The Kelvedon Hatch Secret Nuclear Bunker at Kelvedon Hatch, in the Borough of Brentwood in the English county of Essex, is a large underground bunker maintained during the Cold War as a potential regional government headquarters. Since being decommissioned in 1992, the bunker has been open to the public as a tourist attraction, with a museum focusing on its Cold War history.

Building and intended purpose

The three-level bunker was first built on compulsory-purchased farmland as an air defence station (an 'R4' Sector Operations Control or SOC) as part of the RAF ROTOR air defence project. Upon the demise of the ROTOR SOC the remaining Nuclear Reporting Cell and UKWMO elements were incorporated into a Home Office 'Regional Seat of Government' or RSG.

The bunker was able to hold various numbers (in the hundreds) of military and civilian personnel, the numbers changing over the years as the role of the building changed from SOC to RSG and in its later years; 'Regional Government Headquarters' or RGHQ. In the event of a nuclear strike the RSG / RGHQs etc. would be tasked to organise the survival of the population and continue government operations.

History
The Kelvedon Hatch bunker was built in 1952–53 as part of ROTOR. ROTOR was a programme to improve and harden Britain's air defence network. It was constructed by Peter Lind & Company of London who still trades today. The bunker was a hardened (three level 'R4') Sector Operations Centre (SOC) for RAF Fighter Command. It was to provide command and control of the London Sector of Fighter Command.

From the 1960s into the early 1990s, the UK government (Home Office) maintained the bunker as an emergency regional government defence site. Eventually in the early 1990s when nuclear threat was seen as diminished, the bunker was sold back to the farming family who had owned the land in the 1950s. It is now a Cold War museum and retains many of its original ROTOR and RSG/RGHQ features.

Inside the bunker

The bunker is built  underground and the entrance is through an ordinary-looking bungalow (a standard ROTOR 'Guard House') set amongst trees. The inside of the bungalow leads to a  tunnel entering the R4 at its lowest floor (of three). Above are two more floors, the 'hill' which covers it, and a radio mast some distance away.

The bunker was able to accommodate some hundreds of personnel (the numbers changing as function and form varied over the years) and could sustain them for up to three months. The bunker has air conditioning and heating (using the original ROTOR AC-Plant but replacing the original coolant with a more 'modern' type [c.1980s]), its own water supply (mains water and its own deep bore hole) and generators, and was equipped with many types of radio equipment, protected (EMP) telecommunications, teleprinter (MSX) networks and various military systems: MOULD (system to provide communications between Regular Army, TA Battalions and the Army District and Regional Headquarters) and CONRAD (radio government communications systems post nuclear strike) etc.

Modern times

By 1992 the bunker was no longer required and decommissioned. The land was sold back to the original owners, the Parrish family. It has now been renovated and made into a museum and tourist attraction; many locals appreciate the irony of the many brown tourist road signs in the area, clearly directing people to the "Secret Nuclear Bunker".  The BBC TV show Top Gear featured the signs.

The bunker was used as a "Killer's Location" for The Murder Game. Both the living quarters and the operational zone were set up for the "Killer's Game" in the finale. It also played a significant role in an episode of New Tricks titled "The Queen's Speech", first broadcast on BBC1 on 20 October 2014.

In 2010 the independent British post-apocalyptic/horror film S.N.U.B! was filmed in the bunker.

The 2016 full-motion video game The Bunker, which uses live-action footage, was fully filmed inside the bunker.

In recent years the land surrounding the ex-secret Nuclear Bunker has been used for Obstacle racing events, provided by the 'Nuclear races' company.

Gallery

See also
 Central Government War Headquarters
 Civil Contingencies Secretariat
 RAF Rudloe Manor
 Corsham Computer Centre
 Continuity of government
 Hack Green Secret Nuclear Bunker
 Wartime Broadcasting Service

References

External links

 Kelvedon Hatch Secret Nuclear Bunker official website
 Subterranea Britannica: Kelvedon Hatch
 Subterranea of Great Britain: Kelvedon Hatch Secret Nuclear Bunker

Government buildings completed in 1953
Buildings and structures in Essex
Emergency management in the United Kingdom
Museums in Essex
Military and war museums in England
Cold War museums in the United Kingdom
Continuity of government
Nuclear bunkers in the United Kingdom

Kelvedon Hatch Secret Nuclear Bunker


A Hook gauge evaporimeter is a precision instrument used to measure changes in water levels due to evaporation. It is used
to precisely measure the level of a free water surface as an evaporation pan or a tank. The main users are  meteorologists and water engineers, especially in hot, arid countries where water conservation is of vital importance.

Description

The device consists of a sharp hook suspended from a micrometer cylinder, with the body of the device having arms which rest on the rim of a still well inside the pan. The still well serves to isolate the device from any ripples that might be present in the sample being measured, while allowing the water level to equalize. The measurement is taken by turning the knob to lower the hook through the surface of the water until capillary action causes a small depression to form around the tip of the hook. The knob is then turned slowly until the depression "pops," with the measurement showing on the micrometer scale.

Use

Evaporation rate is determined by a sequence of measurements over a set time interval, usually every 24 hours.

See also
Atmometer

References

Measuring instruments

fr:Bac d'évaporation#Instrumentation connexe

Hook gauge evaporimeter


Jakov "Jaša" Tomić (; 23 October 1856 – 22 October 1922) was a Serbian journalist, politician and author from the Serbian region of Vojvodina, which was part of the Austrian Empire when he was born.

Modoš, a town in the Serbian part of Banat, was renamed in his honor in 1924.

Biography
At the time of his birth in 1856, the town of Vršac was part of the Voivodeship of Serbia and Banat of Temeschwar crown land in the post-1849 Habsburg monarchy. His Serbian Orthodox Christian family had thrived significantly from trade in the region. He attended elementary school in Vršac, then gymnasium in Timișoara and Kecskemét. He was a volunteer in the Herzegovina Uprising, after which he attended medical faculties in Vienna and Prague, but later transferred to the faculty of philosophy and philology. Thereafter, Tomić was involved in Serb politics in Habsburg-controlled parts of present-day Serbia (Serbian Vojvodina). Combining interests in socialism and Serbian national politics as did many of his generation, namely Svetozar Marković, Mihailo Polit-Desančić, and Nikola Pašić, he eventually found himself much less of a socialist than an ardent Serbian patriot.

Tomić was the editor of Srpsko kolo and Zastava magazines and founder of the People's Freethinker Party (Narodna slobodoumna stranka), which in 1891 became the Radical Party (Radikalna stranka). In 1889, following a series of articles regarding nature of his employment at Zastava, in which he implicated his wife Milica Miletić, Tomić stabbed to death a liberal political rival, Miša Dimitrijević, the editor of Branik magazine, in Novi Sad. Dimitrijević alleged that Milica, who was the daughter of famed lawyer and Novi Sad mayor, Svetozar Miletić, who in turn was the founder of Zastava, arranged the position of editor for Tomić as a part of a dowry and mentioned in a daily journal that he was in a possession of a letter that demonstrated this intention and sent the letter in question to Jaša in written correspondence. He served seven years in prison for murder, emerging in 1896 with no loss of political zeal. Not only political but economic issues had far-reaching importance to him. Tomić, then the most vociferous opponent of the hierarchy, the leader of the Serbian radical party and son-in-law of Svetozar Miletić, blamed the clergy for driving people away from churches because of its insistence on controlling church and autonomous finances: "Whoever has to worry about how to spend so much money has no more time to care for the church and people."

In 1918, Tomić became president of the Serb National Council in Novi Sad, where at the Great People's Assembly of Banat, Bačka and Baranja from November 25, he proclaimed the secession of these regions from the Kingdom of Hungary and their unification with the Kingdom of Serbia. In 1919 Jaša Tomić, still, the leader of the Radicals in Vojvodina Province, whose failing health prevented him from taking a more active role was perfectly straightforward in stating to Croat politicians (including Vjekoslav Spinčić) that "we are not one" in nationality. He was also occupied with literary work at the time. Tomić died in Novi Sad in 1922, and was buried at the Uspensko groblje cemetery.

Works
 In 1876 under the pseudonym "Volunteer" Milutin Spasić, Tomić wrote a brochure: Srpsko-turski rat 1876 (Serbo-Turkish War of 1876).
 Pesme (Poems), published by A. Pajević in 1879, edited by Kosta Lera.
 In 1884 Tomić issued a political pamphlet, Stranke srpskih notabiliteta protiv srpske narodne slobodoumne stranke.
 Političko vjeruju, reprinted from Zastava, organ of the Radical Party (NRS), 1886.
 Književna zrnca, Vol I, 1888.
 Treba li narodu politika (Do People Need Politics), 1888.
 Posle petstotina godina: razmatranja o Kosovskoj bitci i propasti carstva srpskog (After Five Hundred Years: A Look at the Battle of Kosovo and the Fall of the Serbian Kingdom), 1889.
 Iz prošlosti naših vođa (Our Leaders From the Past), 1889.
 Govor u svoju odbranu prlilikom naknadne rasprave zbog tucindanskog dogadjaja u novom Sadu, 1891.
 Nazareni (Nazarenes, a novel), printed in Novi Sad, 1896.
 Pesme Jaše Tomića (Poems by Jaša Tomić), 1896
 O uzrocima zločina, Novi Sad, 1896.
 Pametno nazarenstvo, Book 1, 1897.
 Pametno nazarenstvo, Book 2, 1897.
 Slike i pripovetke (Pictures and Stories), 1897.
 Vođa kroz izbore (Through the Elections), Novi Sad, 1897.
 Čiča Stanko (Old Man Stanko), Novi Sad, 1897.
 Zemljoradnička sirotinja u Ugarskoj (The Poor Farming Folk of the Kingdom of Hungary), 1897.
 Ima li pomoći našim zanatlijama (Is There Aid For Our Tradesmen), 1898.
 Trulez (novel), 1898.
 Program radikalne i program liberalne stranke (The Program of the Radical Party and Liberal Party), 1901.
 U čemu je stvar (What It's All About), 1901.
 Gorak šećer, 1902.
 Majski sabor (May Assembly), 1902.
 Kakvo se zlo sprema u Srbiji"",  1903.
 Hoćemo li u socijaliste (Do We Want Socialists),  1904.
 Na prelomu, 1905.
 Jedan nadsolgabirov, 1904.
 Parnica protiv srpskih manastira, 1905.
 Izbor i pravo manjine (Elections and the Rights of the Minority), 1905.
 Sta je bilo i sta treba da bude (What It Was and What Should Be), 1905.
 Jesmo li na dobrom putu (Are We On the Right Path), 1906.
 Vodja kroz saborske izbore, 1906.
 Nisam više magarac (I'm No Longer An Ass), 1906.
 Tražim svoja prava (I Want My Rights), 1907.
 Samostalci iz Hrvatske i Slavonije i samostalci iz Srbije. 1907.
 Sabor junak od megdana, 1907.
 Reč našoj braći u Srbiji, 1907.
 Kako smo birali patrijarhe kroz 200 godina (How We Elected Patriarchs Through the 200 Years), 1908.
 Nova manastirska uredba, 1908.
 Laze i paralaze (Lies and More Lies), 1908.
 Boj na Kosovu, Seoba Srba (The Battle of Kosovo, The Great Serbian Migration), Montenegro, 1908.
 Kako se zovemo (How We Are Called), 1909.
 Veleizdajnička parnica u Zagrebu, 1908.
 Žena i njeno pravo (Woman and Her Rights), 1909.
 U čemu je naša avtonomna borba, 1910.
 Hoćemo li na djavolsku stranu (Do We Want the Devil's Side), 1910.
 Na pragu novog doba u Ugarskoj, 1910.
 Nesavremena i savremena istorija, 1910.
 Gde je srpska politika i Samouprava-napred, 1911.
 Dositej Obradović, 1911.
 Rat na Kosovu i Staroj Srbiji (Battle of Kosovo and Old Serbia), 1913.
 Rat u Albaniji pod Skadrom, 1913.
 Rat u Maćedoniji i Bugarskoj, 1914.
 Karlovačka Mitropolija i Hrišćanstvo (The Metropolitanate of Karlovci and Christianity), 1913.
 Seoba u Srbiju, 1914.
 Naša nova država u kolevci, 1919.
 Krajnje vreme da se razumemo, 1919.
 Šta je bila žena i šta će biti, 1918.
 Lepa književnost i umetnost, 1918.
 Gradja za nov radikalni program, 1919.
 Kako da delimo zemlju, 1919.
 S kim ćemo i kuda ćemo, (With Whom Are We Going and Where Are We Going), 1919.
 Razvod braka, pozorišna igra u 5 činova, 1919.

