The saron is a musical instrument of Indonesia, which is used in the gamelan. It normally has seven bronze bars placed on top of a resonating frame (rancak). It is usually about 20cm (8in) high, and is played on the floor by a seated performer. In a pelog scale, the bars often read 1-2-3-5-6-7 across (the number four is not used because of its relation to death) (in kepatihan numbering); for slendro, the bars are 6-1-2-3-5-6-1; this can vary from gamelan to gamelan, or even among instruments in the same gamelan. Slendro instruments commonly have only six keys. It provides the core melody (balungan) in the gamelan orchestra.
Varieties
Sarons typically come in a number often sizes, from smallest to largest:
Saron panerus (also: peking)
Saron barung (sometimes just saron)
Saron demung (often just called demung)
Each one of those is pitched an octave below the previous. The slenthem or slentho performs a similar function to the sarons one octave below the demung.
A Mission Station can be found at the foot of the Saronsberg in the Tulbagh district, about 20 km south of Porterville. The Mission Station was established by the Rhenish Missionary Society in 1848 by Johannes Heinrich Kulpmann, it was later taken over by the Dutch Reformed Church in 1945. The name, Afrikaans for Sharon, is of biblical origin (1Chronicles 27:29, Song of Solomon 2:1), meaning 'flats' or ‘plain’.
SARON (Swiss Average Rate Overnight) is an overnight interest rates average referencing the Swiss Franc interbank repo market. It was launched by the Swiss National Bank (SNB) in cooperation with SIX Swiss Exchange. Since 25 August 2009, SARON has replaced the previously used repo overnight index. The reference rate is based on CHF repo interbank market data provided by Eurex Zurich Ltd.
Instrument is a documentary film directed by Jem Cohen about the band Fugazi. Cohen's relationship with band member Ian MacKaye extends back to the 1970s when the two met in high school in Washington, D.C.. The film takes its title from the Fugazi song of the same name, from their 1993 album, In on the Kill Taker.
Editing of the film was done by both Cohen and the members of the band over the course of five years. It was shot from 1987 through 1998 on super 8, 16mm and video and is composed mainly of footage of concerts, interviews with the band members, practices, tours and time spent in the studio recording their 1995 album, Red Medicine.
The film also includes portraits of fans as well as interviews with them at various Fugazi shows around the United States throughout the years. The Instrument Soundtrack by Fugazi was released in conjunction with the film. It consisted primarily of instrumental and unreleased songs (including many demo cuts from End Hits, their next album after the soundtrack).
The soundtrack mostly consists of previously unreleased songs and studio outtakes culled from Fugazi's history to that point, as well as seven demo versions of songs from their proper albums (six from 1998's End Hits and one from 1993's In on the Kill Taker).
Of particular note is the song "I'm So Tired", a piano ballad played and sung by Ian MacKaye, which is a significant departure from Fugazi's usual post-hardcore sound.
The riff from "Lusty Scripps" was played in Fugazi's final live show, in the break between the main set and the encore.
... nostalgia what with its array of traditional instruments such as keromong, gambang, saron, gong, gendang and kenong, and the red songket designs adorning the soundproofing panels on the studio walls.
The minute the stage was lit, 12 ‘fishermen’ were seen seated cross-legged on the floor, with musical instruments such as the bonang, gambang, saron, kenong, gong and gendang.
