The Javanese Gamelan Southeast Asia

Southeast Asia

Culture/Religion Great diversity Major religions are Islam and Buddhism followed by Christianity Before 13th century CE, Hinduism and Buddhism Trade, missionaries, ruling class

Indonesia Archipelago of ~17,508 islands Over 238 million people Shares borders with Papua New Guinea, East Timor and Malaysia Important trade region since at least 7th century

Indonesia continued… Dutch colonialism Turbulent history Distinct ethnic, linguistic, religious groups Javanese largest ethnic group “Bhinneka Tunggal Ika” “Unity in Diversity”

Java 100 million people ~75 million ethnically Javanese Most Muslim though a minority practice Mostly a farming society Wet rice agriculture

Jakarta (Batavia)

Dutch East India Company

Regional Trade Network

Jakarta continued…

Yogjakarta

Bank of Indonesia

Yogjakarta Palace

Yogjakarta Palace Gamelan

Gamelan A musical ensemble from Indonesia featuring a variety of instruments Refers to a set of instruments unified by their tuning and often by their decorative carving and painting Gamels “to strike or hammer”

Gamelan continued… Predates Hindu-Buddhist culture that dominates earliest records of Indonesia Developed into current form during Majapahit Empire (1200-1500) Javanese mythology- Created by Sang Hyang Guru in Ska era 167 (c. AD 230)

Different types of gamelan Balinese Bamboo Gamelan

Sundanese Gamelan Degung

Javanese Gamelan

Gamelan Tuning and Modes Laras (tuning system) Slendro: a five-note (pentatonic) tuning Pélog: a seven-note tuning Pathet (Modes)* Slendro Nem Pélog Nem Slendro Sanga Pélog Lima Slendro Manyura Pélog Barang *Modes correspond to Wayang Kulit performance: Nem from 9:00 PM to Midnight; Sanga from Midnight to 3:00 AM; Manyura from 3:00 AM to 6:00 AM.

Gamelan Musical Structure Colotomic Structure: based upon a circular perception of time. Reflects the persistence of Hindu-Buddhist conceptions of time introduced to Java during the first millennium C.E. All instruments in the gamelan must play important structural or “auspicious” notes together. These “coincidences” carry important meaning in Javanese culture.

Gamelan Musical Structure The sounding of the gong agung with the kenong marks the musical instance of the greatest weight or importance. It is at this point that the gendhing (piece) may begin or end. Lesser points of coincidence also exist (listed in order of importance): Kenong stroke kethuk stroke Kempul stroke

Gamelan Texture Three layers: Structural: gong and kenong as well as kethuk/kempyang Balungan: basic melodic content Elaboration: realizes “inner melody”

Punctuating Instruments Kempul Gong Agung & Siyem Kenong

Punctuating and Time Keeping Instruments Kethuk Kempyang Kendhang (Played by the conductor of the gamelan Orchestra)

Sarons: Balungan Instruments Saron Panarus or “Peking” Saron Barung Demung

Elaborating Instruments: Melodic Leaders of the Gamelan Rebab Bonang Barung and Bonang Panarus

“Soft-Style” Elaborating Instruments Four Sulings (different tunings) Gender (three tunings) Gambang

The Drums

The Gongs

Kempul

Kenong

Kethuk

Kampyang

Demung

Saron

Peking

Gendèr

Slenthem

Bonang

Lancaran bubaran Kembang Pacar, laras pélog pathet nem Balungan Level: Sarons

Lancaran bubaran Kembang Pacar, IRAMA Level: Bonang Barung

Lancaran bubaran Kembang Pacar, IRAMA Level: Bonang Panarus