An introduction to Javanese gamelan music
could start with a question: why isn’t this rich and fascinating sound
culture more known and appreciated among music lovers?
I have a long answer to the question. Let me give you the brief one.
Javanese gamelan music is definitely different, and the first-time listener
does not get the chance to hear the music that may best “connect” with
his/her culture and taste. Choice of pieces, quality of performance,
clarity of recording - these crucial factors have not been properly
taken into account in past productions of Javanese music. Sofar there
has been a sort of ethnomusicological approach: proposing performances
as if they were ethnological documentation.
We feel that gamelan is not an ethnic curiosity or study subject, but
a beautiful part of the universal language of music. While presenting
the best expressions of that world, we trust and hope that our choices
will appeal to the taste of the broadest range of first-time listeners.
Gamelan music exists mainly in the large highly-populated island of Java
and in the neighbouring smaller island of Bali. These are parts of
Indonesia, which comprises thousands of islands and hundreds of ethnic
groups. In Java and Bali music is not a pastime or a merely entertaining
activity; it is an essential part of life and has an important role
in the great existential events. It also has a spiritual and an emotional
dimension that has no comparison in the West.
We should distinguish at least three broad styles of gamelan music: Bali,
Central Java, and Western Java (or Sunda). Such classification does
not exhaust the range of further differentiations within those regions.
Here we shall deal with the music of Central Java.
The musical culture of Central Java is vast and articulated. Its most
refined expression is found in the tradition and style of the royal
courts (kraton) of Surakarta and Yogyakarta, and
in the smaller courts of Mangkunegaran (in Surakarta) and Paku Alaman
(in Yogyakarta). Gamelan music serves many purposes and can be heard
in various circumstances: religious ceremonies (sekaten),
social ceremonies (marriages, circumcisions, etc.), the shadow puppet
theatre (wayang kulit), concerts (klenengan), dances. Many of these activities
have maintained a sacred character. For a foreign visitor, even if
actively motivated, it may not be easy to have interesting musical
experiences.
The word gamelan (probably from
gamel, mallet) designates the ensemble of instruments
played. The number of instruments may vary, according to the type
of pieces being played. A regular piece may have up to twenty musicians
playing, but the number of instruments in a full gamelan will be almost
twice that number, as each instrument doubles in each of the two scales
that compositions may employ - the pelog
scale, with seven notes in the octave, and the slendro
scale, with five.
Important characteristics of the Central Javanese tuning system are:
- the intervals within
the octave are not equal, especially in pelog;
- each gamelan has its
own tuning (intervals), so that a given instrument cannot “migrate”
from one gamelan to another; also, a given piece will sound somewhat
different when played on two different gamelans;
- the notes in the two
scales do not correspond (unless by chance) to notes in the Western
12-tone tempered scale;
- in Javanese gamelan
music the consonance among parallel melodic lines is conceived “horizontally”
and with more or less intentional time-lags, unlike Western music
where consonance is sought “vertically” (chords).
These characteristics explain many of the difficulties in the appreciation
of Javanese music by the Western ear. A further problem may be the
“liberal” approach of the Javanese to tuning in general - in a given
performance this may produce some amount of out-of-tuness because
of the variable-pitch instruments (voice, rebab); this will be negatively perceived by the
Western listener, usually conditioned by a rigid tuning framework.
The listener that is already under the spell of the finer type of gamelan
music does not need any encouragement. To the listener that approaches
this music for the first time, we might suggest to forget both Beethoven
and the pop stars just before and during the listening of this CD,
to open mind and heart to different and unknown perceptions, and to
give the music more than just one chance.
Outline of tracks (in brackets year of recording)
1 2:56
Srepegan slendro nem (2004)
A short lively piece from the wayang kulit and dance repertoire. Musicians
and gamelan
of STSI (Conservatory) Surakarta.
2 5:09
Gendhing kemanak Anglirmendung
pelog barang (1998)
A sacred melody with an unusual accompaniment, featuring the ancient instrument
called kemanak. The piece is
connected with the Bedaya dances of Kraton Surakarta.
