Gamelan: The Traditional Sounds of Indonesia (World Music Series)

422 Pages·2004·3.1 MB·English

by  Henry Spiller

Gamelan
abc-clio world music series
Michael B. Bakan, Series Editor
Gamelan:The Traditional Sounds of Indonesia,
Henry Spiller
The Music of European Nationalism,
Philip V. Bohlman
South African Music,
Carol Ann Muller
forthcoming
Brazilian Music:Northeastern Traditions and
the Heartbeat of a Modern Nation,Larry Crook
Celtic Music: Tradition and Transformation in
Ireland, Scotland, and Beyond,Jerry A. Cadden
Gamelan
The Traditional Sounds
of Indonesia
(cid:1)
HENRY SPILLER
Santa Barbara, California Denver, Colorado Oxford, England
Copyright © 2004by Henry Spiller
All rights reserved. No part of this publication may be reproduced,
stored in a retrieval system, or transmitted, in any form or by any means,
electronic, mechanical, photocopying, recording, or otherwise,
except for the inclusion of brief quotations in a review,
without prior permission in writing from the publishers.
Library of Congress Cataloging-in-Publication Data
Spiller, Henry.
Gamelan : the traditional sounds of Indonesia / Henry Spiller.
p. cm. — (ABC-CLIO world music series)
Includes bibliographical references and index.
Discography: p.
Filmography: p.
isbn 1-85109-506-3(hardcover : alk. paper) — isbn 1-85109-xxx-x(e-book)
1.Gamelan music—History and criticism. 2.Music—Indonesia—History and
criticism. 3.Music—Asia, Southeastern—History and criticism.
I. Title. II. Series: ABC-CLIO world music series.
ml1251.i53s76 2004
780'.9598—dc22
2004008896
04 05 06 07 (cid:2) 10 9 8 7 6 5 4 3 2 1
This book is also available on the World Wide Web as an e-book.
Visit abc-clio.com for details.
ABC-CLIO, Inc.
130Cremona Drive, P.O. Box 1911
Santa Barbara, California 93116-1911
Design by Jane Raese
Text set in New Baskerville
This book is printed on acid-free paper.
Manufactured in the United States of America
Contents
List of Figures, vii
List of Musical Examples on Compact Disc, xi
Series Foreword, Michael B. Bakan, xiii
Preface, xvii
Chapter One
Music and Southeast Asian History,1
Chapter Two
Music in Java and Bali, 49
Chapter Three
Gamelan Traditions in West Java, 135
Chapter Four
Identity, Authenticity, and Tradition
in Sundanese Dance Music, 202
Chapter Five
Music and the Future, 262
Glossary, 273
Additional Resources, 289
Further Reading, 289
Further Listening, 301
v
vi Contents
Further Viewing, 311
Further Web-Surfing, 316
Listening Guide, 319
Appendix: Ensemble Instrumentation, 349
References Cited, 355
Index, 367
About the Author, 395
Figures
1.1 Map of the world, 2
1.2 Kubing (jaw harp) from the Philippines, 6
1.3 Kalinga musician from the Philippines playing the idiochord
tube zither called kolibit, 7
1.4 An assortment of early Southeast Asian bronze drums;
motifs from bronze drums showing musical activities, 9
1.5 Terraced rice fields in Bali, 15
1.6 Gong parts in gondang sabangunan, 19
1.7 Stratified variations on “I like iced tea,”29
1.8 Concentric cycles, 33
2.1 Major islands of Indonesia, 50
2.2 Map of Java and Bali, 53
2.3 Bossed (knobbed) gong; a large Central Javanese gong ageng
surrounded by a number of smaller kempul, 60
2.4 Gong chimes in Museum Prabu Geusan Ulun in Sumedang, 61
2.5 Keyed instruments from a Cirebonese gamelan accompanying
topeng,62
2.6 Kyahi Mega Mendung, 63
2.7 Mega mendung batik motif,64
2.8 Sekaten instruments from the Kraton Kasepuhan, 68
2.9 Colotomic timeline for “Lagu Sekaten,”69
2.10 Kraton Kanoman’s sekaten gongs,73
2.11 Five topeng masks, their features, and their characterizations,
76
2.12 Dalang topeng Sujana Arja dances “Rahwana,”77
