# Colotomy

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Indonesian musical rhythmic and metric used in Gamelan

For the surgical operation, see [colostomy](/source/Colostomy).

"Lancaran" redirects here. For the type of ship, see [Lancaran (ship)](/source/Lancaran_(ship)).

Ladrang form on the phrase making or colotomic instruments. p = *kempyang*, t = *ketuk*, ⋅ = pause, N = *kenong*, P = *kempul*, GONG = *gong ageng*.[1]

***Colotomy*** is an [Indonesian](/source/Music_of_Indonesia) description of the [rhythmic](/source/Rhythm) and [metric](/source/Meter_(music)) patterns of [gamelan](/source/Gamelan) music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by [gongs](/source/Gong) of various size: the *[kempyang](/source/Kempyang)*, *[ketuk](/source/Ketuk)*, *[kempul](/source/Kempul)*, *[kenong](/source/Kenong)*, *[gong suwukan](/source/Gong_suwukan)*, and *[gong ageng](/source/Gong_ageng)*. The fast-playing instruments, *[kempyang and ketuk](/source/Kempyang_and_ketuk)*, keep a regular [beat](/source/Beat_(music)). The larger gongs group together these hits into larger groupings, playing once per each grouping. The largest gong, the *[gong ageng](/source/Gong_ageng)*, represents the largest time cycle and generally indicates that the preceding section will be repeated, or the piece will move on to a new section.

The details of the rhythmic patterns depend on the **colotomic structure** ([Javanese](/source/Javanese_language): *bentuk*), also known as ***gendhing* structure**. There are a number of different structures, which differ greatly in length and complexity; however, all of them have some colotomic characteristics.

In the gamelan, the instruments which articulate this structure are sometimes called the **colotomic instruments** (also **interpunctuating instruments** or **structural instruments**, while Jennifer Lindsay refers to them as "phrase-making instruments"[2]). The Javanese names for these instruments are onomatopoeic, with the relative resonance of the words *gong*, *kempul*, *kenong*, and *ketuk* being comparable to that of the instruments they name.[3] In the system of cipher gamelan notation ([kepatihan notation](/source/Kepatihan_notation)), the colotomic parts are notated as [diacritical marks](/source/Diacritical_marks) on the numbers used to show the core melody (*[balungan](/source/Balungan)*).

## History and usage

The [English language](/source/English_language) term was coined, presumably first in [Dutch](/source/Dutch_language),[4] from the [Greek](/source/Greek_language) word for a unit of rhythm (*colon*) and something that divides (-*tomy* / -*tomic*),[5] by the [ethnomusicologist](/source/Ethnomusicologist) [Jaap Kunst](/source/Jaap_Kunst).[6]

Although the term "colotomic" was derived from Indonesian music theory, it can be applied to other musical traditions as well. In particular, it has been used to describe Japanese [gagaku](/source/Gagaku) and Thai [piphat](/source/Piphat).[7]

## Example of a colotomic structure

The *[lancaran](/source/Lancaran)* is a cycle of 16 beats (*keteg*) in the following order:

- - **TWTN TPTN TPTN TPTG**

where T indicates the strike of the *[ketuk](/source/Ketuk)*, P the *[kempul](/source/Kempul)*, N the *[kenong](/source/Kenong)*, and G the simultaneous stroke of the *[gong](/source/Gong_ageng)* and *kenong*. The W indicates the ***wela***, the pause where the *kempul* is omitted. Thus, the *gong* plays once, the *kenong* divides that into four parts, the *kempul* divides each of those in two, and the *ketuk* divides each of those further in two. Note that except for the *kenong* playing on the gong, the instruments do not play when the next one plays. (Remember that the *[gatras](/source/Gatra_(music))* of gamelan music have the strong beat (*[seleh](/source/Seleh)*) at the end, not at the beginning as is often considered normal for Western music. Thus the more important structural instruments coincide with the stressed beats.)

Colotomic structures occur on even larger scales in most gamelan pieces as well. For example, a typical *lancaran* has four gongs,[*[clarification needed](https://en.wikipedia.org/wiki/Wikipedia:Please_clarify)*] at the end of which the larger *gong ageng* is played. Groupings of four are most common at all levels of structure, although there are numerous exceptions at larger levels.

