SACRILEGIOUS ASPECT OF JAVANESE GAMELAN: PAST AND FUTURE
Henry Susanto Pranoto Satya Wacana Christian University, Jl. Diponegoro 52-60, Salatiga, Indonesia E-mail: [email protected]
Abstract
This article aims to discuss sacrilegious aspect of Javanese Gamelan in the past and what will happen in the future if it is mistreated. The most important, this article will observe the religious aspect that Gamelan has as its main function. It also explores a background history of Indonesia as a religious nation, an explanation on Gamelan music structures, and its influence toward the Western composers such as Claude Debussy and Lou Harrison in composing their musical works that are emphasizing the sacrilegious aspect of Gamelan. It gives some detail studies on their musical works that are influenced byGamelan music in which those composers still gave a highly and rightful respect in their approach toward Gamelan music. Lastly, this article also explores the electronic Gamelan Music and its effects toward tradition. Meanwhile, it is necessary to preserve the religious aspect of Gamelan because it will define Indonesian as religious culture.
Aspek Kesakralan Gamelan Jawa: Dahulu dan Sekarang
Abstrak
Tujuan penulisan artikel ini adalah untuk melihat kesakralan aspek dari Gamelan Jawa di masa lampau dan melihat kepada masa yang akan datang sehingga bisa dilihat apakah ada unsur kesakralan yang telah diselewengkan ataupun pudar. Hal yang terpenting di dalam ulasan artikel ini adalah pengamatan tentang unsur religi yang Gamelan miliki sebagai fungsi yang terutama. Artikel ini juga akan menjelaskan tentang sejarah Indonesia seba- gai negara yang berbasis agama sejak awal mula berdirinya sampai saat ini, menjelaskan tentang struktur musik dari Gamelan, dan pengaruh Gamelan bagi komposer musik barat seperti Claude Debussy dan Lou Harrison dalam mengkomposisi musik mereka di mana mereka masih memperhatikan unsur dan fungsi kesakralan dari Gamelan. Analisa ten- tang komposisi musik mereka juga akan diulas di sini sehingga kita bisa melihat bagaimana komposer-komposer ini masih memberikan apresiasi dan respek yang benar dalam penyajian musik mereka yang terinspirasi oleh Gamelan musik. Pada akhirnya, artikel ini juga akan menjelaskan mengenai Gamelan elektronik yang sedang berkembang saat ini dan efeknya terhadap tradisi budaya Indonesia. Selanjutnya, sangatlah perlu bagi masyarakat Indonesia untuk mempertahankan unsur kesakralan dari Gamelen karena akan dapat mengidentifikasi- kan Indonesia sebagai suatu budaya yang beragama.
Keywords: sacrilegious aspect, Javanese Gamelan, Lou Harrison, Claude Debussy, Gamelan Sekati, Gamelan Kiai Gora, Electronic Gamelan.
55 56 HARMONIA, Volume 13, No. 1 / Juni 2013
INTRODUCTION influences. The temple was started under King Vishnu Dharmatunga (Sailendra dy- Indonesia, as a very religious count- nasty/kingdom) and it was finished by ry in which the people have believed in his successor King Samaratunga in 825 AD. God, has well known throughout centu- In addition, Mantle Hood mentioned that ries, especially throughout the journey of “Bas-reliefs of the 8th-century Borobudur its development as a country and as a na- and early East Javanese temples document tion. Indonesia as a country was not well the existence of prototypes of all instru- known and recognized by the internatio- ments of Gamelan Sekati long before the nal world until the end of World War II arrival of Islam in the waning years of the when the country was established as an Majapahit Empire” (Hood 37). The name, independent nation. Also, the current In- Gamelan Sekati, was not known at the time donesian language was not being used na- because the religious change and political tionally and it did not exist until well after application directly influenced the name the country was formed. Nevertheless, the given for the gamelan instrument. At this importance of Indonesia in the history of point, Buddhism influenced Indonesian the international world began far before empire and we do not know what they cal- Indonesia was established as an indepen- led it. The important thing is that gamelan dent nation. instrument was being used and was intro- The first religious kingdom was cal- duced already at this point. Furthermore, led Dvipantara or Jawa Dwipa is known the strength of this kingdom was shown through the reports of Indian scholars in by the defeat of the Chenla kingdom (today 100 AD that mentioned the kingdom was Cambodia) under king Indra in 790 AD. By located on the islands of Java and Sumatra. the time of King Samaratunga passed away, The Javanese writing system was also de- his throne was taken from his son Balaput- veloped during this period by the influen- ra by his daughter’s father in law named ce of Indian script, Sanskrit. As a result Patapan from the Sanjaya Dynasty. And Pa- of the Indian influences, Hinduism also tapan turned the kingdom to Buddhism in became a part of the early civilizations of 835 AD. After being succeeded by his son the kingdom in Java and Sumatra. The in- Pikatan, Balaputra tried to take the kingdom fluence of Hinduism in the Javanese King- back but he failed. As, a result, he escaped dom reached its climax during the Taruma to Sumatra and was enthroned in Sriwijaya Kingdom in West Java around 400 AD. On kingdom in about 850 AD. Later on, King top of Hinduism, the influence of Budd- Balitung of the Sanjaya Dynasty was well hism was also introduced around 425 AD. established in central Java around 898 AD During this period, the