Outside
its natural home - the two historical capitals of Surakarta and Yogyakarta
- the gamelan music of Central Java is studied, taught, played, and
listened to fairly extensively. Universities, schools, cultural centres
in the United States, U.K., The Netherlands, and other Western Countries
carry out significant activities centered on the extraordinary artistic
patrimony of gamelan music, properly identified as karawitan.
Fact is that such music does not get, from the general public, an attention
and an appreciation proportionate to the attention and appreciation
it receives in the specialized, virtually secluded cultural and educational
circles.
How
often one happens to hear that music on radio and TV? How often one
reads articles on music magazines? How easily one finds recordings
on the shelves of music stores? Personal experience tells me that
karawitan is nearly non-existent in the mind of the average Western
music-lover. The word rawit
means refined, beautiful; karawitan
denotes the collection of everything having to do with that which
is refined and beautiful. How is it possible that such aesthetics
has not become an important presence in the Western categories of
refinement and beauty, at least as far as the universal language of
music is concerned? Over time, I have developed some notions about
why this is so. I should like to propose concisely such notions.
1.
The art music of Central Java is something as complex, deep, and articulated
as what we - in the Western world - call "classical music".
But language, aesthetics, sounds, types and ways of fruition are or
can be very different between karawitan
and Western classical music.
2.
In the Western world, with respect to Central Javanese gamelan music,
the musically-inclined listener may have the same (possibly greater!)
problems that a non-musically-inclined person would have with respect
to Western classical music.
3.
As with many good things, karawitan
is an acquired taste. Only exceptionally it may conquer the listener
at first listening. (A “coup de foudre” is more likely to happen with
Balinese kebyar music, or the fast spreading popular
versions of Sundanese music of West Java.) A first listening - and
even the first minutes of listening for someone who already is acquainted
with the music - may be quite negatively affected by the problems
of tuning and intonation, on the one hand, and of the sound quality
of some of the instruments used, on the other.
4.
Another pertinent issue is that of "ambient" versus "studio" recordings. The first is the type of recording that has been favoured
sofar, as the closest approximation to the natural sound of the gamelan.
The latter type of recording lacks the atmosphere so dear to those
- including myself - who have experienced the event of a klenengan (musical performance) in a Javanese pendhapa (the typical open-wall pavillion). Nontheless, the studio
recordings have a much better chance of keeping alive the interest
of a musically-minded Western listener, used to clearer, more identifiable
sounds than those provided by the resounding ambient recordings.
The
Dutch ethnomusicologist Bernard Suryabrata in his posthumous book
("The Island of Music", Balai Pustaka, 1987) includes an
early recognition of the recording dilemma. He writes (page 62):
"In recording, another question
appears. The aesthetic properties of the music lead acoustically to a reasonable blend of voices but it does not
result in a fully artistic melange.
The many parts that are added to the orchestra do not always produce
a favourable polyphony."
(In
the last sentence Suryabrata refers also to the situations where for
a klenengan as many musicians - and instruments
- as available are employed.)
5.
Quality of recording, clarity of sound, even flawless performance
appear to be not so important for a Javanese listener - he or she
is capable of recreating in his/her head the ideal performance and
the resulting all-important "feeling" (rasa)
of the music that is being played. Not so, in my opinion, for a Western
listener, especially one who is confronted with material previously
unknown. He or she will likely demand "up-front" a musical
proposal that is of good quality, clearly perceivable in all or most
of its parts, and performed with care.
Moving
from the above notions, I have derived ways to propose the musical
treasures of Central Javanese gamelan, having the objective of increasing
the number of appreciators among Western music lovers. Such ways touch
upon choice of compositions, reduction (in some cases) of the number
of instruments, attention to timbral “impasto”, clarity of sound.
Some of these choices, in particular changing the “orchestration”
of a piece, go against the aesthetic criteria laid down not long ago
by the master musicians of the Surakarta area. The illustrious Martopangrawit so states in his “Notes on Knowledge of Gamelan Music”, translated
and included in “Karawitan” edited by Judith Becker:
“It is my considered opinion that unnecessary
innovation, adding or deleting something from the tradition, is improper.”
