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An Analysis on Gamelan Theatre: Selected Pieces from Arus Gangsa

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View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Malaya Students Repository AN ANALYSIS ON GAMELAN THEATRE: SELECTED PIECES FROM ARUS GANGSA KHOO WAN RU CULTURAL CENTRE UNIVERSITY OF MALAYA KUALA LUMPUR 2018 AN ANALYSIS ON GAMELAN THEATRE: SELECTED PIECES FROM ARUS GANGSA KHOO WAN RU DESSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF PERFORMING ARTS (MUSIC) CULTURAL CENTRE UNIVERSITY OF MALAYA KUALA LUMPUR 2018 UNIVERSITY OF MALAYA ORIGINAL LITERARY WORK DECLARATION Name of Candidate: Khoo Wan Ru (I.C/Passport No: 920226025924) Registration/Matric No: RGI150008 Name of Degree: Master of Performing Arts (Music) Title of Dissertation: An Analysis on Gamelan Theatre: Selected Pieces from Arus Gangsa Field of Study: Musicology I do solemnly and sincerely declare that: (1) I am the sole author/writer of this Work; (2) This Work is original; (3) Any use of any work in which copyright exists was done by way of fair dealing and for permitted purposes and any excerpt or extract from, or reference to or reproduction of any copyright work has been disclosed expressly and sufficiently and the title of the Work and its authorship have been acknowledged in this Work; (4) I do not have any actual knowledge nor do I ought reasonably to know that the making of this work constitutes an infringement of any copyright work; (5) I hereby assign all and every rights in the copyright to this Work to the University of Malaya (“UM”), who henceforth shall be owner of the copyright in this Work and that any reproduction or use in any form or by any means whatsoever is prohibited without the written consent of UM having been first had and obtained; (6) I am fully aware that if in the course of making this Work I have infringed any copyright whether intentionally or otherwise, I may be subject to legal action or any other action as may be determined by UM. Candidate’s Signature Date: Subscribed and solemnly declared before, Witness’s Signature Date: Name: Designation: ii AN ANALYSIS ON GAMELAN THEATRE: SELECTED PIECES FROM ARUS GANGSA ABSTRACT This research focuses on analysis of gamelan theatre produced by Rhythm in Bronze (RIB) in year 2014. As one of the leading gamelan ensemble in Malaysia, RIB is exploring on contemporary gamelan music and performances. Since year 2005, they had been experimenting with gamelan theatre and had showcased many performances on gamelan music and theatre, such as in Monkey Business (2005), Alih PungGONG (2007), MaYa:Gong Illusion (2011) and Arus Gangsa (2014) concerts. Qualitative method was employed; interviews and virtual fieldwork were carried out for data collection. Virtual fieldwork was done through selected recordings of performances from Arus Gangsa concert. Pieces were analyzed and discussed in order to comprehend the musical structure of gamelan theatre. Research looked into two inseparable aspects of gamelan theatre, which are the music and theatrical elements of the performance. Aspects of analysis include music and extra musical elements. Analysis on music focused on the musical structure, melody, instrumentation, timbre, dynamic and extended techniques while analysis on extra musical elements focused on the stage presentation, playing gesture and costume. iii AN ANALYSIS ON GAMELAN THEATRE: SELECTED PIECES FROM ARUS GANGSA ABSTRAK Kajian menumpukan pada analisis dalam persembahan gamelan teater oleh Rhythm in Bronze (RIB) bagi tahun 2014. RIB merupakan salah satu kumpulan yang mengetuai bidang gamelan terutamanya dari segi muzik gamelan komtemporari. Sejak tahun 2005, RIB telah membuat banyak experimen dan mempersembahkan gamelan teater yang menggabungkan muzik gamelan kontemporari dengan elemen teater. Antara persembahan gamelan teater yang telah dipersembahkan oleh RIB ialah Monkey Business (2005), Alih PungGONG (2007), MaYa:Gong Illusion (2011) dan Arus Gangsa (2014). Kajian ini menggunakan kaedah kualitatif. Temu bual dan kerja lapangan telah dilakukan untuk mengumpul data. Kerja lapangan dilakukan melalui rakaman persembahan terpilih dari Arus Gangsa. Persembahan tersebut telah dianalisi dan dibincangkan untuk memahami struktur gamelan teater. Kajian ini memeriksa gamelan teater dari dua segi: muzik dan elemen tambahan. Analisis dalam muzik menumpukan pada struktur, melodi, instrumentasi, sifat bunyi, dinamik lagu dan teknik lanjutan manakala analisis pada elemen tambahan menumpukan pada persembahan pentas, gerakan semasa bermain dan kostum. iv ACKNOWLEDGEMENTS I would like to express my gratitude to everyone who helped me throughout my master study. A big thank you to both my supervisors Dr. Wong Kwan Yie and Dr. Loo Fung Ying, who had guide and assist me in my research. Without your guidance, support and understanding I would not have finished this tough and challenging journey. Many thanks to my informants: Dr. Jillian Ooi, Mr. Loh Kok Man, Mr. Teuku Umar Ilany, Dr. Patricia Matusky, Associate Prof. Dr. Nasir Hashim who are willing to share with me their experience, knowledge and loves towards gamelan and performing arts, despite their busy schedule. I truly appreciate your time and effort. Thank you, to friends who lend me their ears and encourage me when I was weary, when I was lost and when I was about to give up. Last but not least, thank you my family for their unconditional love and support. With their love, support and understanding, I’m stronger and better. v TABLE OF CONTENTS Abstract ........................................................................................................................... iii Abstrak ........................................................................................................................... iv Acknoledgements ............................................................................................................. v Table of Contents ............................................................................................................ vi List of Figures .................................................................................................................. x List of Tables .................................................................................................................. xii List of Appendices ........................................................................................................ xiii CHAPTER 1: INTRODUCTION ................................................................................... 1 1.1 Introduction ........................................................................................................... 1 1.2 Background of Study ............................................................................................ 1 1.3 Problem Statement ................................................................................................ 3 1.4 Research Objectives .............................................................................................. 3 1.5 Research Questions ............................................................................................... 4 1.6 Justifications and Limitations ............................................................................... 4 1.7 Definition of Terms ............................................................................................... 5 1.7.1 Balungan ................................................................................................ 5 1.7.2 Gendhing ................................................................................................. 5 1.7.3 Gongan ................................................................................................... 5 1.7.4 Kotekan .................................................................................................. 6 1.7.5 Colotomic Structure ............................................................................... 6 vi CHAPTER 2: LITERATURE REVIEWS .................................................................... 7 2.1 Introduction ........................................................................................................... 7 2.2 Introduction To Gamelan Instruments .................................................................. 7 2.2.1 The Tuning System and Notation .......................................................... 9 2.2.2 Musical Structure ................................................................................. 12 2.3 History of Gamelan in Malaysia ......................................................................... 15 2.4 Development of Contemporary Gamelan ............................................................ 17 2.5 Theatricalized Performance in Malaysia ............................................................. 22 2.5.1 Theatrical Approach in Gamelan Performance .................................... 24 2.6 Analysis in Gamelan Music ................................................................................. 24 2.7 Analytical Model ................................................................................................. 27 2.8 Conclusion ........................................................................................................... 29 CHAPTER 3: METHODOLOGY ................................................................................... 3 3.1 Introduction ..........................................................................................................32 3.2 Qualitative Research ..........................................................................................
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