 Gallery

References

Sources
 Ivo Banac, The National Question in Yugoslavia: Origins, History, Politics, Cornell University Press, 1988, pp. 160
 Jovan Mirosavljević, Brevijar ulica Novog Sada 1745-2001,'' Novi Sad, 2002

1856 births
1922 deaths
People from Vršac
Politicians from Novi Sad
People from Austria-Hungary
Serbs of Vojvodina
Politicians of Vojvodina
Serbian journalists
Serbian people convicted of murder

Jaša Tomić


Brief psychotic disorder is a short illness of less than one month that has psychotic symptoms. This could be like having schizophrenia symptoms for only an hour, but it can be any psychotic disorder, such as delusions or hallucinations. Doctors describe three types of BPD. The first type is caused by some kind of traumatic stress. The second type has no known cause. Some psychologists believe it could be from stimulants such as caffeine, morphine or any type of drug. There is no known cure but staying away from caffeinated drinking may lower the risk of brief psychotic disorder. The third type is caused by childbirth and usually affects mothers about four weeks after having a baby.

References

Psychosis

Brief psychotic disorder


Edward Lippincott Tilton (19 October 1861 – 5 January 1933) was an American architect, with a practice in New York City, where he was born. He specialized in the design of libraries, completing about one hundred in the U.S. and Canada, including many Carnegie libraries and structures for educational institutions.

In about 1881, Tilton abandoned a budding career in banking to work as a draftsman in the office of McKim, Mead & White, a traditional apprenticeship for which he prepared with a private tutor in architecture and which prepared him for a course of further study at the École des Beaux-Arts, Paris (1887–1890). Early commissions came through family connections; they included the casino (1891–92) in Belle Haven, an affluent shoreline community of Greenwich, Connecticut, and the Hotel Colorado in the resort of Glenwood Springs, Colorado (1891–93).

He and the partner that he met in Paris, William A. Boring, won a competition in 1897 to design the first phase of new buildings for the U.S. Immigration Station on Ellis Island in New York Harbor.  Four major buildings were all constructed to their designs before the formal partnership was amicably dissolved in 1904. The two architects continued to share an office.

He published his thoughts on library planning and construction, in Essentials in Library Planning with A.E. Bostwick and S.H Ranck (1928), and "Library Planning" posthumously published in the Journal of the Royal Institute of British Architects (1936).

Work

Tilton worked in the partnership Boring & Tilton (1881-1904), as a solo architect, in the partnership Tilton & Githens (1916-1932), then again briefly in solo practice as consulting architect until his death.

 U.S. Immigration Station on Ellis Island in New York Harbor:  Main Building (1897–1900), Kitchen and Laundry Building (1900–01), Main Powerhouse (1900–01), and Main Hospital Building (1900–01)
 Bayonne Public Library, Bayonne, New Jersey, 1904
 Ludington Public Library, Ludington, Michigan, 1906
 Olean Public Library, Olean, New York, 1907
 Carnegie Science Hall (renamed to Stuart Hall in 1977) at Coe College, Cedar Rapids, Iowa, 1910
 Elizabeth Public Library, Elizabeth, New Jersey, 1912
 Springfield City Library, Springfield, Massachusetts, 1912
 Sioux City Free Public Library, Sioux City, Iowa, 1913
 Carpenter Memorial Library, Manchester, New Hampshire, 1914 (with architect Edgar Allen Poe Newcomb)
 Franklin Library, Minneapolis, Minnesota, 1914
 Belmar Public Library, Belmar, New Jersey, 1914
 Bond Hall, University of Notre Dame, South Bend, Indiana, 1915
 Trenton Free Public Library (John Lambert Cadwalader addition), Trenton, New Jersey, 1915
 Peabody Library, George Peabody College for Teachers (now part of Vanderbilt University), Nashville, Tennessee, 1919
 Chester C. Corbin Public Library, Webster, Massachusetts, 1920
 Riley Hall of Art and Design, University of Notre Dame, South Bend, Indiana, 1920
 Wilmington Public Library,  Wilmington, Delaware, 1923
 Knight Memorial Library, Providence, Rhode Island, 1924
 Mount Pleasant Library, Washington DC, 1925
 McGregor Public Library, Highland Park, MI, 1926
 Currier Museum of Art, Manchester, New Hampshire, 1929
 Central Library, Enoch Pratt Free Library, Baltimore, Maryland, 1931-1933
 St. Luke's Lutheran Church, NYC, 1922
 campus of Concordia College, Bronxville, New York

Notes

External links

1861 births
1933 deaths

American alumni of the École des Beaux-Arts
Architects from New York City
19th-century American architects
20th-century American architects

Edward Lippincott Tilton


Georg von Krogh (born 24 May 1963) is a Norwegian organizational theorist and Professor at the Swiss Federal Institute of Technology in Zurich (ETH Zurich) and holds the Chair of Strategic Management and Innovation. He also serves on Strategy Commission at ETH Zurich.

Biography
Born in Oslo, Norway to a family of Danish nobility, Von Krogh received his MSc from the Norwegian University of Technology and Natural Science, and a Ph.D. from this University's Department of Industrial Economics and Technology Management.

Von Krogh started his academic career as Assistant Professor of Business Policy at SDA Bocconi, Bocconi University in Italy. Subsequently, he was Associate Professor of Strategy at the Norwegian School of Management, and Professor of Management at the University of St. Gallen in Switzerland, and a Director of this University's Institute of Management. He was also the President of the Research Commission at the University of St. Gallen.

He has been Visiting Professor at MIT's Sloan School of Management, Hitotsubashi University in Japan, Japan Advanced Institute of Science and Technology, and the London School of Economics and Political Science. He was the Head of the Department of Management, Technology, and Economics at the ETH Zurich during 2008-2011, and served on the National Research Council of the Swiss National Science Foundation (SNF) during 2012-2020. From 2008 to 2014 he was a board member of the European Academy of Management (EURAM).

Currently, von Krogh serves as Chairman of the International Advisory Board at the Research Council of Norway. He holds an honorary position as Research Fellow at Judge Business School, University of Cambridge, and is an Affiliated Scholar with the Laboratory for Innovation Science (LISH) at Harvard University. He also serves as a member of the Scientific Council at EURAM, and is a member of the Advisory Board at the School of Management, Politecnico di Milano.

Work
Von Krogh specializes in competitive strategy, technological innovation, and knowledge management. He has conducted research in several industries including financial services, media, computer software and hardware, life-sciences, and consumer goods. He teaches courses on Entrepreneurial Leadership, Strategic Management, and Innovation Theory and Research.

von Krogh has consulted on strategy and trained executives for companies in Asia, Europe, and the USA. He has experience from being a board or advisory board member of various companies and NGOs, including PwC in Switzerland, Swiss Bank Corporation (UBS), SKAT Foundation, and the World Web Forum. He also serves as a member of the Chapter Board at the Swiss-American Chamber of Commerce. He was an academic fellow and faculty member of the World Economic Forum (2002-2007) where he was actively involved in scenario development for industries and economies.

von Krogh serves as Editorial Board member of various journals which include Academy of Management Journal, Journal of Strategic Information Systems, European Management Review, European Management Journal, MIT Sloan Management Review, California Management Review, and Long Range Planning. He is an Associate Editor at Academy of Management Discoveries (2nd term), and previously served as Senior Editor at Organisation Studies. His awards and recognitions include for example the Association of American Publishers' "Best Professional Business Book Award", Harvard Business Review's "Breakthrough Idea," ETH's Teaching Award "Goldene Eule," European Management Review's "Best Paper Award 2012," and Journal of Strategic Information Systems' "Best Paper Award 2008."

