DOCSLIB.ORG

Aesthetic and Spiritual Correlations in Javanese Gamelan Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Aesthetic and Spiritual Correlations in Javanese Gamelan Music SUSAN PRATT WALTON Aesthetic and Spiritual Correlations in Javanese Gamelan Music There are striking similarities and intriguing con- in part, to support, manifest, and express that sys- nections between the tradition of gamelan music tem. The stated aim of music making, the structure in Java and Javanese mystical traditions. A game- of the music, the leadership styles, and the creation lan is an ensemble of gongs, metalophones, drums, of melodies have remarkably close parallels in the bowed lute, xylophone, zither, bamboo flute, and Javanese mystical world.2 singers. Gamelans of many different types exist in My analysis of the link between Javanese mu- Java, Bali, and Lombok, as well as in Malaysia. sical and mystical traditions centers on the con- Some include only a few gongs; others have up cept of rasa, which is crucial to both traditions. to fifty instruments. The type of ensemble that I start with the ancient Sanskrit theory of rasa, concerns us is the largest of these ensembles, the then move to the central role of rasa in contempo- gamelan of Central Java. Its most important func- rary Java musical groups, followed by an analysis tion is to accompany dance, theater, and ceremo- of Sumarsam’s “inner melody” theory of Javanese nial occasions, such as weddings, in both ritual and music. Finally, I show that rasa is not merely an commercial settings. abstract construct accessible to an elite cadre of The links between the musical and mystical tra- the most knowledgeable gamelan musicians: it is ditions of Java have not been much noticed or ex- the basis of music making for many musicians, es- amined in the scholarly literature. The focus of pecially those of the older generation. gamelan research has been elsewhere: on the per- Before delving into the links between the mys- formance styles of particular instruments or mu- tical and musical traditions of Java, I need to flesh sical groups, the history of the tradition, including out the concept of rasa. The primary meaning is the effects of Westernization, analysis of mode, feeling. As ‘feeling,’ it refers to the physical senses musical cognition, and Javanese music theory. Ju- of taste and touch and also to emotional feelings. dith Becker, in her fascinating and suggestive Rasa can also mean ‘meaning.’ The example Clif- Gamelan Stories: Tantrism,Islam, and Aesthetics in ford Geertz gives is: “rasa is applied to words in Central Java, does point out that vestiges of ancient a letter, in a poem or even in a speech, to indi- mystical practices can be found in pitch names, the cate the between-the-lines ‘looking north and hit- titles of musical pieces, and in the sacred bedhaya ting south’ type of allusive suggestion that is so dance.1 These observations are symptoms, it seems important in Javanese communication.”3 As this to me, of more fundamental and more pervasive example illustrates, rasa can mean the essential, links between gamelan music and spirituality in often hidden, significance of something obscure. Java. I contend that gamelan music mirrors and This concept of rasa points back to the first no- manifests a central system of thought, experience, tion of rasa as feeling and taste. For the Javanese, and belief in Javanese culture: mysticism. Though to fathom something obscure, one has to engage waning in recent decades, mysticism has long been all one’s senses, feelings, and intuitions, as if one a focal point in Javanese culture, so it is not surpris- were tasting the essence of the thing. Touse merely ing that Java’s musical system is organized, at least one’s intellectual capacities is not enough. 32 Global Theories of the Arts and Aesthetics i. RASA in sanskrit aesthetic theory and The rasa magnetizes the viewer, pulling her or in sufism him into the dramatic situation so that the viewer can relish the work in an almost gustatory way, ex- Rasa is an integral part of two Javanese mystical periencing it in mind and body.9 Enthralled by the traditions: Tantric Shaivism and Mahayana Bud- rasa, the viewer is freed from her or his usual men- dhism on the one hand, and mystical Islam (Su- tal chatter, liberated from the ego. Masson and fism) on the other hand. Patwardhan explain: Sanskrit aesthetic theory constitutes a key el- ement in Java’s Tantric Shaivism and Mahayana Buddhist mystical traditions. Sanskrit aesthetic for the duration of the aesthetic experience, the normal ... theory was first articulated in the Natyasastra, the waking “I” is suspended all normal emotions are gone ... ... main Sanskrit treatise on dramaturgy dating some- we experience sheer undifferentiated bliss for we where between the second century and eighth cen- have come into direct contact with the deepest recesses tury CE, and was further developed in the tenth