DOCSLIB.ORG

8Th Century Musical Instrument on Kalasan Temple's Relief

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
8Th Century Musical Instrument on Kalasan Temple's Relief Harmonia: Journal of Arts Research and Education 21 (1) (2021), 115-122 p-ISSN 2541-1683|e-ISSN 2541-2426 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v21i1.28530 8Th Century Musical Instrument on Kalasan Temple’s Relief Susilo Pradoko, Maria Goretti Widyastuti, Fu’adi, Birul Walidaini Universitas Negeri Yogyakarta, Indonesia Submitted: 2021-01-17. Revised: 2021-03-23. Accepted: 2021-04-26 Abstract This research aims to unveil the types, size, figures, and functions of musical instruments carved as reliefs of Kalasan Temple as a way to revitalize the music from the 8th century. This research implements heuristic methods with Panofsky’s iconology analysis in three steps, which are pre- iconography, iconography, and iconology to analyse the reliefs of the Temple. The researchers validated the findings through forum group discussion with the Cultural Heritage Preservation Board of Yogyakarta. The findings show that (1) the relief of musical instruments in Kalasan temple is located on the head of Kala; (2) the musical instruments on the head are two wind in- struments made of shells and a stringed instrument named vina; (3) there are two figures of musi- cians carved, which are two wind instruments players and a player of stringed instruments. The figures are depicted as heavenly creatures namedGandharva ; (4) the measurement shows that the wind instruments have 35.98 cm length and 12.85 cm width, another one has 23.13 cm length and 12.85 cm width. Meanwhile, the stringed instrument has a length of 92.52 cm and 12.85 cm width; and (5) the musical instruments were performed to worship the Goddess of Tara. Keywords: Kalasan Temple, musical instruments, relief How to Cite: Pradoko, S., Widyastuti, M. G., Fu’adi, & Walidaini, B. (2021). 8Th Century Musical Instrument on Kalasan Temple’s Relief. Harmonia: Journal of Arts Research And Education, 21(1), 115-122 INTRODUCTION the location, which is named Sari Temple. Both Kalasan and Sari have similarities in Kalasan temple is located in Kalibe- their fineness and sculptural subtlety. The ning, Tirtamani, Sleman, Yogyakarta. The specific character of the temple is that they place is specifically located 10 km south have vajralepa (bajralepa), which is a layer of Yogyakarta’s central business district that covers the ornaments and reliefs on and around 5 km from Prambanan temp- the outer wall. le. In Kalasan inscription, Kalasan temple Apart from the characteristics, Kala- is named after its location. The inscription san temple displays musical instruments explains that the location is called Kala- on its south relief. The displays attracted san, and the place is blessed in a meeting the researcher’s attention when a musical involving important figures, such as pang- performance was held in the area in 2017. kur, tawan, and tirip (sets of local Javanese Hence, the researchers initiated this rese- leaders) along with the ancestors of the arch based on the curiosity to know detai- village (Source:Prasasti Kalasan BPCB DIY led information regarding the types, size, Inventory Number D 147). figures, and functions of musical instru- There is another temple not far from ments carved as reliefs of Kalasan Temple. Corresponding author: E-mail: [email protected] 115 116 Harmonia: Journal of Arts Research and Education 21 (1) (2021): 115-122 From the raised problem, it is a fact This research employed a musical that Indian culture’s influence in Indonesia archeology approach. Broadly speaking, reached its peak between the 8th and 11th musical archeology is an approach that centuries. During the time, there was a de- covers the history of musical sound art velopment of Javanese culture, especially phenomena. The research findings focus in architecture, fine arts, and music. As an on music that is dug and provide sound example, a lot of temples were built in the artefact (ancient musical and sound instru- civilization. ments), instrumental depiction, singer, There are many musical instruments dancer with musical instruments, posture displayed on the temples’ reliefs. Some of of performances, and real performance. the instruments came from India or Indo- Archeological approach has already provi- nesia, such as kledi, flute, siter (Javanese ded a sociocultural presentation and histo- violin), angklung, xylophone, sapeq, gen- rical meaning of ancient music (Both, 2009, dang, bells, gong, saron, bonang, and several p. 1). wind instruments (Prier, 1991, p. 80). Prior studies have analysed some The character of a musical instru- temples in Indonesia. A research has been ment is based on the sound that it produ- conducted on a historical site in Kedulan. ces or simply its timbre. According to Sach Kedulan contains the remains from the & Erick, musical instruments are classified 9th century on the Temple of Hindu Ma- based on how to use them: (1) idiophone taram Kingdom at