Selected publications

Shrestha, Y. R., He, V. F., Puranam, P. and von Krogh, G., (Forthcoming) Algorithm Supported Induction for Building Theory: How Can We Use Prediction Models to Theorize? Organization Science
von Krogh, G., Kucukkeles, B., & Ben-Menahem, S. (forthcoming) "Leave no stone unturned:" What the COVID-19 Pandemic can teach us about ultrafast innovation. MIT Sloan Management Review
He. F., Puranam P., Shrestha Y. R., & von Krogh, G. (forthcoming) Resolving governance disputes in communities: A study of software license decisions. Strategic Management Journal.
Ben-Menahem, S., Nistor-Gallo, R., Macia, G., von Krogh, G., & Goldhahn, J. (2020) How the new European regulation on medical devices will affect innovation. Nature Biomedical Engineering.
 Sirén, C., He, F., Wesemann, H., Jonassen, Z., Grichnik, D., & von Krogh, G. (forthcoming) Leader emergence in nascent venture teams: The critical roles of individual emotion regulation and team emotions. Journal of Management Studies.
 Gersdorf, T., He, V. F., Schlesinger, A., Koch, G., Ehrismann, D., Widmer, H., & von Krogh, G. (2019). Demystifying industry-academia collaboration. Nature Reviews Drug Discovery, 019-00001-2.
 von Krogh, G., Netland, T., & Wörter, M. (2018). Winning With Open Process Innovation. MIT Sloan Management Review, 59(2), 53-56.
He, F., Sirén, C., Singh, S., Solomon, G. T., & von Krogh, G. (2017). Keep calm and carry on: Emotion regulation in entrepreneurs' learning from failure. Entrepreneurship Theory and Practice.
Trantopoulos, K., von Krogh, G., Wallin, M., & Wörter, M. (2017). External Knowledge and Information Technology: Implications for Process Innovation Performance. MIS Quarterly, 41(1), 287-300.
 Faraj, S., von Krogh, G., Monteiro, E., & Lakhani, K. (2016). Special Section Introduction - Online Community as Space for Knowledge Flows. Information Systems Research, 27(4), 668-684.
 Ben-Menahem, S., von Krogh, G., Erden, Z., & Schneider, A. (2016). Coordinating Knowledge Creation in Multidisciplinary Teams: evidence from Early-stage drug Discovery. Academy of Management Journal, 59(4), 1308-1338.
 von Hippel, E., & von Krogh, G. (2016). Identifying Viable 'Need-Solution Pairs': Problem Solving Without Problem Formulation. Organization Science, 27(1), 207-221.
 Spaeth, S., von Krogh, G., & He, F. (2015). Perceived Firm Attributes and Intrinsic Motivation in Sponsored Open Source Software Projects. Information Systems Research, 26(1), 224-237.
Hacklin, F., Battistini, B., & von Krogh, G. (2013). Strategic choices in converging industries. MIT Sloan Management Review, 55(1), 65-73.
Garriga, H., von Krogh, G., & Spaeth, S. (2013). How constraints and knowledge impact open innovation. Strategic Management Journal, 34(9), 1134-1144.
von Krogh, G., Nonaka, I., & Rechsteiner, L. (2012). Leadership in organizational knowledge creation: A review and framework. Journal of Management Studies, 49(1), 240-277.
von Krogh, G., Haefliger, S., Spaeth, S., & Wallin, M. W. (2012). Carrots and rainbows: Motivation and social practice in open source software development. MIS Quarterly, 36(2), 649-676.
von Krogh, G., Battistini, B., Pachidou, F., & Baschera, P. (2012). The changing face of corporate venturing in biotechnology. Nature Biotechnology, 30(10), 911-915.
 Haefliger, S., Jäger, P., & von Krogh, G. (2010). Under the radar: Industry entry by user entrepreneurs. Research Policy, 39(9), 1198-1213.
 Gächter, S., von Krogh, G., & Haefliger, S. (2010). Initiating private-collective innovation: The fragility of knowledge sharing. Research Policy, 39(7), 893-906.
Raisch, S., & von Krogh, G. (2009). Focus intensely on a few great innovation ideas. Harvard Business Review, 87(10), 32.
Nonaka, I., & von Krogh, G. (2009). Tacit knowledge and knowledge conversion: Controversy and advancement in organizational knowledge creation theory. Organization Science, 20(3), 635-652.
Haefliger, S., von Krogh, G., & Spaeth, S. (2008). Code reuse in open source software. Management Science, 54(1), 180-193.
Maillart, T., Sornette, D., Spaeth, S., & von Krogh, G. (2008). Empirical tests of Zipf's law mechanism in open source Linux distribution. Physical Review Letters, 101(21), 218701-1--218701-4.
von Krogh, G., & Haefliger, S. (2007). Nurturing respect for IP in China. Harvard Business Review, 85(4), 23-24.
Raisch, S., & von Krogh, G. (2007). Navigating a path to smart growth. MIT Sloan Management Review, 48(3), 65-72.
von Krogh, G. (2006). Customers demand their slice of IP. Harvard Business Review, 84, 45-46.
von Krogh, G., & von Hippel, E. (2006). The promise of research on open source software. Management Science, 52(7), 975-983.
Nonaka, I., von Krogh, G., & Voelpel, S. (2006). Organizational knowledge creation theory: Evolutionary paths and future advances. Organization Studies, 27(8), 1179-1208.
 von Hippel, E., & von Krogh, G. (2003). Open source software and the "private-collective" innovation model: Issues for organization science. Organization Science, 14(2), 209-223.
von Krogh, G., Spaeth, S., & Lakhani, K. R. (2003). Community, joining, and specialization in open source software innovation: a case study. Research Policy, 32(7), 1217-1241.
 von Krogh, G. (2003). Networks of Innovation: Change and meaning in the age of the Internet. Research Policy, 32, 1714-1716.
 von Krogh, G., & Von Hippel, E. (2003). Special issue on open source software development. Research Policy, 32(7), 1149-1157.
von Krogh, G., & Cusumano, M. A. (2001). Three strategies for managing fast growth. MIT Sloan Management Review, 42(2), 53-62.
von Krogh, G., & Roos, J. (1996). A Tale of the unfinished. Strategic Management Journal (1986-1998), 17(9), 729-739.
von Krogh, G., Roos, J., & Slocum, K. (1994). An essay on corporate epistemology. Strategic Management Journal, 15(S2), 53-73.

References

External links

Georg von Krogh at ETH Zurich
Books by Georg von Krogh
 Articles in Referred Journals by Georg von Krogh
 Book Chapters and (not referred) Articles by Georg von Krogh
 Conference Publications by Georg von Krogh
Ceo Magazine interview on diversity in firms

1963 births
Living people
Academic staff of ETH Zurich
Academics from Oslo
Norwegian University of Science and Technology alumni
Academic staff of the University of St. Gallen
Academic staff of Bocconi University
Academic staff of BI Norwegian Business School
Danish nobility
Von Krogh family

Georg von Krogh


Sex linkage is a term in genetics. It applies to alleles (forms of a gene) on the X chromosome.

In mammals, which have an XX/XY system of sex determination, the X chromosome has many more genes than the Y chromosome. This explains the inheritance of such conditions as colour blindness and haemophilia. They are caused by recessive alleles, and usually do not show the condition in females. This is because those females carrying the mutant are most likely to be heterozygous for the allele. However, if the mutant allele is carried by a male, the condition will develop, because his X chromosome has the mutant allele, but his Y chromosome has no allele at that locus.

Related terms
Sex-linked characters controlled by genes on sex chromosomes are not the only kind of sex-related characters.

Sex-influenced traits
Sex-influenced or sex-conditioned traits are phenotypes affected by whether they appear in a male or female body. Even in a homozygous female the condition may not be expressed fully. Example: baldness in humans.

Sex-limited traits
These are characters only expressed in one sex. They may be caused by genes on either autosomal or sex chromosomes. Examples: female sterility in Drosophila; and polymorphism in insects, especially in relation to mimicry. Closely linked genes on autosomes called "supergenes" are often responsible for the latter.

Notes

Chromosomes

Sex linkage


The Archeologisch Museum Haarlem is a museum in the cellar of the Vleeshal on the Grote Markt in Haarlem, the Netherlands, dedicated to promoting interest and conserving the archeological heritage of Kennemerland.

History

The museum was opened in 1991 and aims to engender respect for the unlocked underground treasures that can surface in Haarlem's many building projects. The museum is run by the Archeologische Werkgroep Haarlem (AWH) which was formed in 1970, and falls under the amateur archeology society of the Netherlands (AWN). The workgroup is led by the Haarlem city archeologist. Archeological digs within city limits are monitored by the City of Haarlem, while digs outside city limits are monitored by the Province of North Holland. The museum is kept open by a large group of volunteers who gather on Wednesday evenings to discuss, document and clean finds. Discoveries are published in a bi-monthly periodical by the AWN.

The museum is open from Wednesday through Sunday from 13:00 to 17:00. Admission is free. The restrooms and an elevator are shared with the museum upstairs called Frans Hals Museum - Hal, so if the stairs are too narrow the other entrance can be used.

References

External links
 Website

Museums in Haarlem
History of Haarlem
Archaeological museums in the Netherlands

Archeologisch Museum Haarlem


Drug tolerance (or physiological tolerance) is a term used to describe that the organism gets used to a given substance. Drug tolerance also means that over time a drug becomes less effective and larger amounts of the substance are needed to get the same effect.

Physiological tolerance can be achieved in one of the following ways:
 By changing the number of receptors for a substance
 By changing the way the signal is handled
 By changing the receptors themselves
 By changing the system that antagonizes the receptor

References
Drugs

Drug tolerance


The Canberra Commission on the Elimination of Nuclear Weapons was initiated by the prime minister of Australia the Honourable Paul Keating in November 1995 to deliberate on issues of nuclear proliferation and how to eliminate the world of nuclear weapons.  The result of the commission was published as the Canberra Report in August 1996.  The report was presented by Alexander Downer, Australia's Minister of Foreign Affairs, to the United Nations on 30 September 1996 and the Conference on Disarmament on 30 January 1997.

The commission was convened in the Australian Federal capital city of Canberra in the Australian Capital Territory. Subsequent meetings were held in Vienna and New York. The Commission consisted of a number of notable persons including Professor Joseph Rotblat, recipient of the 1995 Nobel Peace Prize; Michel Rocard, former prime minister of France; Robert McNamara, former United States Secretary of Defense and President of the World Bank Group; General George Butler, former Commander of the United States Strategic Air Command; Doctor Maj Britt Theorin, then President of the International Peace Bureau; Field Marshal Michael Carver, former Chief of the General Staff and Defence Staff; Professor Robert O'Neill, Chichele Professor of the History of War at Oxford University and former director of the International Institute for Strategic Studies; and Jacques-Yves Cousteau, oceanographer and environmentalist.

Summary
Commission members came to the following conclusions:
 Nuclear weapons are immensely destructive and any use would be a catastrophe.
 If the peoples of the world fully understood the inherent dangers of nuclear weapons and the consequences of their use, they would reject then and not permit their continued possession by or acquisition of by governments, even for an alleged need for self-defense.
 Nuclear weapons are owned by a handful of states that reserve uniquely to themselves the rights of ownership. This is highly discriminatory and a constant stimulus to non-owner states to acquire them, a situation that is highly unstable.
 Despite the ownership of nuclear weapons, states have accepted stalemate or even defeat (Vietnam: USA; Afghanistan: Soviet Union; French Indo-china: France). Nuclear weapons are militarily irrelevant.
 If no states had nuclear weapons, no states would seek them.
 Transitioning to a status of a nuclear-free world is dependent upon mutual verification.
 Before states will agree to eliminate their weapons, they will require a high level of confidence that the verification arrangements would detect promptly any attempt to cheat the disarmament process.
 A political judgement will be needed on whether the assurances possible from verification are sufficient.
 All existing arms control agreements have required political judgments of this nature because no verification system provides absolute certainty.
 Cheaters, states or non-state entities, would be dealt with by conventional means of prevention because the peoples of the world would rise up against them.

References

External links
 - Copy of the Official site at Archive.org; includes full text of report.