Arabs, Persians, in Mataram. After King Daksa succeeded Greeks, Romans, and Chinese knew the him, Hinduism became dominant again in kingdoms in Indonesia, again, especially 910 AD. The Prambanan temple was built in Java and Sumatra. The first strong and during this period. The evident of the use widespread kingdom established was the of Gamelan instruments is also shown at Sriwijaya Kingdom, which was established the temple’s relief such as cylindrical ken- on Sumatra around 500 AD. This kingdom dang, cymbals, other shapes of kendangs, later invaded the kingdoms surrounding and wooden flute. Kendang is the main it, including the Malayu kingdom, and double sided percussion instrument that many kingdoms in Java around 686 AD. is functioned to give rhythmic guidance Because of the strong religious in- for Gamelan ensembles. After several ot- fluence, many kingdoms in Java were her successors, Mpu Sendok of Sanjaya was converted to Buddhism around 770 AD. enthroned in 929 AD. During this time, the The building process of the great Borobu- empire was moved to East Java. This was dur Temple that is located in Yogyakarta, probably due to the eruption of the Mount Central Java, evidences of this religious’ Merapi in about 929 AD. Henry Susanto Pranoto, Sacrilegious Aspect Of Javanese Gamelan: Past And Future 57
The next important successor was The Islamic influence became greater Dharmawangsa. He became the king of Ma- and greater around1400 AD. This influen- taram in 985 AD. In the same year, he con- ce caused the shifting of the major religion quered the Balinese kingdom and moved to Islam in places such as Aceh (located his kingdom to Kalimantan. Beside his am- on Sumatra). The decline of the Majapahit bitions as an invader, he was also known kingdom also contributed to the switch. as an important person who commanded The main denomination of the Islamic re- the translation of Mahabarata works into Ja- ligion that was widely believed was the vanese. This is a collection of Hindu stories school of Shafi’i also called Madhhab. Its that make up part of the literature of Indo- influence can still be seen in today Indone- nesia. Later on, it was also used for deve- sia. Unfortunately, the Islamic influences loping the stories used in gamelan music. in the established kingdoms never brought The most important king of Sanjaya Dynas- any peace with any other religions. In fact, ty was King Airlangga. He was the founder many Hindu people had to move from of a new kingdom called Kahuripan in 1019 Java to Bali in 1468 AD to escape from Ma- AD. He is also known, today, as the basic japahit during the rule of Suraprabhawa. model of Indonesian tolerance concerning Because of this, Bali is the central Hindu religion. In his time he protected both Hin- territory in Indonesia, even today. After duism and Buddhism while he also made the establishment of Demak as the main a peace agreement with the Sriwijaya king- court of Majapahit kingdom under Raden dom, which was the other major kingdom Patah, the Islamic kingdom was well estab- at that time. Then, he also united the two lished by 1478 AD. Therefore, the in first kingdoms through marriage in 1030 AD. direct contact with European countries, be- In 1222 AD, Ken Arok founded the ginning with Portuguese conquest in 1511 new kingdom of Singosari because of the se- AD, Indonesia was known as being enga- paration from the main kingdom. His next ged in the Islamic religion. Even the use important successor was Kertanegara who of Islamic terms, such as the titles sultan, ruled in 1268 AD. He promoted the mix- wali, and so forth, was enforced. ture between Hinduism and Buddhism. The influence of Islamic leaders was Marco Polo was visited Sumatra and Java very important in the cultural, social, and during his rule. The strength of his empire political arenas of Indonesia as a whole. was proven by the failure of the Mongol The most important was the influences of invasion under Kublai Khan who sent 1000 Wali Songo (Nine Islamic religious leaders ships to Java in about 1292 AD. Unfortu- entitled as wali). The most influencial wali nately, the allied forces of Mongol and was Wali Kalijogo. Besides being a religio- Wijaya, who was the founder of Majapahit us leader, “he was also known as an artist dynasty under the name of King Kertara- at the time, to compose a number of Java- jasa Jayawardhana, in 1293 AD, overthrew nese songs/tunes to interest the people this dynasty. During the period around in speeches on Islamic teachings made by 1330 AD of the Majapahit dynasty, Patih various Islamic leaders coming to Demak Gajah Mada had a very significant position. Kingdom for that purpose” (Hood 36). As Almost all of Indonesia today was united an adaptation of the gamelan instruments during his lifetime. In 1350 AD, during the into Islamic activity, they might have gi- rule of Rajasanegara, the Islamic kingdoms ven the name Gamelan Sekati as it was fun- that started developing in 1297 in Sumatra ctioned to accompany the Sekaten Festi- under Sultan Malek Saleh, who was the first val during Sekaten week. In fact, Gamelan Muslim ruler in Indonesia. He overthrew Sekati will only be played for the ritual of the Majapahit kingdom. Under the ruler this religious purpose. Therefore, it is very Hayam Wuruk, the Majapahit kingdom was sacrilegious instruments. Through this broken down totally as was the remnant of sample of musical activity, we know that the Sriwijaya dynasty in 1377 AD. in any elements of Indonesian people’s life 58 HARMONIA, Volume 13, No. 1 / Juni 2013
