Misplaced Pages

#818181

120-594: The bedhaya has different forms in the two court cities, the bedhaya Ketawang in Surakarta (Solo) and the bedhaya Semang in Yogyakarta, the latter of which has not been performed for more than 20 years. The Solonese dance continues to be performed once per year on the second day of the Javanese month of Ruwah (May), to commemorate the ascension of the current Susuhunan (prince) of Surakarta. Nine females, relatives or wives of

240-399: A ngelik , each of which typically last one gongan . Ladrang can be played in any irama except for lancar . In Javanese gamelan music, there are a few gendhing structures derived from the wayang repertoire: Ayak-ayakan , Sampak , and Srepeg . The ayak-ayakan is one structure. The colotomic structure is: with both lines played together, and T indicating a stroke of

360-474: A pendhapa , a pillared audience hall with a peaked roof, with the Susuhunan on a throne in the middle of the room. The dance is performed in three large sections. In each section, the dancers emerge from a room behind the audience hall, approach the throne single file, dance in front of the throne, and then retreat, again single file. They approach and retreat on opposite sides of the throne, thus circumambulating

480-665: A Masterpiece of Oral and Intangible Heritage of Humanity from Indonesia , and encouraged the Indonesian people and the Indonesian government to safeguard, transmit, promote, and develop the gamelan. Methods include the support of national, international and provincial festivals, the establishment of educational curricula including the Gamelan Goes to School program, an intention to increase the numbers of regional gamelan associations, and cultural diplomacy by sending gamelan specialists to global universities. The word gamelan comes from

600-454: A line down the middle, and those representing the right and left sides in front and behind (from the perspective of the Susuhunan), respectively. In the second position, the dancers divide into two facing groups, the arms and desire to one side, and the chakras and legs on the other. In the third section of the dance, there is an added section of an encounter between the desire and head dancers in

720-421: A ngelik , which would also have the length of a single gongan. The minggah section may also use one of the other structures, especially the ladrang . If that is the case, the piece will be noted something like "minggah ladrang". If the other section has a different name, that will be given as well. Between the merong and inggah is a bridge section called the ompak . Typically it has the length of one nongan, and

840-431: A Japanese ryukyuan scale ), and madenda (similar to a Japanese hirajoshi scale ). In central Javanese gamelan, sléndro is a system with five notes to the octave , with large intervals, while pélog has seven notes to the octave, with uneven intervals , usually played in five note subsets of the seven-tone collection. A full gamelan will include a set of instruments in each tuning, and classically only one tuning

960-411: A colotomic structure may be hundreds of units long and is generally explicitly stated, it is akin to hierarchical Western meter . Most gendhing in Javanese music conform to one of these structures, except for some special ceremonial pieces and experimental new compositions. Colotomic structures from the general repertoire. Gendhing is the longest and most complicated of the gendhing structures. It

1080-478: A consistent speed for all pairs of notes in all registers. This concept is referred to as "ombak," translating to "wave," communicating the idea of cyclical undulation. One instrument, tuned slightly higher, is thought of as the "inhale," and the other, slightly lower, is called the "exhale" (Also called the "blower" and the "sucker," or pengimbang and pengisep in Bali). When the inhale and the exhale are combined, beating

1200-407: A contrasting balungan melody to the merong. The ketawang is one of the gendhing structures used in Javanese gamelan music. Its colotomic structure is: where p indicates the strike of the kempyang , T the ketuk , P the kempul , N the kenong , and G the simultaneous stroke of the gong and kenong. The W indicates the wela , the pause where the kempul is omitted. Thus, the gong plays once,

1320-475: A diameter of 12 inches. This disc contains recorded messages from Earth for extraterrestrials who can find them. A gamelan is a multi-timbre ensemble consisting of metallophones , xylophones , flutes , gongs , voices , as well as bowed and plucked strings . The hand-played drum called kendang controls the tempo and rhythm of pieces as well as transitions from one section to another, while one instrument gives melodic cues to indicate treatment or sections of

SECTION 10

#1732854991819

1440-504: A distinctive kendhang pattern. A bubaran is used as an ending piece, to be played while the audience is departing. The best-known bubaran is Udan Mas . Gangsaran is a variety of lancaran which consists of simply a repeated tone. It originates from the wayang repertoire. It can appear at the end of a composition as well. The ladrang is one of the gendhing structures used in Javanese gamelan music. The basic colotomic structure

1560-590: A faster tempo and uses high notes. Javanese gamelan has pelog and slendro tunings, if the pelog consists of notations 1, 2, 3, 4, 5, 6, 7 (ji, ro, lu, pat, mo, nem, tu), slendro has notation 1, 2, 3, 5, 6, i (ji, ro, lu, mo, nem, i). Balinese gamelan is one type of traditional gamelan ensemble that originates and develops in the island of Bali. Balinese gamelan is an inseparable ensemble of Balinese life, almost all villages in Bali have gamelan. The gamelan can be used as part of Hindu worship in Bali or as community entertainment in

1680-414: A foreign element to show enhance royal power, or the secularization and informalization of the court ritual when in the presence of European guests. During some period in the 19th century, the dancers in Yogyakarta were young men dressed as women. The combination of characteristics of both sexes was thought to have a special spiritual power. Ketawang Colotomy is an Indonesian description of

1800-530: A harmonious tone in social life. In Indonesia, gamelan accompanies many cultural activities such as: Under the influence of the Hindu-Buddhist Majapahit kingdom , gamelan was used as accompaniment in religious ceremonies with tembang (singing) and wayang performances. Even an accompaniment to a king's performance. In the Negarakertagama manuscripts written by Mpu Prapanca in the 14th century. It

1920-450: A human being, representing taṇhā (the word for desire or craving in Buddhism), four chakras (the top three of which are used as note names; see slendro ), and the four limbs: The first two sections of the dance each have three positions, with slight variations, while the last adds a final, fourth position. The first position is in the shape of a human being, with the first five dancers in