2.13 Colotomic parts for the kering section of “Rahwana,”79
2.14 Colotomic parts for the deder section of “Rahwana,”79
2.15 Comparison of kering and deder choreography,81
2.16 Gamelan ensemble in the pendopo (pavilion) of the Kraton
Surakarta, 85
2.17 Colotomic patterns for the Central Javanese form ladrang, 89
2.18 Comparison of three sizes of saron, 92
vii
viii Figures
2.19 Composite of two descending balungan parts resulting in
ascending essential melody, 93
2.20 Ladrang “Pangkur,”94
2.21 Correspondence of pelog with solfège syllables, 95
2.22 Ladrang “Pangkur” in slendro, 96
2.23 Saron panerus elaboration pattern for ladrang “Pangkur,” 96
2.24 Arrangement of Central Javanese pelog bonang kettles, 97
2.25 Bonang barung elaboration pattern for ladrang “Pangkur,” 97
2.26 Bonang panerus elaboration pattern for ladrang “Pangkur,” 98
2.27 Stratification of balungan and elaborating parts for
“Pangkur,” 99
2.28 Pancer transformation in eastern Javanese gamelan, 110
2.29 Basic beleganjur syncopated cengceng part, 116
2.30 Interlocking cengceng parts, 117
2.31 Gegaboran colotomic form, 120
2.32 Gong kebyar ensemble, 122
2.33 Kotekan, 123
2.34 Early illustration of Javanese music and dance,127
3.1 Tembang Sunda ensemble, 138
3.2 Diatonic angklung ensemble, 140
3.3 Goong renteng instruments, 143
3.4 Pangeran Surya Kusuma Adinata,146
3.5 Advertisement for the Java Village at the 1893World
Columbian Exposition in Chicago, 147
3.6 Parakansalak gamelan and dancers at the 1893World
Columbian Exposition in Chicago, 148
3.7 Saron stands carved in the shape of a two-headed lion,149
3.8 Intervals of salendro, sorog, and pelog degung, 151
3.9 Gamelan salendro instruments: gambang, gendang, rebab,
159
3.10 Gamelan salendro instruments: two saron, panerus, kenong,
159
3.11 LS Rawit Group from Soreang, with pasinden Lia Mustika, 160
3.12 “Sinyur”: pangkat and pillar pitches, 165
3.13 “Sinyur”: deriving additional pillar pitches, 165
3.14 “Sinyur”: deriving additional pillar pitches with a pancer, 166
3.15 “Sinyur”: goong and kempul parts, 167
3.16 “Sinyur”: bonang part, 168
Figures ix
3.17 “Sinyur”: bonang part with pancer, 169
3.18 Otong Rasta playing rebab; his left hand shows the sorog hand
position, 170
3.19 Rebab fingerings for salendro, 171
3.20 Rebab fingerings for sorog, 172
3.21 Rebab fingerings for pelog degung, 173
3.22 Degung instruments: peking, jengglong, bonang,178
3.23 Degung instruments: bonang, panerus, goong/kempul,179
3.24 R. H.A.A. Wiranatakusumah, bupati of Bandung,182
3.25 “Ujung Laut”: melodic contour of phrase 1, 185
3.26 “Ujung Laut”: phrase structure, 186
3.27 Upacara adat performed by LS Rawit Group, 188
3.28 Wayang golek stage, 195
3.29 Saron layout for gamelan selap, 197
4.1 Three ketuk as seen from above; goong and rebab also are
visible,205
4.2 Ronggeng dancing wawayangan at a performance at the
Bandung Zoo, 206
4.3 Ketuk tilu verse,208
4.4 Usep playing gendang set up in a typical arrangement,214
4.5 Four dog-dog players, 215
4.6 Dog-dog walking pattern,216
4.7 Tayuban dancer wearing aristocratic pakaian adat,223
4.8 Bajidor dance below the stage where sinden dance under
colorful lights, 230
4.9 Bajidoran pola ibing: bukaan, 231
4.10 Bajidoran pola ibing: jalak pengkor, 232
4.11 Bajidoran pola ibing: capang, 232
4.12 Bajidoran pola ibing: cindek and ngala genah, 232
4.13 Abdul Rozak (dancing with ronggeng Rakmi) in adeg-adeg
pose,234
4.14 “Lindeuk Japati,”243
4.15 Schematic outline of “Lindeuk Japati” choreography, 244
4.16 A group jaipongan dance performed at the Bandung
kabupaten,246
4.17 A male guest with professional female jaipongan dancers at a
wedding,247
4.18 Dangdut groove, 249