Gamelan music is often used as the main INTERACTION WITH CATHOLICISM musical instruments especially in Java. The first interaction between Indo- Even though we admit that Javanese Ga- nesia and Catholicism was around 1546 melan is the traditional instrument of Java, AD when Portuguese missionaries under we know that the music of Gamelan has St. Francis Xavier came to visit the eastern its influence from India as the source of part of Indonesia in areas such as Moro- Hinduism and Buddhism for many Indo- tai, Ambon, and Ternate. Then, the Dutch nesian kingdoms as mentioned in many started to come in to Indonesia with the temples of religious heritages such as Bo- business motivations around 1590 AD. robudur, Prambanan, Jago, Ngrimbi, Kedaton, Since their rebellion from the King of Spain Sukuh, Tegawangi, and so forth in which all in 1581 AD the Dutch were free to travel of them contains relief of Gamelan instru- more. The Dutch defeated the Portugue- ments mainly kendang. se in Indonesia in 1601 AD, which gave The Majapahit Empire became the Dutch full control of the trading Indonesia, main ancestor from which came the Yo- which inevitably turned into colonization. gyakarta sultanate and Surakarta Susu- Through this, Dutch missionaries introdu- hunan. Sutawijaya or Senopati developed ced Indonesia to Christianity during the them in 1588. As a result, the main com- Sixteenth Century. But the Christian in- mand was in Central Java, specifically in fluences did not impact heavily until 1797 Mataram. These two empires became the (under Dutch Missionary Society or Neder- important places where the gamelan mu- lands Zendeling Gennotschap). The Dutch co- sical tradition is still well kept. Later on, lonization company under the name VOC, they became known as Keraton Yogya- through many intrigues became the main karta (under Mangkubumi who is kno- political power of the Indonesian empires wn as Hamengkubuwono I in 1755) and from Sixteen Century until 1945 when In- Keraton Surakarta (under Pakubuwono II donesia received independence as a result in 1745). These two Keraton were separa- of World War II. The Dutch colonization ted on February 13, 1755 as recognized by of Indonesia lasted for approximately 350 the VOC under the Gijant (Giyanti) trea- years. ty. Their ruling titles were based on their Since the Sixteenth Century, Indone- inheritance (within their princely cycle), sia has had more active interaction with especially after declared by VOC influen- Western empires, including the Ottoman ced in 1792. Surakarta Keraton under the Dynasty in Istanbul, England (under Eliza- title Pakubuwono became known as Solo beth I), and so forth. In term of music, the Susuhunan in 1820 during the rule of Pa- Javanese Gamelan music has also influenced kubuwono V. Today the ruler of Keraton Western classical music composers such as Yogyakarta is Sri Sultan Hamengkubuwono Claude Debussy and Lou Harrison. Java- X, while Sunan Pakubuwono XII is ruling in nese Gamelan is different than the Balinese Solo. The other important figures are the Gamelan in sound and in characteristics. Pakualam descendents that were founded Throughout history, we know for sure that in 1812 by Pangeran (meaning Prince) Na- Gamelan music was already introduced takusuma who became known as Pangeran and being used as musical instrument for Pakualam I, of Keraton Yogyakarta descent. many Indonesian Kingdoms. Pakualam IX is the present ruler that holds Because of the drastic effect that reli- that title. In today’s Indonesia, Hamengku- gion has on culture, it is important to know buwono X is the King and governor over how the country arrived at any given type the special region of Yogyakarta. Yogya- of faith. In this case through conquest and karta was pronounced a Special Region in war Indonesia transitioned from Hinduism Indonesia for their special contributions in to Buddhism to Islam. Today, Indonesia is establishing Indonesia even before it was predominantly Muslim although the wes- united as a country on August 17, 1945. tern influence of Christianity is present. Henry Susanto Pranoto, Sacrilegious Aspect Of Javanese Gamelan: Past And Future 59
The culture is approximately 98% Islamic. system) they had to make a quarter-turn to This has a great effect on the music of the the left” (Capwell 145). And, each tuning nation as well as its uses and philosophy. system of those tones is called laras. The It is interesting to see how traditional as- notes that are used are C-D-E-G-A for laras pects of Indonesian culture and music Slendro, and C-D-E-F-G-A-B for laras Pelog. have fused with the religion of Islam and The most important thing that we should the way that has shaped other aspects of know is that all of these tones are not tuned the culture. There are many forms of musi- as the Western scales. The note A or la is cal expression within Indonesian cultures. probably closer to B flat sound in the Wes- Nevertheless, Gamelan is the most musical tern scale. So, it sometimes referred to as B instruments that can still symbolize Indo- flat. They are arranged from low to high in nesia as musical culture and religious nati- terms of pitch. Demung, Slenthem and Saron on that also has influenced in the western Barung instruments function to show the musical cultures. melodies of the song in Karawitan music. Different regions of Indonesia have The definition ofKarawitan is: music, whet- different styles of playing the instrument, her it is vocal or instrumental, that applies and