Editing Gong (section)

== Traditional suspended gongs ==

=== Chau gong (tam-tam) ===
{{Anchor|Chau gong}}
[[File:Chau gong.jpg|thumb|right|262px|The familiar "Chinese" gong (a {{convert|10|in|cm|adj=on|order=flip|abbr=on|disp=or}} chau gong)]]
[[File:Large gong at Ashikaga Banna-ji.jpg|thumb|250px|Large gong at Ashikaga [[Banna-ji]]]]
By far the most familiar to most Westerners is the ''chau gong'' or ''bullseye gong''. Large chau gongs, called ''tam-tams''<ref>Morris Goldberg in his ''Modern School... Guide for The Artist Percussionist'' (Chappell & Co., Inc., New York City, 1955), says that "in modern symphony orchestra names ''gong'' and ''tam-tam'' mean the same thing, that in scholarly circles, tam-tam is considered to be a slang expression taken from an African a word meaning drum", later associated with gongs of indefinite pitch, and as such was adopted by virtually all composers using the term and thus is used now interchangeably. There are exceptions: [[Benjamin Britten]], in his ''[[Cello Symphony (Britten)|Cello Symphony]]'', calls for both gong and tam-tam, distinguishing the domed instrument from the more usual orchestral instrument.[https://boosey.com/cr/perusals/score?id=10500]</ref> have become part of the [[symphony orchestra]]. Sometimes a chau gong is referred to as a ''Chinese gong'', but in fact, it is only one of many types of suspended gongs that are associated with China. A chau gong is made of copper-based alloy, bronze, or brass. It is almost flat except for the rim, which is turned up to make a shallow cylinder. On a {{convert|10|in|cm|order=flip|adj=on}} gong, for example, the rim extends about {{convert|1/2|in|cm|0|order=flip|abbr=on}} perpendicular to the surface. The main surface is slightly concave when viewed from the direction to which the rim is turned. The centre spot and rim of a chau gong are left coated on both sides with the black copper oxide that forms during manufacture; the rest is polished to remove this coating. Chau gongs range in size from {{convert|7|to|80|in|cm|-1|order=flip|abbr=on}} in diameter.
====History====

The earliest Chau gong is from a tomb discovered at the Guixian site in the Guangxi Zhuang Autonomous Region of China. It dates from the early [[Han dynasty|Western Han dynasty]]. Gongs are depicted in Chinese visual art as of the 6th century CE,<ref>{{cite encyclopedia|url=https://www.britannica.com/art/gong-musical-instrument|title=Gong|encyclopedia=Encyclopedia Britannica|access-date=4 June 2019}}</ref> and were known for their very intense and spiritual drumming in rituals and tribal meetings.<ref>Muller, Max. ''The [[Diamond Sutra]]'' (translation based on the Tang dynasty text, 蛇年的马年的第一天), sutra 1–4487, Oxford University Press, 1894.</ref> Traditionally, chau gongs were used to clear the way for important officials and processions, much like a police siren today. Sometimes the number of strokes was used to indicate the seniority of the official. In this way, two officials meeting unexpectedly on the road would know before the meeting which of them should bow down before the other.

