Gong

The familiar "Chinese" gong (a 10-inch (25 cm) chau gong)

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[5] 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 10-inch (25 cm) gong, for example, the rim extends about 1⁄2 inch (1 cm) 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 7 to 80 inches (18 to 203 cm) in diameter.

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 Western Han Dynasty. Gongs are depicted in Chinese visual art as of the 6th century CE,[6] and were known for their very intense and spiritual drumming in rituals and tribal meetings.[7] 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.

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.[8] 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."[8] Other composers who adopted the tam-tam in the opera house included Gioachino Rossini, Vincenzo Bellini, and Richard Wagner;[9] Rossini in the final of act 3 of Armida (1817),[10] Bellini in 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,[11] Gustav Mahler,[12] Dmitri Shostakovich[13] 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.

A dora is one of the Japanese Percussion instruments and an idiphone. It is made of bronze, brass or iron, and is suspended onto a dora stand. It is widely used in Buddhist memorial services, hayashi performances, kabuki music, and ship departure signals.[14]

Nipple gongs at Wat Chulaphonwararam, a Wat (Buddhist temple) in Nakhon Nayok

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 6 to 20 inches (15 to 51 cm) 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 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.

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 identify points of humour.

Opera gongs range in size from 7 to 12 inches (18 to 30 cm), with the larger of a pair 1 or 2 inches (3 or 5 cm) larger than the smaller.

An agung, a type of Philippine hanging gong used as part of the Kulintang ensemble

A Pasi gong is a medium-size gong 12 to 15 inches (30 to 38 cm) in size, with a 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 drummers.

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 15 inches (38 cm) but available down to 8 inches (20 cm).

A Shueng Kwong gong is a medium to large gong with a sharp staccato sound.

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. 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 15 to 22 inches (38 to 56 cm) but sizes from 7 to 60 inches (18 to 152 cm) are available. The 22-inch (56 cm) 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 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, 7 to 12 inches (18 to 30 cm), have a more bell-like tone due to their thickness and small diameter.

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 percussionist and metal crafter, Steve Hubback, who was partially inspired by the work of the French Sound Sculptors, Francois and Bernard Baschet.

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

English gong and cymbal maker, 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[15] makes gongs in titanium and other elemental metals.

A bowl-shaped, center mounted, electrically controlled gong is standard equipment in a boxing ring. Commonly referred to as the gong, it is struck with a hammer to signal the start and end of each round.

During the Victorian and Edwardian eras, it was often the custom in hotels, on ships and in large, upper-class houses to sound a dinner gong to announce a meal was about to be served.[17][18][19]

A railroad crossing with a flashing traffic signal or wigwag will also typically have a warning bell. Mechanical bells, known in some places as a gong, are struck by an electric-powered hammer to audibly warn motorists and pedestrians of an oncoming train. Many railroad crossing gongs are now being replaced by electronic devices with no moving parts.

Gongs are present on rail vehicles, such as trams, streetcars, trains, cable cars or light rail trains, in the form of a bowl-shaped signal bell typically mounted on the front of the leading car. It was designed to be sounded to act as a warning in areas where whistles and horns are prohibited, and the "clang of the trolley" refers to this sound. Traditionally, the gong was operated by a foot pedal, but is nowadays controlled by a button mounted on the driving panel. Early trams had a smaller gong with a bell pull mounted by the rear door of these railcars. This was operated by the conductor to notify the driver that it is safe to proceed.

A vessel over 100 metres (330 ft) in length must carry a gong in addition to a bell and whistle, the volume of which is defined in the International Regulations for Preventing Collisions at Sea.[20][21] A vessel at anchor or aground sounds the gong in the stern immediately after ringing a bell in her bows so as to indicate her length.[22]

Electromechanical, electromagnetic or electronic devices producing the sound of gongs have been installed in theatres (particularly those in the Czech Republic) to gather the audience from the lounge to the auditorium before the show begins or proceeds after interlude.[23][24][25]

German radio stations use a gong sound for the time signal.

In the Commonwealth, emergency vehicles were fitted with electric, manual, or vacuum operated Winkworth bell gongs in the time before Martin's horns became available or rotary sirens came into use