2040-411: A king enters the pamelegan (place of worship), scenes of heartache, scenes of anger, or scenes that express revenge. However, in the play of certain notes, the pelog tunings can also give the impression of being happy, light, and lively, for example in the music played on the pelog tunings of barang. Gamelan music is traditionally not notated and began as an oral tradition . In the 19th century, however,

2160-446: A number of different structures, which differ greatly in length and complexity; however, all of them have some colotomic characteristics. In the gamelan, the instruments which articulate this structure are sometimes called the colotomic instruments (also interpunctuating instruments or structural instruments , while Lindsay refers to them as "phrase-making instruments" ). The Javanese names for these instruments are onomatopoeic, with

2280-424: A person with such sense, and is used as an honorific when discussing esteemed gamelan musicians. The high Javanese word for gamelan is gangsa ( ꦒꦁꦱ ), formed either from the words tembaga ( ꦠꦼꦩ꧀ꦧꦒ ) and rejasa ( ꦉꦗꦱ ) referring to the materials used in bronze gamelan construction (copper and tin), or tiga ( ꦠꦶꦒ ) and sedasa ( ꦱꦼꦢꦱ ) referring to their proportions (three and ten). The gamelan predates

2400-411: A piece. In the courts of Java, Javanese gamelan is grouped into 2 groups of gamelan, namely gamelan Pakurmatan and gamelan Ageng. Gamelan pakurmatan is the gamelan used for special Javanese court events and all of them are sacred gamelan. The gamelan pakurmatan consists of the gamelan kodhok ngorek, the gamelan monggang, the gamelan sekati, and the gamelan carabalen. As for the gamelan ageng is considered

2520-440: A regular beat . The larger gongs group together these hits into larger groupings, playing once per each grouping. The largest gong, the gong ageng , represents the largest time cycle and generally indicates that that section will be repeated, or the piece will move on to a new section. The details of the rhythmic patterns depend on the colotomic structure ( Javanese : bentuk ), also known as gendhing structure . There are

SECTION 20

#1732854991819

2640-415: A way that it was able to stand as a separate musical performance, complete with the accompaniment of the voices of the sindhen. Most of the music rhythms are generally soft and reflect the harmony of life, as the principles of life are generally adopted by Javanese society. Some of them sound quickly according to the event or ritual being held or accompanied by the gamelan like gamelan Banyuwangi which has

2760-480: A year for one week in front of the Grand Mosque. This gamelan is only played by the royal family and courtiers under strict conditions, wearing prescribed traditional clothes, and playing certain sacred music that has existed for centuries. The Gamelan Sekaten exists in halves: divided between the two rival courts in Surakarta and Yogyakarta, each court had a matching second half made. In Sumedang , West Java , there

2880-411: Is a cycle of 32 beats ( keteg ) in the following order: where p indicates the strike of the kempyang , T the ketuk , P the kempul , N the kenong , and G the simultaneous stroke of the gong ageng and kenong . The W indicates the wela , the pause where the kempul is omitted. Thus, the gong plays once, the kenong divides that into four parts, the kempul divides each of those in two,

3000-663: Is a legacy of the Sunan Drajat (one of the Wali Sanga ) which was used for broadcasting the Islamic religion in Paciran, Lamongan. Beaten by the Friends of Sunan Drajat to accompany the tembang Pangkur (panguri isine Qur'an) created by Sunan Drajat himself. This gamelan ensemble is an acculturation of Hindu-Buddhist and Islamic culture, considering that the surrounding community is Hindus, so that it

3120-489: Is a product of local wisdom that has survived to this day. The long history that has been passed by Javanese gamelan is a cultural struggle that continues to be sustainable until now and in the future. Gamelan is inseparable from Javanese customs and human life, where gamelan is almost always there in every Javanese ceremony are held. Javanese gamelan is generally used to accompany dances, dance dramas, theater, puppets, rituals, events and festivals. Until then it developed in such

3240-455: Is a slendro notation tone that is played out of place on purpose. Therefore, there are many scenes of homesickness, love missing, sadness, death, languishing accompanied by slendro tunes. Pelog notation produces an atmosphere that gives the impression of being manly, regal, and sacred, especially in the musical play that uses the pelog nem (six) notation. Therefore, there are many scenes that are accompanied by pelog tunings, such as scenes where

3360-457: Is almost no historical evidence to back up the claims made about the advances in the arts in Sultan Agung's courts, and the existence of the dance was not clearly documented until the late 18th century. There are many myths which explain the origin of the dance, which generally have either an account of a meeting with an Indic deity ( Shiva , Brahma , Vishnu , Indra , or Lord Buddha ), or

3480-632: Is also used in the ceremonies of the Catholic church in Indonesia . Certain pieces are designated for starting and ending performances or ceremonies. When an "ending" piece (such as " Udan Mas ") is begun, the audience will know that the event is nearly finished and will begin to leave. Certain pieces are also believed to possess magic powers and can be used to ward off evil spirits. The religious rituals that accompanied by gamelan such as: sekaten , temple rituals, melasti , galungan , Ogoh-ogoh , etc. Gamelan

3600-594: Is an heirloom of the Kingdom of Sumedang Larang , there is a Gamelan Panglipur belonging to Prince Rangga Gede / Kusumahdinata IV (1625–1633) who is also the regent of Mataram . Gamelan was deliberately made to entertain himself after his beloved child died. The Panglipur gamelan along with 9 other ancient gamelan sets are kept at the Museum Prabu Geusan Ulun in Sumedang Regency . One of the ten sets of gamelan

3720-436: Is at the end of the gatras of doubled odd numbers (that is, gatras 2, 6, 10, 14, etc.). In the minggah section, the kempyang and kethuk play in the same pattern as in the ketawang , but with no other interpunctuating instruments . For an example of the gendhing structure, consider "gendhing kethuk 2 kerep minggah kethuk 4." This means that in the merong, there will be two kethuk strokes that happen on odd-numbered gatra, and in