We hear the fresh voice of Bu Umi Hartono with a small group of musicians
led by
Pak Hartono. The text is in praise of the ancient rulers of Surakarta.
A gentle cricket
participated in the recording.
3 9:21
Ladrang Gadhung Mlati
slendro sanga (1999)
A piece rarely performed, probably because of its legendary connotations
and magical
powers. It is played here by a gamelan gadhon (reduced). A group of Javanese musicians
playing the Montebello Gamelan, which is housed in its own pendhapa (pavillion) on a
hillside in Northern Italy. A uniquely varied and refined performance.
4 2:21
Bedaya Dances at Kraton Surakarta (1995)
In the Kraton Kasunanan, this trance-like music accompanies (for well
over an hour)
the sacred dances, which have mythical origins and outstanding visual
appeal. This
is a glimpse for the ear.
5 2:35
Gendhing Munggang (2000)
The most ancient music of Java - the three-note melody called Munggang
- is played
on one of the sacred gamelans of the Kraton of Surakarta. The occasion
is a procession
during the Sekaten religious festivities.
6 9:00
Gendhing Mandulpati
slendro nem (2004)
A beautiful classical gendhing featuring the gamelan Manis Rengga of Kraton
Kasunanan.
A rare encounter of the Conservatory musicians with the Kraton gamelan
and ambient.
The pesindhen (female vocalist)
is Nyi Cendaniraras, one of the
nicest - and “western-ear-friendly” - voices in Central Java.
7 3:18 Gendhing Carabalen (Ladrang Bali Balen and gangsaran) (2004)
Another ceremonial gendhing, belonging to the same genre as Munggang and
Kodok
Ngorek. It is played here on the proper low pitched instruments in the
Surakarta
Kraton.
8 9:01 Sekaten Gendhing (2001)
Sekaten is a week-long religious festivity celebrating the birth and death
of the Prophet Mohammed. A special ensemble of instruments plays a
particular style of music almost continuously during each day of that
week. The performances, both in Surakarta and in Yogyakarta, take
place among the people crowding the courtyard of the Great Mosque.
It is a great experience - not only musically. Here we hear one of the
pieces of the
Sekaten repertoire played by the special gamelan Guntur Madu (Honeyed
Thunder) of
Kraton Surakarta.
9 1:07
Goa Tabuhan - Stone gamelan (2001)
Music played on stalactites and stalagmites in a sonorous cave in Pacitan,
between
Surakarta and Yogyakarta.
10 2:11
Sampak slendro nem (2004)
Another lively piece from the wayang and dance repertoire.
11 4:07
Gendhing Kodok Ngorek
(1999)
The third - with Munggang and Carabalen - of the ancient ceremonial pieces.
These
pieces are used on many occasions, both formal and informal ones. This
performance
of Kodok Ngorek took place at Montebello. During the performance, a Western
vocalist
- Laura Conti - joined the Javanese musicians with a light and congenial
improvisation.
12 14:27
Lebaran (1989)
A modern composition by Joko Purwanto, a Javanese musician, Faculty member
of STSI Surakarta, with wide international teaching experience. Here is
the Author’s
presentation of his music.
This composition was
first performed at York University, England, in 1989. The idea was influenced by various social events that
take place in the island of Java and are impressed in my memory (births, circumcisions, weddings, funerals)
and in particular by an annual event - very important for the Muslim
community - which is known as Lebaran. Lebaran means finished or completed,
referring to the end of the fasting month. At the end of this month
there are lively celebrations where people ask for and offer forgiveness
to parents, family members, friends, and neighbours. The sense of
joy is strongly felt among all age groups. It is this joyful and celebrative
atmosphere that inspired the music for this composition.
Lebaran uses instruments
from the two tuning systems of the Javanese gamelan - slendro and
pelog - a violin and several other experimental objects and materials.
I transformed my ideas into music using short patterns played by different groups of instruments. The different patterns use a variety
of dynamics, rhythms, and tempos, flowing smoothly from one section
to the other. The musicians on this recording are music students from
York University and members of the York gamelan group, directed by
Dr. Neil Sorrell.
Musical Design, Notes, and Photographs:
John Noise Manis
YANTRA PRODUCTIONS