Thus,
here we have a problem of making two ends meet - musical orthodoxy
and possible ways of winning the Western ear. In designing the content
of this CD I am venturing in the second direction
(I am a recidivist, since previously published recordings have
gone the same way). But the interaction with the experienced musicians
in preparing the performances - and the results obtained - reassure
me that we are offering the listener a
proposal with intrinsic albeit unorthodox musical value. And
I should add that the orthodoxy we are talking about may not be as
“granitic” as it could be imagined.
If
it is true - as I believe - that not all gamelan music is pleasing
to the Western ear, particularly at early stages of the listening
experience, then it is appropriate to recognize and take into consideration
the elements of relative attraction and distraction that the music
may present - this, if we want to increase the general appreciation
that that wonderful artistic world deserves. By making certain choices
we run the risk of reducing or changing the original “feeling” content
of a given piece. But this “feeling” would hardly happen in the head
of a Westerner the way it does happen in the head of a Javanese. Also,
when performing new renderings of traditional pieces - which could
amount to a rékréasi - the musicians may very well
maintain or re-create a
“feeling” in the music through their garap,
the intelligent and “with-it” use of their abilities. Martopangrawit says (same source as above):
“Those who take pleasure in creating
new gendhing or in rearranging
old ones should remember not
to be careless.”
The
“feeling” aspect leads to a necessary observation concerning the present
CD.
The
six principal pathet are
the main vehicles for expressing (on the part of the performer) and creating (in the listener) the rasa or “feeling” of the music. In this
sense the word pathet has
often been translated as “mood”. By making changes in the original
instrumentation we have somehow modified the original “feeling” content
of some pieces. This is why we use the term “mode” for pathet,
pointing more to the musical form value of the word, rather than to
the capacity to raise emotions, which is the predominant value for
the Javanese.
The
pathet as “mode” can be defined as the
prevalent use of certain notes within each of the two Javanese scales
- the five-tone scale called slendro
and the seven-tone scale called pelog. Neil Sorrell, in his “A Guide to the Gamelan”
(A Society for Asian Music edition) calls the pathet “a kind of melodic tonality”.
Pathet means restraint,
or limit. There are three pathet
in laras (scale) slendro: pathet nem, pathet
sanga, pathet manyura; and
three in laras pelog: pathet lima, pathet nem, pathet
barang. To keep things
very simple and more comprehensible to a Western
reader, we could refer to a scheme looking as follows, where
the numbers indicate the notes in the two scales - 1, 2, 3, 5, 6 for
slendro and 1, 2, 3, 4, 5, 6, 7 for pelog. Same numbers in the two scale do not mean same note (pitch).
Basic tone Weakest
(“forbidden”) tone
Slendro nem 2 --
Slendro sanga 5 3
Slendro manyura 6 5
Pelog lima 5,1 7
Pelog nem 5,6,2 7
Pelog barang 6,2 1
The
situation in laras pelog
is more fluid than the one in laras
slendro. Also, the pelog
scale brings an additional element of complexity with the note 4.
This note has a special role as it introduces an element of general
tonal modulation. According to my subjective perception, when note
4 comes in, the music seems to shift from a major to a minor key,
in Western musical terms.
And
to conclude about pathet,
I would again quote Neil Sorrell:
“.....The glimpse of what pathet seems to be about ..... would be
obscured in the quest
to establish what it actually is.”
The
six instrumental pieces included in the present CD are divided into
three timbral groups; all pathet are represented, and each group plays in each of the two laras. The timbral groups are characterized
as follows. The first blends the pleasing sonorities of the gender barung and gender panerus,
the rhythmic wooden voice of the gambang,
and the inventive phrases of the bamboo flute (suling), against the background of the punctuating instruments. The
second group works around the expressive melodies of the bowed string
instrument (rebab) and the
accompaniment of the plucked siter.
The third group polarizes around the complete gong-chime (bonang) family. The concept underlying these choices is that the Western
listener might find the music so presented more “transparent”, easier
to follow in the ways of the classical Western music. The diligently
curious listener might decide to compare these with other performances
of the same pieces in recordings available in the market.