Bedhaya - Misplaced Pages Continue

3840-495: Is commonly used in traditional ritual processions such as death ceremonies which we know as the Ngaben tradition. Meanwhile, for human ceremonies, gender is used and for ceremonies in temples, gong gede is usually used. In terms of the development of the era, Balinese gamelan can be divided into 3 types: The Sundanese gamelan is one of the typical gamelan ensemble from West Java and Banten province (Tatar Pasundan ) in Indonesia. In

3960-422: Is considered primary. Slendro notation generally produces a light, cheerful atmosphere and feels busier. This is evidenced by the scenes in the wayang kulit and wayang wong performances such as scenes of war and marching that accompanied by slendro notation. The use of the slendro can also have the opposite impression, such as sad or romantic. As in the case of gending that uses a slendro miring. Slendro miring

4080-549: Is dominated by the sound of flutes makes it not only soft but also mellow. Javanese gamelan is a gamelan that originates and develops in the Central Java and East Java , including the Special Region of Yogyakarta . In the Javanese palaces, the gamelan is divided into two, namely the gamelan pakurmatan and gamelan ageng. Gamelan pakurmatan is used for certain events or rituals in the royal environment. The gamelan pakurmatan set

4200-700: Is easily accepted by the community. The Gamelan Singo Mengkok is now stored in the Museum Sunan Drajat in Lamongan . In the kingdom of Islamic Mataram, Gamelan Kanjeng Kyai Guntur Sari was made in 1566 and Gamelan Kanjeng Kyai Guntur Madu was made in 1642 during the reign of Sultan Agung . Both gamelans called Gamelan Sekati ( Gamelan Sekaten ) which is only beaten/sounded to accompany the Sekaten ceremony. Gamelan Sekaten in Surakarta and Yogyakarta will be played once

4320-451: Is found on the bas-relief of the 8th century Buddhist monument of Borobudur , Central Java. The Borobudur's musicians play lute -like stringed instruments, various kendang drums, various suling flutes, cymbals , bells , metallophones , and xylophones . Some of these musical instruments are indeed included in a complete gamelan orchestra. Musical instruments such as metallophones ( saron , kenong , kecer ), xylophones ( gambang ),

4440-406: Is not as complete as the ageng gamelan, and its shape and pitch are somewhat different from the traditional gamelan owned by the community. Gamelan pakurmatan consists of gamelan kodhok Ngorek, gamelan munggang, gamelan sekati, and gamelan carabalen, while gamelan ageng is the most complete gamelan used for various traditional ceremonies and events in the palace. Gamelan outside the palace, owned by

4560-424: Is often used to accompany religious ceremonies and entertainment. In terms of religion, Balinese Gamelan is often displayed to accompany the running of religious ceremonies or to accompany sacred traditional dances. Meanwhile, in terms of entertainment, Balinese Gamelan is often presented as a musical performance as well as accompaniment to various arts that are entertainment in Bali. Gamelan in Bali known as gambelan

4680-407: Is often used to accompany the entrance of puppets, or the transition between pathets . Sampak is another structure. A sampak often follows a srepeg . It is the fastest of the wayang structures. The colotomic structure is: with both lines played together, and T indicating a stroke of the kethuk , P the kempul , and N the kenong . The kenong and kempul always play the seleh . It does not use

4800-511: Is played. Groupings of four are most common at all levels of structure, although there are numerous exceptions at larger levels. The colotomic structure of a piece is the length of the cycle and how the interpunctuating instruments play during that cycle, but they are also musical forms which are associated with specific structural patterns on a larger scale than the colotomic cycle, and guidelines for what tempi and irama may be used. Colotomic structures or Gendhing structure refers to

4920-421: Is produced, meant to represent the beating of the heart, or the symbol of being alive. It is thought that this contributes to the "shimmering" sound of Balinese gamelan ensembles. In the religious ceremonies that contain gamelan, these interference beats are meant to give the listener a feeling of a god's presence or a stepping stone to a meditative state. The scale roughly approximates that of the phrygian mode of

Bedhaya - Misplaced Pages Continue

5040-544: Is said that the gamelan accompaniment was used by King Hayam Wuruk in performing a mask dance with eight young people accompanied by a song from the Queen Mother. With the collapse of the Majapahit kingdom and being replaced by the Islamic kingdom of Demak led by Raden Patah , gamelan as a traditional musical instrument did not just disappear. Its function is used as a media tool for preaching Islam. Gamelan's role in rituals

5160-488: Is so important that there is a Javanese saying, "It is not official until the gong is hung". Some performances are associated with royalty, such as visits by the sultan of Yogyakarta . Certain gamelans are associated with specific rituals, such as the Gamelan Sekaten , which is used in the celebration of Mawlid an-Nabi ( Muhammad 's birthday). In Bali , almost all religious rituals include gamelan performance. Gamelan

5280-620: Is sometimes called "garap." Some teachers have also devised certain notations, generally using kepatihan principles, for the cengkok (melodic patterns) of the elaborating instruments . Some ethnomusicologists, trained in European music, may make transcriptions onto a Western staff. This entails particular challenges of tuning and time, sometimes resulting in unusual clefs . Varieties of gamelan are distinguished by their collection of instruments and use of voice, tunings, repertoire, style, and cultural context. In general, no two gamelan ensembles are

5400-525: Is the Bedhaya Ketawang . When the bedhaya dancers appear on stage, in Yogyakarta it was accompanied by an ayak-ayakan ; in Surakarta, it is only accompanied by a pathetan known as pathetan bedhaya , which has lost much of the rhythmic freedom associated with pathetan s to fit better the stride of the dancers. The literary renaissance of Java in the 18th and 19th centuries, which greatly changed Javanese music, had as one of its first effects