Nuclear weapons policy
Defunct Commonwealth Government agencies of Australia
1995 establishments in Australia


Gamelan () (, , ) is the traditional ensemble music of the Javanese, Sundanese, and Balinese peoples of Indonesia, made up predominantly of percussive instruments. The most common instruments used are metallophones played by mallets and a set of hand-played drums called kendang, which register the beat. The kemanak (a banana-shaped idiophone) and gangsa (another metallophone) are commonly used gamelan instruments in Bali. Other instruments include xylophones, bamboo flutes, a bowed instrument called a rebab, a zither-like instrument siter (in Javanese ensemble) and vocalists named sindhen (female) or gerong (male).

Although the popularity of gamelan has declined since the introduction of pop music, gamelan is still commonly played in many traditional ceremonies and other modern activities in Indonesia, both at formal and informal events. Gamelan is played to accompany religious rituals, ceremonies, dance, dance-drama, traditional theater, wayang puppets theatre, singing, concerts, festivals, exhibitions, and many more. Many consider gamelan to be an integral part of Indonesian culture.

In 2014, Gamelan traditions were recognized as part of the National Intangible Cultural Heritage of Indonesia by the Indonesian Ministry of Education and Culture.

On December 15, 2021, Gamelan was inscribed onto the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. The nomination builds on the archaeological connection to the Borobudur, and includes a focus on its role in fostering a sense of national identity and pride, in addition to wellbeing aspects such as mental health, the development of interpersonal skills and the connection between its cosmology and an ethics of mutual respect and care. The listing consists of Javanese gamelan (gamelan jawa) of Central Java and Special Region of Yogyakarta, Balinese gamelan (gamelan bali) of Bali, Sundanese gamelan (gamelan sunda) of West Java, Madurese gamelan (gamelan madura) and Banyuwangian Gamelan (gamelan banyuwangi) of East Java, Gendang beleq of West Nusa Tenggara, Banjarese gamelan (gamelan banjar) of South Kalimantan, Gamelan peking of Lampung, and Talempong of West Sumatra as a Masterpiece of Oral and Intangible Heritage of Humanity from Indonesia, and encouraged the Indonesian people and the Indonesian government to safeguard, transmit, promote, and develop the gamelan. Methods include the support of national, international and provincial festivals, the establishment of educational curricula including the Gamelan Goes to School program, an intention to increase the numbers of regional gamelan associations, and cultural diplomacy by sending gamelan specialists to global universities.

Etymology
The word gamelan comes from the Javanese word gamel (), which refer to playing of percussion instruments or the act of striking with a mallet, and the noun-forming suffix an.  The gamelan in the Sundanese is Degung (),  the word Degung apparently is an old Sundanese term, which refers to gongs and Gong ensembles. For this reason, the words degung and gong are essentially synonyms for the word gamelan. At the same time, the expression gamelan degung may be a way to point at a gamelan ensemble tuned to degung scale. The term karawitan () refers to classical gamelan music and performance practice, and comes from the Javanese word rawit () of Sanskrit origin, meaning 'intricate' or 'finely worked', referring to the sense of smoothness and elegance idealized in Javanese music. Another word from this root, pangrawit (), means a person with such sense, and is used as an honorific when discussing esteemed gamelan musicians. The high Javanese word for gamelan is gangsa (), formed either from the words tembaga () and rejasa () referring to the materials used in bronze gamelan construction (copper and tin), or tiga () and sedasa () referring to their proportions (three and ten).

History

The gamelan predates the Hindu-Buddhist culture that dominated Indonesia in its earliest records and thus represents an indigenous art form of Indonesia. In contrast to the heavy Indian influence in other art forms, the only obvious Indian influence in gamelan music is in the Javanese, Sundanese, and Balinese style of singing, and in the themes of the Wayang kulit and Wayang Golek (shadow puppet plays).

In Javanese mythology, the gamelan was created by Sang Hyang Guru in Saka era 167 (c. AD 230), the god who ruled as king of all Java from a palace on the Maendra mountain in Medang Kamulan (now Mount Lawu). He needed a signal to summon the gods and thus invented the gong. For more complex messages, he invented two other gongs, thus forming the original gamelan set.

The earliest image of a musical ensemble is found on the bas-relief of the 8th century Buddhist monument of Borobudur, Central Java. The Borobudur's musicians play lute-like stringed instruments, various of kendang drums, various of suling flutes, cymbals, bells, metallophones, and xylophones. Some of these musical instruments are indeed included in a complete gamelan orchestra. Musical instruments such as metallophones (saron, kenong, kecer), xylophones (gambang), the bamboo flute (suling), drums in various sizes (kendang), cymbals, bell (genta), lute, and bowed and plucked string instruments were identified in this image. These reliefs of this musical ensemble are suggested to be the ancient form of the gamelan.

The instruments developed into their current form during the Majapahit Empire. According to the inscriptions and manuscripts (Nagarakretagama and Kakawin Sutasoma) dated from the Majapahit period, the kingdom even had a government office in charge of supervising the performing arts, including the gamelan. The arts office oversaw the construction of musical instruments, as well as scheduling performances at the court.

In Bali, there are several gamelan selonding that have existed since the 9th century during the Sri Kesari Warmadewa reign. Some words refer to gamelan selonding was found in some ancient Balinese inscriptions and manuscripts. Today, gamelan selonding is stored and preserved well in ancient temples of Bali. It is considered sacred and used for religious ceremony purposes, especially when the big ceremony is held. Gamelan Selonding is part of daily life and culture for some indigenous people in ancient villages such as Bungaya, Bugbug, Seraya, Tenganan Pegringsingan, Timbrah, Asak, Ngis, Bebandem, Besakih, and Selat in Karangasem Regency.

In the court of Java (Surakarta Sunanate and Yogyakarta Sultanate) the oldest known ensembles, Gamelan Munggang and Gamelan Kodok Ngorek, are apparently from the 12th century. These formed the basis of a "loud style" of music. These Gamelan are the oldest existing gamelan instruments and still preserved well in the courts. The Gamelans become the heirloom of the Javanese courts. Gamelan Kodhok Ngorek and Gamelan Monggang are sacred gamelan that will only be sounded for Javanese court ritual ceremonies such as the Sultan's Jumenengan (coronation ceremony), welcoming highly respected guests at the palace, royal weddings, and Garebeg. This gamelan is only owned by the court and the general public is not allowed to have a similar gamelan set.

In the wengker or Ponorogo culture, in the 15th century Gamelan Reyog was not only used to accompany the art of Reog Ponorogo but was also used during war, the troops of ki Ageng Surya Alam from the village of Kutu played gamelan reyog before the war took place against Majapahit, which was in coalition with Demak during the attack. Wengker, as a result Wengker always gets his victory before the heirloom of ki Ageng Surya Alam falls into the hands of the enemy.

A "soft style" developed out of the kemanak tradition and is related to the traditions of singing Javanese poetry, in a manner often believed to be similar to the chorus that accompanies the modern bedhaya dance. In the 17th century, these loud and soft styles mixed, and to a large extent, the variety of modern gamelan styles of Bali, Java, and Sunda resulted from different ways of mixing these elements. Thus, despite the seeming diversity of styles, many of the same theoretical concepts, instruments, and techniques are shared between the styles.

In the Sultanate of Cirebon, on the north coast of Java. The gamelan Sakati in the Keraton Kasepuhan is originated from Demak Sultanate in 1495 which was a gift from Sultan Trenggono of Demak for the marriage of Ratu Mas Nyawa (daughter of Raden Patah, king of Demak) to Prince Bratakelana (son of Sunan Gunung Jati from his wife Syarifah Bagdad). This gamelan is closely related to the early days of the spread of Islam by Wali Sanga in Java. At the Keraton Kasepuhan, the gamelan Sakati is played on the Idul Adha month of Hajj (Zulhijah) in the Sri Manganti building when the sultan and his relatives head to the Grand Mosque. This gamelan is kept in the Museum Pusaka Keraton Kasepuhan Cirebon.

In Lamongan, East Java, there is an ancient gamelan from the 15th century called Gamelan Singo Mengkok. This gamelan is a legacy of the Sunan Drajat (one of the Wali Sanga) which was used for broadcasting the Islamic religion in Paciran, Lamongan. Beaten by the Friends of Sunan Drajat to accompany the tembang Pangkur (panguri isine Qur'an) created by Sunan Drajat himself. This gamelan ensemble is an acculturation of Hindu-Buddhist and Islamic culture, considering that the surrounding community is Hindus, so that it is easily accepted by the community. The Gamelan Singo Mengkok is now stored in the Museum Sunan Drajat in Lamongan.

In the kingdom of Islamic Mataram, Gamelan Kanjeng Kyai Guntur Sari was made in 1566 and Gamelan Kanjeng Kyai Guntur Madu was made in 1642 during the reign of Sultan Agung. Both gamelans called Gamelan Sekati (Gamelan Sekaten) which is only beaten/sounded to accompany the Sekaten ceremony. Gamelan Sekaten in Surakarta and Yogyakarta will be played once a year for one week in front of the Grand Mosque. This gamelan is only played by the royal family and courtiers under strict conditions, wearing prescribed traditional clothes, and playing certain sacred music that has existed for centuries. The Gamelan Sekaten exists in halves: divided between the two rival courts in Surakarta and Yogyakarta, each court had a matching second half made.

In Sumedang, West Java, there is an heirloom of the Kingdom of Sumedang Larang, there is a Gamelan Panglipur belonging to Prince Rangga Gede / Kusumahdinata IV (1625–1633) who is also the regent of Mataram. Gamelan was deliberately made to entertain himself after his beloved child died. The Panglipur gamelan along with 9 other ancient gamelan sets are kept at the Museum Prabu Geusan Ulun in Sumedang Regency. One of the ten sets of gamelan is the gamelan Sari Oneng Parakansalak from Sukabumi, West Java, which on 31 March 1889, participated in celebrating the inauguration of the Eiffel tower in Paris, France.

On 5 September 1977, Gending ketawang puspawarna (Javanese gamelan music) which was created by Mangkunegara IV (1853–1881) was carried by two satellites of The National Aeronautics and Space Administration (NASA) named Voyager I and Voyager II. The satellites are in charge of making observations on planets in outer space. The two satellites are equipped with gold-plated copper disks with a diameter of 12 inches. This disc contains recorded messages from Earth for extraterrestrials who can find them.

Instruments

A gamelan is a multi-timbre ensemble consisting of metallophones, xylophones, flutes, gongs, voices, as well as bowed and plucked strings. The hand-played drum called kendang controls the tempo and rhythm of pieces as well as transitions from one section to another, while one instrument gives melodic cues to indicate treatment or sections of a piece.

