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Javanese music

 
 
Columbia Encyclopedia: Javanese music
Javanese music, one of the richest and most distinctive of Asian musical cultures. It was and is of enormous importance in religious, political, and entertainment functions. It possesses two separate tonal systems-pélog and sléndro or salendro. Pélog contains seven tones, only five of which are used in a given composition. The intervals of pélog are unequal, and the smaller ones approximate the semitone of Western music. Sléndro is a division of the octave into five roughly equal intervals. It was believed by the Javanese to be the older system, but contemporary musicologists find evidence that sléndro was derived from pélog. Sléndro is associated with that which is masculine, and pélog with that which is feminine. The Javanese gamelan, an orchestra of tuned percussion instruments, primarily of bronze, usually accompanies a performance, particularly the Wayang Kulit (shadow puppet plays). It flourishes today in Bali, where it was introduced in the 15th cent. by Hindus escaping from the Muslim invasion of Java. Balinese gamelan is distinct from Javanese in that it is played much faster and is brighter tonally. The term gamelan includes percussion orchestras of varying function, style, size, and composition. The set of instruments known collectively as gamelan increases in value with age and with the concomitant stabilization of its individual sound. Gamelan instruments include gongs, drums, xylophones (gambang kayu), bamboo flutes (suling), and string instruments (rebab). A complete double set, or sapangkon, half tuned to pélog and half to sléndro, may number as many as 80 separate instruments. They are played two ways: according to a subtle, flowing, quiet manner associated with singing and gentle dancing, and according to a powerful, louder manner associated with heroic dance. A fixed melody is the basis for complex vocal and instrumental improvisation. The archaic gamelan, no longer heard widely in Java, is best studied in Balinese music.

Bibliography

See J. Kunst, Music in Java (2 vol., 1949); D. A. Lentz, The Gamelan Music of Java and Bali (1965); S. Walton, Mode in Javanese Music (1986).


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Wikipedia: Music of Indonesia
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Music of Indonesia
Traditional indonesian instruments04.jpg
Gongs from Java
Timeline • Samples
Genres
Classical • Kecak Kecapi suling Tembang sunda Pop • Dangdut Hip hop Kroncong Gambang kromong • Gambus Jaipongan Langgam jawa Pop Batak • Pop Minang • Pop Sunda Qasidah modern Rock Tapanuli ogong • Tembang jawa
Traditional Forms
Gamelan Angklung Beleganjur Degung Gambang Gong gede Gong kebyar Jegog Joged bumbung Salendro Selunding Semar pegulingan
Regional Music
Bali Borneo • Java Moluccan Islands • Papua • Sulawesi • Sumatra Sunda

The music of Indonesia demonstrates its cultural diversity, every one of the 17,508 islands having its own cultural and artistic history and character[1]. This results in hundreds of different forms of music, which often accompanies dance and theater. The musics of Java, Sumatra, Bali, Flores and other islands have been documented and recorded, and research by Indonesian and international scholars is ongoing.

Contents

Tembang sunda

Tembang sunda, also called seni mamaos cianjuran, or just cianjuran, is a form of sung poetry which arose in the colonial-era kabupaten of Cianjur. It was first known as an aristocratic art; one cianjuran composer was R.A.A. Kusumahningrat (Dalem Pancaniti), ruler of Cianjur (1834 - 1862). The instruments of Cianjuran are kacapi Indung, kacapi rincik and suling or bamboo flute, and rebab for salendro compositions. The lyrics are typically sung in free verse, but a more modern version, panambih, is metrical. it is usually drums

Kecapi suling

Kecapi suling is a type of instrumental music that is highly improvisational and popular in parts of Java. It is related to tembang sunda.

Gamelan

The most popular and famous form of Indonesian music is gamelan, an ensemble of tuned percussion instruments that include metallophone drums, gongs and spike fiddles along with bamboo flutes. Similar ensembles are prevalent throughout Indonesia and Malaysia, but gamelan is from Java, Bali, India and Lombok. There are rivalries between different regions' variations of gamelan, especially Java and Bali.

Metallophone
Gongs
Player

Central Java

Gamelan is intricate and meticulously laid out. The central melody is played on a metallophone in the center of the orchestra, while the front elaboration and ornamentation on the melody, and, at the back, the gongs slowly punctuate the music. There are two tuning systems. Each Gamelan is tuned to itself, and the intervals between notes on the scale vary between ensembles.

The metallophones cover four octaves, and include types like the slenthem, demung, saron panerus and balungan. The soul of the gamelan is believed to reside in the large gong, or gong ageng. Other gongs are tuned to each note of the scale and include ketuk, kenong and kempul. The front section of the orchestra is diverse, and includes rebab, suling, siter, bonang and gambang. Male choruses (gerong) and female (pesindhen) solo vocalists are common.