of our own unconscious where the memory of a primeval century by the Tantric Shaivite philosopher, Ab- unity between man and the universe is still strong. Inad- ... hinavagupta, of Kashmir.4 Java and other parts of vertently we have arrived at the same inner terrain 10 Southeast Asia were strongly impacted by Indian as that occupied by the mystic. culture during the first millennium of this era. The products of this influence include Indian religions, Thus for Abhinavagupta, aesthetic enjoyment mythology, and, as Laurie Sears posits, Sanskrit and mystical experience are intimately connected, aesthetic theory.5 for through works of art a person reconnects with A crucial concept in Sanskrit aesthetic theory the fundamental oneness of all things, what some is the notion of rasa. According to this theory, may call the Absolute. But that Absolute resides the hallmark of a good drama is its ability to within oneself. As a person fully experiences an develop a particular rasa, which then dominates aesthetic work, one merges with the object of con- the work.6 The Natyasastra mentions eight pri- templation, identifying completely with it, and ex- mary rasa: the erotic (srngara), the comic (hasya), periences his or her pure self, or “highest Self.” the pathetic (karuna), the furious (raudra), the Masson and Patwardhan explain: “We can thus heroic (vira), the terrible (bhayankara), the odi- see that all of Abhinava’s efforts focus on one ous (bibhatsa), and the marvelous (adbhuta). Ab- important need: to crack the hard shell of the ‘I’ hinavagupta added a ninth rasa: the santa rasa, and allow to flow out the higher Self which auto- or tranquil sentiment associated with mystical ex- matically identifies with everyone and everything perience. The exact production of rasa is not around.”11 This notion of art as a tool for achiev- fully explained in the Natyasastra and has thus ing oneness explains a seeming anomaly in this been interpreted differently by different Indian theory: the word ‘rasa’ refers both to the feelings philosophers. The Natyasastra states: “The Sen- experienced by the viewers of dramatic works and timent is produced (rasanispattih) from a com- to the most profound mystical awareness. For Ab- bination (samyoga) of Determinants (vibhava), hinavagupta, the two are the same, for one cannot Consequents (anubhava), and Transitory States truly appreciate a work of art without achieving (vyabhicaribhava).”7 Determinants are the causes that mystical experience. of emotion, such as elements in a drama that However, not everyone is capable of experienc- might bring forth old memories and rouse the ing this level of aesthetic and spiritual bliss. Only a emotions. The consequents are the physical effects person who can transcend his or her ego, merging (for example, blushing) arising due to the determi- completely with the work of art, can do so. Such a nants. The vyabhicaribhava are secondary, tran- person is called sahrdaya, “sensitive.”12 sient emotions, such as weeping with joy. As these Crucial to this theory of aesthetics is that the three elements work together, the aesthete expe- essential meaning of a work, its rasa, is never riences one of the eight sthayi bhava, the primary stated directly, but only suggested. This is true emotional states. “The welling up of this emotion for two reasons, according to Abhinavagupta. causes a state of total engrossment, which con- First, a work that makes veiled allusions “car- comitantly leads to the loss of ego ... The to- ries far greater beauty” than one that bluntly tally unhampered experience of the sthayi bhava asserts its truths.13 Second, the very act of un- welling up from within is rasa.”8 earthing the hidden meaning in an aesthetic work Walton Aesthetic and Spiritual Correlations in Javanese Gamelan Music 33 has spiritual value, for it “impels us to great de- Both G. W. J. Drewes and Judith Becker stress votion for another truth, beyond the phenome- that Tantric mysticism and Sufi mysticism in Java nal world.”14 The fundamental meaning of an aes- shared so many features that the transition from thetic work is hidden, just as knowledge of ulti- the Indian to the Arabic form was probably quite mate reality is believed to lie deep within a person. smooth.20 Several tenets in rasa theory touch on key is- sues of Western aesthetics. Abhinavagupta’s focus on individual experience of intense emotion sug- ii. RASA in contemporary javanese spiritual gests that for him, aesthetic meaning is located in contexts the perceiver, not the aesthetic work. For example, the rasa of pathos (karuna) resides in the aesthete Moving toward my goal of exploring the similari- and is not an inherent element of the work itself. ties between Java’s spiritual and musical traditions, Furthermore, for Abhinavagupta, an individual’s I focus in this section on the central role of rasa response to a work is a product of his or her cul- in Javanese mystical groups.