5520-692: Is the gamelan Sari Oneng Parakansalak from Sukabumi , West Java , which on 31 March 1889, participated in celebrating the inauguration of the Eiffel Tower in Paris, France. On 5 September 1977, Gending ketawang puspawarna ( Javanese gamelan music) which was created by Mangkunegara IV (1853–1881) was carried by two satellites of The National Aeronautics and Space Administration (NASA) named Voyager I and Voyager II . The satellites are in charge of making observations on planets in outer space. The two satellites are equipped with gold-plated copper disks with

5640-523: Is the traditional ensemble music of the Javanese , Sundanese , and Balinese peoples of Indonesia , made up predominantly of percussive instruments . The most common instruments used are metallophones (played with mallets ) and a set of hand-drums called kendang , which keep the beat . The kemanak , a banana-shaped idiophone , and the gangsa , another metallophone, are also commonly used gamelan instruments on Bali . Other notable instruments include xylophones , bamboo flutes (similar to

5760-472: Is typically played in a slow irama , although it may have faster sections. Gendhing are sometimes classified by which elaborating instrument is most prominent, called gendhing bonang or gendhing rebab . Gendhing never use the kempul or gong suwukan . Gendhing have two parts, a merong and a minggah (or "inggah"). Both consist of a single gongan lasting four nongan , but the nongan can be of different lengths. Gendhing are then classified according to

5880-458: Is used at a time. The precise tuning used differs from ensemble to ensemble and gives each ensemble its own particular flavor. A set of gamelan instruments will be tuned to the same set of notes, but the tuning will vary from one gamelan to the next, including variations in the size of intervals. Colin McPhee , a Canadian composer who spent much time in Bali, remarked, "Deviations in what is considered

6000-408: Is used to accompany various traditional ceremonies in Indonesia, gamelan kodhok ngorek, gamelan monggang, gamelan carabalen, and gamelan ageng are used for important ceremonies related to kings in the Yogyakarta and Surakarta palaces such as the king's coronations ceremony, the king's birthday ceremony, the coronation anniversary, royal guest reception, baby birth , marriage, death, and so on. Outside

6120-405: The gatras of gamelan music have the strong beat ( seleh ) at the end, not at the beginning as is often considered normal for Western music. Thus the more important structural instruments coincide with the stressed beats.) Colotomic structures occur on even larger scales in most gamelan pieces as well. For example, a typical lancaran has four gongs, at the end of which the larger gong ageng

SECTION 50

#1732854991819

6240-527: The Hindu-Buddhist culture that dominated Indonesia in its earliest records and thus represents an indigenous art form of Indonesia . In contrast to the heavy Indian influence in other art forms, the only obvious Indian influence in gamelan music is in the Javanese, Sundanese, and Balinese style of singing, and in the themes of the Wayang kulit and Wayang Golek (shadow puppet plays). In Javanese mythology,

6360-454: The Javanese word gamel ( ꦒꦩꦼꦭ꧀ ), which refers to playing of percussion instruments or the act of striking with a mallet , and the noun -forming suffix an . The gamelan in the Sundanese is Degung ( Degung ), the word Degung apparently is an old Sundanese term, which refers to gongs and Gong ensembles. For this reason, the words degung and gong are essentially synonyms for

6480-791: The National Intangible Cultural Heritage of Indonesia by the Indonesian Ministry of Education and Culture . On 15 December 2021, Gamelan was inscribed onto the UNESCO Representative List of the Intangible Cultural Heritage of Humanity . The nomination builds on the archaeological connection to the Borobudur , and includes a focus on its role in fostering a sense of national identity and pride, in addition to wellbeing aspects such as mental health,

6600-518: The Sultanate of Cirebon , on the north coast of Java. The gamelan Sakati in the Keraton Kasepuhan is originated from Demak Sultanate in 1495 which was a gift from Sultan Trenggono of Demak for the marriage of Ratu Mas Nyawa (daughter of Raden Patah, king of Demak) to Prince Bratakelana (son of Sunan Gunung Jati from his wife Syarifah Bagdad). This gamelan is closely related to the early days of

6720-416: The ethnomusicologist Jaap Kunst . Although the term "colotomic" was derived from Indonesian music theory, it can be applied to other musical traditions as well. In particular, it has been used to describe Japanese gagaku and Thai piphat . The lancaran is a cycle of 16 beats ( keteg ) in the following order: where T indicates the strike of the ketuk , P the kempul , N the kenong , and G

6840-653: The kempyang . Gamelan Gamelan instruments : slab-type (wilahan) instruments ( saron /sarun/pemade, demung /sarun ganal, Gendèr /kiliningan, slenthem/selentem/jegogan, peking/sarun paking/kantilan, kecrek/keprak), gong-type (pencon) instruments ( gong , kempul , kenong , bonang , trompong, kethuk , talempong , kempyang), String instruments ( siter , celempung, kecapi , rebab ), Bamboo instrument ( suling ), Drums instruments ( kendhang , Bedug , ketipung, gendang beleq ), Wooden instrument ( gambang ) Gamelan ( / ˈ ɡ æ m ə l æ n / ) ( Javanese : ꦒꦩꦼꦭꦤ꧀ , Sundanese : ᮌᮙᮨᮜᮔ᮪ , Balinese : ᬕᬫᭂᬮᬦ᭄ )

6960-453: The kethuk , P the kempul , and N the kenong . The kenong and kempul always play the seleh . In slendro manyura , the gong suwukan is used instead of the kempul. Gongans are of varying length, according to the pathet . The ending ( suwuk ) can occur at different points in the cycle, given the cue from the kendhang or kepyak . It usually begins in irama lancar , and then slows down to tanggung, dados, or rangkep. The ayak-ayakan