Typical Javanese gamelan instruments
In the courts of Java, Javanese gamelan is grouped into 2 groups of gamelan, namely gamelan Pakurmatan and gamelan Ageng. Gamelan pakurmatan is the gamelan used for special Javanese court events and all of them are sacred gamelan. The gamelan pakurmatan consists of the gamelan kodhok ngorek, the gamelan monggang, the gamelan sekati, and the gamelan carabalen. As for the gamelan ageng is considered the most complete in the Javanese court. The Gamelan Ageng instruments are usually owned by the general public (artists, schools, studios, and other communities) in Java and outside Java. This gamelan is used to accompany arts or rituals either in the palace or in the general public, the gamelan can use a complete gamelan or less.

A set of complete Javanese Gamelan Ageng Ensemble that maintained by the Javanese court consists of:

 2 Sets Bonang Penembung
 2 Sets Bonang Barung (Bonang)
 2 Sets Bonang Penerus
 2 Sets Kenong
 2 Pieces Kethuk
 2 Pieces Kempyang
 2 Sets Slenthem
 3 Sets Gendèr Barung (Gendèr)
 3 Sets Gendèr Penerus
 2 Sets Saron Demung (Demung)
 4 Sets Saron Barung (Saron/Saron Ricik)
 2 Sets Saron Peking (Peking/Saron Penerus)
 2 Pieces Gong Ageng (Gong Besar)
 2 Pieces Gong Suwukan (Gong Siyem)
 2 Sets Kempul
 1 Piece Kendang Ageng (Kendhang Gending)
 1 Piece Kendang Ciblon (Batangan)
 1 Piece Kendang Sabet (Kendhang Wayangan)
 1 Piece Kendang Ketipung (Ketipung)
 1 Piece Bedug
 2 Pieces Rebab
 2 Sets Gambang
 2 Pieces Siter
 2 Pieces Celempung
 2 Pieces Suling (Seruling)
 1 Piece Kecer
 3 Pieces Kepyak
 Sindhen – Female singer in a gamelan
 Gerong – Male singer in a gamelan
 Nayaga (Wiyaga) – Gamelan musicians

Typical Balinese gamelan instruments
In Bali, the Gamelan instruments are all kept together in a balé, a large open space with a roof over the top of it and several open sides. Gambelan (the Balinese term) are owned by a banjar, nobility or temples and kept in their respective compounds. In case of banjar ownership the instruments are all kept there together because people believe that all the instruments belong to the community as a whole and that no one person has ownership over an instrument. Not only is this where the instruments are stored, but this is also the practice space for the sekaha (Gamelan orchestra group). The open walls allow for the music to flow out into the community where the rest of the people may enjoy it. Balinese gamelan cannot be heard inside closed rooms, because it easily crosses the threshold of pain. This does not apply to small ensembles like a gamelan gendér.

The sekaha is led by a single instructor whose job it is in the community to lead this group and to come up with new pieces. When they are working on a new piece, the instructor will lead the group in practice and help the group form the new music as they are practicing. When the instructor creates a new song, he leaves enough open for interpretation that the group can improvise, so the group will write the music as they practice it. There are many styles in Balinese gamelan. Kebyar is one of the most recent ones. Some Balinese gamelan groups constantly change their music by taking older pieces they know and mixing them together, as well as trying new variations of the music. Their music constantly changes because they believe that music should grow and change; the only exception to this is with their most sacred songs which they do not change. A single new piece of music can take several months before it is completed. Men and women usually perform in separate groups.

A set of complete Balinese gamelan ensemble consists of:

 1 set (12 pieces) Reyong
 1 set (10 pieces) Trompong
 1 piece Gong Wadon
 1 piece Gong Lanang
 1 piece Gong Kempur
 1 piece Gong Klentong
 1 piece Gong Bende
 1 Set Kenong (Kajar)
 1 piece Kethuk (Kempli)
 2 sets Jiyèng (Ugal)
 4 sets Gangsa (Pemande)
 4 sets Kanthilan
 2 sets Jublag
 2 sets Jegogan
 2 sets Penyacah Kenyur
 2 sets Gendèr Rambat
 1 set Cèng-cèng Ricik
 8 sets Cèng-cèng Kepyak
 2 pieces Kendang Semaradana (Cedugan)
 2 pieces Kendang Batel (Krumpung)
 1 set Gentorak
 3 pieces Suling
 Nayaga (Wiyaga) – Gamelan musicians

Notation

The tuning and construction of a gamelan orchestra is a complex process. Javanese gamelan use two tuning systems: sléndro and pélog. There are other tuning systems such as degung (exclusive to Sunda, or West Java, similar with Japanese ryukyuan scale), and madenda (similar to a Japanese hirajoshi scale). In central Javanese gamelan, sléndro is a system with five notes to the octave, with large intervals, while pélog has seven notes to the octave, with uneven intervals, usually played in five note subsets of the seven-tone collection. A full gamelan will include a set of instruments in each tuning, and classically only one tuning is used at a time. The precise tuning used differs from ensemble to ensemble and gives each ensemble its own particular flavor. A set of gamelan instruments will be tuned to the same set of notes, but the tuning will vary from one gamelan to the next, including variations in the size of intervals.

Colin McPhee, a Canadian composer who spent much time in Bali, remarked, "Deviations in what is considered the same scale are so large that one might with reason state that there are as many scales as there are gamelans." This view is contested, however, by some teachers of gamelan, and there have been efforts to combine multiple ensembles and tuning structures into one gamelan to ease transportation at festival time. One such ensemble is gamelan Manikasanti, which can play the repertoire of many different ensembles.

Balinese gamelan instruments are built in pairs that are tuned slightly apart to produce interference beats, ideally at a consistent speed for all pairs of notes in all registers. This concept is referred to as "ombak," translating to "wave," communicating the idea of cyclical undulation. One instrument, tuned slightly higher, is thought of as the "inhale," and the other, slightly lower, is called the "exhale" (Also called the "blower" and the "sucker," or pengimbang and pengisep in Bali). When the inhale and the exhale are combined, beating is produced, meant to represent the beating of the heart, or the symbol of being alive. It is thought that this contributes to the "shimmering" sound of Balinese gamelan ensembles. In the religious ceremonies that contain gamelan, these interference beats are meant to give the listener a feeling of a god's presence or a stepping stone to a meditative state. The scale roughly approximates that of the phrygian mode of the Western major scale (E-E on the white keys of the piano), with the notes EFGBC corresponding to the note positions 12356 in the slendro scale used by most gamelan.

In addition to non-western scales, Javanese gamelan uses a combination of tempo and density known as Irama, relating how many beats on the saron panerus instrument there are to notes in the core melody or balungan; density is considered primary.

Slendro
Slendro notation generally produces a light, cheerful atmosphere and feels busier. This is evidenced by the scenes in the wayang kulit and wayang wong performances such as scenes of war and marching that accompanied by slendro notation. The use of the slendro can also have the opposite impression, such as sad or romantic. As in the case of gending that uses a slendro miring. Slendro miring is a slendro notation tone that is played out of place on purpose. Therefore, there are many scenes of homesickness, love missing, sadness, death, languishing accompanied by slendro tunes.

Pelog
Pelog notation produces an atmosphere that gives the impression of being manly, regal, and sacred, especially in the musical play that uses the pelog nem (six) notation. Therefore, there are many scenes that are accompanied by pelog tunings, such as scenes where a king enters the pamelegan (place of worship), scenes of heartache, scenes of anger, or scenes that express revenge. However, in the play of certain notes, the pelog tunings can also give the impression of being happy, light, and lively, for example in the music played on the pelog tunings of barang.

Kepatihan

Gamelan music is traditionally not notated and began as an oral tradition. In the 19th century, however, the kraton (palaces) of Yogyakarta and Surakarta developed distinct notations for transcribing the repertoire. These were not used to read the music, which was memorized, but to preserve pieces in the court records. The Yogyanese notation is a checkerboard notation, which uses six or seven vertical lines to represent notes of higher pitch in the balungan (melodic framework), and horizontal lines which represent the series of beats, read downward with time. The fourth vertical line and every fourth horizontal line (completing a gatra) are darkened for legibility. Symbols on the left indicate the colotomic or metric structure of gongs and so forth, while specific drum features are notated in symbols to the right. The Solonese notation reads horizontally, like Western notation, but does not use barlines. Instead, note values and rests are squiggled between the notes.

Today this notation is relatively rare, and has been replaced by kepatihan notation, which is based on the Galin-Paris-Chevé system. Kepatihan notation developed around 1900 at the kepatihan Palace in Surakarta, which had become a high-school conservatory. The pitches are numbered (see the articles on the scales slendro and pélog for an explanation of how), and are read across with dots below or above the numbers indicating the register, and lines above notes showing time values; In vocal notation, there are also brackets under groups of notes to indicate melisma. Like the palace notation, however, Kepatihan records mostly the balungan part and its metric phrases as marked by a variety of gongs. The other parts are created in real time, and depend on the knowledge each musician has of his instrument, and his awareness of what others are playing; this "realization" is sometimes called "garap." Some teachers have also devised certain notations, generally using kepatihan principles, for the cengkok (melodic patterns) of the elaborating instruments. Some ethnomusicologists, trained in European music, may make transcriptions onto a Western staff. This entails particular challenges of tuning and time, sometimes resulting in unusual clefs.

Varieties

Varieties of gamelan are distinguished by their collection of instruments and use of voice, tunings, repertoire, style, and cultural context. In general, no two gamelan ensembles are the same, and those that arose in prestigious courts are often considered to have their own style and tuning. Certain styles may also be shared by nearby ensembles, leading to a regional style. The varieties are generally grouped geographically, with the principal division between the styles favored by the Balinese, Javanese, and Sundanese peoples. Javanese gamelan has soft and slow tones, while Balinese gamelan has strong and dynamic tones with fast music rhythms, while Sundanese gamelan which is dominated by the sound of flutes makes it not only soft but also mellow.

Javanese gamelan
Javanese gamelan is a gamelan that originates and develops in the Central Java and East Java, including the Special Region of Yogyakarta. In the Javanese palaces, the gamelan is divided into two, namely the gamelan pakurmatan and gamelan ageng. Gamelan pakurmatan is used for certain events or rituals in the royal environment. The gamelan pakurmatan set is not as complete as the ageng gamelan, and its shape and pitch are somewhat different from the traditional gamelan owned by the community. Gamelan pakurmatan consists of gamelan kodhok Ngorek, gamelan munggang, gamelan sekati, and gamelan carabalen, while gamelan ageng is the most complete gamelan used for various traditional ceremonies and events in the palace.

Gamelan outside the palace, owned by the general public, is usually the gamelan ageng, although it is not as complete as that of the palace, according to the needs and objectives of the gamelan ownership. The Javanese gamelan used by the communities has many kinds and types including the gamelan gadhon, gamelan siteran, gamelan Wayang, gamelan bambu, gamelan prawa, gamelan pelog, gamelan renteng, gamelan slendro, gamelan Banyuwangi, and gamelan Madura.