If
this unorthodox though propaedeutically meant approach might be disagreeable
to some, it is encouraging for this writer to find that some Javanese
musicians are in favour of a certain relaxation of the rigid aesthetic
rules of the traditionalists - the relaxation is envisaged through
the fundamental role of the musicians’ interpretative skills or garap.
Rahayu Supanggah, one of the presently outstanding Javanese musicians,
so concluded his Doctoral Dissertation at the University of Paris
in 1985:
“Le garap est en effet un des éléments les plus importants de la musique javanaise, si n’est
pas le plus important. A vrai dire, les gendhing ne sont en effet qu’un véhicule
et un terrain du garap.
C’est aux musiciens par la suite que la liberté très souple du garap et variant d’un musicien à l’autre pourrait se produire. Nous avons déjà dit que la qualité du résultat obtenu d’une
représentation musicale est spécialement déterminé par le garap. (.....) En raison du
changement et de la souplesse du garap favorisés par les nouvelles compositions,
la musique traditionelle
javanaise doit suivre le cours du temps. Ainsi, on souhaiterait que le garap puisse satisfaire les besoins liés
aux diverses circonstances.
Car ce qui est certain c’est que le garap
fait partie, directement ou indirectement, de la survie de la musique de gamelan
dans l’avenir.”
Together
with the instrumental pieces articulated in the six pathet, this CD includes two pieces presenting the female voice in
two quite different formal and emotional contexts. In one case the
female voice takes up the role of the dhalang,
the usually male master of wayang
kulit (shadow-puppet theatre). In the other we have the quintessence
of sindhenan, the female singing that, as
the ancient origin of the word indicates, “touches the heart”.
For
the sake of total transparency of what is being presented in this
CD, the point of view of karawitan
orthodoxy is provided in the critical review by Joko Purwanto, a musician
and teacher at STSI Surakarta.
A
Critical Review
by Joko Purwanto
Born
in Surakarta in 1957, Joko Purwanto began studying gamelan at an early
age. He gained his formal gamelan education at ASKI (now STSI) Surakarta,
and later earned his M.A. from the University of York in England.
Between 1985 and 1990, he taught gamelan at various universities and
community groups throughout the UK. He also taught gamelan at Simon
Fraser University in Vancouver, Canada and more recently at the University
of Oregon (2002-2003). Since returning to Indonesia, he has continued
with his job as a teacher in the Karawitan Department at STSI Surakarta,
where he has taught since 1980.
Modes
and Timbres is the theme presented in this CD.
According to tradition, in Javanese klenengan
(musical performance), a karawitan
performance is usually arranged according to pathet, or mode. A performance
in the slendro tuning system
would begin with pathet nem,
followed by pathet sanga,
and finishing with pathet manyura. In the pelog
tuning system, the order of a performance would be pathet lima, pathet nem, and pathet barang. In a performance using all six pathet in both tuning systems, pelog pathet lima would correspond to slendro pathet nem, pelog pathet nem would correspond to slendro pathet sanga, and pelog
pathet barang would correspond to
slendro pathet manyura. Each
pathet uses different notes and has its
own unique character, feeling, and musical vocabulary.
Although
the order is not as in a live performance, this CD contains pieces
in every pathet used in a performance of Surakarta
style Javanese karawitan. This recording also presents examples of various
different timbres found in Javanese karawitan. For this reason, the pieces (gendhing) performed on this CD are not
played by all the instruments found in a complete gamelan ensemble,
which would normally also include a male chorus (gerong)
as well as a solo female vocalist (sinden). The idea behind this CD was to present clear
examples of different timbres, by using groups of instruments with
a similar character to perform and elaborate pieces in different pathet. Although the recording
provides clear examples of different timbres, the true pathet of each piece is not always expressed
to the full. Each piece has
its own character and musical elements, such as timbre, tempo, rhythm,
and tuning, all of which make up the true feeling of the pathet of the piece within the karawitan
culture. By intentionally having
only certain instruments, the listener is required to pay close attention
to the detail in the pieces on this CD.
