Editing Gong (section)

==== 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]]''.