed West, seeking refuge in the United States and Canada, where they could continue practicing their art unhindered. The Ukrainian Bandurist Chorus, founded in 1918 in Kyiv, survived repression by relocating to the United States in 1949, where they settled together in Detroit.
The Ukrainian Bandurist Chorus of North America on stage
The Bandura Today
The bandura remains closely associated with vocal music, as it originally served as an accompaniment for singing. Bandura capellas, which combine the instrument’s orchestral capabilities with choral singing, are a natural expression of Ukrainian musical traditions. The Ukrainian Bandurist Chorus of North America is a leading example.
Today, there are three major types of banduras in concert use: The classical bandura, tuned diatonically with some 20 strings and wooden pegs; the Kharkiv bandura, tuned diatonically or chromatically with a single string mechanism and 34 to 65 strings; and the Kyiv bandura, with 55 to 64 strings tuned chromatically.
The bandura’s resilience and versatility reflect the enduring spirit of the Ukrainian people and their deep connection to their musical heritage.
About the Bandura from the Ukranian Bandurist Chorus of North America:
And a short clip about the late Ostrap Kindrachuk:
Joko Sutrisno: 35 Years of Sharing Javanese Music
in CWM News, World Music in the Schools/by Laurel Grinnell-WilsonJoko Sutrisno is a distinguished Javanese gamelan performer, composer, and educator whose career spans both Indonesia and the international stage. A graduate of the Indonesian Institute of Arts in Surakarta, Java, in 1987, Sutrisno has dedicated his life to sharing the beauty and complexity of gamelan music with diverse audiences worldwide.
Currently, Sutrisno holds dual appointments as a professor of gamelan at UCLA’s Herb Alpert School of Music and UC Riverside’s School of Music. Additionally, he is the consulting director for gamelan ensembles at Saint Thomas University, the University of South Dakota, Concordia College, and Hamilton College. In 2024, he was named an apprentice with the Alliance for California Traditional Arts (ACTA).
As a composer, Sutrisno has created over 20 original works that blend Javanese gamelan with a wide variety of art forms, including Western symphony and choir, Indian, Chinese, Arabic, Middle Eastern, and West African music. His innovative collaborations demonstrate his commitment to bridging cultural traditions and expanding the reach of gamelan music.
Sutrisno’s contributions have earned him numerous accolades, including the Creative Individuals Award from the Minnesota State Arts Board (2022, 2023), the Outstanding Alumni Award from the Indonesian Institute of Arts in Surakarta (2018), and a McKnight Composer Fellowship (2016).
Since 2010, Sutrisno has been a teaching artist with the Center for World Music, where he leads the Javanese gamelan program at Canyon Crest Academy High School. This thriving program reflects his dedication to inspiring the next generation of musicians. Alongside his wife and artistic partner, Tri Martodikromo, Sutrisno continues to share the rich traditions of Central Javanese court music, dance, and language.
It is a true privilege to have such a highly respected and accomplished artist as part of the Center for World Music’s teaching team in San Diego.
Joko Sutrisno directing full gamelan performance with dancer:
And a short clip with Pak Joko playing gendèr:
Quin Herron: Bringing People Together with Irish Music
in CWM News, World Music in the Schools/by CWM StaffOriginally from Plano, Texas, and raised in La Mesa, California, Quin Herron was drawn to traditional Irish music after being captivated by the sounds of James Galway and The Chieftains. Today, he serves as chair of the San Diego chapter of Comhaltas Ceoltóirí Éireann (Irish Gaelic: “Gathering of Musicians of Ireland”), an international organization dedicated to promoting Irish music, dance, language, and culture. Whenever he has the chance, Quin travels to Ireland to deepen his connection to the music and culture.