therefore it is necessary to discuss the the melody of Slendro or Pelog as shown narrower subject of the Javanese Gamelan. above. Karawitan music can stand by itself In addition, the use of Gamelan music has or can be used as accompaniment for other been identified with the ritual or religious art forms, such as dancing, shadow puppet aspects of Indonesian culture since the be- shows, and so forth. All of the Saron func- ginning. Therefore, the people really have tion as the melody maker or to “provide a high respect for the Gamelan instrument a ‘skeletal melody’ (balungan) whose perio- as a part of their religion that commands a dic punctuation (the ‘colotomic structure’) certain level of treatment as do all religious was provided by other instruments like tools. the Gong Ageng” (Capwell 146). The Gen- der Barung is made bronze, brass or iron. It CATEGORIES OF GAMELAN INTRU- contains nineteen key plates starting from MENTS A (an octave below middle C) to E (an octa- There are three categories of Gamelan ve above middle C) with alternating notes instruments that directly relate to their sha- C-D-E-G-A for Slendro music. The Gender pes. The first category is the instruments Penerus is smaller than the Gender Barung that are shaped as bilah or a flat metal or with the notes starting from A (below mid- wooden plate like the western xylopho- dle C) to E (an octave above middle C). The ne. These instruments are called Demung, Gambang is made from wooden plates and Slenthem, Saron Barung, Saron Penerus or it contains four octaves. It starts from G (an Saron Peking, Gender Barung, Gender Pene- octave below middle C) to G (an octave rus, Gambang (made of wood). Each of the- above middle C). se instruments contains different notes that The second category is the instru- are used for Slendro and Pelog which refer ments that are shaped like gongs but have to set groupings of notes used in gamelan an extra head that protrudes from the top music. There is only one octave (gembyang) and functions as a resonator. The head is within each of the Demung, Slenthem, Saron called pencu or pencon. These instruments Barung and Saron Penerus instruments. In are called Kenong, Kempul, Gong Ageng (the addition, each of the gamelan instruments largest in this family), Gong Suwukan (a comes in pairs in which one instrument medium size gong), Gong Siyem (the smal- is pentatonic (five tones) and the other is lest gong), Bonang Barung, Bonang Penerus, heptatonic (seven tones). “To play in la- Kethuk, Kempyang and Engkuk Kemong. ras Slendro (the pentatonic system), for Each instrument has different notes that example, the Saron players faced front, can be used for Slendro and Pelog melodies. and to play in laras Pelog (the heptatonic The Gongs function to give an “important 60 HARMONIA, Volume 13, No. 1 / Juni 2013 punctuation the end of every completed tation called titilaras. The symbols are com- melody” (Capwell 146). Therefore, it was monly found in the form of numbers. For functioned as what was intended for by example, in we call 1 to represent middle the Sang Hyang Guru who, according to C, then it follows that 2 is D, 3 is E, 4 is F, 5 Javanese Mythology, was the god who is G, 6 is A and 7 is B. They also add a dot was ruling as king in Java in 230 AD. He above the number to identify the intervals used the gong to summon the gods. The above the B above middle C and a dot be- Kethuk and Kempyang are played side-by- low the number for intervals below mid- side depending on the melodies that are dle C. This is all relative however because being used (Slendro or Pelog). The Kempy- each gamelan has its own starting pitch ang always has a higher tone than the Ket- frequency, which is not necessarily middle huk (A below middle C for Pelog, and D for C nor is it tuned to A 440 as most western Slendro). The Kempyang pitch is C above instruments are. middle C. The Kethuk is played as the mark Singers are also used in the ensemble. in between the rhythmic grouping of the The female soloist is called pesindhen and Kenong and Kempyang. The Kenong func- the choruses (male or female) are called tions to identify the rhythm and to identify gerongan. Although singers are used they each line or a group of four beats (gatra) are not put in the spotlight as in Western within the poetry, using the appropriate music. The gamelan ensembles, including pitch according to whether it is pentatonic the singers, work hard to consider all parts or heptatonic (laras). The Kempul is used to important in representing the music as a give rhythmic guidelines within the song. whole cycle of art. The Bonang Barung has two octaves (for la- ras Slendro and laras Pelog) and it is used SACRILEGIOUS ASPECT OF JAVA- to give a sign at the opening of a song and NESE GAMELAN also to give accompanying melodies wit- From the colonization era, until about hin the songs. The Bonang Penerus has si- World War II many western countries milar notes as the Bonang Barung but their came in and out of South East Asia. During tone is one octave higher. All types of the this time, Indonesia was an important part Bonang require more skilful players com- of the Dutch Colony. Because of this many pared with the other instruments because foreign expeditions were arriving with “as the Kenong and Kempul (play) every business motivations. They were buying fourth beat, the Bonang Barung (does) the spices, clothing materials, and other goods opposite and (divides) the beat in two, and including musical instruments like the Ga- the