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Talk:Health science

Bold text -Removed vandalism- Libertarian99 (talk) 11:42, 3 May 2010 (UTC)

Fundamental sourcing and definition for page
In the UK, we have a clear definition of a healthcare scientist - they are an applied scientist who uses their skills for the diagnosis, treatment and care of patients (as opposed, say, to other clinicians - such as doctors & nurses and to those scientists who are involved purely in research into conditions, rather than direct care for individuals who have particular conditions. Healthcare science are the disciplines that healthcare scientists practices.

This article fails to clearly define health science and the definitions early in the page seem to drift around between applied science, life science and a variety of practices which may or may not fit various definitions of health care.

I note that there are very few references in this page - certainly none to the fundamental definitions that should be used in an encyclopaedic article. As such I've tagged the article unreferenced.

In addition, I have a great problem with this article containing references to a variety of complementary and alternative medical (CAM) practices (see comments below). If you refer to the wikipedia alternative medicine page it defines CAM as 'treatments not proven using scientific methods'. So this area of intervention is - by that definition - not scientific. So it's hard to see why this material should be on a page about a sort of science.

I think there are much more appropriate and clearly-defined places for much of the content in this article and will start to rebuild this page in the near future if people don't object strongly to this.

I know this is just my individual take on this article - and may relate to my UK background. So I'm grateful for any thoughts and comments people have before I start changing things

Jpmaytum (talk) 15:03, 11 March 2011 (UTC)

After receiving no comment back on the above post, I've edited and recreated a new - and referenced - page Healthcare science. This page is now just a redirect Jpmaytum (talk) 11:27, 1 June 2011 (UTC) Jpmaytum (talk) 11:36, 2 June 2011 (UTC)

Wondering
Wondering how to edit the disorders listed on the subject page? The optional WikiProject Medical Conditions standards might help. '''We might distinguish among the health sciences between those which merely analyze a field or diagnose a problem; and those which also present a specific treatment for that problem.

Is it just me or is this new style of listing the topics harder to read than the old style? It worked fine for a number of articles like Mathematics (from which this style was based on) until that was changed too. -- Ram-Man

I feel an objection to the current style of this page. It used to be mess but now it looks a bit more organized however it is without internal design and it is harder to read even for a medical professional. What I propose is to remove all references to diseases or at least make this large list consistent. IMO this should be what the title of the article says "Health science" and it should lead to branches of medicine and related fields like alternative medicine, basic sciences of medicine, hygiene etc. Kpjas 2002-10-27

 * I think it is a great idea, which is why I have been focusing on this page. I have no idea, however, what would be a valid thing to do.  It is not clear (to me) what "Health Science" is so I have not attempted to remove all of what is currently here, though I reorganized everything to make more sense.  Feel free to rewrite the whole thing, just so long as we can easily get to all this information (maybe one link away).

 * What are the main subdivisions of health science? -- Ram-Man
 * My idea for this page might not be the best one because we don't have the term "Health science" in Poland and it's now unclear to me what it should mean to a native English speaker. I would move away from specific diseases and by all means organs. I would do a large introduction why and how "Health science" emerged in 19th and 20th centuries. This articles should naturally be interlinked with articles like "Health", "Disease", "Evidence based medicine", "History of medicine" and specific branches of "Health science". I think I should research this subject a little to answer your question. It is only my general idea. Kpjas 2002-10-28

 * I'm from the United States (a native English speaker) and I am not even sure what direction it should take. If you take a look at some of the other Main iygfoighghofgoegho loser a broad range of topics that someone coming to this page from the main page will have a large enough selection of topics.  Right now the information stored in this page is not located anywhere else and it is fairly [[Media:important information.  -- Ram-Man

I rewrote and updated the main text of the article. Hopefully it is a bit more clear and concise. The lists still need some organizing and thinning out. -- Ram-Man
 * I appreciate what you have done with this article. Well done ! I will comment on some portions later on. The major problem is what to do with this list. Specialities ? Conditions ? Ideally it could be made into a conti --207.75.221.4 (talk) 15:36, 21 April 2009 (UTC)nous flow of the article. Maybe short descriptions --207.75.221.4 (talk) 15:36, 21 April 2009 (UTC)of specialties with most important organs and diseases they deal with ? Some hierarchy ( plus links of specialities) is a must. Kpjas 2002-10-30

 * I think what may need to happen is that we put the list of medical conditions into their own respective pages, such as the pages linked to by the "More..." links. I like the idea of having a list at the bottom to choose from a wide range of health science topics, as these main page articles are a sort of table of contents to the topic.  Maybe some good idea for a rewrite will hit me soon. -- Ram-Man

"Health science research builds on the pure sciences of biology, chemistry, and physics."
 * "pure" or "basic"

"Medical doctors or physicians, surgeons, and nurses are commonly thought of as the chief members of medicine, however, medicine includes many different branches and professions. Some common medical areas include first aid, midwifery, nursing, surgery, and triage."
 * I'd move it to some other article. Healthcare system ? "Healthcare profession" ? "Medical profession" ?