Load more

Recommended publications
  • A Shift in the Meaning of Deer Head Sculpture in Javanese House Interior
    6th Bandung Creative Movement International Conference in Creative Industries 2019 (6th BCM 2019) A Shift in The Meaning of Deer Head Sculpture in Javanese House Interior Rahmanu Widayat1 1Department of Interior Design, Fakulty of Art and Design, Universitas Sebelas Maret, Surakarta, Indonesia [email protected] Abstract Kejawen community of Java, syncretism from Java, Hinduism, Buddhism, and Islam possess many kinds decoration in their houses (Javanese houses). One of them is deer head sculpture. Even though it is an imported culture, the deer head sculpture can be easily accepted by the Javanese people because references regarding deer story have been found since the old time. Even though related to deer are quite common, there has not been any research on the shift in the meaning of deer in the context of Javanese culture. The method used in this study is qualitative re- search with the paradigm interpretation. The results of the analysis found that the deer head sculpture, which was originally a preserved and displayed ravin at home as a symbol of prestige, has a connection with Hindu culture, Majapahit culture, Mataram dynasty royal regalia, and Javanese (commonner) Javanese culture. In the context of to- day's modern culture, deer head sculptures are displayed in today's interiors to present a traditional atmosphere and for the sake of nostalgia Keywords meaning, deer head sculture, Javanese house atmosphere of the past. This shows a shift in meaning related 1. Introduction to the deer head sculpture art works. In ancient time, male deer head sculptures were very popular and adorned interior design in many houses of dis- 2.
    [Show full text]
  • Gamelan Gender Wayang of Bali: Form and Style
    ..................~~.~.~.. ~------------------ WESLEYAN UNIVERSITY Gamelan Gender Wayang of Bali: Form and Style by Kalafya Brown A thesis submitted to the facuIty of Wesleyan University in partial fulfillment of the requirements for the degree of Master of Arts in Music May, 2000 Middletown, Connecticut My teacher, Kak Luweng, and myself playing gender (above) and just sitting (below), 2 Introduction and Acknowledgements I began studying gamelan music in 1994 while I was an undergraduate at the Massachusetts Institute of Technology. No one tends offhand to associate gamelan with MIT. but there it is. Professor Evan Ziporyn has been directing the gong kebyar ensemble Gamelan Galak Tika at MIT since 1993, and I was an active member from 1994 until 1997. Unfortunately the pressure of my studies at Wesleyan has not allowed me to play with Galak Tika as much as I would like in the past few years. For the three years of my tenure with Galak Tika we were blessed with the artistry of the Balinese husband and wife team of I Nyoman Catra and Desak Made Suarti Laksmi. The magnificent teaching and performance prowess of Evan, Catra and Desak formed the basis of my introduction to gamelan music. In 1997 I came to Wesleyan University to study for the degree of Master of Arts in Music, of which this thesis is a part. Here at Wesleyan I have had the great honor of studying with I. M. Harjito and Sumarsam, two Javanese artists. I sincerely thank them for broadening my awareness of the multifaceted natures of Indonesian music and for sharing with me the great beauty of the central Javanese court gamelan.