Tirtomartani, Kalasan, (percussions), e.g., xylophone, angklung, Sleman Regency, Yogyakarta. The temple Belyra; (2) aerophone (wind instruments), was found accidentally by a sand digger e.g., aulos/ flute/flauto, clarinet, fagot, on November 24th, 1993 under several me- french horn, trombone, tuba, and trumpet; ters of modern Merapi’s vulcanoic deposit. (3) chordophone (stringed instruments) Technical studies are required to dig the kecapi, siter, harps, rebab, violin, cello, bass; temple carefully, specifically in geology (4) electrophone (electrical music instru- and geophysics. One of the geophysics ments), e.g., electric guitar, electric piano, methods applied on this study was by the and keyboard (Banoe, 2003). radar of soil penetration (georadar). The During the erection of Prambanan method used radar to get the profile from temple, Javanese Hindu has been identi- the sub-surface of the temple; thereby, the fied as using musical instruments like ke- scientists can explain the soil substrate capi, kinara, trumpet, drum, and symbals. based on the distinct dielectrical constant. The kecapi in Borobudur’s relief is slim Georadar investigation were conducted with different variations. It is predicted by Geological Engineering Department of that the kecapi entered Java during Syai- Engineering Faculty, Universitas Gadjah lendran age (c. 725 - c. 850). Kinara is a mu- Mada, on Desember 4, 2007. The main aim sical instrument on the relief which shows of this is to identify the location of the sto- the advanced development of music in ne fence as the approximate measurement Java. There is a trumpet-like instrument of the whole temple’s location (Husein et made of shells which represent a vital sto- al., 2015, p. 47). ry of service and war during the time. The Research of the Goddess of Tara has instrument is mentioned in old Javanese been conducted by Gogaoi, who states that literature under the name of sangka, mara, the Goddess of Tara is the second of ten and sungu. The drum musical instruments Mahavidya (Great and Magical Goddes- on Borobudur and Prambanan were diver- ses in Hinduism) (Gogaoi, 2011, p. 233). se. They were approximately coming from There is minimum information regarding the year 824 and the second half of the 9th the Goddess of Tara in Buddhism, which century. Cymbals were found on Pramba- shows the origin of the Goddess or the nan and Borobudy with a trophy-like figu- influence of the Hindu and non-Arya tri- re (Kunst, 1927, p. 56). be elements to the community (Jordaan, Susilo Pradoko et al., 8Th Century Musical Instrument on Kalasan Temple’s Relief 117 1997). The rise of the cult was based on the written sources of history are important northeast India. There was not any litera- documents, inscriptions, scripts, charters, ture or archeological evidence regarding chronicles, newspapers, books, research the existence of the Goddess before Gupta reports, and academic journals (Herdiani, era or in between the third to the fifth cen- 2016). The understanding supports Gott- tury, despite being limitedly mentioned in schalk who mentions that heuristic action Indian literature. Asides, Javanese inscrip- directs research to an exploration, search, tion of Kalasan on the year 778 becomes the and collection of sources which is going to earliest epigraphical reference supporting be researched in the location, whether as her existence (Jordaan, 1997, pp. 286–287). an exact thing or only verbal explanation Brandes compared the portrayal which refers to the historical evident (Rah- of the Goddess of Tara on the Buddhist man, 2017; Wasino, 2018). Temples in Central Java, which are Sewu The heuristic data collection of writ- Temple, Mendut Temple, and Kalasan ten literature on this research cover: (1) Temple (1904). The portrayal in Mendut Kalasan inscription which comes from the and Kalasan were most relevant with iden- Saka year of 700; (2) the report of Kalasan tical shapes and decoration as clearly de- temple’s reconstruction; (3) the procee- picted in Brandes’ articles (Jordaan, 1997, dings from the Association of Archeologi- p. 289). cal Expert of Indonesia; (4) the internatio- The Goddess of Tara has become nal academic journals which cover Kalasan the main issue to reconstruct the religious Temple and Widya Prabha Journals of worship. According to Monk Atisa in Ti- Cultural Heritage Preservation Board of bet, the Goddess possess 21 characters of Yogyakarta; and (5) relevant reference in God. Based on the data, it is impossible to the library of the Cultural Heritage Preser- see whether the characters are completely vation Board of Yogyakarta (BPCB DIY). A represented on the reliefs in Kalasan. field study was conducted as a visit to the Beyer states that the 21 positions of Kalasan temple, Yogyakarta. Taras are usually depicted as people sit- The musical instruments on the re- ting on the same position which is stret- lief were analysed in three steps, which ched right leg and pulled left leg. The are pre-iconography, iconography, and visible difference is only on the colour of iconology.