The application of scrutiny of scientific and empirical methods to practice of medicine turned it into health science and since then it has moved away from traditional health practices. Accumulating specialist knowledge caused gradual emergence of more and more narrow fields of health sciences. This undue processes of specialization has given rise to popularity of holistic medicine and alternative medicine.

There is a distinct division between branches of medicine that are involved in conservative or operative methods. Cardiology is a branch of medicine that studies disorders of human cardiovascular system, especially, the heart. This knowledge is applied to treatment of a number of conditions; importantly they are major causes of morbidity and mortality in Western societies : coronary heart disease, cardiac arrhythmias, heart attack, for a more extensive list see cardiology article.

This page is getting too long. Shouldn't some of it - eg all the entries under Endocrinology - be set out on a separate page?

Homeopathy
I think it important to note that there are two Pharmacopea's approved by the FDA. One is the U.S.Pharmacopea and the other is the U.S.Homeopathic Pharmacopea. The co-existence of these two documents would certainly imply acceptance of the doctrines of Homeopathy. Burt M

New title?
Can we give this article a new title? I propose "Health Systems". That would remove the obvious POV (to me, anyway, and probably others who are familiar with non-western and alternative health systems). Then each tradition can be split into subcategories, rather than allowing western traditions to dominate. My POV, for the record: Western medicine and "applied" sciences are no more science than anything else which can be proven with scientific methods, i.e. the efficacy of accupuncture treaments vs. conventional acceptance of treatments like lobotomies in the 20th century. Admiralblur 22:45, 17 Mar 2005 (UTC)

Two parts to health science
As evidenced by the large section entitled "Health delivery" and the long lists at the end, the article is heavy on discussing the application of health-related knowledge but severly lacking in discussing the acquisition of that knowledge. Any thoughts on how to expand this? Edwardian 20:58, 7 September 2005 (UTC)

Removing reference to new age/spiritual procedures
Someone has included things like "Christian Science." These might be approaches some people choose use in pursuit of health, but they are not health sciences. Their exclusion from science seems very obvious, so I'm removing them immediately. I'm new at Wikipedia editing, but I'm acting in good faith that this is appropriate Wikipedia etiquette. If this action is disputable, I'd appreciate a message or further discussion.

I would also suggest revising the "Health Practices" section. Although the complementary health practices list could indeed be considered "health practices," I think it is inappropriate in the context of the "Health science" article, especially in light of the definition on the first line of the article: "Health science or biomedical science is the applied science dealing with health." Many of the practices on this page are not sciences, despite some of them being nominally "-ologies" or "Science." Perhaps we could stick with actual sciences, and in the interest of completeness, perhaps mention that some people may disregard health sciences in favour of non-scientific/non-medical treatments, and provide a link to a category more appropriate to those treatments. —Preceding unsigned comment added by Libertarian99 (talk • contribs) 11:39, 3 May 2010 (UTC)

title: Talk:Health science


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Dolly Madison

Dolly Madison is an American bakery brand owned by Hostess Brands, selling packaged baked snack foods. It is best known for its long marketing association with the Peanuts animated TV specials.

History
In 1937, Ralph Leroy Nafziger started a snack cake brand in Georgia called Dolly Madison. The name was inspired by first lady Dolley Madison, who was known for her elegant parties, but with a different spelling of her first name. The brand's slogan was "Cakes and pastries fine enough to serve at the White House." A Dolly Madison Bakery appears in the 1932 movie Officer 13 and was named after Dolley Madison, the wife of President James Madison. The name was also used for a successful ice cream brand sold for decades in the United States in the mid-twentieth century, with a logo featuring a silhouette of Dolly Madison.

The snack cake brand was among the products liquidated by Hostess when it announced plans to cease business on November 16, 2012. When Apollo Global Management acquired Hostess Brands' Twinkies in January 2013, they also acquired the rights to the Dolly Madison snack cake brands, as well as the official corporate name to Dolly Madison and Hostess Brands, with plans to resume production of the products.