The colotomic structure of a piece is the length of the cycle and how the interpunctuating instruments play during that cycle, but they are also [musical forms](/source/Musical_form) which are associated with specific structural patterns on a larger scale than the colotomic cycle, and guidelines for what [tempi](/source/Tempo) and *[irama](/source/Irama)* may be used.

## Colotomic structures in Javanese gamelan

**Colotomic structures** or ***Gendhing structures*** refer to gamelan compositions in general. *Gendhing* (also written, as in the old orthography, **gending**) can also be used to refer to a specific class of colotomic structures used in Javanese [gamelan](/source/Gamelan) music.

At its simplest, *colotomic* may be taken to mean, "cyclically punctuating".[8] More clearly, "gongs of different sizes are used to mark off circular segments, or cycles, of musical time."[9] Though a colotomic structure may be hundreds of units long and is generally explicitly stated, it is akin to hierarchical Western [meter](/source/Meter_(music)).[9]

Most *gendhing* in Javanese music conform to one of these structures, except for some special ceremonial pieces and experimental new compositions.

### General

The following colotomic structures are from the general repertoire:

#### Gendhing

Gendhing is the longest and most complicated of the gendhing structures. It is typically played in a slow [irama](/source/Irama), although it may have faster sections. Gendhing are sometimes classified by which [elaborating instrument](/source/Elaborating_instrument) is most prominent, called *gendhing bonang* or *gendhing rebab*. Gendhing never use the [kempul](/source/Kempul) or [gong suwukan](/source/Gong_suwukan).

Gendhing have two parts, a [merong](/source/Merong) and a [minggah](/source/Minggah) (or "inggah"). Both consist of a single [gongan](/source/Gong_ageng#Function) lasting four [nongan](/source/Kenong), but the nongan can be of different lengths. Gendhing are then classified according to the number of [kethuk](/source/Kethuk) strokes in a nongan in each section. The merong section does not use the [kempyang](/source/Kempyang), but the minggah section does. There are two patterns for the kethuk in the merong, *arang* ("infrequent, sparse") and *kerep* ("frequent"). Both have the kethuk play only at the end of a [gatra](/source/Gatra_(music)), but in the kerep pattern, it is at the end of all odd-numbered gatras, whereas in the arang, it is at the end of the gatras of doubled odd numbers (that is, gatras 2, 6, 10, 14, etc.). In the minggah section, the kempyang and kethuk play in the same pattern as in the [ketawang](/source/Ketawang), but with no other [interpunctuating instruments](/source/Interpunctuating_instrument).

For an example of the gendhing structure, consider "gendhing kethuk 2 kerep minggah kethuk 4." This means that in the merong, there will be two kethuk strokes that happen on odd-numbered gatra, and in the minggah, there will be four gatras per nongan. The structure would then look like:

Merong:

- - **...T .... ...T ...N** - **...T .... ...T ...N** - **...T .... ...T ...N** - **...T .... ...T ...G**

Minggah:

- - **pTp. pTp. pTp. pTpN** - **pTp. pTp. pTp. pTpN** - **pTp. pTp. pTp. pTpN** - **pTp. pTp. pTp. pTpG**

where "." indicates no interpunctuating instrument plays, p indicates the stroke of the [kempyang](/source/Kempyang), T the [ketuk](/source/Ketuk), N the [kenong](/source/Kenong), and G the simultaneous stroke of the [gong](/source/Gong_ageng) and kenong. Thus, in each section, the gong plays once, the kenong divides that into four parts, and then that is divided into parts according to the given structure. Here, in each part, each nongan lasts 16 beats (*keteg*), and thus the gongan lasts 64.