Bonang Penerus (divides) it into four, melan. As a result of this, gamelan music doubling or quadrupling each pair of ba- began to appear in Europe and in Ameri- lungan pitches” (Capwell 147). ca by the end of Nineteen Century. This is The third category includes all the how Western composers were introduced rest of the instruments that have shapes to Gamelan music. The examples of Wes- different from the first two categories. Tho- tern composers who are influenced by Ga- se instruments are: Siter, Rebab, Kendhang, melan music in their musical style that we Suling (or bamboo flute,Suling Slendro and are going to observe in this study are such Suling Pelog), Kemanak (which is only used as Claude Debussy and Lou Harrison. for specific gendhing or song). The most Debussy’s first interaction with ga- important instrument in gamelan music is melan music was in 1889 through a per- the Kendhang. It is functions as a rhythmic formance on the instrument on the Paris and improvisatory guide to the music and Universal Exposition. His admiration of the other players. It also shows the varying gamelan music is evidenced by the fol- emotions shown in the music and differen- lowing quote: “there used to be-indeed, tiates one song from another. In addition, despite the troubles that civilization has Javanese Gamelan music uses a form of no- brought, there still are some wonderful Henry Susanto Pranoto, Sacrilegious Aspect Of Javanese Gamelan: Past And Future 61
Example 1. Estampes, movement 1, Pagodes, mm 80.
peoples who learn music as easily as one The longer sustained notes in the learns to breathe…” (Hugh 2, 2006). His bass clef consisting of tied whole notes further admiration is shown through his applied the pedal point representing the absorbing the style into his own music gong sound. such as his Preludes, Images, and Estampes In Debussy’s music, the pedal tone for piano, Nocturnes (Nuages), and so forth. was often sustained longer than the pedal Debussy’s Estampes consist of three tone technique that a Western musician movements: Pagodes, La soirée dans Grena- commonly used. It gives the impression de, Jardins sous la pluie. Debussy finished of the long and unchanging harmony of the Estampes in 1903 and Jacques Durand eastern music. In addition, the opening who was Debussy’s correspondent pub- section of the Pagodes also used a typical lished it in the same year. This work was opening form of Gamelan music. Then, the first performed at the concert of the Société Gamelan influence was further emphasi- Nationale de Musique, in January 9, 1904. zed by the used of the pentatonic theme Ricardo Viñes in Salle Erard, Paris, played notes. They are G#, C#, D#, F#, and B it. The Pagodes was Debussy’s reflection af- (discretely used in the bass part). These ter hearing the Javanese Gamelan music. pentatonic scales represent Laras Slendro in In the Pagoda movement, we can the key of B (do-re-mi-so-la). The melodic hear the rhythmic motive, the sonority and themes were formed within two measures harmonic characteristics of Javanese mu- and were repeated four times, started from sic throughout the piece. There are some mm.3-10. prominent aspects of Gamelan music that These themes come back again in show the focal point of its influence wit- mm.80 in the left hand. The middle voices hin Debussy’s musical composition, such were added starting at m.31. They seem to as ostinato, pedal point, counterpoint assi- functioning as the rhythmic figure of Ket- milation of gamelan music usage (layered, huk, which identified the four note - grou ornamentation, new tonality), and even pings of the top notes of the treble clef. It gamelan music’s philosophy. The ostina- can be clearly seen in mm. 44-49. In addi- to is a short-repeated figure that is similar tion, the interlocking of rhythmic patterns with the figure of the Bonang Penerus or that were stacked together into layers wit- Gender Penerus rhythmic pattern within hin the clef, combining with the thematic Gamelan music. In Debussy’s Pagodes, it is melody patter (or motivic) in Gamelan represented by the thirty-second notes in music, made Debussy able to extensively the treble clef, for example starting from expand his musical horizons. mm.80 to the end. 62 HARMONIA, Volume 13, No. 1 / Juni 2013
Example 2. Estampes, movement 1, Pago- became popular later on. It also began to des, mm 3-10. have an important role in the music world after being introduced through the work of Lou Harrison. Harrison was an American composer born in Portland, Oregon in 1917 and died in January 2003. He was a student under Henry Cowell from whom he learned the freedom and the invention technique. Ar- nold Schoenberg was another of his teach- ers from whom he learned the method of composition and the disciplinary aspects of composing music. He was also a close friend of John Cage. Harrison’s interest in Indonesian music began in 1930. Nevert- heless, he never visited Asia (Indonesia) until 1961. His meeting with William Col- vig, in 1967, made his interest in cultural music increase through which both men put a strong emphasis on the exploration of the tuning system of foreign musical instruments. Harrison’s composition peri- od can be distinguished into three facets. The musical genius of Debussy was Those are his early period (1917-1943) in- proven through many of his wonderful cluding most of his dissonant music, his new musical compositions. He was also middle period (1943-1961), and his mature known for his creative ornamentation in composition