Marketing
In marketing, Dolly Madison snacks are probably best remembered for their long association with characters from Charles M. Schulz's Peanuts comic strip. Charlie Brown and his friends appeared on Dolly Madison packages and in television commercials in the 1960s, 1970s and 1980s. The bakery, along with Coca-Cola and McDonald's, was a major sponsor of the Peanuts animated specials telecast on CBS during that period. Each pie flavor was sold with a different character on the wrapper, including:
 * Charlie Brown – cherry and banana crème
 * Linus van Pelt – apple
 * Lucy van Pelt – lemon
 * Schroeder – berry
 * Sally Brown – coconut crème and pineapple
 * Frieda – chocolate
 * Peppermint Patty – strawberry and peach
 * Marcie – Boysenberry

The wrappers were later redesigned and featured Snoopy on all the flavors. Charlie Brown was also on Zingers packages wearing a baseball cap. Snoopy and Linus were also on Gems donut packages as well.

During the period when the packages featured Peanuts characters, the advertising agency for Dolly Madison products was Dancer Fitzgerald Sample's San Francisco branch—primarily due to its proximity to Schulz (based in nearby Santa Rosa).

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Dolly Madison


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Sounder (novel)

Sounder is a young adult novel by William H. Armstrong, published in 1969. It is the story of an African-American boy living with his sharecropper family. Although the family's difficulties increase when the father is imprisoned for stealing a ham from work, the boy still hungers for an education.

Sounder, the dog's name, is the only character name used in the book. The author refers to the various characters by their relationship or their role in the story. The setting is also ambiguous. The author notes prisoners were hauled in "mule-drawn wagons", and the mention of chain gangs places an upper limit to the story of 1955 when the practice ended. The boy hears his father may be in Bartow and later Gilmer counties, but the author does not specify where the boy lives.

Sounder won the Newbery Award in 1970 and was made into a major motion picture in 1972.

Plot summary
The black sharecropper's family is poor and hungry. The father and his dog, Sounder, go hunting each night, but the hunting is inadequate. The family subsists on fried corn mush, biscuits, and milk gravy until one morning they wake up to the smell of boiling ham. They feast for three days, but finally the sheriff and two of his deputies burst into the cabin and arrest the father for stealing the ham. Sounder chases after them, and one of the deputies shoots him with a shotgun.

The arrested man's son goes looking for Sounder but cannot find him. Returning to the scene of the shooting, the boy finds a part of Sounder's ear. While his mother cautions him not to "be all hope", the boy searches for the dog every day for weeks. In the father's absence, the family survives on the money the mother makes by selling cracked walnuts. The boy helps to look after his three younger siblings and experiences the intense loneliness of the cabin.

For Christmas, the boy's mother makes a four-layer cake for him to take to his father in jail. When he arrives, the guard treats him rudely. Finally the boy is admitted, and the guard breaks the cake into pieces, saying he suspects it could hide something which could help the boy's father escape. The boy gives the mangled cake to his father anyway and tells him that Sounder might not be dead. Their conversation is strained and difficult. The father tells the boy not to come back to the jail, and he goes home.

About two months after the father's arrest, the boy awakes to the sound of faint whining, goes outside, and finds Sounder standing there. The dog can only use three legs, has only one ear and one eye, and no longer barks. The boy and his mother welcome the dog home.

Once the family learns that the father was convicted and sentenced to hard labor, the boy resolves to search for his father. During the late fall and winter months over a period of several years, he journeys within and among counties, looking for working convicts, seeking word of his father. He also tries with some success to teach himself to read signs and newspapers.

One day he is leaning against a fence, watching a group of convicts at a road camp, trying to make out his father's form, when a guard whacks the boy on the fingers with a piece of iron and tells him to leave. While the boy walks toward the outskirts of town, he sees someone putting a book in a trash can. It is a large volume of Montaigne, and the boy takes it with him. He finds a school where he tries to wash the blood off his hands. While he is at the pump, the boy meets an old teacher who dresses his wounds and asks what happened to him. The boy tells the teacher about Sounder and his father and, observing the book, the teacher extends an offer to the boy to live with him and learn to read. The boy's mother tells him to go, and he stays with the teacher during the winter, working in the fields in summer.

One August day, the boy is at home helping with chores when they see his father walking toward them. One side of his father's body is crippled from being crushed in a quarry. Sounder, who has anticipated the man's return for days, runs out to meet him and barks.