7080-452: The ketuk divides each of those in two, and the kempyang divides each of those in two. The kendhang usually plays in kendhang kalih style. The ladrang is similar to the ketawang except that four (instead of two) nongan comprise a gongan . It is also similar to the lancaran , except it is twice as slow, and the kempyang plays in between each beat of the lancaran . Many ladrang have two sections, an ompak and

7200-417: The rhythmic and metric patterns of gamelan music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various size: the kempyang , ketuk , kempul , kenong , gong suwukan , and gong ageng . The fast-playing instruments, kempyang and ketuk , keep

7320-452: The threshold of pain . This does not apply to small ensembles like a gamelan gendér . The sekaha is led by a single instructor whose job it is in the community to lead this group and to come up with new pieces. When they are working on a new piece, the instructor will lead the group in practice and help the group form the new music as they are practicing. When the instructor creates a new song, he leaves enough open for interpretation that

SECTION 60

#1732854991819

7440-423: The wayang repertoire. Gangsaran and bubaran are related structures that share the same colotomic structure. Groupings of four are most common at all levels of this structure. The basic colotomic structure is a cycle of 16 beats ( keteg ) in the following order: where T indicates the strike of the ketuk , P the kempul , N the kenong , and G the simultaneous stroke of the gong and kenong. The W indicates

7560-399: The wela , the pause where the kempul is omitted. Thus, the gong plays once, the kenong divides that into four parts, the kempul divides each of those in two, and the ketuk divides each of those further in two. Note that except for the kenong playing on the gong, the instruments do not play when the next one plays. The kendhang plays in kendhang kalih style. A typical lancaran has four gongs, at

7680-430: The 1940s men have also sung these parts. In Surakarta, instead of a full gamelan , the only instruments used are the colotomic instruments ( kethuk , kenong , and gong ), the kemanak , and drums ( kendhang ketipung and gendhing); there are no balungan instruments and only sometimes other melodic instruments (such as gambang and gendér ). In the Yogyakarta kraton , where the dance is no longer performed as ritual,

7800-531: The Banjar in villages of Bali. Because gamelan also functions as a medium for socializing with each other, it can be seen that playing gamelan requires cooperation between players to get the desired tone or sound harmony. This Balinese gamelan has several differences from gamelan instruments in general, both in form and how to play it. This Balinese gamelan is usually performed as an accompaniment to an art performance in Bali, both sacred and entertainment. Balinese gamelan

7920-482: The Indian bansuri ), a bowed string instrument called a rebab (somewhat similar to the gadulka of Bulgaria ), and a zither -like instrument called a siter , used in Javanese gamelan. Additionally, vocalists may be featured, being referred to as sindhen for females or gerong for males. Although the popularity of gamelan has declined slightly since the introduction of modern popular music to Indonesia,

8040-501: The Javanese court consists of: In Bali , the Gamelan instruments are all kept together in a balé , a large open space with a roof over the top of it and several open sides. Gambelan (the Balinese term) are owned by a banjar , nobility or temples and kept in their respective compounds. In case of banjar ownership the instruments are all kept there together because people believe that all

8160-478: The Majapahit period, the kingdom even had a government office in charge of supervising the performing arts, including the gamelan. The arts office oversaw the construction of musical instruments, as well as scheduling performances at the court. In Bali, there are several gamelan selonding that have existed since the 9th century during the Sri Kesari Warmadewa reign. Some words refer to gamelan selonding

8280-484: The Sultan's Jumenengan (coronation ceremony), welcoming highly respected guests at the palace, royal weddings, and Garebeg. This gamelan is only owned by the court and the general public is not allowed to have a similar gamelan set. In the wengker or Ponorogo culture, in the 15th century Gamelan Reyog was not only used to accompany the art of Reog Ponorogo but was also used during war, the troops of ki Ageng Surya Alam from

8400-537: The Susuhunan, perform the dance before a private audience. An invitation to anyone outside of the inner circle of the court is a considerable honor. Some kind of female dance known as bedhaya existed on Java at least as early as the Majapahit Empire . Indeed, some of the steps of the modern dance are said to be as old as the third century. However, the modern form is traditionally dated to the court of Sultan Agung of Mataram (reigned 1613–1645). Unfortunately, there

8520-459: The Western major scale (E-E on the white keys of the piano), with the notes EFGBC corresponding to the note positions 12356 in the slendro scale used by most gamelan. In addition to non-western scales, Javanese gamelan uses a combination of tempo and density known as Irama , relating how many beats on the saron panerus instrument there are to notes in the core melody or balungan ; density

8640-648: The art form is still widely respected, being commonly played in many traditional ceremonies. It may also be performed as entertainment for some modern events, such as official cultural, corporate, government or educational functions, both formal or informal. Gamelan is also, traditionally, arranged and performed to accompany religious rituals , ceremonies , dance theatre, dance-drama , traditional Indonesian theater , wayang puppets theatre , singing , concerts , festivals , exhibitions , and many more. Many consider gamelan to be an integral part of Indonesian culture . In 2014, Gamelan traditions were recognized as part of

8760-484: The bamboo flute ( suling ), drums in various sizes (kendang), cymbals, bell (genta), and bowed and plucked string instruments were identified in this image. These reliefs of this musical ensemble are suggested to be the ancient form of the gamelan. The instruments developed into their current form during the Majapahit Empire . According to the inscriptions and manuscripts ( Nagarakretagama and Kakawin Sutasoma ) dated from

8880-418: The bell-tree ( byong ) in the 3-toned gamelan kodhok ngorek . Regionally variable village gamelan are often distinguished from standard gamelan (which have the rebab as the main melodic instrument) by their inclusion of a double-reed wind ( selompret , slompret , or sompret ) in addition to variable drum and gong components, with some also including the shaken bamboo angklung . Gamelan in Javanese society

9000-403: The chorus that accompanies the modern bedhaya dance. In the 17th century, these loud and soft styles mixed, and to a large extent, the variety of modern gamelan styles of Bali, Java, and Sunda resulted from different ways of mixing these elements. Thus, despite the seeming diversity of styles, many of the same theoretical concepts, instruments, and techniques are shared between the styles. In