    [Show full text]
  • Solo and Ensemble Concert Mae Zenke Orvis Auditorium July 17, 1967 8:00 P.M
    SOLO AND ENSEMBLE CONCERT MAE ZENKE ORVIS AUDITORIUM JULY 17, 1967 8:00 P.M. SOLO AND ENSEMBLE CONCERT Monday, July 17 Mae Zenke Orvis Auditorium 8:00 P.M. Program Ernst Krenek Piano Sonata No.3 (1943) Peter Coraggio, piano Allegretto piacevole Theme, Canons and Variations: Andantino Scherzo: Vivace rna non troppo Adagio First Performance in Hawaii Neil McKay Sonata for French Horn and Willard Culley, French horn Piano (1962) Marion McKay, piano Fanfare: Allegro Andante Allegro First Performance in Hawaii Chou Wen-chung Yu Ko (1965) Chou Wen-chung, conductor First Performance in Hawaii John Merrill, violin Jean Harling, alto flute James Ostryniec, English horn Henry Miyamura, bass clarinet Roy Miyahira, trombone Samuel Aranio, bass trombone Zoe Merrill, piano Lois Russell, percussion Edward Asmus, percussion INTERMISSION JOSe Maceda Kubing (1966) Jose Maceda, conductor Music for Bamboo Percussion and Men's Voices First Performance in Hawaii Jose Maceda Kubing (1966) Jose Maceda, conductor Music for Bamboo Percussion Charles Higgins and Men's Voices William Feltz First Performance in Hawaii Brian Roberts voices San Do Alfredo lagaso John Van der Slice l Takefusa Sasamori tubes Bach Mai Huong Ta buzzers ~ Ruth Pfeiffer jaw's harps Earlene Tom Thi Hanh le William Steinohrt Marcia Chang zithers Michael Houser } Auguste Broadmeyer Nancy Waller scrapers Hailuen } Program Notes The Piano Sonata NO.3 was written in 1943. The first movement is patterned after the classical model: expo­ sition (with first, second, and concluding themes), development, recapitulation, and coda. However, in each of these sections the thematic material is represented in musical configurations derived from one of the four basic forms of the twelve-tone row: original, inversion, retrograde, and retrograde inversion.
    [Show full text]
  • Piano Manufacturing an Art and a Craft
    Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Gesa Lücker (Concert pianist and professor of piano, University for Music and Drama, Hannover) Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Since time immemorial, music has accompanied mankind. The earliest instrumentological finds date back 50,000 years. The first known musical instrument with fibers under ten sion serving as strings and a resonator is the stick zither. From this small beginning, a vast array of plucked and struck stringed instruments evolved, eventually resulting in the first stringed keyboard instruments. With the invention of the hammer harpsichord (gravi cembalo col piano e forte, “harpsichord with piano and forte”, i.e. with the capability of dynamic modulation) in Italy by Bartolomeo Cristofori toward the beginning of the eighteenth century, the pianoforte was born, which over the following centuries evolved into the most versitile and widely disseminated musical instrument of all time. This was possible only in the context of the high level of devel- opment of artistry and craftsmanship worldwide, particu- larly in the German-speaking part of Europe. Since 1885, the Schimmel family has belonged to a circle of German manufacturers preserving the traditional art and craft of piano building, advancing it to ever greater perfection. Today Schimmel ranks first among the resident German piano manufacturers still owned and operated by Contents the original founding family, now in its fourth generation. Schimmel pianos enjoy an excellent reputation worldwide. 09 The Fascination of the Piano This booklet, now in its completely revised and 15 The Evolution of the Piano up dated eighth edition, was first published in 1985 on The Origin of Music and Stringed Instruments the occa sion of the centennial of Wilhelm Schimmel, 18 Early Stringed Instruments – Plucked Wood Pianofortefa brik GmbH.
    [Show full text]
  • University of Oklahoma Graduate College
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF MUSIC By GUAN YU, LAM Norman, Oklahoma 2016 JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Paula Conlon, Chair ______________________________ Dr. Eugene Enrico ______________________________ Dr. Marvin Lamb © Copyright by GUAN YU, LAM 2016 All Rights Reserved. Acknowledgements I would like to take this opportunity to thank the members of my committee: Dr. Paula Conlon, Dr. Eugene Enrico, and Dr. Marvin Lamb for their guidance and suggestions in the preparation of this thesis. I would especially like to thank Dr. Paula Conlon, who served as chair of the committee, for the many hours of reading, editing, and encouragement. I would also like to thank Wong Fei Yang, Thow Xin Wei, and Agustinus Handi for selflessly sharing their knowledge and helping to guide me as I prepared this thesis. Finally, I would like to thank my family and friends for their continued support throughout this process. iv Table of Contents Acknowledgements ......................................................................................................... iv List of Figures ...............................................................................................................