That was a fairly short example; a "kethuk 4 arang" merong, for example, would look like:

- - **.... ...T .... .... .... ...T .... .... .... ...T .... .... .... ...T .... ...N** - **.... ...T .... .... .... ...T .... .... .... ...T .... .... .... ...T .... ...N** - **.... ...T .... .... .... ...T .... .... .... ...T .... .... .... ...T .... ...N** - **.... ...T .... .... .... ...T .... .... .... ...T .... .... .... ...T .... ...G**

and thus a nongan would last 16 gatras (64 beats), and a gongan 64 gatras (256 beats). Obviously, in a long structure like that, especially at a slow tempo, a single gongan may last many minutes.

The merong section may include a [ngelik](/source/Ngelik), which would also have the length of a single gongan. The minggah section may also use one of the other structures, especially the [ladrang](/source/Ladrang). If that is the case, the piece will be noted something like "minggah ladrang". If the other section has a different name, that will be given as well.

Between the merong and inggah is a bridge section called the [ompak](/source/Ompak). Typically it has the length of one nongan, and a contrasting [balungan](/source/Balungan) melody to the merong.

#### Ketawang

Ketawang structure as a clock diagram.[10]
T = *kethuk*, P = *kempul*, N = *kenong*, Gong = *gong ageng*.

The **ketawang** is one of the gendhing structures used in Javanese gamelan music.

Its colotomic structure is:

- - **pTpW pTpN pTpP pTpG**

where p indicates the strike of the [kempyang](/source/Kempyang), T the [ketuk](/source/Ketuk), P the [kempul](/source/Kempul), N the [kenong](/source/Kenong), and G the simultaneous stroke of the [gong](/source/Gong_ageng) and kenong. The W indicates the [wela](/source/Wela), the pause where the kempul is omitted. Thus, the gong plays once, the kenong divides that into two parts, the kempul (or wela) divides each of those in two, the ketuk divides each of those further in two, and finally the kempyang divides each of those in two. The [kendhang](/source/Kendhang) usually plays in kendhang kalih style.

Ketawang usually have the specific form of an [ompak](/source/Ompak) that lasts one [gongan](/source/Gong_ageng#Function) and may be repeated several times, and a [ngelik](/source/Ngelik) that may last three or four gongan. Some ketawang have the same ompak but different ngelik. Ketawang often begin in [irama tanggung](/source/Irama_tanggung) and then slow down to [irama dadi](/source/Irama_dadi) or slower.

The ketawang developed in the court of Prince [Mangkunegara IV](/source/Mangkunegara_IV) (r. 1853–1881) of [Surakarta](/source/Surakarta).

Famous ketawang: [Puspawarna](/source/Puspawarna).

#### Lancaran

The **lancaran** is one of the [gendhing structures](/source/Gendhing_structure) used in Javanese [gamelan](/source/Gamelan) music. It is the shortest of the gendhing structures that are not from the [wayang](/source/Wayang) repertoire. **Gangsaran** and **bubaran** are related structures that share the same colotomic structure.

Groupings of four are most common at all levels of this structure. The basic [colotomic structure](/source/Colotomic_structure) is a cycle of 16 beats (*keteg*) in the following order:

- - **TWTN TPTN TPTN TPTG**

where T indicates the strike of the [ketuk](/source/Ketuk), P the [kempul](/source/Kempul), N the [kenong](/source/Kenong), and G the simultaneous stroke of the [gong](/source/Gong_ageng) and kenong. The W indicates the [wela](/source/Wela), the pause where the kempul is omitted. Thus, the gong plays once, the kenong divides that into four parts, the kempul divides each of those in two, and the ketuk divides each of those further in two. Note that except for the kenong playing on the gong, the instruments do not play when the next one plays. The kendhang plays in kendhang kalih style. A typical lancaran has four gongs, at the end of which the larger [gong ageng](/source/Gong_ageng) is played.

Lancaran are usually played fast, usually in [irama lancar](/source/Irama_lancar). Some lancaran have a separate section which can be played between repetitions of the four-gong [ompak](/source/Ompak), known as the [nyekar](/source/Nyekar) or [lagu](/source/Balungan). Lancaran are often written in [balungan nibani](/source/Balungan_nibani).