History

Gamelan is rooted in Hinduism and Buddhism, though the island of Java is almost entirely Muslim today. Islam arrived in the 15th century, filtered through Hindustani Indians. With the arrival of the Dutch colonizers, a number system called kepatihan was developed to record the music. Music and dance at the time was divided into several styles based on the main courts in the area -- Surakarta, Yogyakarta, Pakualaman and Mangkunagaran. It is a universal acknowledgment that gamelans are highly honoured citizens.

West Java

West Java, or Sunda, has a diverse brand of gamelan. Gamelan Degung, gamelan salendro and tembang sunda are three primary types.

Gamelan slendro

Gamelan Salendro is used primarily to accompany classical or more modern social dances, and is considered a low-class form. The 20th century saw a rise in the popularity and importance of female singers

East Java

Gamelan from eastern Java is less well-known than central or western parts of the island. Perhaps most distinctive of the area is the extremely large gamyak drum.

Osinger

The Osinger minority in Java are known for social music for weddings and other celebrations, called gandrung, as well as angklung, played by young amateur boylets , which is very similar to Balinese gamelan.

Pop and folk music

Indonesian pop and folk is quite diverse, embracing rock, house, Indonesian hip hop and other genres, as well as distinctly Indonesian forms. There are several kinds of "ethnic" pop music, generally grouped together as Pop Daerah (regional pop). These include Pop Sunda, Pop Minang, Pop Batak, and others. The regional pop musics mostly use local languages and a mix of western and regional style music and instruments. Indonesian Pop music is extremely popular in neighbouring countries, especially Malaysia.

Kroncong

Kroncong (alternative spelling: Keroncong) has been evolving since the arrival of the Portuguese, who brought with them European instruments. By the early 1900s, it was considered a low-class urban music. This changed in the 1930s, when the rising Indonesian film industry began incorporating kroncong, and then even more so in the mid- to late 1940s, when it became associated with the struggle for independence.

Perhaps the most famous song in the kroncong style is Bengawan Solo, written in 1940 by Gesang Martohartono, a Solonese musician. Written during the Japanese Imperial Army occupation of the island in World War II, the song (about the Bengawan Solo River, Java's longest and most important river) became widely popular among the Javanese, and then later nationally when recordings were broadcast over the local radio stations. The song also became quite popular with the Japanese soldiers, and when they returned to Japan at the end of the war re-recordings of it (by Japanese artists) became best-sellers. Over the years it has been re-released many times by notable artists, mainly within Asia but also beyond, and in some places it is seen as typifying Indonesian music.

Gesang himself remains the most renowned exponent of the style, which although it is seen now as a somewhat starchy and "dated" form is still popular among large segments of the population, particularly the older generation.

Langgam jawa

There is a style of kroncong native to Surakarta (Solo) called langgam jawa, which fuses kroncong with the gamelan seven-note scale.

Tembang jawa

Similar in style is tembang jawa. Perhaps its greatest current star is Didi Kempot.

Gambang kromong

Early in the 20th century, kroncong was used in a type of theater called komedi stanbul; adapted for this purpose, the music was called gambang kromong.

Dangdut

Dangdut is a form of dance music that has been popular since the mid-1970s. Dangdut is based around the singers, and stars include Rhoma Irama and Elvy Sukaesih (the log and Queen of Dangdut), along with Inul Daratista, Evie Tamala, Mansyur S., A. Rafiq, and Fahmy Shahab. It is also popular in Malaysia as the symbol of Malay race (not Malay ethnic).

Jaipongan

Jaipongan is a very complex rhythmic dance music from the Sundanese people of western Java. The rhythm is liable to change seemingly randomly, making dancing difficult for most listeners. Its instruments are entirely Sundanese, completely without imported instruments from the West, China, Japan or elsewhere. It was invented by artists like Gugum Gumbira after Sukarno prohibited rock and roll and other western genres.

Qasidah modern

Qasidah is an ancient Arabic word for religious poetry accompanied by chanting and percussion. Qasidah modern adapts this for pop audiences.

Gambus

Gambus literally means oud, referring to a type of lute. It is used to denote a type of orchestra and the music it plays, believed to be introduced by Muslim settlers from Yemen. Though popular among Arabs in Indonesia, it has gained little popularity elsewhere.

Tapanuli ogong

From Tapanuli, tapanuli ogong is a form of dance music played with a type of lute, trumpet and flute.

Indonesian Music Legends

From Gesang, Koes Bersaudara/Koes Plus (Indonesian #1 Legend), Dara Puspita, Alfian, Titiek Puspa, Guruh Gypsi, Gombloh and Lemontrees, Bing Slamet, Benyamin S, Godbless, Chrisye, DARSO (Calung X), Harry Roesli (50's-70's) till Fariz RM, Iwan Fals,and many more.

See also

References

  • Bass, Colin. "No Risk -- No Fun!"". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific, pp 131-142. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0
  • Heaton, Jenny and Steptoe, Simon. "A Storm of Bronze". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific, pp 117-130. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0

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