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An Investigation Into the Relevance of Gamelan Music to the Practice of Music Therapy

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An Investigation Into the Relevance of Gamelan Music to the Practice of Music Therapy ANGLIA RUSKIN UNIVERSITY AN INVESTIGATION INTO THE RELEVANCE OF GAMELAN MUSIC TO THE PRACTICE OF MUSIC THERAPY HELEN LOTH A thesis in partial fulfilment of the requirements of Anglia Ruskin University for the degree of Doctor of Philosophy Submitted: July 2014 Acknowledgements There are many people to whom I am grateful for helping me to undertake this study. Gamelan playing and music therapy are two of the main interests in my life. The colleagues I have met in both of these fields, and the musicians I have met in Indonesia have inspired me in various ways which, directly and indirectly, have enabled me to create this research study. I am extremely grateful for the continued support and wisdom given to me by my supervisors, Professor Amelia Oldfield and Professor Raymond MacDonald. Their expert advice, good humour and encouragement have enabled me to reach the end. The study could not have been undertaken without the contributions of the gamelan tutors who agreed to be interviewed. They were extremely generous with their time, knowledge and thoughts, for which I am very grateful. I would like to thank Anglia Ruskin University and Paul Jackson in particular for their giving of financial support and study time. The Music Therapy Charity also provided financial support in the early stages of the study, for which I am grateful. I would like to thank the staff of the Special School which hosted the Gamelan Therapy Project; the Access to Learning Coordinator, the music therapists and especially the teaching assistants who took part in the group. They were incredibly helpful and were instrumental in the success of the project. Thanks also go to my Anglia Ruskin colleagues on the staff of the music therapy training course for their tolerance and support, to the music therapy students who showed such interest in the study, and to my colleague and friend Rachel Darnley- Smith with whom I have shared our journeys towards doctorates. Lastly, I would like to thank my family; my partner Robert who has supported me emotionally and practically throughout the study and my son Jesse, to whom, when he next asks “Finished your PhD yet?’ I can finally answer “Yes!” i Abstract ANGLIA RUSKIN UNIVERSITY ABSTRACT FACULTY OF ARTS, LAW AND SOCIAL SCIENCES DOCTOR OF PHILOSOPHY AN INVESTIGATION INTO THE RELEVANCE OF GAMELAN MUSIC TO THE PRACTICE OF MUSIC THERAPY HELEN LOTH July 2014 This study investigates the use of Indonesian gamelan with participants who have special needs or with special populations, and considers what the playing of gamelan music has to offer music therapy practice. The gamelan is an ensemble of instruments on which the traditional music of Indonesia is played, consisting of mainly tuned and un-tuned percussion instruments tuned to four, five or seven tone scales. Gamelan are being increasingly used for music activities with participants who have special needs, such as learning disabilities, mental health problems or sensory impairments, and with special populations, such as prisoners. Whilst aims are broadly educational, therapeutic benefits are also being noted. There is little research into the effectiveness of this use of gamelan; the therapeutic benefits have not been researched within the context of music therapy. As an experienced music therapist and gamelan musician, I considered that investigating the potential for using gamelan within music therapy would produce new knowledge that could extend the practice of music therapy. Various qualitative methods within a naturalistic paradigm were used to investigate current and past practice of gamelan playing with special needs groups and to identify the therapeutic benefits. Semi-structured interviews were undertaken with gamelan tutors working in this area and a music therapy project using gamelan with a group of children who had learning difficulties was undertaken by the author. Using a thematic approach to the analysis of data, the key features of gamelan playing which have relevance for music therapy practice were identified. Gamelan playing was found to have a range of therapeutic benefits which can be used intentionally by a music therapist to address therapeutic aims. It was found firstly that the playing of traditional gamelan music can be used for specific therapeutic purposes and secondly, that the music and instruments can be adapted and used within various music therapy approaches and for participants with a range of disabilities. A set of guiding principles are also proposed for the use of this new music therapy practice. Key words: music therapy, gamelan, group-work, special needs ii Table of Contents Acknowledgements ............................................................................................................ i Abstract ............................................................................................................................. ii List of figures ................................................................................................................. viii List of photos ................................................................................................................... ix List of appendices ............................................................................................................. x Copyright declaration ....................................................................................................... xi Chapter 1. Introduction ..................................................................................................... 1 1.1 What is a gamelan? ................................................................................................. 1 1.2 Background to the study.......................................................................................... 4 1.3 Personal context of the study .................................................................................. 6 1.4 Research aims.......................................................................................................... 7 1.5 Music therapy overview .......................................................................................... 9 1.5.1 Scope of practice ............................................................................................ 12 1.5.2 General principles of music therapy practice ................................................. 13 1.5.3 Group music therapy ...................................................................................... 14 1.5.4 Situating myself as a researcher and practitioner ........................................... 15 1.6 Outline of the chapters .......................................................................................... 16 Chapter 2 Gamelan in Indonesia .................................................................................... 20 2.1 A brief history of gamelan in Indonesia ................................................................ 20 2.2 Gamelan music in context ..................................................................................... 22 2.2.1 Other music of Indonesia ............................................................................... 23 2.2.2 Place in contemporary society ....................................................................... 23 2.2.3 Reflections of the music in society ................................................................ 24 2.2.4 Cycles ............................................................................................................. 26 2.3 The Instruments ..................................................................................................... 26 2.3.1 Types of gamelan ........................................................................................... 29 2.3.2 Tuning ............................................................................................................ 29 2.3.3 Sound qualities ............................................................................................... 30 2.3.4 Playing techniques ......................................................................................... 30 2.4 Overall structure of the music ............................................................................... 31 2.4.1 Colotomic structure ........................................................................................ 32 2.4.2 Core melody ................................................................................................... 32 2.4.3 Elaborations of melody .................................................................................. 33 2.4.4 Role of the drums ........................................................................................... 33 2.5 Conventions and concepts of playing ................................................................... 34 iii 2.5.1 Etiquette ......................................................................................................... 34 2.5.2 Group playing ................................................................................................ 34 2.5.3 Rasa ................................................................................................................ 35 2.6 Summary ............................................................................................................... 35 Chapter 3. Gamelan in the West ..................................................................................... 37 3.1 History ..................................................................................................................
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