On the other hand, this kind of recording is able to stimulate
the imagination of the listener to a more serious and intense appreciation,
which in turn will create a complete musical performance in the mind
of the listener.
In
the Javanese karawitan repertoire,
there are two pieces with the same name and same form, namely Ketawang
Langen Gita slendro sanga and Ketawang Langen Gita Srinarendra pelog
barang. What distinguishes the two Ketawang Langen Gita
is not only the different tuning systems but also the different texts
used for the gerongan, or
male chorus. Langen Gita slendro
sanga was composed during the reign of Mangkunegara IV and uses a
special text of around 20 verses, while Ketawang Langen Gita Srinarendra
is taken from the accompaniment to the Anglir Mendung Srimpi dance,
with a text of 12 verses. If we compare the skeleton melodies (balungan) of these two pieces, we find
also differences, although the melodic lines are related.
Langen Gita Srinarendra pelog barang (the title means
“Song for the King”) is a popular piece among gamelan musicians and
listeners. On this CD it is
not performed in its usual way, since it is played on the gender barung, gender penerus, gambang, and suling (elaborating
instruments), the kendhang,
kempul, and gong as punctuating instruments, and the
saron barung as balungan instrument. In its traditional
version, the gendhing should be played on the complete gamelan, which,
in addition to the above instruments, comprises rebab, bonang barung, bonang penerus, slenthem, demung, saron penerus,
kenong, kethuk kempyang, siter, as well as sindhen and gerong. This is in connection with the main theme of
this CD, Modes and Timbres, in which the producer aims at separating
the instruments into different timbral groupings.
Although this recording uses one balungan
instrument, the saron barung,
the absence of the slenthem,
which plays the most easily identifiable abstraction of the gendhing, and of the vocal parts (gerong and sindhen) make
it somewhat difficult for some listeners to follow the piece. The melodic line of the gerongan, as well as the text used, are necessary for a complete aesthetical
appreciation of smaller scale pieces such as the ketawang.
This
CD is very useful to students of sindhen
or gerongan because the
absence of a vocal part enables the student to practise his/her singing
along with the instrumental version here recorded.
Another unique feature of this CD is the fact that the gender barung player is a female musician,
Ibu Pringgo Hadiwiyono, who has many years of experience in the field
of karawitan and wayang, both as a musician and sindhen.
She began performing at a very early age.
Her experience and wealth of musical vocabulary, in particular
for the gender barung instrument, on which she
shows a highly individual style of interpretation, can add a new dimension
for students studying the musical patterns for the gender barung. The other players
on this recording are all experienced musicians and teachers in the
karawitan department at STSI Surakarta.
Worthy
of note in this performance of Langen Gita Srinarendra, as well as
in the performance of Puspowarna, is the interesting musical elaboration
(garap) of the suling (bamboo flute), which is the only wind instrument in a Javanese
gamelan ensemble. This is an embellishing instrument, both in metered
and non-metered pieces (pathetan).
There are no standardised patterns (cengkok
or wiledan) for this instrument;
it is up to the individual musician to interpret a piece, depending
largely on his experience and ability. The suling
player is free to decide when to start playing and when to end, but
,despite this freedom, this instrument is not present throughout an
entire piece. A good suling
player usually interacts with the vocal part sung by the sindhen
as they complement one another, often playing at the same time.
A suling player looks towards certain important
points in the piece but does not necessarily arrive at these points
melodically at the same time as the balungan
instruments. On this recording, the suling
player performs an excellent interpretation, and his ornamentations
fit perfectly with the other instruments. The clarity of the suling part on this CD is very useful for the first-time listener
in providing an attactive example of the instrument.
The
second piece on this CD is Gendhing Ketawang Subakastawa
slendro sanga, the title meaning “Highly Respected”. It is played
on rebab, siter, slenthem, kendhang, kenong, kempul,
and gong, while in its
traditional version it should be played on the full gamelan. The prominent
sound of the rebab and siter is intended to show another timbral
mix found in Surakarta style Javanese gamelan. A Javanese gamelan ensemble has many different
timbres, one of which is produced by the string instruments, of which
there are unfortunately only two, the rebab,
which is bowed, and the siter,
which is plucked, and hence the two instruments have a completely
different character. This is
an attempt by the producer to show more clearly how these two instruments
play according to their individual roles in a piece.