Weeks later, the man and his dog go hunting for the first time since the man's return. The man has been waiting until he can invite his son, but now he sees that the boy is tired from fieldwork, and the man further senses that the activity might no longer interest the boy. At dawn, Sounder comes back without his master and, when the boy follows Sounder to the man, he finds him dead. Before leaving to return to school, the boy tells his mother that Sounder will be dead before he can come back for the holiday. Two weeks before Christmas, Sounder crawls under the porch and dies. Despite their deaths, there is a sense of peace and resolution over the family - especially for the boy, who has achieved the thing he most wanted - to learn to read.

Film
In 1972, Sounder was made into a film starring Cicely Tyson, Paul Winfield, Kevin Hooks, Carmen Mathews, Taj Mahal, and Eric Hooks. It was written by Lonne Elder III and directed by Martin Ritt.

In 2003, ABC's Wonderful World of Disney aired a new film adaptation, reuniting two actors from the original. Kevin Hooks directed and Paul Winfield played the role of the teacher. Winfield and Hooks played father and son, respectively, in the original version.

title: Sounder (novel)


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Gamelan

Gamelan (ꦒꦩꦼꦭꦤ꧀,, ᬕᬫᭂᬮᬦ᭄) 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 with mallets) and a set of hand-drums called kendang, which keep the beat. The kemanak, a banana-shaped idiophone, and the gangsa, another metallophone, are also commonly used gamelan instruments on Bali. Other notable instruments include xylophones, bamboo flutes (similar to the Indian bansuri), a bowed string instrument called a rebab (somewhat similar to the gadulka of Bulgaria), and a zither-like instrument called a siter, used in Javanese gamelan. Additionally, vocalists may be featured, being referred to as sindhen for females or gerong for males.

Although the popularity of gamelan has declined slightly since the introduction of modern popular music to Indonesia, the art form is still widely respected, being commonly played in many traditional ceremonies. It may also be performed as entertainment for some modern events, such as official cultural, corporate, government or educational functions, both formal or informal. Gamelan is also, traditionally, arranged and performed to accompany religious rituals, ceremonies, dance theatre, dance-drama, traditional Indonesian 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 (ꦒꦩꦼꦭ꧀), which refers 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 (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 (ꦏꦫꦮꦶꦠꦤ꧀) refers to classical gamelan music and performance practice, and comes from the Javanese word rawit (ꦫꦮꦶꦠ꧀) of Sanskrit origin, meaning 'intricate' or 'finely worked', referring to the sense of smoothness and elegance idealized in Javanese music. Another word, pangrawit (ꦥꦁꦫꦮꦶꦠ꧀), 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 (ꦒꦁꦱ), formed either from the words tembaga (ꦠꦼꦩ꧀ꦧꦒ) and rejasa (ꦉꦗꦱ) referring to the materials used in bronze gamelan construction (copper and tin), or tiga (ꦠꦶꦒ) and sedasa (ꦱꦼꦢꦱ) 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 kendang drums, various 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), 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 maintained by the Javanese court consists of:

 * 1) 2 Sets Bonang Penembung
 * 2) 2 Sets Bonang Barung (Bonang)
 * 3) 2 Sets Bonang Penerus
 * 4) 2 Sets Kenong
 * 5) 2 Pieces Kethuk
 * 6) 2 Pieces Kempyang
 * 7) 2 Sets Slenthem
 * 8) 3 Sets Gendèr Barung (Gendèr)
 * 9) 3 Sets Gendèr Penerus
 * 10) 2 Sets Saron Demung (Demung)
 * 11) 4 Sets Saron Barung (Saron/Saron Ricik)
 * 12) 2 Sets Saron Peking (Peking/Saron Penerus)
 * 13) 2 Pieces Gong Ageng (Gong Besar)
 * 14) 2 Pieces Gong Suwukan (Gong Siyem)
 * 15) 2 Sets Kempul
 * 16) 1 Piece Kendang Ageng (Kendhang Gending)
 * 17) 1 Piece Kendang Ciblon (Batangan)
 * 18) 1 Piece Kendang Sabet (Kendhang Wayangan)
 * 19) 1 Piece Kendang Ketipung (Ketipung)
 * 20) 1 Piece Bedug
 * 21) 2 Pieces Rebab
 * 22) 2 Sets Gambang
 * 23) 2 Pieces Siter
 * 24) 2 Pieces Celempung
 * 25) 2 Pieces Suling (Seruling)
 * 26) 1 Piece Kecer
 * 27) 3 Pieces Kepyak
 * 28) Sindhen – Female singer in a gamelan
 * 29) Gerong – Male singer in a gamelan
 * 30) 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) 1 set (12 pieces) Reyong
 * 2) 1 set (10 pieces) Trompong
 * 3) 1 piece Gong Wadon
 * 4) 1 piece Gong Lanang
 * 5) 1 piece Gong Kempur
 * 6) 1 piece Gong Klentong
 * 7) 1 piece Gong Bende
 * 8) 1 Set Kenong (Kajar)
 * 9) 1 piece Kethuk (Kempli)
 * 10) 2 sets Jiyèng (Ugal)
 * 11) 4 sets Gangsa (Pemande)
 * 12) 4 sets Kanthilan
 * 13) 2 sets Jublag
 * 14) 2 sets Jegogan
 * 15) 2 sets Penyacah Kenyur
 * 16) 2 sets Gendèr Rambat
 * 17) 1 set Cèng-cèng Ricik
 * 18) 8 sets Cèng-cèng Kepyak
 * 19) 2 pieces Kendang Semaradana (Cedugan)
 * 20) 2 pieces Kendang Batel (Krumpung)
 * 21) 1 set Gentorak
 * 22) 3 pieces Suling
 * 23) 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 to a 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.

Javanese gamelan

 * Gamelan: Cultural Interaction and Musical Development in Central Java (1995) by Sumarsam, ISBN 0-226-78010-4 (cloth) 0226780112 (paper)
 * Music in Central Java: Experiencing Music, Expressing Culture (2007) by Benjamin Brinner, Oxford University Press, New York, ISBN 0-19-514737-5 (paper)
 * Music in Java: History Its Theory and Its Technique (1949/1973) edited by Jaap Kunst, ISBN 90-247-1519-9. 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, ISBN 0-9550295-0-3
 * Shadow Music of Java produced by Karl Signell, Rounder CD 5060.
 * Shadow Music of Java produced by Karl Signell, Rounder CD 5060.

Balinese gamelan

 * Balinese Music (1991) by Michael Tenzer, ISBN 0-945971-30-3. Included is an excellent sampler CD of Balinese Music.
 * Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese Music (2000) by Michael Tenzer, ISBN 0-226-79281-1 and ISBN 0-226-79283-8.
 * 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, ISBN 0-19-514149-0 (paper)

title: Gamelan


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The Emigrants (film)

The Emigrants (Utvandrarna) is a 1971 Swedish film directed and co-written by Jan Troell and starring Max von Sydow, Liv Ullmann, Eddie Axberg, Allan Edwall, Monica Zetterlund, and Pierre Lindstedt. It and its 1972 sequel, The New Land (Nybyggarna), which were produced concurrently, are based on Vilhelm Moberg's The Emigrants, a series of novels about poor Swedes who emigrate from Småland, Sweden, in the mid-19th century and make their home in Minnesota. This film adapts the first two of the four novels (The Emigrants (1949) and Unto a Good Land (1952)), which depict the hardships the emigrants experience in Sweden and on their journey to America.

The Emigrants won international acclaim and was nominated for the Academy Award for Best Foreign Language Film at the 44th Academy Awards. It was nominated for four more Oscars the following year, including for Best Picture, the same year that The New Land was nominated for Best Foreign Language Film. The 1974 American television series The New Land is loosely based on both The Emigrants and its sequel.

Plot
In 1844, the Nilsson family lives on a small farm in the woods at Korpamoen in Ljuder Parish in the Swedish province of Småland. The eldest son, Karl Oskar, takes charge of the farm after his father, Nils, is injured when moving a large rock. Karl Oskar marries Kristina Johansdotter, and she moves to Korpamoen to live with him and his parents. In the following years, Karl Oskar and Kristina start a family, starting with Anna, who is followed by Johan, Märta and Harald. The family struggles with rock filled fields, poor weather, and bad harvests, leaving them hungry and in debt. Kristina rebukes Karl Oskar for his irreligious attitude, which she thinks is the cause of some of their troubles.