9120-422: The colotomic structure of gamelan compositions in general. Gendhing (also written, as in the old orthography, gending ) can also be used to refer to a specific class of colotomic structures used in Javanese gamelan music. At its simplest, colotomic may be taken to mean, "cyclicly punctuating". More clearly, "gongs of different sizes are used to mark off circular segments, or cycles, of musical time." Though

9240-401: The complete gamelan was used as accompaniment, sometimes even featuring cornets . The pieces used to accompany the dances are traditionally gendhing with long structures (originally designated at least kethuk 4 arang ; see gendhing for an explanation); however, shorter gendhings were also used later (such as kethuk 4 kerep or kethuk 2 ). The most ancient and sacred song

9360-520: The court of Java ( Surakarta Sunanate and Yogyakarta Sultanate ) the oldest known ensembles, Gamelan Munggang and Gamelan Kodok Ngorek , are apparently from the 12th century. These formed the basis of a "loud style" of music. These Gamelan are the oldest existing gamelan instruments and still preserved well in the courts. The Gamelans become the heirloom of the Javanese courts. Gamelan Kodhok Ngorek and Gamelan Monggang are sacred gamelan that will only be sounded for Javanese court ritual ceremonies such as

9480-427: The creation of genres of gendhing to accompany bedhaya and serimpi, known as gendhing kemanak and gendhing bedhaya-serimpi . The former were based on a newly composed choral melody, while the latter fitted a new choral part into a pre-existing gendhing melody played by the gamelan. Hundreds of stanzas of text were written for these parts, and a particular gendhing uses at least a dozen. The texts are mainly in

9600-598: The development of interpersonal skills and the connection between its cosmology and an ethics of mutual respect and care. The listing consists of Javanese gamelan (gamelan jawa) of Central Java and Special Region of Yogyakarta , Balinese gamelan (gamelan bali) of Bali , Sundanese gamelan (gamelan sunda) of West Java , Madurese gamelan (gamelan madura) and Banyuwangian Gamelan (gamelan banyuwangi) of East Java , Gendang beleq of West Nusa Tenggara , Banjarese gamelan (gamelan banjar) of South Kalimantan , Gamelan peking of Lampung , and Talempong of West Sumatra as

9720-428: The end of which the larger gong ageng is played. Lancaran are usually played fast, usually in irama lancar . Some lancaran have a separate section which can be played between repetitions of the four-gong ompak , known as the nyekar or lagu . Lancaran are often written in balungan nibani . Bubaran are played more moderately, usually in irama tanggung , but are usually written in balungan mlaku . They also use

9840-462: The feelings of the players. Playing gamelan is not just the ability to play various musical instruments together, thus giving birth to the harmony of tones and rhythms. But also, by playing the gamelan there is a meaning that describes the system of deliberation and consensus in the midst of society, through each gamelan musical instrument. Gamelan symbolizes the spirit of cohesiveness and mutual cooperation, together, and in line. So that it gives birth to

9960-454: The form of a wangsalan (poetic riddle), and deal with a wide variety of subjects. Much of the text is erotic love poetry, describing the attraction of Kangjeng Ratu Kidul to Sultan Agung. There are many taboos regarding the performance and rehearsal of the Bedhaya ketawang , both the song and the dance associated with it. It is only allowed to be rehearsed every 35 days (when Thursday of

10080-448: The gamelan music brings dance to life and graceful to see. The main function of the gamelan as a dance accompaniment is to provide rhythm, beat, or tempo guidance. So that the selection of accompanying music must be adjusted to the rhythm and theme of the dance. Dance performance using live gamelan is a complex artistic activity. Gamelan in dance is used as an illustration or support for the atmosphere. The accompanying gamelan music must give

10200-558: The gamelan was created by Sang Hyang Guru in Saka era 167 ( c.  AD 230 ), the god who ruled as king of all Java from a palace on the Maendra mountain in Medang Kamulan (now Mount Lawu ). He needed a signal to summon the gods and thus invented the gong. For more complex messages, he invented two other gongs, thus forming the original gamelan set. The earliest image of a musical ensemble

10320-713: The general public, is usually the gamelan ageng, although it is not as complete as that of the palace, according to the needs and objectives of the gamelan ownership. The Javanese gamelan used by the communities has many kinds and types including the gamelan gadhon , gamelan siteran, gamelan Wayang , gamelan bambu, gamelan prawa, gamelan pelog, gamelan renteng, gamelan slendro, gamelan Banyuwangi , and gamelan Madura . In oral Javanese culture distinctions are made between complete or incomplete, archaic and modern, and large standard and small village gamelan. The various archaic ensembles are distinguished by their unique combinations of instruments and possession of obsolete instruments such as

10440-431: The given structure. Here, in each part, each nongan lasts 16 beats ( keteg ), and thus the gongan lasts 64. That was a fairly short example; a "kethuk 4 arang" merong, for example, would look like: and thus a nongan would last 16 gatras (64 beats), and a gongan 64 gatras (256 beats). Obviously, in a long structure like that, especially at a slow tempo, a single gongan may last many minutes. The merong section may include

10560-586: The goddess and a royal ancestor. Another common interpretation is that they symbolize military formations , which may explain why the dancers are given names of flanks . Furthermore, the dancers were brought onto battlefields with the Yogyakartan ruler. Some of the choreographic positions are vaguely similar to those that were believed to have been used in the Kurukshetra war , the war in the Mahabharata , and some of

10680-468: The group can improvise, so the group will write the music as they practice it. There are many styles in Balinese gamelan. Kebyar is one of the most recent ones. Some Balinese gamelan groups constantly change their music by taking older pieces they know and mixing them together, as well as trying new variations of the music. Their music constantly changes because they believe that music should grow and change;