In oral Javanese culture distinctions are made between complete or incomplete, archaic and modern, and large standard and small village gamelan. The various archaic ensembles are distinguished by their unique combinations of instruments and possession of obsolete instruments such as the bell-tree (byong) in the 3-toned gamelan kodhok ngorek. Regionally variable village gamelan are often distinguished from standard gamelan (which have the rebab as the main melodic instrument) by their inclusion of a double-reed wind (selompret, slompret, or sompret) in addition to variable drum and gong components, with some also including the shaken bamboo angklung.

Gamelan in Javanese society is a product of local wisdom that has survived to this day. The long history that has been passed by Javanese gamelan is a cultural struggle that continues to be sustainable until now and in the future. Gamelan is inseparable from Javanese customs and human life, where gamelan is almost always there in every Javanese ceremony are held. Javanese gamelan is generally used to accompany dances, dance dramas, theater, puppets, rituals, events and festivals. Until then it developed in such a way that it was able to stand as a separate musical performance, complete with the accompaniment of the voices of the sindhen.

Most of the music rhythms are generally soft and reflect the harmony of life, as the principles of life are generally adopted by Javanese society. Some of them sound quickly according to the event or ritual being held or accompanied by the gamelan like gamelan Banyuwangi which has a faster tempo and uses high notes. Javanese gamelan has pelog and slendro tunings, if the pelog consists of notations 1, 2, 3, 4, 5, 6, 7 (ji, ro, lu, pat, mo, nem, tu), slendro has notation 1, 2, 3, 5, 6, i (ji, ro, lu, mo, nem, i).

Balinese gamelan
Balinese gamelan is one type of traditional gamelan ensemble that originates and develops in the island of Bali. Balinese gamelan is an inseparable ensemble of Balinese life, almost all villages in Bali have gamelan. The gamelan can be used as part of Hindu worship in Bali or as community entertainment in the Banjar in villages of Bali. Because gamelan also functions as a medium for socializing with each other, it can be seen that playing gamelan requires cooperation between players to get the desired tone or sound harmony. This Balinese gamelan has several differences from gamelan instruments in general, both in form and how to play it. This Balinese gamelan is usually performed as an accompaniment to an art performance in Bali, both sacred and entertainment.

Balinese gamelan is often used to accompany religious ceremonies and entertainment. In terms of religion, Balinese Gamelan is often displayed to accompany the running of religious ceremonies or to accompany sacred traditional dances. Meanwhile, in terms of entertainment, Balinese Gamelan is often presented as a musical performance as well as accompaniment to various arts that are entertainment in Bali.

Gamelan in Bali known as gambelan is commonly used in traditional ritual processions such as death ceremonies which we know as the Ngaben tradition. Meanwhile, for human ceremonies, gender is used and for ceremonies in temples, gong gede is usually used. In terms of the development of the era, Balinese gamelan can be divided into 3 types:
Gamelan wayah. This old type of gamelan is thought to have existed before the 15th century. This gamelan is generally dominated by keys in the form of keys and does not use drums (Selonding, Gender Wayang, Baleganjur, Genggong, Gambang, Angklung, Bebonangan, Geng Beri, Caruk, Gong Luwang)
Gamelan madya. This gamelan comes from around the 16th-19th century. In this era, the barungan gamelan already used drums and tuned instruments. In this barungan, drums have started to play a role in a show (Bebarongan, Pelegongan, Batel Barong, Joged Pingitan, Penggambuhan, Gong Gedé, Semar Pagulingan)
Gamelan anyar. This gamelan includes a new type of group, which includes the types of gamelan barungan that emerged in the 20th century. This gamelan barungan appears in one of the most prominent features, namely the game of drums (Semaradana, Bumbung Gebyog, Adi Merdangga, Jégog, Manikasanti, Bumbang, Gong Suling, Joged Bumbung, Janger, Geguntangan, Genta Pinara Pitu, Kendang Mabarung, Gong Kebyar, Okakan or Grumbungan, Tektekan)

Sundanese gamelan
The Sundanese gamelan is one of the typical gamelan ensemble from West Java and Banten province (Tatar Pasundan ) in Indonesia. In the manuscript Sanghyang Siksa Kandang Karesian, the art of gamelan is estimated to have entered in the 16th century. In this text, at that time there was a gamelan player called Kumbang Gending and a musical expert called Paraguna. Sundanese gamelan is also called Degung. The word Degung is said to have originated from the word "Ratu-agung" or "Tumenggung", because at that time Gamelan Degung was very popular with the officials. There are three types of Sundanese gamelan, including:
Gamelan salendro is usually used to accompany wayang performances, dances, and cliningan. Because it is often used in the performing arts, the salendro gamelan is also a popular gamelan among other gamelan types.
Gamelan renteng. This gamelan developed in several places, one of which is in Batu Karut, Cikalong. Based on the form and intervals of the gamelan renteng, there is an opinion that most likely the current Sundanese gamelan started from the gamelan renteng.
Gamelan ketuk tilu. This gamelan is usually used to accompany the arts of ketuk tilu, ronggeng gunung, ronggeng ketuk, doger, and topeng banjet.

Outside the main core on Java and Bali, gamelan has spread through migration and cultural interest, new styles sometimes resulting as well. The variety of gamelan can be found in over 25 countries outside Indonesia, presenting both traditional and experimental repertoire.

Cultural context
For some Indonesians, gamelan has high philosophical values, in terms of sound, roles, and the feelings of the players. Playing gamelan is not just the ability to play various musical instruments together, thus giving birth to the harmony of tones and rhythms. But also, by playing the gamelan there is a meaning that describes the system of deliberation and consensus in the midst of society, through each gamelan musical instrument. Gamelan symbolizes the spirit of cohesiveness and mutual cooperation, together, and in line. So that it gives birth to a harmonious tone in social life. In Indonesia, gamelan accompanies many cultural activities such as:

Religious rituals
Under the influence of the Hindu-Buddhist Majapahit kingdom, gamelan was used as accompaniment in religious ceremonies with tembang (singing) and wayang performances. Even an accompaniment to a king's performance. In the Negarakertagama manuscripts written by Mpu Prapanca in the 14th century. It is said that the gamelan accompaniment was used by King Hayam Wuruk in performing a mask dance with eight young people accompanied by a song from the Queen Mother. With the collapse of the Majapahit kingdom and being replaced by the Islamic kingdom of Demak led by Raden Patah, gamelan as a traditional musical instrument did not just disappear. Its function is used as a media tool for preaching Islam.

Gamelan's role in rituals is so important that there is a Javanese saying, "It is not official until the gong is hung". Some performances are associated with royalty, such as visits by the sultan of Yogyakarta. Certain gamelans are associated with specific rituals, such as the Gamelan Sekaten, which is used in the celebration of Mawlid an-Nabi (Muhammad's birthday). In Bali, almost all religious rituals include gamelan performance. Gamelan is also used in the ceremonies of the Catholic church in Indonesia. Certain pieces are designated for starting and ending performances or ceremonies. When an "ending" piece (such as "Udan Mas") is begun, the audience will know that the event is nearly finished and will begin to leave. Certain pieces are also believed to possess magic powers and can be used to ward off evil spirits. The religious rituals that accompanied by gamelan such as: sekaten, temple rituals, melasti, galungan, Ogoh-ogoh, etc.

Ceremonies
Gamelan is used to accompany various traditional ceremonies in Indonesia, gamelan kodhok ngorek, gamelan monggang, gamelan carabalen, and gamelan ageng are used for important ceremonies related to kings in the Yogyakarta and Surakarta palaces such as the king's coronations ceremony, the king's birthday ceremony, the coronation anniversary, royal guest reception, baby birth, marriage, death, and so on.
Outside the palace in Java, gamelan is used for Wedding reception, birth ceremonies, circumcision ceremonies, rice harvesting, ruwatan ceremonies, and death ceremonies (dhukitan). The musical presentation in the dhukitan ceremony in the general public is different from that in Palace. Gendhing at dhukitan ceremonies in the palace use the kodhok ngorek gamelan instrument, only intended for the death of the king and his family and only served when the corpse departs to the cemetery. Meanwhile, gendhing offerings at duhkitan ceremonies in the general public (outside the palace environment) are usually served at the time of the death of musical artists of dance, musical puppetry, wayang orang, cultural observers, and theater using the gamelan gadhon ensemble.

Traditional dances
Almost all dances originating from the island of Java and Bali are accompanied by gamelan music. Gamelan gives spirit and beauty to live dance performances. The sound of the gamelan music brings dance to life and graceful to see. The main function of the gamelan as a dance accompaniment is to provide rhythm, beat, or tempo guidance. So that the selection of accompanying music must be adjusted to the rhythm and theme of the dance. Dance performance using live gamelan is a complex artistic activity. Gamelan in dance is used as an illustration or support for the atmosphere. The accompanying gamelan music must give the impression of "speaking" or communication and constitute the perfect unity between music and dance. Typically players in the gamelan will be familiar with dance moves and poetry, while dancers are able to play in the ensemble. Some examples of famous dance include: bedhaya, serimpi, gambyong, Bambangan Cakil, legong, oleg tamulilingan, pendet, cendrawasih, barong, baris, jaipong, topeng, Bajidor Kahot, gandrung, etc.

Dance-drama performances
Dance drama in Indonesia is a show that combines dance and drama, which tells a story with dialogue or without dialogue between the players, usually guided by a puppeteer. This show is accompanied by gamelan music and involves many players who wear a typical costume. Gamelan music as accompaniment is widely used for choreography in the form of storytelling performances, both drama, and dance drama. Gamelan music that accompanies dance drama is a combination of music whose rhythm is in accordance with the dance movements and as an illustration. Most dance-dramas use music to avoid monotony and be more varied, and for the sake of harmony between dance and music.
Ramayana Ballet is a form of Javanese dance-drama performance that does not use dialogue. Dialogue in ballet performances is replaced with gesticulation or meaningful movements, especially with attitudes, hand movements, and head. Gesticulation or meaningful movements are movements that have a visual meaning or purpose that can be used and implemented by the audiences. Some examples of dance-dramas in Indonesia are as follows: wayang wong, wayang topeng, Ramayana Ballet, etc.

Wayang puppet performances
Gamelan is used to accompany all puppet shows, including wayang kulit, wayang golek, wayang klithik, wayang beber, etc. In wayang, the dalang (puppeteer) must have a thorough knowledge of gamelan, as he gives the cues for the music. Gamelan is a complement and supporter of wayang performances, which is still favored by Indonesians. Gamelan is played to support the atmosphere that Dalang (puppet master) wants to build in a wayang performance. Gamelan, which is the music accompanying the puppet show, is played in pelog or slendro tones according to the atmosphere of the scene being played. Gamelan music supports the delivery of values in wayang performances. The type of gamelan music for puppetry is different from gamelan music for dance or ordinary musical songs.