A skilled musician, Quin plays both the Irish tin whistle—a keyless, end-blown flute ideal for beginners—and the Irish flute, typically crafted from wood and based on the classical flute design of the 19th century. Known for its rhythmic, percussive, and expressive qualities, the Irish flute perfectly suits Ireland’s vibrant dance music. Quin honed his flute skills by studying with some of Ireland’s top musicians and playing in traditional music sessions across the country.
In addition to his instrumental work, Quin is an accomplished vocalist, performing Irish songs in the unaccompanied Sean-nós (old style) tradition. He also lends his voice as a tenor with the San Diego Master Chorale and serves as a cantor at Santa Sophia Catholic Church.
In his role with CWM’s World Music in the Schools program, Quin introduces students to Irish melodies on the tin whistle and teaches them traditional Irish songs. A tin whistle is available for each student thanks to donations from the community collected by Comhaltas.
If there’s traditional Irish music happening in San Diego, you’re likely to find Quin there. He’s a regular on Tuesdays at The Ould Sod in Normal Heights and on Saturdays at The Pub in Bay Park. His band, Gallowglass, is also preparing to release a new album.
Videos for Further Exploration
Gallowglass, with Quin on flute, performing “Over the Moor to Maggie”:
And a short clip with Quin on vocal:
Yale Strom: Bringing Klezmer Music to San Diego Schools
in CWM News, World Music in the Schools/by Laurel Grinnell-WilsonYale Strom is a San Diego-based violinist and leading authority on klezmer traditions of the Jewish and Roma communities of Central and Eastern Europe and the Balkans. A versatile and prolific artist, Strom’s expertise spans roles as a musician, composer, ethnographer, filmmaker, educator, playwright, and more. He regularly performs in San Diego, New York, and internationally, with a broad portfolio of creative work, as detailed on his Wikipedia page.
Through the CWM’s World Music in the Schools Assemblies program, Strom and his now-renowned band introduce students to the diverse sounds of klezmer, blending Khasidic nigunim (vocal music) with Romani, jazz, classical, Balkan, and Sephardic elements. Whether in school programs or the CWM’s Access to the Arts for Seniors, Strom enriches performances with storytelling, helping audiences—whether familiar with klezmer music or not—discover the depth and history of this vibrant musical tradition.
For more on Strom’s extensive achievements, visit his website at www.yalestrom.com.
Videos for Further Exploration
Enjoy Yale Strom performing with Hot Pstromi at the historic Museum at Eldridge Street, New York City:
And Yale and Hot Pstromi at UCSD’s Park & Market in San Diego:
Ali Paris: Master of the Middle Eastern Qanun
in CWM News, World Music in the Schools/by Laurel Grinnell-WilsonAn internationally acclaimed musician and one of the foremost qanun players of his generation, Ali Paris is celebrated for his exceptional mastery and innovative artistry on his 14th-century traditional instrument. Blending the rich traditions of Middle Eastern music with elements of Western styles, Ali has captivated audiences around the world. He has been described as an “unrivaled, unique artist” by the legendary Quincy Jones and “one of the most eclectic and diverse artists” by Grammy-winning musician Paul Simon, who attended many of Ali’s concerts at Lincoln Center in New York.
Since then, Ali has garnered numerous international accolades, including the prestigious Marcel Khalife Best Artist of the Year award, which he won for four consecutive years. His career has expanded exponentially, earning him a degree from Boston’s renowned Berklee College of Music on a full scholarship. Throughout his journey, he has collaborated with an illustrious list of world-renowned artists, including the late Paco De Lucia, Buika, Alicia Keys, Bobby McFerrin, and Javier Limón.
Ali has performed at many of the world’s most esteemed venues, from the White House and the Newport and Montreux jazz festivals to the Royal Palace in Jordan, where he gave a solo performance for Queen Rania of Jordan. He has also performed as a soloist with the Boston Symphony Orchestra and the Michigan Philharmonic and was featured in the Grammy-winning Spanish documentary Entre2aguas, as well as the Hollywood film Noah.