10800-427: The instruments belong to the community as a whole and that no one person has ownership over an instrument. Not only is this where the instruments are stored, but this is also the practice space for the sekaha (Gamelan orchestra group). The open walls allow for the music to flow out into the community where the rest of the people may enjoy it. Balinese gamelan cannot be heard inside closed rooms, because it easily crosses

10920-432: The kenong divides that into two parts, the kempul (or wela) divides each of those in two, the ketuk divides each of those further in two, and finally the kempyang divides each of those in two. The kendhang usually plays in kendhang kalih style. Ketawang usually have the specific form of an ompak that lasts one gongan and may be repeated several times, and a ngelik that may last three or four gongan. Some ketawang have

11040-532: The king and his family and only served when the corpse departs to the cemetery. Meanwhile, gendhing offerings at duhkitan ceremonies in the general public (outside the palace environment) are usually served at the time of the death of musical artists of dance, musical puppetry, wayang orang, cultural observers, and theater using the gamelan gadhon ensemble. Almost all dances originating from the island of Java and Bali are accompanied by gamelan music. Gamelan gives spirit and beauty to live dance performances. The sound of

11160-420: The kraton (palaces) of Yogyakarta and Surakarta developed distinct notations for transcribing the repertoire. These were not used to read the music, which was memorized, but to preserve pieces in the court records. The Yogyanese notation is a checkerboard notation, which uses six or seven vertical lines to represent notes of higher pitch in the balungan (melodic framework), and horizontal lines which represent

11280-404: The manuscript Sanghyang Siksa Kandang Karesian , the art of gamelan is estimated to have entered in the 16th century. In this text, at that time there was a gamelan player called K umbang Gending and a musical expert called Paraguna . Sundanese gamelan is also called Degung . The word Degung is said to have originated from the word "Ratu-agung" or "Tumenggung", because at that time Gamelan Degung

11400-570: The meeting of Kangjeng Ratu Kidul , the Goddess of the South Sea, with a founder of the Mataram dynasty , either Sultan Ageng or his grandfather, Senapati . In the former, the nine dancers were the creation of a deity who was brought to life and offered the dance to their maker in gratitude. In the latter, the dance was created when Kangjeng Ratu Kidul fell in love with the sultan and danced the bedhaya for him;

11520-431: The minggah, there will be four gatras per nongan. The structure would then look like: Merong: Minggah: where "." indicates no interpunctuating instrument plays, p indicates the stroke of the kempyang , T the ketuk , N the kenong , and G the simultaneous stroke of the gong and kenong. Thus, in each section, the gong plays once, the kenong divides that into four parts, and then that is divided into parts according to

11640-446: The most complete in the Javanese court. The Gamelan Ageng instruments are usually owned by the general public (artists, schools, studios, and other communities) in Java and outside Java. This gamelan is used to accompany arts or rituals either in the palace or in the general public, the gamelan can use a complete gamelan or less. A set of complete Javanese Gamelan Ageng Ensemble maintained by

11760-408: The nine dancers in the modern dance represent the spirit of the goddess. Since the decline in the power of the royal courts, other, more accessible forms of bedhaya have become popular, not as religious ritual, but as artistic performance. These do not require the royal presence, and may be performed on stage for an admission fee. They frequently recount stories used in wayang . The dance is held in

11880-490: The notes. Today this notation is relatively rare, and has been replaced by kepatihan notation , which is based on the Galin-Paris-Chevé system . Kepatihan notation developed around 1900 at the kepatihan Palace in Surakarta, which had become a high-school conservatory. The pitches are numbered (see the articles on the scales slendro and pélog for an explanation of how), and are read across with dots below or above

12000-399: The number of kethuk strokes in a nongan in each section. The merong section does not use the kempyang , but the minggah section does. There are two patterns for the kethuk in the merong, arang ("infrequent, sparse") and kerep ("frequent"). Both have the kethuk play only at the end of a gatra , but in the kerep pattern, it is at the end of all odd-numbered gatras, whereas in the arang, it

12120-473: The numbers indicating the register, and lines above notes showing time values; In vocal notation, there are also brackets under groups of notes to indicate melisma. Like the palace notation, however, Kepatihan records mostly the balungan part and its metric phrases as marked by a variety of gongs. The other parts are created in real time, and depend on the knowledge each musician has of his instrument, and his awareness of what others are playing; this "realization"

12240-511: The only exception to this is with their most sacred songs which they do not change. A single new piece of music can take several months before it is completed. Men and women usually perform in separate groups. A set of complete Balinese gamelan ensemble consists of: The tuning and construction of a gamelan orchestra is a complex process. Javanese gamelan use two tuning systems : sléndro and pélog . There are other tuning systems such as degung (exclusive to Sunda, or West Java, similar to

12360-451: The palace in Java, gamelan is used for Wedding reception , birth ceremonies, circumcision ceremonies, rice harvesting, ruwatan ceremonies, and death ceremonies (dhukitan). The musical presentation in the dhukitan ceremony in the general public is different from that in Palace. Gendhing at dhukitan ceremonies in the palace use the kodhok ngorek gamelan instrument, only intended for the death of

12480-570: The relative resonance of the words gong , kempul , kenong , and ketuk being comparable to that of the instruments they name. In the system of cipher gamelan notation ( kepatihan notation ), the colotomic parts are notated as diacritical marks on the numbers used to show the core melody ( balungan ). The English language term was coined, presumably in Dutch , from the Greek for a unit of rhythm ( colon ) and something that divides (- tomy /- tomic ), by

12600-555: The same arrangement as offerings in the Majapahit palace. Three is a number rich in Hindu symbolism, like the three pramanas , the Trilokya or the Trimurti , so a threefold set of three symbolizes completion and perfection. In the 19th century, dancers held and fired pistols in the performance of the bedhaya. Sumarsam considered the meaning of the use of pistols an aristocratic attempt to adopt