Traditional theatre performances
Traditional theater, especially on the islands of Java and Bali, is mostly accompanied by gamelan. Traditional theaters such as kethoprak, ludruk, and sandiwara are accompanied by gamelan to enliven the show. Ketoprak is a traditional theater founded in central Java. The story is usually about the life of Javanese palaces and noblemen, often about the romance of the royal family members. Ketoprak is often performed in celebrations, such as weddings, circumcision, and Independence Day. It differs from Ludruk from east Java, which uses a contemporary setting and the story of common people and their economic struggles. All the performers of ludruk are males, even the female role is played by males. While Sandiwara is a traditional theatrical drama from west Java.

Singing performance
Gamelan can be performed by itself – in "klenengan" style, or for radio broadcasts – and concerts presentation are common in national arts conservatories founded in the middle of the 20th century. Gamelan is frequently played on the radio. For example, the Pura Pakualaman gamelan performs live on the radio every Minggu Pon (a day in the 35-day cycle of the Javanese calendar). In major towns, the Radio Republik Indonesia employs professional musicians and actors, and broadcast programs of a wide variety of gamelan music and drama. In the court tradition of central Java, gamelan is often played in the pendopo, an open pavilion with a cavernous, double-pitched roof, no side walls, and a hard marble or tile floor. The instruments are placed on a platform to one side, which allows the sound to reverberate in the roof space and enhances the acoustics. Some traditional genre music is accompanied by gamelan ensemble like Javanese poetry, tembang sunda, campursari, etc.

Festival
Many festivals are held in Indonesia, most of them using gamelan to enliven the event. Usually, gamelan is used for entertainment performances or even gamelan becomes the theme of the festival. Several gamelan festivals in Indonesia are held regularly, such as the Gamelan festival in Solo, Yogyakarta International gamelan festival, Balinese art festival, and many more.

Gamelan production

Most of the metal gamelan instruments are made of bronze or brass or iron, while some are made of wood, bamboo, leather, and strings. Gangsa is short for Tigang (three) and Sedasa (ten), the term for gamelan in the high Javanese language based on the composition of the ingredients for making the best gamelan (bronze), namely ten parts copper and three parts tin. Pande is the name for a gamelan maker, while Pelaras is a person who adjusts the gamelan tone to match the existing gamelan standards. In the process of making gamelan, there are at least five stages that must be passed to make a good gamelan. The five stages include:

Membesot – to melt the mixture, a gamelan craftsman will prepare the kowi, which is a bowl-like container made of clay. In this process, a fireplace equipped with a heating device is prepared to produce maximum heat. The kowi is then filled with metals and other alloys, such as copper or silver to produce a nice plate color.

Menyinggi – the metal base material is melted back to be printed into a blade or round shape. There are three forms of gamelan that are made at this stage, namely, the long form (dawan), the long semicircle, and the cebongan form. To maintain sacredness, usually at this stage flower water is used to soak the gamelan that has been printed.
Menempa – the gamelan that has been printed then goes into the forging or shaping stage to produce a perfect shape. The forging stage is the most complex stage in the gamelan-making process. In this stage, the process is carried out by people who really understand the ins and outs of gamelan, considering that the forging process is not done carelessly, but uses various hitting techniques using various kinds of hammers.

Membabar – the forged gamelan is then examined again at the spreading stage. At this stage, if there are still defects in the shape, it will be corrected again.

Melaras – there is one more important process that must be done to produce a perfect gamelan set, namely the process of adjusting the scales. Therefore, one more stage is needed to produce a gamelan with perfect physical and function, that stage is to adjust the scale.

After adjusting to the scale, the blades and circles are ready to be installed in the cage. It is at this stage that the manufacture of various gamelan instruments has been physically and functionally completed. Some craftsmen, although rarely found, complement the making of gamelan with various rituals, such as fasting and providing offerings. This is of course to produce a gamelan that is not only perfect physically and functionally, but also philosophically.

Gamelan production centers are spread across the islands of Java and Bali. These gamelan producers have exported hundreds and supplied gamelan all over the world. Several gamelan production centers are located in Sukoharjo, Boyolali, Wonogiri, Nganjuk, Magetan, Bantul, Ponorogo, Klaten, Banyuwangi, Gunung Kidul, Cimahi, Bogor, Gianyar, and Klungkung.

Influence on Western music

The gamelan has been appreciated by several western composers of classical music, most famously Claude Debussy, who heard a Javanese gamelan in the premiere of Louis-Albert Bourgault-Ducoudray's Rhapsodie Cambodgienne at the Paris Exposition of 1889 (World's Fair). The work had been written seven years earlier in 1882, but received its premiere only in 1889. The gamelan Debussy heard in it was in the slendro scale and was played by Central Javanese musicians. Despite his enthusiasm, direct citations of gamelan scales, melodies, rhythms, or ensemble textures have not been located in any of Debussy's own compositions. However, the equal-tempered whole tone scale appears in his music of this time and afterward, and a Javanese gamelan-like heterophonic texture is emulated on occasion, particularly in "Pagodes", from Estampes (solo piano, 1903), in which the great gong's cyclic punctuation is symbolized by a prominent perfect fifth.

The composer Erik Satie, an influential contemporary of Debussy, also heard the Javanese gamelan play at the Paris Exposition of 1889. The repetitively hypnotic effects of the gamelan were incorporated into Satie's Gnossienne set for piano.

Direct homages to gamelan music are to be found in works for western instruments by John Cage, particularly his prepared piano pieces, Béla Bartók, Francis Poulenc, Leopold Godowsky, Olivier Messiaen, Pierre Boulez, Bronislaw Kaper and Benjamin Britten. Colin McPhee, Lou Harrison and Claude Vivier would travel to Bali and Java to document the theory of gamelan, and subsequently incorporated it in their compositions. In more recent times, American composers such as Henry Brant, Steve Reich, Philip Glass, Dennis Murphy, Loren Nerell, Michael Tenzer, Evan Ziporyn, Daniel James Wolf and Jody Diamond as well as Australian composers such as Peter Sculthorpe, Andrew Schultz, Paul Grabowsky and Ross Edwards have written several works with parts for gamelan instruments or full gamelan ensembles. Several New Zealand composers have composed for gamelan or incorporated elements of gamelan into their music such as Jack Body, Gareth Farr and Anthony Ritchie.

I Nyoman Windha is among contemporary Indonesian composers who have written compositions using western instruments along with Gamelan. Hungarian composer György Ligeti wrote a piano étude called Galamb Borong influenced by gamelan. Avant-garde composer Harry Partch, one of America's most idiosyncratic composers, was also influenced by Gamelan, both in his microtonal compositions and the instruments he built for their performance

In jazz, the music of Don Cherry, especially his 1968 record Eternal Rhythm, shows influences of gamelan music.

American folk guitarist John Fahey included elements of gamelan in many of his late-1960s sound collages, and again in his 1997 collaboration with Cul de Sac, The Epiphany of Glenn Jones. Influenced by gamelan, Robert Fripp and Adrian Belew used rhythmically interlocking guitars in their duets with each other in the 1981–1984 trilogy of albums (Discipline, Beat, Three of a Perfect Pair) by rock band King Crimson and with The League of Crafty Guitarists. The gamelan has also been used by British multi-instrumentalist Mike Oldfield at least three times, "Woodhenge" (1979), "The Wind Chimes (Part II)" (1987) and "Nightshade" (2005).

On the debut EP of Sonic Youth the track 'She's not Alone' has a gamelan timbre. Experimental pop groups The Residents, 23 Skidoo (whose 1984 album was even titled Urban Gamelan), Mouse on Mars, His Name Is Alive, Xiu Xiu, Macha, Saudade, The Raincoats and the Sun City Girls have used gamelan percussion. Avant-garde performance band Melted Men uses Balinese gamelan instruments as well as gamelan-influenced costumes and dance in their shows. The Moodswinger built by Yuri Landman gives gamelan–like clock and bell sounds, because of its 3rd bridge construction. Indonesian-Dutch composer Sinta Wullur has integrated Western music and gamelan for opera.

Influence on contemporary music

In contemporary Indonesian music scene, some groups fuse contemporary westernized jazz fusion music with the legacy of traditional ethnic music traditions. In the case of Krakatau and SambaSunda, the bands from West Java, the traditional Sundanese kacapi suling and gamelan degung Sunda orchestra is performed alongside drum set, keyboard and guitars. Other bands such as Bossanova Java fused Javanese music with bossa nova, while the Kulkul band fuse jazz with Balinese gamelan.

The Indonesian singer Anggun often incorporated in her works Indonesian traditional tunes from the gamelan and tembang style of singing. Typical gamelan tunes can be traced in several songs in her album Snow on the Sahara such as "Snow on the Sahara", "A Rose in the Wind", and also in her collaboration works with Deep Forest on "Deep Blue Sea" on their 2002 album, Music Detected. Philippine-born Indonesian singer Maribeth Pascua also features gamelan tunes in her songs Denpasar Moon and Borobudur.

Beyond Indonesia, gamelan has also had an influence on Japanese popular music, specifically the synthpop band Yellow Magic Orchestra. Their 1981 record Technodelic, one of the first albums to heavily rely on samples and loops, made use of gamelan elements and samples. Yellow Magic Orchestra member Ryuichi Sakamoto also used gamelan elements for his soundtrack to the 1983 British-Japanese film Merry Christmas, Mr. Lawrence, which won him the 1983 BAFTA Award for Best Film Music.

Many listeners were introduced to the sounds of gamelan by the popular 1988 Japanese anime film Akira. Gamelan elements are used in this film to punctuate several exciting fight scenes, as well as to symbolize the emerging psychic powers of the tragic hero, Tetsuo. The gamelan in the film's score was performed by the members of the Japanese musical collective Geinoh Yamashirogumi, using their semar pegulingan and jegog ensembles, which were also used in the previous album, Ecophony Rinne. Gamelan and kecak are also used in the soundtrack to the video games Secret of Mana, Sonic Unleashed, and Hotline Miami 2. The two opening credits of 1998 Japanese Anime Neo Ranga use Balinese music (Kecak and Gamelan gong kebyar). Each "waking up" of Ranga in the anime uses the Gong Kebyar theme. The musical soundtrack for the Sci Fi Channel series Battlestar Galactica features extensive use of the gamelan, particularly in the 3rd season, as do Alexandre Desplat's scores for Girl with a Pearl Earring and The Golden Compass. James Newton Howard, who composed Disney's 2001 feature film Atlantis: The Lost Empire, chose Gamelan for the musical theme of the Atlanteans.

Loops of gamelan music appear in electronic music. An early example is the Texas band Drain's album Offspeed and In There, which contains two tracks where trip-hop beats are matched with gamelan loops from Java and Bali and recent popular examples include the Sofa Surfers' piece Gamelan, or EXEC_PURGER/.#AURICA extracting, a song sung by Haruka Shimotsuki as part of the Ar tonelico: Melody of Elemia soundtracks.