**Bubaran** are played more moderately, usually in [irama tanggung](/source/Irama_tanggung), but are usually written in [balungan mlaku](/source/Balungan_mlaku). They also use a distinctive kendhang pattern. A bubaran is used as an ending piece, to be played while the audience is departing. The best-known bubaran is [Udan Mas](/source/Udan_Mas).

**Gangsaran** is a variety of lancaran which consists of simply a repeated tone. It originates from the [wayang](/source/Wayang) repertoire. It can appear at the end of a composition as well.

#### Ladrang

Ladrang form on the balungan instruments. GONG = *gong ageng*.[1]

The ***ladrang*** is one of the [*gendhing* structures](/source/Gendhing_structure) used in [Javanese](/source/Javanese_language) [gamelan](/source/Gamelan) music.

The basic [colotomic structure](/source/Colotomic_structure) is a cycle of 32 beats (*keteg*) in the following order:

- - **pTpW pTpN pTpP pTpN pTpP pTpN pTpP pTpG**

where p indicates the strike of the *[kempyang](/source/Kempyang)*, T the *[ketuk](/source/Ketuk)*, P the *[kempul](/source/Kempul)*, N the *[kenong](/source/Kenong)*, and G the simultaneous stroke of the *[gong ageng](/source/Gong_ageng)* and *kenong*. The W indicates the *[wela](/source/Wela)*, the pause where the *kempul* is omitted. Thus, the gong plays once, the *kenong* divides that into four parts, the *kempul* divides each of those in two, the *ketuk* divides each of those in two, and the *kempyang* divides each of those in two. The *[kendhang](/source/Kendhang)* usually plays in *kendhang kalih* style.[11]

The *ladrang* is similar to the *[ketawang](/source/Ketawang)* except that four (instead of two) *[nongan](/source/Kenong)* comprise a *[gongan](/source/Gong_ageng#Function)*. It is also similar to the *[lancaran](/source/Lancaran)*, except it is twice as slow, and the *kempyang* plays in between each beat of the *lancaran*.[11]

Many *ladrang* have two sections, an *[ompak](/source/Ompak)* and a *[ngelik](/source/Ngelik)*, each of which typically last one *gongan*. *Ladrang* can be played in any *[irama](/source/Irama)* except for *lancar*.[11]

### Wayang

In [Javanese](/source/Java) [gamelan](/source/Gamelan) music, there are a few [gendhing structures](/source/Gendhing_structure) derived from the [wayang](/source/Wayang) repertoire: [Ayak-ayakan](#Ayak-ayakan), [Sampak](#Sampak), and [Srepeg](#Srepeg).

#### Ayak-ayakan

The **ayak-ayakan** is one structure.

The colotomic structure is:

- - ...P ...P - TNTN TNTN

with both lines played together, and T indicating a stroke of the [kethuk](/source/Kethuk), P the [kempul](/source/Kempul), and N the [kenong](/source/Kenong). The kenong and kempul always play the [seleh](/source/Seleh). In [slendro](/source/Slendro) [manyura](/source/Pathet), the [gong suwukan](/source/Gong_suwukan) is used instead of the kempul.

[Gongans](/source/Gong_ageng#Function) are of varying length, according to the [pathet](/source/Pathet). The ending ([suwuk](https://en.wikipedia.org/w/index.php?title=Suwuk&action=edit&redlink=1)) can occur at different points in the cycle, given the cue from the [kendhang](/source/Kendhang) or [kepyak](/source/Kepyak).

It usually begins in [irama lancar](/source/Irama_lancar), and then slows down to tanggung, dados, or rangkep.

The ayak-ayakan is often used to accompany the entrance of puppets, or the transition between [pathets](/source/Pathet).

#### Sampak

**Sampak** is another structure. A sampak often follows a [srepeg](#Srepeg). It is the fastest of the wayang structures.

The colotomic structure is:

- - NNNNNNNN NNNNNNNN - TPTPTPTP TPTPTPTP

with both lines played together, and T indicating a stroke of the [kethuk](/source/Kethuk), P the [kempul](/source/Kempul), and N the [kenong](/source/Kenong). The kenong and kempul always play the [seleh](/source/Seleh). It does not use the [kempyang](/source/Kempyang).