    [Show full text]
  • Forbidden Wealth (Pesugihan) by Tjitro Waloejo in Surakarta
    The Aesthetics and Meaning of Traditional Paintings: Forbidden Wealth (Pesugihan) by Tjitro Waloejo in Surakarta Rahmanu Widayat1, Mohammad Khizal Mohamed Saat2*, Sigit Purnomo Adi1 and Sayid Mataram1 1Faculty of Arts and Design, Sebelas Maret University, Surakarta, INDONESIA 2School of the Arts, Universiti Sains Malaysia, Pulau Pinang, MALAYSIA *Corresponding author: [email protected] Published online: 31 December 2020 To cite this article: Rahmanu Widayat, Mohammad Khizal Mohamed Saat, Sigit Purnomo Adi and Sayid Mataram. 2020. The aesthetics and meaning of traditional paintings: Forbidden wealth (pesugihan) by Tjitro Waloejo in Surakarta. Wacana Seni Journal of Arts Discourse 19: 29–45. https://doi.org/10.21315/ws2020.19.3 To link to this article: https://doi.org/10.21315/ws2020.19.3 ABSTRACT At present, Javanese culture is increasingly less powerful in facing the changing times, where art that was once familiar in people’s daily lives has slowly begun to disappear. But Surakarta was fortunate to have Tjitro Waloejo, a traditional painter who died in 1990. He perpetuated the event of collecting illicit wealth (pesugihan) in the form of paintings as a life lesson portraying how some Javanese gathered their wealth under an agreement with Satan. The problem is what the paintings of Tjitro Waloejo are like, and what they really mean. The approach in this study is the concept of “wangun” (beautiful) which the writers explore from Javanese culture to study the art objects (barang kagunan). “Wangun” or beauty of the Javanese becomes (1) the form of “wangun” (beautiful) based on the perspective of the Javanese, (2) the appearance of “ora wangun” (not beautiful) or “aèng” (strange), (3) the form of “wangun” based on the king’s legitimacy or trend, and (4) the forbidden “wangun.” The important findings in the study of “pesugihan” painting reveal that there are perpetuated events of collecting illicit wealth (pesugihan) in the form of paintings as life lessons on how some Javanese gather their wealth under an agreement with demons.
    [Show full text]
  • Cultural Reproduction of Javanese Gamelan Creation
    Advances in Social Sciences Research Journal – Vol.5, No.8 Publication Date: Aug. 25, 2018 DoI:10.14738/assrj.58.5018. Wijaya, M., & Pujihartati, S. H. (2018). Cultural Reproduction of Javanese Gamelan Creation. Advances in Social Sciences Research Journal, 5(8) 448-455. Cultural Reproduction of Javanese Gamelan Creation Mahendra Wijaya Sociology Department of Social and Political Science Faculty Universitas Sebelas Maret Sri Hilmi Pujihartati Sociology Department of Social and Political Science Faculty Universitas Sebelas Maret ABSTRACT This research aimed to find out the cultural reproduction of Javanese gamelan creation. Gamelan is an Indonesian orchestra composed mainly of tuned percussion instruments such as bamboo xylophones, wooden or metal chimes, and gongs. This reserach consisting of life attitude, work ethos, and skill of craftspeople in creation of Javanese gamelan. Cultural reproduction practice occurs in family, school/art institute/home industry environment and gamelan industry center community. This study employed naturalistic inquiry, describing the cultural reproduction of Javanese gamelan Creation naturally; the informants of research consisted of Empu (master craftsman) who produces gamelan, gamelan craftspeople, Javanese gamelan art figure, and Javanese gamelan users. The result of research revealed that life attitudes the Empu and the gamelan craftspeople had were: awareness of giving service to God, faith in God, being loyal to their job, submitting to the fate with gratitude, never being desperate, and having noble character. The work ethos of Empu and craftspeople included: hard work, high togetherness, carefulness, tolerance, high sense of belonging to the job, and mutual help. Meanwhile, gamelan creation skill included: membesot, menyingi, menempa, membabar, and melaras. Life attitude, work ethos, and skill of gamelan creation occurred through parents’ socialization from one generation to the next or from Empu to craftspeople in home industry.