Karl Oskar's daydreaming and bookish younger brother, Robert, tired of being overworked and regularly beaten as an indentured farmhand at Aron's farm, reads about how wonderful life is in America and decides he is going to emigrate. He asks Arvid, his friend and fellow farmhand, to come with him, and Arvid eagerly agrees, but the pair's hopes are dashed when they realize they can not afford their passage. Robert confronts Karl Oskar about selling his share of the family farm, only to find that Karl Oskar has also privately been considering the idea of going to America. Kristina is unenthusiastic about the move, despite the potential for a better life, because she does not want to leave her homeland and has concerns about the arduous journey that would be required. However, when Anna dies after gorging herself on uncooked porridge, which expands and damages her stomach, Kristina, devastated by the loss, agrees to Karl Oskar's plan and they begin making preparations to leave Sweden.

Meanwhile, Danjel Andreasson, Kristina's uncle, is being persecuted by Brusander, the local provost, for rejecting the official religion and holding fundamentalist religious services in his home. He and his wife, Inga-Lena, and four young children are sentenced to exile, so he decides to join Karl Oskar in his move to America. Ulrika of Västergöhl, a former prostitute who is one of Danjel's followers, and her illegitimate sixteen-year-old daughter, Elin, also decide to come along, and Jonas Petter, a friend and neighbor of Karl Oskar, expresses an interest in making the trip to escape his unhappy marriage. Robert is even able to persuade Danjel to hire Arvid and pay his fare. The night before the departure, Kristina reveals to Karl Oskar that she is pregnant.

The party of emigrants travels south to the port city of Karlshamn, where they board the wooden brig Charlotta, which is bound for New York City. On board, Karl Oskar and Kristina meet Måns and Fina-Kajsa Andersson, an elderly couple heading for the Minnesota Territory, where they plan to settle on their son Anders' farm near a town called Taylor's Falls. After hearing how good the land is there, Karl Oskar and Kristina decide to follow them. During the voyage, Inga-Lena and Måns Andersson die of unrelated sudden illnesses, and Kristina nearly dies from a severe nosebleed.

Upon their arrival in New York, Karl Oskar and his party, along with Fina-Kajsa, begin the long journey westward to Minnesota, first by train, and then by riverboat. Throughout the whole journey from Sweden, the pious Kristina has been prejudiced against Ulrika for her past immorality, but they reconcile after Ulrika finds one of Kristina's children, who had gone missing at a riverboat stop and was almost left behind. Not long after this, while still on the riverboat, Danjel's infant daughter dies after a brief illness.

After finally arriving at the town of Stillwater, the party, with the help of Pastor Jackson, a friendly Baptist minister, finds their way to Anders' farm in what is now known as the Chisago Lakes area. He just lives in a wooden shack, but the land is fertile, and Danjel and Jonas Petter choose fine tracts of farmland nearby. Karl Oskar, however, heads deep into the woods to explore the lands along the shore of Lake Ki Chi Saga that he hears are even better. Upon his arrival, he finds the topsoil to be of excellent quality and stakes a claim to the land for himself and Kristina and their family by carving his name into a tree overlooking the lake.

Development
Plans for adapting The Emigrants novels began late in 1967. Its author, Vilhelm Moberg, had seen Jan Troell's film Here Is Your Life before producer Bengt Forslund approached him about an Emigrants film. SF Studios wished to adapt all four novels, although it was uncertain how such a film structure would work.

Moberg requested Forslund and Troell meet him, and the three men mapped out a plot, with 98 scenes, finishing in March 1968. They also envisioned Max von Sydow, Liv Ullmann and Eddie Axberg as the ideal stars. Troell and Forslund went location scouting in the United States in September 1968, but found many of the lands were too developed or could not accommodate film equipment.

Filming
The scenes set in Chisago Lakes were actually filmed at Lake Krageholm in Scania, Sweden. Filming took place from June 1969 to January 1970, and then from May to August 1970.

Ullmann said that for The Emigrants and The New Land, which were shot at the same time, the actors had to learn historic methods of laundry, and also that the brief scene in The Emigrants where she is on a swing took two days to film.

The film employed 20 actors and 500 extras. The combined cost of the two films was kr 7 million, making them, at the time, the most expensive Swedish film yet produced.

Release
The Emigrants was released to cinemas in Sweden on 8 March 1971. It opened in New York City on 24 September 1972. The version released in the U.S. was cut from 190 to 150 minutes by Warner Bros., who distributed the film in America.

In the U.S., the film was not released on home video until February 2016, when The Criterion Collection released it, along with The New Land, on DVD and Blu-ray. The films had been frequently requested by customers. In 2016, The Emigrants was also featured in the Gothenburg Film Festival.