==== Use in symphony orchestras ====
The tam-tam was first introduced as an orchestral instrument by [[François-Joseph Gossec]] in 1790, and it was also taken up by [[Gaspare Spontini]] and [[Jean-François Le Sueur]].<ref name=Berlioz-Treatise>{{cite book| last=Macdonald| first=Hugh |title=Berlioz's Orchestration Treatise: A Translation and Commentary| url=https://books.google.com/books?id=0ZteQ_2uHZ8C&pg=PA286| series=Cambridge Musical Texts and Monographs| year=2002| publisher=Cambridge University Press| isbn=978-1-139-43300-6| page=286}}</ref> [[Hector Berlioz]] deployed the instrument throughout his compositional career, and in his ''[[Treatise on Instrumentation]]'' he recommended its use "for scenes of mourning or for the dramatic depiction of extreme horror."<ref name=Berlioz-Treatise/> Other composers who adopted the tam-tam in the opera house included [[Gioachino Rossini]], [[Vincenzo Bellini]], and [[Richard Wagner]]:<ref>Although in modern, 20th century and beyond, performances sometimes conductors were adapting tam-tam in orchestra for the performances of [[Gluck]]'s ''[[Alceste (Gluck)|Alceste]]'' and ''[[Orfeo ed Euridice]]'' (as ones used in the [[Metropolitan Opera]] historical productions), there is no trace of it in original scores of Gluck himself, so it must be considered an additional effect rather than the wish of the composer himself.</ref> Rossini in the final of act 3 of ''[[Armida (Rossini)|Armida]]'' (1817),<ref>{{cite web |url=http://humanities.uchicago.edu/orgs/ciao/Rossini%20operas/1armida.html |title=Instrumentation used in ''Armida'' by Rossini |publisher=Humanities.uchicago.edu |access-date=11 July 2013 |archive-url=https://web.archive.org/web/20130926074751/http://humanities.uchicago.edu/orgs/ciao/Rossini%20operas/1armida.html |archive-date=26 September 2013 |url-status=dead }}</ref> Bellini in ''[[Norma (opera)|Norma]]'' (1831) and Wagner in ''[[Rienzi]]'' (1842). Within a few decades the tam-tam became an important member of the percussion section of a modern symphony orchestra. It figures prominently in the symphonies of [[Peter Ilyich Tchaikovsky]],<ref>[[Symphony No. 2 (Tchaikovsky)|Symphony No.2]] and [[Symphony No. 6 (Tchaikovsky)|No.6]]</ref> [[Gustav Mahler]],<ref>[[Symphony No. 6 (Mahler)|Symphony No.6]] and ''[[Das Lied von der Erde]]''</ref> [[Dmitri Shostakovich]]<ref>[[Symphony No. 4 (Shostakovich)|Symphony No.4]], [[Symphony No. 8 (Shostakovich)|No.8]], [[Symphony No. 10 (Shostakovich)|No.10]]. [[Symphony No. 11 (Shostakovich)|No.11]], and [[Symphony No. 13 (Shostakovich)|No.13]]</ref> and, to a lesser extent, [[Sergei Rachmaninov]] and [[Sergei Prokofiev]]. [[Giacomo Puccini]] used gongs and tam-tams in his operas. [[Igor Stravinsky]] greatly expanded the playing techniques of the tam-tam in his [[The Rite Of Spring]] to include short, quickly damped notes, quick crescendos, and a triangle beater scraped across the front of the instrument. [[Karlheinz Stockhausen]] used a 60" [[Paiste]] tam-tam in his ''[[Momente]]''.

=== Dora ===
A '''dora'''  is one of the Japanese Percussion instruments and an [[idiophone]]. It is made of bronze, brass or iron, and is suspended onto a dora stand. It is widely used in Buddhist memorial services, [[Hayashi (music)|hayashi]] performances, [[kabuki]] music, and ship departure signals.<ref>{{Cite web|title=教材として活用し得る民俗資料 どら（銅ら）|url=https://www.edu.city.yokosuka.kanagawa.jp/0kyo/1kyo/a39.html|access-date=12 May 2021|website=www.edu.city.yokosuka.kanagawa.jp}}</ref>

=== Nipple gong ===
[[File:Thai Gongs at Wat Chulabhornvararam Nakhon Nayok.jpg|thumb|right|262px|Nipple gongs at Wat Chulaphonwararam, a [[Wat]] (Buddhist temple) in [[Nakhon Nayok Province|Nakhon Nayok]]]]
[[File:Mindanao Bangsamoro Islamic Musical Instruments.jpg|262px|thumb|An intricately carved and painted [[Maranao people|Maranao]] [[kulintang]] ensemble from the [[National Museum of Anthropology (Manila)|National Museum of Anthropology]], [[Philippines]], with nipple gongs of various names and pitches]]
A nipple gong has a central raised boss or nipple, often made of different metals than other gongs with varying degrees of quality and resonance. They have a tone with less shimmer than other gongs, and two distinct sounds depending on whether they are struck on the boss or next to it. They are most often but not always tuned to various pitches.

Nipple gongs range in size from {{convert|6|to|20|in|cm|round=5|order=flip|abbr=on}} or larger. Sets of smaller, tuned nipple gongs can be used to play a [[melody]].

Nipple gongs are used in Chinese temples for worship and Buddhist temples in Southeast Asia.

These are the primary gong in the traditional Philippine music of [[kulintang]].

In Indonesian gamelan ensembles, instruments that are [[organology|organologically]] gongs come in various sizes with different functions and different names. For example, in the central Javanese gamelan, the largest gong is called ''[[gong ageng]]'', ranges in size up to 1 meter in diameter, has the deepest pitch and is played least often; the next smaller gong is the ''gong suwukan'' or ''siyem'', has a slightly higher pitch and replaces the ''gong ageng'' in pieces where gong strokes are close together; the ''[[kempul]]'' is smaller still, has a higher pitch, and is played more frequently. The ''gong ageng'' and some ''gong suwukan'' have a beat note.

