Digital ACT Reading Practice Question #1752

According to the passage, the playing technique known as kotekan involves: Passage Excerpt (Humanities): In the royal courts of Yogyakarta and Surakarta, the Javanese gamelan orchestra embodies a communal aesthetic fundamentally distinct from Western symphonic traditions. Rather than featuring a solitary virtuoso soloist commanding an accompanying ensemble, the gamelan is comprised of tuned bronze metallophones, tuned gongs, and drums played in collective polyphonic stratification. No single musician dominates the texture; instead, elaborate interlocking patterns (kotekan) are woven together by pairs of players striking alternate off-beat notes. Furthermore, traditional gamelan sets are forged as unified, sacred entities: because tuning frequencies (either the five-tone slendro or seven-tone pelog scales) are intentionally individualized to each bronze instrument foundry, pieces from one village gamelan cannot be interchanged with another. Ethnomusicologist Dr. Rian Prasetyo notes that the music does not strive toward dramatic linear climax, but rather creates cyclical, meditative contemplation reflecting traditional cosmological cycles.