Critical reception
The film received mostly positive reviews. Roger Ebert gave it four stars, praising it as a "masterpiece", "infinitely absorbing and moving", and likely more accurate than traditional stories about immigration to the United States. Richard Schickel wrote in Life that "Jan Troell has made the masterpiece about the dream that shaped America - a dream, and an America, fast disappearing from our views". Vincent Canby of The New York Times hailed the acting performances, especially from von Sydow and Ullmann, which he found to hold "a kind of spontaneous truth, in look and gesture, that does a lot to relieve the otherwise programed nobility, truth and beauty". However, Canby criticized Troell for excessive views of "sunlight-reflected-in-water that becomes just one too many, a thing of movie decoration". In New York, Judith Crist praised the film as "exquisite", and wrote that the depiction of history "throbs with flesh and blood". In 5001 Nights at the Movies, Pauline Kael declared the film is "A bursting, resonant work".

In his 2015 Movie Guide, Leonard Maltin gave the film three stars, calling it "Solid if rambling". Dave Kehr recalled it as overrated, calling it "Uncommitted, tedious, and often dishonest". In 2016, the Swedish journal Sydsvenskan recalled The Emigrants as a classic.

Accolades
The Emigrants was nominated for five Academy Awards, including for both Best Foreign Language Film and Best Picture. However, the Academy's rules for eligibility for specific awards meant the nominations occurred in two separate years. It was the third film not in English to be nominated for Best Picture in the history of the Academy.

Legacy
The sequel, The New Land (Nybyggarna), was released in 1972. The 1974 U.S. television series The New Land is based loosely on both The Emigrants and its sequel. The creation of the TV series can be attributed to the popularity of the films. In Sweden, the musical Kristina från Duvemåla by Björn Ulvaeus and Benny Andersson, formerly of ABBA fame, was designed partly in reaction to Troell's films, particularly in differences in the set. Troell also gave his approval to Daniel Espinosa to make a new Emigrants film adaptation in 2015, which was ultimately not produced. In 2021, an adaptation based on of the three part book series was released, directed by Erik Poppe.

The two films were considered to give Jan Troell his "international breakthrough". They led to his receiving, and accepting, an offer from Warner Bros. to make Zandy's Bride, one of the first times a prominent Swedish director moved to Hollywood since the 1920s.

title: The Emigrants (film)


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A Touch of Class (film)

A Touch of Class is a 1973 British romantic comedy film produced and directed by Melvin Frank and starring George Segal, Glenda Jackson, Hildegard Neil, Paul Sorvino and K Callan. The film tells the story of a couple (Segal and Jackson) having an affair, who find themselves falling in love. It was nominated for five Academy Awards, including Best Picture, with Jackson winning Best Actress.

The film was adapted by Melvin Frank and Jack Rose from Frank's story "She Loves Me, She Told Me So Last Night" (which also became the name of an original song briefly sung in the film by Segal and Jackson). However, it bears more than a passing resemblance to an earlier Frank film, The Facts of Life (1960), which likewise dealt with a middle-aged couple trying to have an affair, centering on a disaster-laden trip to a place where they would not be recognized.

The lead role of Steve was originally offered to Cary Grant, with a promise by Frank to rewrite the script to play up the age difference between Steve and Vickie. However, Grant opted to remain in retirement from filmmaking, and he turned the role down. Despite this, he did remain connected to the film, as it was produced by Fabergé's Brut Productions, and Grant was on the board of directors for Fabergé. Roger Moore was also offered the lead role before dropping out to star in Live and Let Die, his first appearance as James Bond. Moore did, however, have a hand in the production of this film.

Glenda Jackson revealed that she was approached by the director Melvin Frank after appearing on the comedy sketch and variety program The Morecambe & Wise Show on the BBC in the United Kingdom in 1971, in the "Antony and Cleopatra" sketch. After her role in this film won her an Oscar, Eric Morecambe sent her a telegram reading, "Stick with us and we will get you another one".

Plot
Vickie Allessio, a divorced British mother of two, meets Steve Blackburn, an American married man, while sharing a taxi in London. Steve is attracted to Vickie and invites her to tea, then lunch, and eventually suggests they have sex. Vickie agrees but expresses her desire to have uncomplicated sex in a sunny location. Steve arranges a trip to Málaga, Spain.

Their plans are disrupted when Steve's wife, Gloria, unexpectedly shows up. To hide their affair, Steve pretends that Vickie is his mother. He cancels the plane tickets he had arranged for his family and encounters his friend Walter Menkes, a movie producer, at the airport. Steve, unable to admit that he is with Vickie, spends the flight next to Walter while Vickie sits elsewhere.