Ali’s performances are distinguished by his exploration of fertile ground between Eastern and Western musical traditions, creating a powerful dialog between cultures and genres. His dedication to humanitarian causes has seen him collaborate with numerous world-class artists to support initiatives such as Doctors Without Borders, Save a Child’s Heart, and Keep A Child Alive. His work with Alejandro Sanz has also helped fund vital humanitarian projects in Africa and the Middle East.
In June 2023, Ali was featured in the CWM series Music on the Move at Mingei International Museum. He is deeply committed to education through his involvement with the CWM’s World Music in the Schools program, regularly visiting school partners to conduct dynamic workshops and assemblies. Through these programs, he shares the beauty and depth of Middle Eastern music and culture, providing students with an engaging introduction to Arabic music and traditions.
Videos for Further Exploration
Watch Ali Paris performing with the Detroit-based National Arab Orchestra:
Ali Paris on stage at the Newport Jazz Festival:
James Stanley: Teaching Hawaiian Ukulele, Movement, and Culture
in CWM News, World Music in the Schools/by Lance NelsonJames Stanley is a San Diego native who was raised embracing, embodying, and sharing Hawaiian culture and arts. He is the eldest son of Kumu (Hula Teacher) Kathy Heali’i Gore Stanley, the founder of San Diego’s Heali’i’s Polynesian Revue. As such, James was immersed in Polynesian arts and began performing dance and playing the ukulele at a very young age. His love of dance and movement eventually inspired him to earn a BA in kinesiology from CSU Northridge in 2018.
James Stanley performing traditional Hawaiian dance
James has performed with many of Hawai’i’s music legends, including HAPA, Na Leo Pilimehana, Amy Hānaiali’i, Makaha Sons, and Kalani Pe’a. Today, James is an alakaʻi (co-leader) and kāne director (men’s director) for Heali’i’s Polynesian Revue. He pours his aloha into nurturing his family’s hālau (Hawaiian dance school) through music, dancing, and traditional practices.
We are proud to have James as a teaching artist for the CWM’s youth education program, World Music in the Schools. James engages over 900 San Diego County school children a week with Hawaiian language and traditions, ukulele, and dancing.
James Stanley in a World Music in the Schools classroom
James’ brother, Anthony Kauka Stanley is also a teaching artist for the School’s program. Learn more about Anthony from his profile on our website.
For Further Exploration
Watch James Stanley on stage performing Hawaiian dance to the music of the Mākaha Sons:
Instruments of the Central Javanese Gamelan: Rebab
in World Music Instruments/by Garth WinterlingThis is the third in a series of articles exploring the various instruments of the Javanese gamelan.
The rebab is a bowed two-string lute of the royal court gamelan orchestras of the central Javanese cities of Yogyakarta and Surakarta, Indonesia. Like all gamelan instruments, the rebab is played by a musician sitting cross-legged on the floor or stage, with the player bowing the instrument while holding it upright.
Instrument Construction
Pak Djoko Walujo with Rebab
The resonating chamber of the rebab is a hollowed-out piece of wood about the size of a large coconut, curved in the back and decorated with a velvet cloth and beaded tassels. The front surface of the resonating chamber consists of a membrane made from a bull bladder. Protruding from the bottom of the chamber is a decorative, lathe-turned spike several inches long—forming a leg which rests on the floor. This gives the rebab a striking appearance suggestive of the description “spike fiddle,” as the instrument is sometimes called. Extending from the top of the chamber is the neck, also turned on a lathe.
At the top of the neck is the peg box, in which the wire strings are wound onto two long tuning pegs. Extending from the top of the peg box is a tall pointed spire. Although it serves no musical function, Javanese musicians feel that, in both an aesthetic and a spiritual sense, the rebab represents a conduit between Heaven and Earth. In fact, the entire gamelan orchestra is regarded as highly venerable, even sacred, possessed of mystical powers. Partly for this reason, gamelan sets are given majestic, honorific titles, such as “The Venerable Torrent of Honey,” a gamelan housed in the Sultan’s Palace in Yogyakarta.