=== Opera gongs ===
<!--"Opera gong" redirects to this section heading. If the section heading changes, please change the redirect to match. TIA!-->
An essential part of the orchestra for [[Chinese opera]] is a pair of gongs, the larger with a descending tone, the smaller with a rising tone. The larger gong is used to announce the entrance of major players or men and to identify points of drama and consequence. The smaller gong is used to announce the entry of lesser players or women and to [[Sting (percussion)|identify points of humour]].

Opera gongs range in size from {{convert|7|to|12|in|cm|order=flip|abbr=on}}, with the larger of a pair {{convert|1|or|2|in|cm|0|order=flip|abbr=on}} larger than the smaller.

=== Pasi gongs ===
[[File:Agung (Philippine hanging gong).jpg|thumb|262px|An [[agung]], a type of [[Philippines|Philippine]] hanging gong used as part of the [[Kulintang]] ensemble]]

A '''Pasi gong''' is a medium-size gong {{convert|12|to|15|in|cm|order=flip|abbr=on|round=5}} in size, with a loud crashing sound. It is used traditionally to announce the start of a performance, play or magic. Construction varies, some having nipples and some not, so this type is named more for its function than for its structure or even its sound.

Pasi gongs without nipples have found favour with adventurous middle-of-the-road kit<!-- middle of the road is opinion not fact --> drummers.

=== Tiger gong ===
A '''tiger gong''' is a slightly descending or less commonly ascending gong, larger than an opera gong and with a less pronounced pitch shift. Most commonly {{convert|15|in|cm|order=flip|abbr=on}} but available down to {{convert|8|in|cm|order=flip|abbr=on}}.

=== Shueng Kwong ===
A '''Shueng Kwong''' gong is a medium to large gong with a sharp [[staccato]] sound.

=== Wind gong ===
Wind gongs (also known as Feng or Lion Gongs) are flat bronze discs, with little fundamental pitch, heavy tuned overtones, and long sustain. They are most commonly made of B20 bronze, but can also be made of M63 brass or NS12 [[Nickel silver|nickel-silver]]. Traditionally, a wind gong is played with a large soft mallet, which gives it a roaring crash to match their namesake. They are lathed on both sides and are medium to large in size, typically {{convert|15|to|22|in|cm|round=5|order=flip|abbr=on}} but sizes from {{convert|7|to|60|in|cm|round=5|order=flip|abbr=on}} are available. The {{convert|22|in|cm|adj=on|round=5|order=flip|abbr=on}} size is most popular due to its portability and large sound.

They are commonly used by drummers in rock music. Played with a nylon tip [[Drum stick|drumstick]] they sound rather like the coil chimes in a mantle clock. Some have holes in the centre, but they are mounted like all suspended gongs by other holes near the rim. The smaller sizes, {{convert|7|to|12|in|cm|order=flip|abbr=on}}, have a more bell-like tone due to their thickness and small diameter.

=== Sculptural gongs ===
[[Image:HubbackSsGongSculpt.jpg|thumb|alt=Sculptural gong made by Steve Hubback.|Sculptural gong made by Steve Hubback]]
Sculptural gongs (also known as Gong Sculptures) are gongs which serve the dual purpose of being a musical instrument and a work of visual art. They are generally not disc shaped, but instead take more complex, even abstract forms. Sculptural gongs were pioneered in the early 1990s by [[Welsh people|Welsh]] percussionist and metal crafter, Steve Hubback, who was partially inspired by the work of the French Sound Sculptors, Francois and Bernard [[Baschet Brothers|Baschet]].

Hubback's works have been used by many musicians including solo percussionist [[Evelyn Glennie|Dame Evelyn Glennie]] and rock drummer [[Carl Palmer]].

English gong and [[Cymbal manufacturers|cymbal maker]], [[Matt Nolan Custom|Matt Nolan]], partially inspired by the work of Hubback, also creates sculptural gongs of his own design or to private commission.

UK based sculptor Barry Mason<ref>{{cite web|url=https://www.barrymasonfineart.com |title=Gongs For Sale : Sound Bath Gong : Barry Mason|website=Barrymasonfineart.com|access-date=19 April 2021}}</ref> makes gongs in titanium and other elemental metals.