However, this version does not manage to create a true reflection
of the pathet or feeling of Ketawang Subakastawa,
since the feeling of a piece is developed by all the instruments of
a gamelan ensemble, including the vocalists, with their complex musical
vocabulary.
Subakastawa
is a popular piece in the Javanese gamelan community, and although
there are many versions of the piece in the different tuning systems,
they remain close to the original version of the gendhing. The version on this CD allows the first-time
listener or beginner in gamelan to hear clearly the musical patterns
played by the rebab and
siter in pure pathet sanga.
Ladrang
Golong (“United”) pelog lima is
a piece in Yogyakarta style. In
this piece, the prominent instruments are the bonang
barung and bonang penerus,
which are accompanied by the demung,
which plays the balungan
(skeleton) melody to show more clearly the relationship between this
melody and the playing technique of the bonang. The kendhang,
kenong japan, kempul, and gong
are included as punctuating instruments. In its traditional version
this piece should be played on a gamelan
soran, which in addition to the instruments already mentioned
includes slenthem, saron barung, saron penerus, and
kethuk kempyang. The difference
between Surakarta style and Yogya style is not only in the musical
repertoire but also in the musical interpretation or vocabulary of
the bonang family, as well as in the kendhang patterns and the use of kenong japan. The latter is a single kenong, tuned to a low 5, and it marks
the kenong beat without
following the melodic line of the piece.
This piece is known as a soran
(loud style) gendhing, in typical Yogya style; the
kenong japan plays an important part in
creating the strong aesthetical feel of the piece. The word japan here means large, in terms of size
and tuning (low).
The
fourth track on this CD presents examples of pathetan, namely pathetan wantah, pathetan jugag, and ada-ada greget saut srambahan, all of which
are in the slendro sanga mode. In
a performance of pathetan
or ada-ada, there is usually a leader to follow.
In a wayang or shadow puppet performance, the leader is the dhalang or puppeteer, who sings musical
phrases known as suluk. In a klenengan
performance, the rebab is
usually the "leader". What
makes the pathetan and ada-ada on this CD special is that the vocal part (sulukan) is sung by the gender barung player, Ibu Pringgo Hadiwiyono.
I have already mentioned Ibu Pringgo's skills as a sindhen
and musician. Her experience
as a gender barung player, having accompanied many performances of wayang by different dhalang, has made her a highly skilled gender player. She can easily
play the gender while singing
the sulukan or sindhenan.
Pathetan
slendro sanga wantah is usually played to mark the transition in a
performance from slendro nem to slendro sanga.
It can also be performed at the end of a piece in the same
pathet, of course taking into consideration the feeling, character,
and musical line of the piece. This
is also the case for pathetan slendro sanga jugag, since this is a
short version of pathetan wantah.
Ada-ada greget saut srambahan slendro sanga is more commonly
used in wayang performances,
often to create an atmosphere of tension, anger, agility, enthusiasm,
or masculinity.
The
pathetan on this CD show clearly the relationship
between the vocal part and the part played on the gender barung, showing when to transition
to a different elaborating pattern, when to lengthen or shorten a
phrase, according to the length of the vocal phrase. Hence, this recording is ideal for students
of pathetan or ada-ada. It is interesting
to note the unique patterns played on the gender
by Ibu Pringgo Hadiwiyono. Such patterns are clear and precise in
matching the melodic line of the vocal part.
Macapat
Asmaradana, meaning “Fire of Love”,
slendro miring is an example of the musical form of macapat,
a Javanese form of sung poetry. There
are eleven kinds of macapat
that still exist, one of which is Asmaradana.
The texts of macapat
contain elements of education, information, history, and so on. Macapat
may be sung in either slendro or pelog, and on this recording the
two verses of Asmaradana are in the slendro miring
tuning. In miring tuning, the pitch of certain notes is raised by a semitone
so that the overall scale is similar to pelog.
For example, in slendro pathet sanga, the pitches raised are
notes 2 and 5, as heard on this CD.