style (1961-2003). His mature his musical production. It gave the music composition style was established and in- a new perspective in tonality beside that fluenced primarily by the gamelan music. which western writers had been using. In Harrison also studied gamelan music un- addition, “The most important inspiration der K.R.T Wasitodiningrat also known as Debussy found in Javanese music was not Pak Cokro who is a well-known gamelan any particular musical technique or sound, master. but rather the general notation that there Wasitodiningrat learned his gamelan could be a well-developed, powerful, and skill under the guidance of his father, R.W. beautiful music that had developed totally Padmowinagum who was the leader of the outside, and often in contradiction to, the singing group that was accompanied by the established rules and conventions of wes- gamelan (called Karawitan) of Pakualam tern European music” (Hugh 11, 2006). palace (Puro). It was a part of one of the In- Later on, the first interaction between donesian empires that is still in existence. America and Gamelan music was in 1893 His father’s dedication to the empire was through the Columbia Exposition. It also passed on to him and Wasitodiningrat also was given a special historical in The Field served as a court musician of Pakualam. Museum’s gamelan in Chicago, in which He also taught at the Mangkunegaran mu- “a couple Dutchmen who owned coffee sical court (part of the empire at Keraton and tea plantations on Java brought the Solo). Harrison and Wasitodiningrat met gamelan to Chicago, along with a group in 1975 at the Center for World Music in of Javanese musicians and craftsmen, for Berkeley, California. Wasitodiningrat was the Columbian Exposition of 1893, a gre- a Karawitan teacher at the California Insti- at world’s fair” (Capwell 141). The instru- tute of the arts from 1970 until he retired in ment was first introduced in Chicago and 1992. He did not only teach Harrison how Henry Susanto Pranoto, Sacrilegious Aspect Of Javanese Gamelan: Past And Future 63 to approach traditional gamelan music med for Harrison’s seventieth birthday on (musical style, performance style, structure May 14, 1987. of gamelan music of many regions within The Gending (which means piece) Indonesia), but also on how to play most starts with the opening two measures of of the instruments in the gamelan ensemb- the introductory mode of traditional Solo le. The most important thing that we need gamelan called buka (which means open), to underline is that he has taught Harrison using Laras Slendro of D-E-F# (instead of the sacrilegious aspect and religious fun- G)-A-B (instead of C). This half-step dif- ction of gamelan so that he can compose ference in the intervals is acceptable sin- the music appropriately (rightfully). In ce there is no exact tuning configuration fact, it was different than his first trial of of gamelan instrument. The introductory composing Gamelan music using trash plucking of the piano strings outlines the can, and other recycled stuffs in which had pitches that make the balungan style. After caused him rejection and mockery because the buka, the balungan pitches are played as it had destroyed the sacrilegious aspect of the first in a group of four sixteenth notes the music. Under his instruction, Harrison and continue this way for six groupings in composed about fifty pieces for gamelan the sequence. After that the piano is added and other Western instruments, including in the second beat of m.6 and the groups Philemon and Baukis, Main Bersama-sama, become eighth notes (with a half note as Bubaran Robert, Varied Trio, and so forth. the downbeat of each four group sequen- The work Varied Trio consists five ce) rather than sixteenth notes with the movements: Gending (means piece), Rice balungan pitches generally falling on the Bowls, Elegy, Rondeau in honor of Fragonard, downbeat of the measure. Although the Dance. The Varied Trio was first intended rhythmic values are changing the balungan as a quintet for William Winant (percussio- pitch pattern is the same. This rhythmic nist), Julie Steinberg (pianist but he played change creates and mood of calmness and a virginal for this piece with an eighteenth allows the piece to breathe. The changing century temperament tuning), David Abel pattern also creates what is called irama, or (violinist), William Colvig playing bells, rhythm, that is typical of gamelan music. In and Harrison himself playing harp. It m.12 the irama changes again in the piano. was first performed in February 28, 1987. The vibraphone maintains what has been The Gending movement was one example going on while the top mine of the piano of the gamelan music influences within double is speed and creates more density Harrison’s compositional technique. This in the music. However, as is must always Gending was influenced by music of the Ci- do in gamelan music, the irama is returned rebon region of Northwest Java. to its original state at the end in m.60. The It was after the first quintet perfor- other notes in the piano are ornamentation mance that Harrison decided to change the that leads and imply the balungan pitches. Varied Trio into a trio of violin, vibraphone, The same is true of the vibraphone when and piano. He changed the bell part into a it comes in. Each time a balungan note is vibraphone or gong part, and the harp and played the two instruments meet in uni- virginal parts were put into the piano part. son. These unison notes are called ‘goal In this piece, he uses the strike vibraphone, tones’. The violin does not enter until m.13 and the rim of the large tam tam to crea- after the balungan style has been well es- te the percussive sound. He also applied tablished. The melody of the violin is very plucking of the piano strings (imitating the lyrical and meant to be reminiscent of the sound of the Siter) as well as knocking on two stringed, bowed gamelan instruments, the inside part of the piano frame with the rebab. The violin is meant to be in the rebab yarn mallet to add still more percussive ef- style but it cannot have the same sound as fect in the imitation of the gamelan instru- the gamelan instrument. This is case in all ments. The revised work was first perfor- gamelan style music performed on wes- 64 HARMONIA, Volume 13, No. 1 / Juni 2013
