No need! Here's a relatively handy wiki: http://en.wikipedia.org/wiki/Pelog
Slendro sounds pentatonic (tunings vary, but our's is quite close) and doesn't have intervals which are smaller than an equally tempered tone.
Pelog does have intervals which are smaller than an equally-tempered tone (and sound like semitones).
Gamelans are either in slendro or pelog (that which is usually referred to as a 'full gamelan' is in fact a 'double gamelan' with both tunings present) and we own just the slendro instruments.

With Honegger's tone poem Rugby on the radio this morning and England playing France on TV at the moment, I remembered something I read in a newspaper a few weeks ago, namely that in a typical game play is only taking place for less than half the time. For most of the game, the players are standing around waiting for something to happen.

And yet that is not reflected at all in Honegger's work, which is almost unfailing energetic. Perhaps he did not intend it to be a literal depiction, unlike R Strauss who said he could represent a glass of beer in music if he wanted. (It's the Oxford Companion to Music that calls Rugby a tone poem.)

This morning I'm enjoying my first go through the McCreesh OVPP St Matthew Passion.  It's certainly not my favorite St Matthew's (I'm still most fond of the first of the two Herreweghe recordings), nor is it my favorite OVPP recording (that would be the Cantus Cölln/Junghänel B Minor), but ... quite happy to have added this disc to the collection, and a few of the individual movements are absolutely stunning.

(My biggest gripe w/ the McCreesh is that the quality/color of the singing is identical in the solo passages as it is in the choral ones (too heavy, too much vibrato, and not enough of a sense of ensemble/blend), but I have half a hunch that this is due almost entirely to the recording techniques and not really the singing.  The singers are miked far too closely, for my ears, in the choral movements/passages.  (And, in fact, there's then a very (!) strange blend b/t the very close miking of the singers and then the extremely distant and reverberant resonance in the church -- I would've split the difference.))

I tried an experiment with students about a year ago in a course on performance practice. I played them the opening chorus from Klemperer's St Matthew Passion, then the same passage in McCreesh's recording just afterwards. This was all followed by Gardiner's recording of the same passage. To most of them, Gardiner seemed quite moderate and 'middle of the road', which was certainly not the predominant view when that recording first appeared. I do believe that a lot of reactions to these things have to do with the particular relationship between the recordings/performances in question, and the practices one has come to think 'natural' simply by familiarity. The issue of simply 'do people like it' bypasses this possibility - what people with one lot of baggage like is often very different from what their supposedly natural and spontaneous reaction would be if they had been brought up on another approach.

What the heck's a "record store?"

Oh, that we were there.

Laborintus II.
I've put my iPod on shuffle and I've had a nice time of it so far: a movement from Sibelius' 1st, Audition III from Un re in ascolto, a rather fetching Gendhing from Jogyakarta and now the second half of the Berio.
What's next?
Time to switch the light on and fetch a glass of water.
Ooh. Sicut ovis by Gesualdo...

And do you know Final Alice?  Even more so......