This tuning is often used by the sindhen
or rebab player in a performance of klenengan to create different atmospheres
or feelings, such as sorrow, empathy, pain, confusion, or pity.
The
two verses of Asmaradana sung on this recording tell an episode of
the Panji legend from wayang
gedog (a more recent form of wayang). The story here tells of a battle between the
two central characters in the Panji story, Damarwulan and Minakjingga. In this battle, Damarwulan is almost defeated
and killed by Minakjingga, and in this tiring and hopeless situation,
he asks of his beloved wife, Anjasmara, that she give her permission
for him to die. He also begs
Minakjingga to put an end to his suffering by killing him.
One way in which the sad nature of this story can touch the
heart of the listener is by using the alternative tuning of slendro
miring.
Like
Ketawang Langen Gita, Ketawang Puspowarna
(which means "A Variety of Flowers") was also composed during
the reign of Mangkunegara IV. In
this version, it is played by gender barung, gender penerus, gambang, suling,
saron barung, kendhang, kempul, and gong. In its traditional version it should be played on a full gamelan.
The listener may encounter a few problems due to the absence of the
slenthem, a stronger balungan instrument, as the instruments used are virtually all elaborating
instruments. These, in performance, usually refer to the balungan, normally played on the slenthem (on the saron in this recording) in a small (gadhon) ensemble. An experienced musician will hear a complete rendition
of the piece, even with the absence of certain instruments.
This
musical interpretation of Puspowarna is pure pathet manyura and is
therefore a good reference for the interpretation of similar pieces
in the same mode. Once again, vocal students can use this version
of Puspowarna to practise their skills.
Ladrang
Rajamanggala (“The King is a Leader”)
pelog nem is played on rebab,
siter, slenthem, kendhang, kethuk kempyang, kenong, kempul, and
gong. Traditionally it is played
on a full gamelan or soran
gamelan. As mentioned at the beginning, a piece in pelog pathet
nem corresponds to a piece in slendro pathet sanga (such as Ketawang
Subakastawa). The producer
decided to present the two modes using the same instruments so that
the listener could compare the musical patterns played by the rebab
and siter in slendro pathet
sanga and pelog pathet nem. Once
again, the timbre produced by these instruments is very distinct but,
in terms of mood or feeling, these two instruments are not able to
create the true character of the piece. Nevertheless, the listener
is treated to a skilled, clear performance of rebab
and siter elaboration in pelog pathet nem, providing a positive stimulation
of the imagination to develop a more complete and complex aesthetical
appreciation.
Ladrang
Sobrang slendro pathet nem (the
title referring to an earring covered with a thin layer of gold) is
performed by the bonang barung, bonang penerus, demung, kendhang,
kenong, kempul, and gong.
In the Javanese musical repertoire, this piece can be performed in
soran style (without the elaborating instruments)
or with the full musical ensemble.
On this recording, the bonang
barung and bonang penerus
are intentionally highlighted in order to make a comparison with
the ensemble used for the piece whose mode corresponds to slendro
pathet nem – Ladrang Golong pelog pathet lima.
Ladrang Golong was played in Yogya style and, to provide a
balance, Ladrang Sobrang is performed in Surakarta style.
Once again, the listener is invited to observe the different
treatment of the bonang instruments in these two pieces,
each with its own style.
The
overall result of this recording is very good, both in terms of sound
quality and individual performance technique.
It is important for the listener to remember that what can
be heard on this CD was designed to meet the specific criteria to
suit the theme proposed. In this context, the resulting product is something
that has no comparison in recorded performances of Javanese gamelan
music.
Pendhapa
Gamelan of STSI Surakarta
Musicians
of STSI Surakarta: Bambang Sosrodoro, Darsono, Djoko Santosa, Hadi
Boediono, I Ketut Saba, I Nyoman Sukerna, Kuwat, Rusdyantoro,
Rustopo, Sarno, Slamet Riyadi, Sugimin, Sukamso, Supardi, Suraji, Waridi
Musical
Coordination: Joko Purwanto
Musical
Design: John Noise Manis
Date
of recording: July 23, 2003
YANTRA PRODUCTIONS