Load more

Recommended publications
  • Terminology of Art Music in Ottoman Turkish and Modern Turkish Lexicography (19Th-21St Century)
    TERMINOLOGY OF ART MUSIC IN OTTOMAN TURKISH AND MODERN TURKISH LEXICOGRAPHY (19TH-21ST CENTURY). Agata Pawlina Jagiellonian University Abstract In this paper the author presents preliminary conclusions concerning changes in forms (in respect of orthography and morphology) and semantics of musical terms in Ottoman Turkish and modern Turkish lexicography. Selected dictionaries (including mono- and bilingual, general and specialized ones) from the period between the 19th and 21st century had been analyzed. This period of time is particularly interesting for establishing how a) Turkish lexicographic works reflect the Westernization of high- culture music of the late Ottoman Empire and the young Republic of Turkey and b) differences between art music of the Ottoman and European traditions are perceived nowadays. By presenting a terminological analysis of words considered to be not only basic musicological terms but also a part of natural language (‘singer’, ‘piano’, ‘kanun’) the author unveils some of the issues associated with the translation of Turkish musical terms into European languages and vice-versa. Those problems arise from the duality and hybridity which exist in contemporary Turkish musical culture. Its older part, the so-called classical/traditional art music (tur. Türk sanat müziği or Osmanlı/Türk klasik müziği) emerged at the turn of the 17th century, as a part of a Middle Eastern art musical tradition. Later on, during modernizing efforts conducted in the declining Ottoman Empire in the 19th century, European art music had been incorporated along with its international, translingual terminology. As a result of such duality, interesting phenomena are being observed in modern Turkish vocabulary concerning art music.
    [Show full text]
  • Music: the Case of Afghanistan by JOHN BAILY
    from Popular Music 1, CambridgeUniversity Press 1981 Cross -cultural perspectives in popular music: the case of Afghanistan by JOHN BAILY The problem of definition It is inevitable that the first issue of this yearbook will raise questions about the use of the term 'popular music'. I do not believe that this question is going to be easy to answer and, as a precaution, I think we should regard quick and seemingly clearcut solutions with suspicion. In fact, we may eventually have to operate with intuitive, poorly defined and rather elastic definitions of popular music. Before we resort to that expedient, however, the problem of definition must be considered and discussed from various points of view. The editors have offered the following two definitions (the number- ing is mine): (1)From one point of view 'popular music' exists in any stratified society. It is seen as the music of the mass of the people ... as against that of an élite. (2) From another point of view there is at the very least a significant qualita- tive change, both in the meaning which is felt to attach to the term and in the processes to which the music owes its life, when a society undergoes indus- trialisation. From this point of view popular music is typical of societies with a relatively highly developed division of labour and a clear distinction between producers and consumers, in which cultural products are created largely by professionals, sold in a mass market and reproduced through mass media. (P. i above) The first of these definitions is very general, the second very specific.
