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Did You Know?

Crumb expanded the timbral range of the tam-tam by giving performance directions (in Makrokosmos III: Music For A Summer Evening, composed in 1974) such as using a "well-rosined contrabass bow" to bow the tam-tam, producing an eerie harmonic sound, while Stockhausen exploited amplification (via hand-held microphones) of a wide range of scraping, tapping, rubbing, and beating techniques using unconventional implements (plastic dishes, egg timer, cardboard tubes, etc.).

Guide for The Artist Percussionist (Chappell & Co., Inc., New York, New York, 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 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. have become part of the symphony orchestra.

In more modern music, the tam-tam has been used by composers such as Karlheinz Stockhausen in Mikrophonie I (1964-65) and by George Crumb.

The centre spot and the rim of a chau gong are left coated on both sides with the black copper oxide that forms during the manufacture of the gong, the rest of the gong is polished to remove this coating.

Some have holes in the centre, but they are mounted like all suspended gongs by other holes near the rim.

It was also used in the funeral music played when the remains of Napoleon were brought back to France in 1840.