Example 3. Varied Trio, Movement 1, Gending, mm 1-5
tern instruments. The violin part is meant saka), over which battles have been to pair with the thirty-second notes of the fought in the past. The gendhing (mu- right hand of the piano. The violin also sical work) played on these gamelan, meets with the vibraphone and piano on too, may have such power that, for ‘goal tones’. For example, in m.14 on the example, it was in the past forbidden downbeat they play in unison according to hum them casually; in transcri- to the Laras that is being used, and specifi- bing them into notation-a practice cally Slendro. Like the violin is mimicking initiated as a result of European in- the rebab the thirty-second note figure is an fluence in the nineteenth century-it imitation of the gender instrument, which used to be considered advisable to is the most difficult instrument to play in make an occasional mistake in or- the gamelan ensemble. der to prevent the power of the tune The most important aspect of Wes- being used inappropriately” (Cap- tern influence on Javanese Gamelan is the well 151). use of music notation. Indonesian people Because of the depth of meaning have strong beliefs in the spiritual aspects that the gamelan holds for the Indonesi- that accompany Gamelan music. an people, it must be treated respectfully. “The spiritual power that is inve- We understand that the spiritual aspects sted in old gamelan by tradition in of Gamelan music is highly respected un- turn invests power in their owners, til people were not allowed to notate the for which reason they are important tunes, even humming the tunes. Nevert- components of princely regalia (pu- heless, we can now preserve our musical Henry Susanto Pranoto, Sacrilegious Aspect Of Javanese Gamelan: Past And Future 65 heritage by notating the music so that our melan instruments that have been sampled next generation will be able to continue the from? The answer is that we cannot experi- tradition correctly. This Western influence ence the real Gamelan music of “Kiai Gora” of putting the tunes into writing is very just by playing or experiencing it electro- useful as long we still treat our musical he- nically. In fact, the process of making the ritage respectfully. real Gamelan instruments took such a long It is wonderful that the gamelan has period of time and required some ritual ac- had a positive influence on other cultures; tivities such as fasting and praying before however, for the sake of its native purpo- producing Gamelan. People have to think se it should be used only with utmost ap- and to understand deeply in regard to the propriateness. Many Indonesians would purpose behind creating and playing the strongly disapprove of Harrison’s ‘home- Gamelan. In addition, we know that all made’ gamelan because of the materials “Gending” or songs as played by Gamelan, it was made from, such as trash cans and have a strong correlation in people’s life, piping. Although he may have meant no such as requesting safety, wedding cere- harm, whenever something is borrowed mony, preparing for battle, thanksgiving from another culture there should be a in which all of those are subjected to God. level of sensitivity used. Debussy offers a This makes Gamelan music is religious great example of being able to integrate the musical instrument that is purposely fun- form and spirit of gamelan without offen- ctioned mostly for religious activities. We ding. need to maintain the sacrilegious aspect of In our today’s society, electronic mu- Gamelan. As a result, people should not be sic has become a major element in many allowed to play Gamelan as they wish wit- musical developments. Many musician hout fully understand the religious purpo- have used electronic instruments such as se, the rightful attitude or correct manner electric guitar, piano electric, drum elec- and the tradition behind it contextually. If tric, and so forth. Furthermore, we have people lost these respects, it would be the also known that Gamelan music has also same as we lost the Gamelan physically as been elaborated electronically by Indone- happened before when the Gamelan Kyai sian students from Dian Nuswantoro Uni- Gora and Gamelan Kyai Genta were stolen versity (UDINUS), Semarang. The main from Keraton Solo and found in Novem- purpose of the e-gamelan making, as men- ber 1999. If Gamelan has lost its sacrilegious tioned by Kanjeng Pangeran Edy S Wirab- function and people’s belief have deceased humi from Keraton Solo during the public toward it, so the Gamelan will be useless. interview “is to enable people to have an We are all aware that the use of Ga- easy access on Gamelan Music, especially melan music has been decreasing today. Gamelan