The rebab player does not press the strings to the neck while playing. Actually, the neck has no fingerboard. The player merely needs to gently press the string at the correct locations along its length in order to render the pitches of the melody. It is standard practice to play some of the pitches a “hint” higher than the exact fixed pitches of the keyed metal instruments. Doing so makes the rebab—a relatively quiet instrument—brighter and more audible.
Upon close inspection, one will notice that the two bronze strings of the rebab are in fact only one. That is, a single string is wound, at its middle point, several times around the upper base of the leg and then around a small peg. From there, each half of the string extends upward over an adjustable bridge (held on by the tension of the strings), continuing up to the tuning pegs. If the string breaks—depending on where it breaks—it can be unwound a couple of turns from around the leg, and then restrung and retuned. However, restringing a rebab is a relatively time-consuming task. This is one reason why gamelans generally have extra rebabs available during a performance, even though only one is played at any given time.
History
Our understanding of the history of the rebab is based on informed inference and speculation rather than hard archeological or documentary evidence. On ancient ruins and temples (for example, Borobudur, a large Buddhist monument built in Java during the 8th to 9th centuries CE), one can see reliefs of performing musicians and various instruments carved on the stone walls. However, images of rebabs are lacking. The rebab (Arabic: rabāba) has a long history in the Muslim world, and it is probable that early models of rebab-like bowed lutes were introduced into Java by Islamic traders and sailors sometime during the Middle Ages, perhaps during the 15th and 16th centuries.
Contemporary Bedouin Rebab Payer, Jordan
How, then, did rebabs come to be included in gamelan orchestras in modern Java? Perhaps rebabs were played by itinerant musicians outside of the courts, mostly for accompanying themselves or others while singing. If so, over time they would likely have gradually gained acceptance in Javanese culture and eventually been introduced into gamelans to musically support the vocalists.
The validity of this idea may be reinforced by the general function of the rebab in gamelans today, where it melodically supports singers, both male (gerong) and female (pesindhen), in formal compositions. Also, the rebab aids various elaborating instruments (e.g., gender, gambang, suling, siter) by announcing structurally significant pitches just before the elaborating instrument are to sound the same notes. Thus in performance, when the melodic line played by rebab ascends into the upper range, the elaborating instruments and the singers tend to immediately follow.
Javanese Rebab in Case
Playing the Rebab
There are two main categories of gamelan repertoire: the “loud” style and the “soft.” In the soft repertoire, the rebab (or sometimes another instrument or a singer) leads the gamelan with an introductory phrase called a buka (“opening”). In soft-style compositions (gendhing rebab), the instrument first plays a senggrengang—a short phrase that alerts the other musicians to be ready to play. Then, the rebab will play the buka, leading into the composition’s first section. The rebab always plays an unfretted, open stroke on both strings at the sounding of the large gong (gong ageng), which marks the major structural sections of the composition. It plays on other rhythmically and structurally significant points, such as on strokes of one of the kenongs, medium-sized gongs resembling inverted bronze pots that are horizontally suspended on a rack.
Gamelan Students Playing Rebab and Gender
Master rebab players can improvise appropriate melodic phrases effortlessly, while students often rely on written cipher notation of fixed compositions provided by their teachers. It is challenging for foreign students to achieve with authenticity the sound and subtleties of the rebab playing that they hear when seasoned Javanese musicians perform.
The melodic phrases most characteristic of traditional Javanese rebab playing are typically elaborate and ornamental—but may occasionally be quite simple. Either way, they should always be played with an expressive yet calm mood and should sound languid and graceful, in keeping with the rebab‘s role as an elaborating instrument. In this, the tradition of the rebab truly reflects the exquisite refinement characteristic of Javanese royal culture.
Series: Instruments of the Central Javanese Gamelan
Introduction and Overview
Peking
Rebab