    [Show full text]
  • From Custom to Pancasila and Back to Adat Naples
    1 Secularization of religion in Indonesia: From Custom to Pancasila and back to adat Stephen C. Headley (CNRS) [Version 3 Nov., 2008] Introduction: Why would anyone want to promote or accept a move to normalization of religion? Why are village rituals considered superstition while Islam is not? What is dangerous about such cultic diversity? These are the basic questions which we are asking in this paper. After independence in 1949, the standardization of religion in the Republic of Indonesia was animated by a preoccupation with “unity in diversity”. All citizens were to be monotheists, for monotheism reflected more perfectly the unity of the new republic than did the great variety of cosmologies deployed in the animistic cults. Initially the legal term secularization in European countries (i.e., England and France circa 1600-1800) meant confiscations of church property. Only later in sociology of religion did the word secularization come to designate lesser attendance to church services. It also involved a deep shift in the epistemological framework. It redefined what it meant to be a person (Milbank, 1990). Anthropology in societies where religion and the state are separate is very different than an anthropology where the rulers and the religion agree about man’s destiny. This means that in each distinct cultural secularization will take a different form depending on the anthropology conveyed by its historically dominant religion expression. For example, the French republic has no cosmology referring to heaven and earth; its genealogical amnesia concerning the Christian origins of the Merovingian and Carolingian kingdoms is deliberate for, the universality of the values of the republic were to liberate its citizens from public obedience to Catholicism.
    [Show full text]
  • Land- ​ En Volkenkunde
    Music of the Baduy People of Western Java Verhandelingen van het Koninklijk Instituut voor Taal- , Land- en Volkenkunde Edited by Rosemarijn Hoefte (kitlv, Leiden) Henk Schulte Nordholt (kitlv, Leiden) Editorial Board Michael Laffan (Princeton University) Adrian Vickers (The University of Sydney) Anna Tsing (University of California Santa Cruz) volume 313 The titles published in this series are listed at brill.com/ vki Music of the Baduy People of Western Java Singing is a Medicine By Wim van Zanten LEIDEN | BOSTON This is an open access title distributed under the terms of the CC BY- NC- ND 4.0 license, which permits any non- commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https:// creativecommons.org/ licenses/ by- nc- nd/ 4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder. Cover illustration: Front: angklung players in Kadujangkung, Kanékés village, 15 October 1992. Back: players of gongs and xylophone in keromong ensemble at circumcision festivities in Cicakal Leuwi Buleud, Kanékés, 5 July 2016. Translations from Indonesian, Sundanese, Dutch, French and German were made by the author, unless stated otherwise. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2020045251 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”.
    [Show full text]
  • Restoration of C. 1925-1930 Carl Fischer Concert Zither
    Restoration of C. 1925-1930 Carl Fischer Concert Zither Completed by Ron Cook April 2018 For David Spirk Background Tens of thousands of concert zithers were manufactured in both Europe and the United States in the late 1800s and early 1900s. There were many shapes and styles, with the number of strings often ranging from 31 to 46. Most concert zithers were basic “entry level” instruments with little or no decoration and a laminated front (usually black walnut) and sides with a back painted black. Some, like the gorgeous zither in this repair log, were highly ornate and decorated with marquetry, mother of pearl and abalone inlays and laminated walnut or rosewood on the front, sides and back. The label inside this beautiful concert zither is very faded from moisture, but the name Carl Fischer is visible as is the street name, Cooper Square. Carl Fischer Music was founded in 1872 when he opened his musical instrument repair shop in an East Village neighborhood of New York City. He supplied musicians with sheet music, including zither music, and instruments from Europe, while supplementing his income with professional engagements as a violinist in several orchestras and bands throughout the city. As his company grew too large for the original store, his family, in 1924, shortly after Carl passed away, constructed a new 12-story building on Cooper Square, in Manhattan, where they stayed until the fourth-generation heirs sold the building in 1999. The company, now 146 years old, is currently based on Long Island. Carl Fischer was not an instrument manufacturer, but a reseller.