instruments so that people will Therefore, we need to introduce our youn- have an easy grasp and easy play on Ga- ger generation on knowing, learning and melan instruments in their homes as they even loving Gamelan music as part as their please” (Estuningsih, Koran Si). It was cultural heritage. Nevertheless, we need such a wonderful idea. Nevertheless, it to consider the basic element that we need will cause a question for each of us, espe- to teach our future generation on how to cially after reading the essay above. Can keep the function of Gamelan music right- this electronic Gamelan instruments keep fully, as we have learned from K.R.T Wa- the sacrilegious aspect of Gamelan music it- sitodiningrat on how he has taught Lou self? Or, can it keep the sacrilegious realm Harrison, or even when Claude Debussy of Gamelan instrument in which Gamelan’s has used Gamelan influences respectably in sound have been sampled? In this case, can his compositions. Therefore, the beginning we really hear the sound of Gamelan “Kiai fatal mistake that Lou Harrison did by cre- Gora” from Keraton Solo without elimina- ating Gamelan sound using inappropriate ting the sacrilegious aspects of the real Ga- materials, such as trash cans and piping 66 HARMONIA, Volume 13, No. 1 / Juni 2013 can be avoided. We need to teach them the Blacking, John. 1995. Music, Culture, & Ex- correct manners and the sacrilegious mat- perience. Chicago: The University of ters of the Gamelan instead of just giving Chicago Press. an easy access on playing them. They need Brandon, James. R. 1970. On Thrones of to understand the religious aspects of Ga- Gold: Three Javanese Shadow Plays. melan and its real function. Therefore, they Massachusetts: Harvard University will have a better respect for their cultural Press. heritage. They will also be able to correctly Brinner, Benjamin. 1995. “ Cultural Matri- appreciate it. In fact, if we do not have the ces and the Shaping of Innovation in right respect on what belongs to us, so ot- Central Javanese Performing her people will have no respect not only to Arts.” Ethnomusicology 39. ( 433-456). it but to us as well. It is easier for us to be ______. 1995. Knowing Music, Making destroyed if we are the one who destroyed Music: Javanese Gamelan and the The- ourselves through within. Therefore, our ory of Musical Competence and In- future generations need to know and to teraction. Chicago: The University of learn this important aspect of sacrilegious Chicago Press. of the Gamelan music while they also have Capwell, Charles. 2004. “The Music of an easy access of the Gamelan instruments Indonesia.” In Excursions In World electronically. As a result, other people Music, 4 ed. Philip V. Bohlman, will have a correct respect of the Game- 141-170. Upper Saddle River: Pear- lan music/instruments and we can also son Prentice Hall. conserve our heritage as a whole (moral- Diamond, Jody. 1991. “The Evolution of ly, spiritually and physically). In spite of Javanese Gamelan, Book 3: Paragon the difficulties of learning another culture of the Roaring Sea.” Notes 48. (128- and accepting it into one’s own culture, it 129). is still very enriching to have Indonesian ______. The Vocal Notation of K.R.T. Wasi- music and Western music, including mo- todiningrat: Slendro. Lebanon: The dern technology, mutually influence each American Gamelan Institute, 1995. other as long as we do not have to sacrifice Gilmore, Bob. 2000. “Lou Harrison: Com- or eliminating the basic being of our own posing a World.” Music & Letters 81 heritage, for instance our religious man- : (339-341). ner, our eastern heritage, and our cultural Hood, Mantle. 1985. “Javanese Gamelan norms. Technology is one of the greatest Sekati. Its Sanctity and Age.” Acta and powerful achievements of mankind Musicologica 57. ( 33-37). that we need to continue developed and Howat, Roy, ed. 1991. Claude Debussy. Sé- used wisely and correctly. We can be en- rie I, Vol. 3. Paris: Durant-Costallat. riched through the use of technology in Miller, Leta E. and Fredric Lieberman. developing, strengthened and promoting 1999. “Lou Harrison and the Ameri- our musical heritage physically (or virtu- can Gamelan.” American Music 17 ( ally) and religiously that is Gamelan music, 146-178). as long it can represent the Gamelan as a Rowel, Lewis. 1988. “Karawitan: Source whole (morally, spiritually and physical- Readings in Javanese Gamelan and ly), and Indonesia as a religious country in Vocal Music.” Journal of the Ameri- accordance with its religious cultures. can Oriental Society 108 (642-644). Sorrell, Neil. 1990. A Guide to the Gamelan. BIBLIOGRAPHY Portland: Amadeus Press, 1990. Sullivan, Lawrence. E. 1997. Enchanting Becker, Judith. 1980. Traditional Music in Powers Music in the World’s Religions. Modern Java: Gamelan in a Changing Massachusetts: Harvard University Society. Honolulu: The University Press. Press of Hawaii. Sumarsam. 1995. Gamelan: Cultural In- Henry Susanto Pranoto, Sacrilegious Aspect Of Javanese Gamelan: Past And Future 67
teraction and Musical Development in Central Java. Chicago: The Uni- ______. Narrative History of Gamelan Pa- versity of Chicago Press. cifica. Sutton, R. Anderson. 1994. “The Music of
Pandawa Piningit. Dir. Nani Soedarsono. Semar Mantu. Dir. Nani Soedarsono. Prod. Prod. Dra. Nanik Sidawati, MM. Dalang Donny Handono. Dalang Edi Sulistiono S. Edi Sulistiono S. Sn.PT. Sekar Budaya Nu- Sn. PT. Sekar Budaya Nusantara and TVRI, santara and TVRI, April 2003. Video CD. July 2003. Video CD.