12720-404: The same ompak but different ngelik. Ketawang often begin in irama tanggung and then slow down to irama dadi or slower. The ketawang developed in the court of Prince Mangkunegara IV (r. 1853–1881) of Surakarta . Famous ketawang: Puspawarna . The lancaran is one of the gendhing structures used in Javanese gamelan music. It is the shortest of the gendhing structures that are not from

12840-542: The same scale are so large that one might with reason state that there are as many scales as there are gamelans." This view is contested, however, by some teachers of gamelan, and there have been efforts to combine multiple ensembles and tuning structures into one gamelan to ease transportation at festival time. One such ensemble is gamelan Manikasanti , which can play the repertoire of many different ensembles. Balinese gamelan instruments are built in pairs that are tuned slightly apart to produce interference beats , ideally at

12960-505: The same, and those that arose in prestigious courts are often considered to have their own style and tuning. Certain styles may also be shared by nearby ensembles, leading to a regional style. The varieties are generally grouped geographically, with the principal division between the styles favored by the Balinese , Javanese , and Sundanese peoples. Javanese gamelan has soft and slow tones, while Balinese gamelan has strong and dynamic tones with fast music rhythms, while Sundanese gamelan which

13080-470: The second position, while the other dancers squat. The third position places the dancers either in a row (Surakarta) or with the arms to one side (Yogyakarta), with desire in the middle. The final position is in a 3x3 grid ( rakit tiga-tiga ), with the three upper chakra centers in the middle column. The dance is accompanied with the singing of men and women together. The style is known as sindhenan lampah sekar . Formerly only women sang; however since at least

13200-456: The series of beats, read downward with time. The fourth vertical line and every fourth horizontal line (completing a gatra ) are darkened for legibility. Symbols on the left indicate the colotomic or metric structure of gongs and so forth, while specific drum features are notated in symbols to the right. The Solonese notation reads horizontally, like Western notation, but does not use barlines. Instead, note values and rests are squiggled between

13320-543: The seven-day week coincides with Kliwon, the fifth day of the five-day week of the Javanese calendar ), and performed on the anniversaries of the Susuhunan 's accession to the throne. All rehearsals, and especially the performance, must be accompanied by offerings (many of which correspond to those specified in the Gandavyuha Sutra ). The dancers must fast and undergo ritual purification, they must be in bridal dress and cover

13440-416: The simultaneous stroke of the gong and kenong . The W indicates the wela , the pause where the kempul is omitted. Thus, the gong plays once, the kenong divides that into four parts, the kempul divides each of those in two, and the ketuk divides each of those further in two. Note that except for the kenong playing on the gong, the instruments do not play when the next one plays. (Remember that

13560-664: The spread of Islam by Wali Sanga in Java . At the Keraton Kasepuhan , the gamelan Sakati is played on the Idul Adha month of Hajj (Zulhijah) in the Sri Manganti building when the sultan and his relatives head to the Grand Mosque. This gamelan is kept in the Museum Pusaka Keraton Kasepuhan Cirebon. In Lamongan , East Java , there is an ancient gamelan from the 15th century called Gamelan Singo Mengkok . This gamelan

13680-417: The texts tell of military victories. Judith Becker provides a tantric interpretation. The first position shows desire plus the body; the second shows opposition between desire and the chakras (there is some evidence that the legs were considered a fifth chakra), and in the final section, interaction between the head and desire. Afterwards, desire is absorbed into the body, and then the dancers are arranged in

13800-453: The throne in a clockwise direction, the appropriate direction for veneration in Buddhist and Shaivist traditions. A name and number is given to each of the nine dancers, which designate a specific position in the changing choreographic pattern. There are slight variations between different sources in the names and numbers of the dancers, but there is consensus on the general forms. They are:

13920-410: The upper part of their bodies in turmeric ( borèh ). When the text is copied, a few intentional mistakes are inserted to avoid copying a sacred text literally. This is all because during any performance or rehearsal, the deputies of Ratu Kidul are said to be present. The dance can be interpreted in a number of ways, including as an abstract sequence of positions, and a reenactment of the love between

14040-437: The village of Kutu played gamelan reyog before the war took place against Majapahit, which was in coalition with Demak during the attack. Wengker, as a result Wengker always gets his victory before the heirloom of ki Ageng Surya Alam falls into the hands of the enemy. A "soft style" developed out of the kemanak tradition and is related to the traditions of singing Javanese poetry , in a manner often believed to be similar to

14160-475: The word gamelan . At the same time, the expression gamelan degung may be a way to point at a gamelan ensemble tuned to degung scale. The term karawitan ( ꦏꦫꦮꦶꦠꦤ꧀ ) refers to classical gamelan music and performance practice, and comes from the Javanese word rawit ( ꦫꦮꦶꦠ꧀ ) of Sanskrit origin, meaning 'intricate' or 'finely worked', referring to the sense of smoothness and elegance idealized in Javanese music. Another word, pangrawit ( ꦥꦁꦫꦮꦶꦠ꧀ ), means

14280-558: Was found in some ancient Balinese inscriptions and manuscripts. Today, gamelan selonding is stored and preserved well in ancient temples of Bali. It is considered sacred and used for religious ceremony purposes, especially when the big ceremony is held. Gamelan Selonding is part of daily life and culture for some indigenous people in ancient villages such as Bungaya, Bugbug , Seraya, Tenganan Pegringsingan , Timbrah, Asak, Ngis, Bebandem , Besakih , and Selat in Karangasem Regency . In

14400-463: Was very popular with the officials. There are three types of Sundanese gamelan, including: Outside the main core on Java and Bali , gamelan has spread through migration and cultural interest, new styles sometimes resulting as well. The variety of gamelan can be found in over 25 countries outside Indonesia, presenting both traditional and experimental repertoire. For some Indonesians, gamelan has high philosophical values, in terms of sound, roles, and

#818181