    [Show full text]
  • Bali 1928: Gamelan Gong Kebyar Music from Belaluan, Pangkung
    Bali 1928: Gamelan Gong Kebyar Music from Belaluan, Pangkung, Busungbiu 2 Introduction 6 A Sketch of the Time Period of these Recordings 11 Emergence of Kebyar 29 The Balinese Gamelan Recordings from Bali, 1928: a track–by–track discussion: 33 Gamelan Gong Kebyar of Belaluan, Denpasar 46 Gamelan Gong Kebyar of Pangkung, Tabanan 50 Gamelan Gong Kebyar of Busungbiu, Northwest Bali 57 List of Silent Archival Films 58 Acknowledgments 61 References Cited and Further Readings * Glossary on Separate PDF File1 1 The spellings in this article follow modernized Balinese orthography of dictionaries such as Kamus Bali Indonesia, by I Nengah Medera et.al. (1990). Although this system was proposed as early as 1972 it has been applied irregularly in writings on the arts, but we have chosen to adhere to it so as to reflect a closer relationship to actual Balinese aksara ‘letters of the alphabet, language’. For instance, many words with prefixes frequently spelled pe or peng are spelled here with the prefixes pa and pang. 1 Introduction These historic recordings were made in 1928 as part of a collection of the first and only commercially–released recordings of music made in Bali prior to World War II. This diverse sampling of new and older Balinese styles appeared on 78 rpm discs in 1929 with subsequent releases for international distribution. The records were sold worldwide (or not sold, as it happened) and quickly went out of print. It was a crucial time in the island’s musical history as Bali was in the midst of an artistic revolution with kebyar as the new dominant style of music.
    [Show full text]
  • Sociology of Literature Approach
    ISSN: 2186-8492, ISSN: 2186-8484 Print Vol. 2 No. 3 August 2013 ASIAN JOURNAL OF SOCIAL SCIENCES & HUMANITIES THE DEVELOPMENT OF MODERN JAVANESE POETRY AND JAVANESE TEMBANG FOR THE LINGUISTIC EDUCATION PROGRAM: SOCIOLOGY OF LITERATURE APPROACH Herman J. Waluyo 1, Sahid Teguh Widodo 2, Y. Slamet 3 Universitas Sebelas Maret, Solo, INDONESIA. 1 [email protected] , 2 [email protected] , 3 [email protected] ABSTRACT This research aimed to: (1) describe the need of Javanese poetry textbook (tembang and guritan) by linguistic lecturer and education linguistic program students (2) compile the prototype of Javanese Poetry textbook with using sociology of Literature approach; (3) develop the prototype of Tembang and Modern Javanese Poetry textbook becomes textbook; (4) determine textbook effectiveness which has been developed through experimentation. This study is very important to know the response of the users, caregivers, teachers / lecturers and students Javanese poetry, both traditional (songs) and modern (guritan). In addition, the study sought to understand the desires and the actual state of preservation and development of the literary heritage of the ancestors, the song and guritan. In fact, modern Javanese poetry (guritan) still thrive today Keywords: Tembang, Guritan, Jawa, Poetry, Linguistic INTRODUCTION Literature and Javanese Culture Learning are integrated in one subject matter in the second semester of Indonesian study program, Teacher Training of Education Faculty (FKIP) UNS and in S2 Javanese study program which dissociated and passed to the first semester (Syllabus FKIP and PPS, 2011).The lecturing is given in S1 program since the implementing of National Curriculum 1995 FKIP and since the forming of S2 Javanese Study Program, PPS UNS (2008).
    [Show full text]