Gamelan influences can also be heard in the 2004 award-winning pop song, Pulangkan, a theme from the gamelan-cultural related film Pontianak Harum Sundal Malam by Malaysian songbird Misha Omar and also the 2006 hip hop song, Tokyo Drift (Fast & Furious), by Teriyaki Boyz.

In the Regular Show episode "150-Piece Kit", a gamelan is mentioned to be part of the eponymous kit.

Gamelan outside Indonesia

Gamelan is widely known in Indonesia and abroad. There are many gamelan groups outside Indonesia. This is due to several factors like Indonesian migration (Javanese, Balinese, or Sundanese) and cultural interest, which brought and introduced gamelan abroad. The government of Indonesia is also actively promoting culture abroad through cultural missions and actively opening Darmasiswa Scholarships for foreign students and lecturers who want to learn Indonesian culture, one of the most preferred is Gamelan. Indonesia has exported hundreds of gamelans and supplied gamelan all over the world. Gamelan has spread to almost all continents such as America (United States, Mexico, Canada, Suriname), Europe (United Kingdom, Russia, Belgium, Czech Republic, Italy, France, Spain, Ireland, Germany, Switzerland, Netherland, Poland, Portugal), Asia (Singapore, Malaysia, Thailand, China, Japan, Korea), Australia and New Zealand.

Gallery

See also

Music of Indonesia
Gamelan outside Indonesia
American Gamelan Institute
List of gamelan ensembles in the United States
Gendang beleq
Wayang
Batik
Keris
Angklung
Saman (dance)
Pencak Silat
Phinisi
Bedhaya
Talempong
Legong
Kulintang
Sasando
Serimpi

References

Further reading

Javanese gamelan
 Gamelan: Cultural Interaction and Musical Development in Central Java (1995) by Sumarsam,  (cloth) 0226780112 (paper)
 Music in Central Java: Experiencing Music, Expressing Culture (2007) by Benjamin Brinner, Oxford University Press, New York,  (paper)
 Music in Java: History Its Theory and Its Technique (1949/1973) edited by Jaap Kunst, . An appendix of this book includes some statistical data on intervals in scales used by gamelans.
 A Gamelan Manual: A Player's Guide to the Central Javanese Gamelan (2005) by Richard Pickvance, Jaman Mas Books, London,

 Shadow Music of Java produced by Karl Signell, Rounder CD 5060.

Balinese gamelan
 Balinese Music (1991) by Michael Tenzer, . Included is an excellent sampler CD of Balinese Music.
 Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese Music (2000) by Michael Tenzer,  and .
 Music in Bali (1966) by Colin McPhee. New Haven, CT: Yale University Press.
 Music in Bali: Experiencing Music, Expressing Culture (2007) by Lisa Gold, Oxford University Press, New York,  (paper)

External links

Introduction to Gamelan Music by Qehn, Javanese gamelan only.
Balinese and Javanese Gamelan  written in 2005. Most links do not work as of January 2017.
Listening to Balinese Gamelan: A Beginners' Guide from Connexions accessed 20/01/2012
A curated collection of Javanese and Balinese gamelan music  – by John Noise Manis

Types of musical groups
Javanese culture
Music of Bali
Ethnomusicology
Asian percussion instruments
Indonesian words and phrases

Gamelan


Qcodo is an open-source PHP web application framework which builds an object-relational model (ORM), CRUD (create, retrieve, update, delete) UI pages, and AJAX hooks from an existing data model. It additionally includes a tightly integrated HTML and JavaScript form toolkit which interfaces directly with the generated entities. It is a robust, comprehensive framework which can be utilized by small and large Web applications alike.

Structure
The framework consists of three main components: a code generator, QForms (OOP generated stateful Ajax- or server-processed webform), QQuery (OOP based SQL query builder) -- all of which can be used independently of each other. The code generator parses an existing relational database structure, and builds an object-relational mapping (ORM), as well as several remote interfaces (SOAP, AJAX) to the ORM. The ORM in Qcodo can be extended to provide user-maintained functionality (via object subclassing). QForms is an ASP.NET-inspired templating engine in which each form element is an object exposing its functionality and state via methods and attributes.

QForms maintain page as well as form state, and include the ability to validate fields, trigger events, and associate AJAX calls. QForms bind tightly to the ORM, allowing developers to rapidly and iteratively change any of three components in the model–view–controller (MVC) architecture with little impact to the other components.

The Qcodo Package Manager (QPM) was introduced starting with Qcodo v0.4.0 to allow community members a much more streamlined and efficient way to post and share modules, enhancements and fixes of the Qcodo development framework with each other.  The Qcodo.com website can be used to view user-submitted QPM packages that community members have contributed at the QPM Section of the website.

Qcodo was conceived and developed by Mike Ho, and his company Quasidea Development acts as the central maintainer with dozens of contributors from the Qcodo Community that provide new features and releases via the Qcodo website.

The website, itself, is written in Qcodo and custom developed for the community, including suite of tools like online forums, bug/issue tracking, online showcase and QPM management.  It is integrated with GitHub to manage releases of the Qcodo Framework itself.  The code for Qcodo.com is also open sourced and available at GitHub as well.

Uses
The framework is mature and has been deployed in many production environments in everything from highly trafficked social networks to large Fortune 500 and government organizations, including:

 NASA Online Project Information System
 NASA Exploration Life Support
 Stanford University School of Medicine, Biomedical Informatics Research
 Uloop, the largest student-to-student Classifieds network
 Chess.com, the largest Chess-focused social network
 Academy of Country Music, the official website
 Delo.si, the official website of Delo, the major daily newspaper of Slovenia

The framework has been presented at many conferences across the nation, including the Zend/PHP Conference, the MySQL User's Conference, MySQL's Dev Zone, AjaxWorld conference and expo, and DC PHP.  It has over 250,000 downloads from thousands of users spanning over a hundred countries.

QCubed
A community driven fork, QCubed, was publicly launched on November 6, 2008.  It has 11 core contributors working in SVN/trac based environment with shared responsibility for the codebase. It features a plugin system and installer. All custom JavaScript has been replaced by JQuery code

References

External links

Free content management systems
Web frameworks
Software using the MIT license

Qcodo


The yukata is a kind of kimono. Yukata are very casual kimono, and are worn in the summer.

Normal kimono can be difficult to wear because they have many different parts. These can include a long, stiff obi (belt), a kimono worn underneath the outer kimono, called a juban, and padding to make the shape of the kimono nicer. Many Japanese people cannot put normal kimono on by themselves, as they are so different to everyday clothing.

However, yukata are a type of kimono that is easy to wear. They are made of cotton, and do not have to be worn with a juban. They are worn with thin, short obi, called hanhaba obi, which are easy to tie without someone else's help.

Yukata are worn in the summer, and are very popular to wear to festivals. They are cheap, keep the body cool, and are easy to wash and dry, unlike regular silk kimono.

Yukata used to be decorated only with designs in blue and white colours. However, many modern yukata have bright and colourful designs, making them fun and fashionable to wear. Many young women wear yukata and geta (Japanese clogs) at summer festivals, fireworks displays, and Bon festival dances.

Recently, yukata have been adopted as summer uniforms in some of the restaurants and theme parks in Japan. The sumo wrestler wears a yukata in his daily life, every single day. In addition, a type of yukata called nemaki are used as night clothes for guests at many Japanese hotels and inns. Unlike yukata, and regular kimono, nemaki are not made differently for men and women.

Japanese clothing

Yukata


An action camera is a small video camera made for sticking to a person while playing sport or traveling on a vehicle. This kind of camera is for used for filming an event in a way that people watching the film feel like they are looking from the eyes of person who are doing activities in the event themselves (first-person perspective). While action camera is made for filming, it can also take pictures. All films and pictures it took will be kept on a tiny card that you can pull them out and watch them later.

Action camera is made to be small and very light, so that a person who wear it does not feel its weight while doing his or her things. And it usually uses wide-angle lens to film as many details around as possible. Inside the camera, there is a battery that lasts long enough for you to film for few hours. Action camera is also made to be stronger than normal video camera, so that it keeps filming even when the wearing person moves at high speed or crashes into something.

Camera sellers usually give you a hard clear plastic box that fits with the camera when you buy it. When they do, you should store the camera in this box every time you are going to film something. This box will have holes, a belt, or a metal rod which you can use for tying it to a person, or screwing it on an object that person wears (usually a helmet). Some kind of these boxes can stop water from coming into it when closed, so you may use them to film under water without breaking the camera as well.

Related pages

 Dashboard camera, which looks like an action camera, but made for sticking on a vehicle instead of person.
 Webcam, a small video camera that is made to be used with a computer.

Cameras
Electronics
Sports equipment

Action camera


Marmion Wilme Savage (1803–1872), also known as Marmion Wilard Savage, was an Irish novelist and journalist.

Life
He was son of the Rev. Henry Savage. He matriculated as a pensioner on 6 October 1817 at Trinity College, Dublin, obtaining a scholarship in 1822, and graduating B.A. in the autumn of 1824. On leaving the university he held for some time in Dublin a position under the Irish government.

Savage was in 1856 appointed editor of The Examiner in succession to John Forster, and moved to London. He remained editor for around three years. He died at Torquay, after a prolonged illness, on 1 May 1872.

Works
His first novel The Falcon Family, or Young Ireland, appeared in 1845, at the moment when the physical force party were just beginning to secede from the Repeal Association. It was a caustic attack on the seceders. His second work, The Bachelor of the Albany, which was published in 1847, proved to be his best known. In 1849 Savage brought out a three-volume novel, called My Uncle the Curate, and in 1852 another entitled Reuben Medlicott, or the Coming Man. His fifth story was a novelette, called Clover Cottage, or I can't get in, which, dramatised by Tom Taylor under the title of Nine Points of the Law, as a comedietta in one act, was first performed at the Olympic on 11 April 1859, with Mrs. Stirling and Addison in the two chief parts.

In 1855 he edited, in two volumes with notes and a preface, Richard Lalor Sheil's Sketches, Legal and Political, which had appeared as a serial in the New Monthly Magazine, under the editorship of Thomas Campbell. In 1870 he brought out his sixth and last novel, entitled The Woman of Business, or the Lady and the Lawyer.

Family
He was twice married. By his first wife, Olivia, daughter of Olivia Owenson and niece of Lady Morgan, to whom the novelist dedicated his Bachelor of the Albany, he had an only son, who died in youth. By his second wife, a daughter of Thomas Hutton of Dublin, he had no children.

References

External links

1803 births
1872 deaths
Irish journalists
19th-century journalists
Male journalists
Irish male novelists
19th-century Irish novelists
19th-century male writers

Marmion Savage