[Gongans](/source/Gong_ageng#Function) are of varying length, usually two, three, or four [gatras](/source/Gatra_(music)), based on a signal from the [kendhang](/source/Kendhang). The ending ([suwuk](https://en.wikipedia.org/w/index.php?title=Suwuk&action=edit&redlink=1)) can occur at any point in the cycle, given the cue from the [kendhang](/source/Kendhang) or [kepyak](/source/Kepyak), and consists of a gatra played after the [gong](/source/Gong_ageng). The melodic shape of a sampak is distinctive, as the gatras are repeated notes in the [pathet](/source/Pathet). It is played in [irama lancar](/source/Irama_lancar).

#### Example

Sampak [pélog](/source/P%C3%A9log) barang:

- 2222 3333 7777

- 7777 2222 6666

- 6666 3333 2222

- [Suwuk](https://en.wikipedia.org/w/index.php?title=Suwuk&action=edit&redlink=1): xx22

This sampak has three gongan. The signal to end can come at any gong, where the player plays the next two notes as normal, and then 22 (as indicated by xx22).

#### Srepeg

**Srepeg** is another colotomic structure:

- - ...P...P ...P...P - TNTNTNTN TNTNTNTN

with both lines played together, and T indicating a stroke of the [kethuk](/source/Kethuk), P the [kempul](/source/Kempul), and N the [kenong](/source/Kenong). The kenong and kempul always play the [seleh](/source/Seleh).

[Gongans](/source/Gong_ageng#Function) are of varying length, according to the [pathet](/source/Pathet). The ending ([suwuk](https://en.wikipedia.org/w/index.php?title=Suwuk&action=edit&redlink=1)) can occur at any point in the cycle, given the cue from the [kendhang](/source/Kendhang) or [kepyak](/source/Kepyak). The melodic shape of a srepeg is distinctive, as it consists mostly of the [seleh](/source/Seleh) alternating with a [neighbor tone](/source/Neighbor_tone).

It is usually fast and played in [irama lancar](/source/Irama_lancar).

## See also

- [Music portal](https://en.wikipedia.org/wiki/Portal:Music)
- [Indonesia portal](https://en.wikipedia.org/wiki/Portal:Indonesia)

- [Gamelan](/source/Gamelan)

- [Cycle (music)](/source/Cycle_(music))

- [Division (music)](/source/Division_(music))

- [Irama](/source/Irama)

- [Music of Indonesia](/source/Music_of_Indonesia)

- [Music of Java](/source/Music_of_Java)

## Notes

1. ^ [***a***](#cite_ref-Lindsay,_Jennifer_1992_p.48-49_1-0) [***b***](#cite_ref-Lindsay,_Jennifer_1992_p.48-49_1-1) Lindsay, Jennifer (1992). *Javanese Gamelan*, p.48-49. [ISBN](/source/ISBN_(identifier)) [0-19-588582-1](https://en.wikipedia.org/wiki/Special:BookSources/0-19-588582-1).

1. **[^](#cite_ref-2)** Lindsay (1992), p.10.

1. **[^](#cite_ref-3)** Lindsay (1992), p.14.

1. **[^](#cite_ref-4)** Pickvance, Richard (2005). *A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan*, p.63. [ISBN](/source/ISBN_(identifier)) [9780955029509](https://en.wikipedia.org/wiki/Special:BookSources/9780955029509).

1. **[^](#cite_ref-5)** Spiller, Henry (2004). *Gamelan: The Traditional Sounds of Indonesia, Volume 1*, p.69. [ISBN](/source/ISBN_(identifier)) [9781851095063](https://en.wikipedia.org/wiki/Special:BookSources/9781851095063).

1. **[^](#cite_ref-6)** Malm, William P. (1977). *Music Cultures of the Pacific, the Near East, and Asia*, 2nd ed. Englewood Cliffs, NJ: Prentice Hall. Page 43.

1. **[^](#cite_ref-7)** Malm, 123 and 194-195.