Upon arriving in Málaga, Steve gives the last decent rental car to Walter to get rid of him. He ends up driving an Italian car with an awkward clutch, causing discomfort and annoyance to Vickie. They struggle up several flights of stairs to reach their hotel room.

Their first night together becomes awkward as they argue about their preferences during sex. Steve injures his back, requiring medical attention and sleep. In the morning, Vickie encounters an American woman named Patty but declines her invitation to dinner. Steve wakes up to find Vickie sunbathing on the balcony and they finally have sex.

Steve becomes disappointed when Vickie does not show enthusiasm afterward, leading to anger and tension between them. During a golf game, Vickie takes offense at Steve's competitive nature against a local boy. The tension continues to mount, and Vickie decides to have dinner with Patty while Steve arranges dinner with Walter. To their surprise, Vickie discovers that Patty is Walter's wife, leading to an uncomfortable dinner for the four of them.

After an argument in their hotel room, Steve and Vickie decide to return to London. At the airport, they realize that the last two plane tickets have been sold. Frustrated, they return to the hotel room and start attacking each other playfully. The situation turns humorous, and their relationship begins to blossom.

Walter and Patty notice the developing relationship between Steve and Vickie. Walter shares his own experience of a holiday romance and warns Steve that it won't work out. Despite this, Steve expresses his desire to continue seeing Vickie when they return to London. They rent a secret flat together, concealing their affair.

As their relationship progresses, it becomes more complicated. Vickie puts in a lot of effort to be with Steve, but he often disappoints her. Steve rushes off after sex without realizing that Vickie has prepared a lavish meal for him. Vickie tries to seek companionship with her gay coworker, but he is unavailable. Steve feels guilty and brings flowers to Vickie, only to leave without saying a word.

The tension between them grows, and Steve's coworkers become aware of something going on. Steve tries to meet Vickie in the evening but forgets that he has plans with his wife. When his wife calls, Steve is unable to reach Vickie, and Vickie sees Steve and Gloria together at the theater. She feels betrayed and confronts Steve when he finally arrives at their flat.

The next morning, Steve sends a telegram to end their relationship but changes his mind and rushes to the flat; but Vickie has already received the telegram and begins packing to leave. As Steve arrives, he sees Vickie standing at a bus stop. Despite his efforts to get her attention, Vickie leaves in a taxi that another man had hailed. She asks the man if he is married, and upon his affirmative response, she walks away, leaving the taxi for him.

The story concludes with Vickie moving on from the failed affair and finding a new direction in her life.

Release
The film had its world premiere in London in May 1973, and opened in Los Angeles on June 27, 1973. The film earned $4,125,600 in North American rentals in 1973. Other accounts put rentals at $8.4 million.

Critical response
Roger Ebert gave the film three stars out of four, calling it "a sharp-edged, often very funny dissection of a love affair between two possibly incompatible people. But then it gets serious with itself and ends on a note that doesn't satisfy us." Gene Siskel had a similar opinion, awarding two-and-a-half stars out of four and writing that in the film's best moments it "reminds one of those wonderful screen battles between Spencer Tracy and Katharine Hepburn," but then it "tries to get serious" which "leads to an unsatisfying conclusion totally removed from the dominant tone of the movie, which is raucous at best, contrived silliness at worst." Vincent Canby of The New York Times called it "a very patchy movie—enormously funny in bits and pieces and sometimes downright dumb." Variety wrote: "George Segal herein justifies superbly a reputation for comedy ability while Glenda Jackson's full-spectrum talent is again confirmed." Penelope Gilliatt of The New Yorker wrote that the film had "moments of reckless funniness" but observed that the "muddle of period convention is odd," as it blended the "Hepburn-Tracy tradition" and an "old-style slapstick" scene with "modern and naturalistic eroticism." Sylvia Millar of The Monthly Film Bulletin called the film "a waste of two considerable talents," stating that "Frank has written a script which is not devoid of wit; but it's never effortless, and a battering of coarse sexual polemic is always thrusting in to spoil the fun."

The film has a score of 86% on Rotten Tomatoes based on 14 reviews, with an average grade of 6.8 out of 10.

Home media
A Touch of Class was released on DVD in North America by Warner Bros. on February 2, 2002, and on Blu-ray by the Warner Archive Collection on September 10, 2019.

title: A Touch of Class (film)