1. **[^](#cite_ref-8)** Downing, Sonja Lynn (2008). *Arjuna's Angels: Girls Learning Gamelan Music in Bali*, p.304. [ISBN](/source/ISBN_(identifier)) [9780549702917](https://en.wikipedia.org/wiki/Special:BookSources/9780549702917).

1. ^ [***a***](#cite_ref-Tenzer_9-0) [***b***](#cite_ref-Tenzer_9-1) [Tenzer, Michael](/source/Michael_Tenzer) (2000). *Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese Music*, p.7. [ISBN](/source/ISBN_(identifier)) [9780226792835](https://en.wikipedia.org/wiki/Special:BookSources/9780226792835).

1. **[^](#cite_ref-10)** Malm, William P. (1977). *Music Cultures of the Pacific, the Near East, and Asia*, 2nd ed., p.53. Englewood Cliffs, NJ: Prentice Hall. [ISBN](/source/ISBN_(identifier)) [0131823876](https://en.wikipedia.org/wiki/Special:BookSources/0131823876).

1. ^ [***a***](#cite_ref-Guide_11-0) [***b***](#cite_ref-Guide_11-1) [***c***](#cite_ref-Guide_11-2) Sorrell, Neil (1990). *A Guide to the Gamelan*, p.68-69. London: Faber and Faber.

## Further reading

- Neil Sorrell. *A Guide to the Gamelan*. London: Faber and Faber, 1990. Page 67–73.

## External links

- [Michael Tenzer](/source/Michael_Tenzer). Excerpt from *[Balinese music](https://web.archive.org/web/20080619055505/http://www.utsc.utoronto.ca/~sanger/MWP/05.tenzer.html#anchor785473)* describing colotomic structures in Balinese music (subscription required)

v t e Gamelan Theory Pelog Slendro Pathet Cengkok Seleh Sekaran Imbal & kotekan Gatra Colotomy Gendhing structures Irama Gamelan notation Genres & ensembles American gamelan Angklung gamelan Bebonangan gamelan Beleganjur gamelan Degung gamelan Gadhon gamelan Gambang gamelan Gender wayang gamelan Gong gede gamelan Gong kebyar gamelan Gong Si Bolong Goong Renteng Jegog gamelan Joged bumbung gamelan Malay gamelan Munggang gamelan Salendro gamelan Sekaten gamelan Selunding gamelan Semar pegulingan gamelan Siteran gamelan Surakartan gamelan Musicians K. P. H. Notoprojo Nartosabdo Martopangrawit Rahayu Supanggah Sumarsam I Nyoman Windha Evan Ziporyn Gamelan Sekar Jaya Gamelan Son of Lion List of U.S. gamelan ensembles Michael Tenzer Instruments Colotomic or phrase-making Gong Gong ageng Kempul Kempyang Kenong Ketuk Balungan or melody Bonang Bonang barung Bonang panerus Bonang panembung Saron Saron peking Saron panerus Saron barung Saron demung Slentem Slentho Panerusan or elaborating Gambang Gender Gender panerus Kacapi Kacapi Rincik Rebab Siter Celempung Suling Unpitched Bedug Kecer Kemanak Kendang Kendang gending Kendang ciblon Kendang ketipung Kendang indung Kendang kulanter Kepyak Vocals and clapping Gerongan Sindenan Pesinden Alok Senggakan Keplok

v t e Rhythm and meter Additive and divisive Anacrusis Bar Beat Canter rhythm Colotomy Counting Count off Cross-beat Duration Note value Gatra Groove Half-time Harmonic rhythm Hemiola Homorhythm Iqa' Isorhythm Metric modulation Non-retrogradable rhythm Notes inégales Note value Polyrhythm Prolation Prosody Pulse Rhythmic mode Stop-time Swing Syncopation Tala Tempo Time point Time signature Tuplet

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Adapted from the Wikipedia article [Colotomy](https://en.wikipedia.org/wiki/Colotomy) by Wikipedia contributors ([contributor history](https://en.wikipedia.org/wiki/Colotomy?action=history)). Available under [Creative Commons Attribution-ShareAlike 4.0 International](https://creativecommons.org/licenses/by-sa/4.0/). Changes may have been made.