    [Show full text]
  • Reading the Meaning of Mother in Your Mother Song Lyrics
    READING THE MEANING OF MOTHER IN YOUR MOTHER SONG LYRICS: A SEMIOTIC OF POETRY ANALYSIS A GRADUATING PAPER Submitted in Partial Fulfillment of the Requirements for Gaining the Bachelor Degree in English Literature By: NAJIB NUGROHO 16150047 ENGLISH DEPARTMENT FACULTY OF ADAB AND CULTURAL SCIENCES STATE ISLAMIC UNIVERSITY SUNAN KALIJAGA YOGYAKARTA 2020 ii iii KEMENTERIAN AGAMA UNIVERSITAS ISLAM NEGERI SUNAN KALIJAGA FAKULTAS ADAB DAN ILMU BUDAYA Jl. MarsdaAdisucipto Yogyakarta 55281 Telp./Fak. (0274)513949 Web: http://adab.uin-suka.ac.id E-mail : [email protected] NOTA DINAS Hal : Skripsi a.n. Najib Nugroho Yth. Dekan Fakultas Adab dan Ilmu Budaya UIN Sunan Kalijaga di Yogyakarta Assalamu’alaikum Wr. Wb. Setelah memeriksa, meneliti, dan memberikan arahan untuk perbaikan atas skripsi saudara: Nama : NAJIB NUGROHO NIM : 16150047 Prodi : Sastra Inggris Fakultas : Adab dan Ilmu Budaya Judul: READING THE MEANING OF MOTHER IN YOUR MOTHER SONG LYRICS: A SEMIOTICS OF POETRY ANALYSIS Saya menyatakan bahwa skripsi tersebut sudah dapat diajukan pada sidang Munaqosah untuk memenuhi sebagian syarat memperoleh gelar Sarjana Sastra Inggris. Atas perhatian yang diberikan, saya ucapkan terimakasih. Wassalamu’alaikum Wr.Wb. Yogyakarta, 25 Juni 2020 Pembimbing, Ulyati Retno Sari, S.S. M.Hum. NIP. 19771115 200501 2 002 iv READING THE MEANING OF MOTHER IN YOUR MOTHER SONG LYRICS: A SEMIOTICS OF POETRY ANALYSIS By: Najib Nugroho Abstract Your Mother song teaches how to respect to mothers. This theme is important to discuss because respecting a mother must be done by any children. This song is interesting to be analyzed because this song directly quotes the hadith of the prophet Muhammad SAW.
    [Show full text]
  • Buddha Speaks Mahayana Sublime Treasure King Sutra (Also Known As:) Avalokitesvara-Guna-Karanda-Vyuha Sutra Karanda-Vyuha Sutra
    Buddha speaks Mahayana Sublime Treasure King Sutra (Also known as:) Avalokitesvara-guna-karanda-vyuha Sutra Karanda-vyuha Sutra (Tripitaka No. 1050) Translated during the Song Dynasty by Kustana Tripitaka Master TinSeekJoy Chapter 1 Thus I have heard: At one time, the Bhagavan was in the Garden of the Benefactor of Orphans and the Solitary, in Jeta Grove, (Jetavana Anathapindada-arama) in Sravasti state, accompanied by 250 great Bhiksu(monk)s, and 80 koti Bodhisattva-Mahasattvas, whose names are: Vajra-pani(Diamond-Hand) Bodhisattva-Mahasattva, Wisdom-Insight Bodhisattva-Mahasattva, Vajra-sena(Diamond-Army) Bodhisattva-Mahasattva, Secret- Store Bodhisattva-Mahasattva, Akasa-garbha(Space-Store) Bodhisattva-Mahasattva, Sun- Store Bodhisattva-Mahasattva, Immovable Bodhisattva-Mahasattva, Ratna- pani(Treasure-Hand) Bodhisattva-Mahasattva, Samanta-bhadra(Universal-Goodness) Bodhisattva-Mahasattva, Achievement of Reality and Eternity Bodhisattva-Mahasattva, Eliminate-Obstructions(Sarva-nivaraNaviskambhin) Bodhisattva-Mahasattva, Great Diligence and Bravery Bodhisattva-Mahasattva, Bhaisajya-raja(Medicine-King) Bodhisattva-Mahasattva, Avalokitesvara(Contemplator of the Worlds' Sounds) Bodhisattva-Mahasattva, Vajra-dhara(Vajra-Holding) Bodhisattva-Mahasattva, Ocean- Wisdom Bodhisattva-Mahasattva, Dharma-Upholding Bodhisattva-Mahasattva, and so on. At that time, there were also many gods of the 32 heavens, leaded by Mahesvara(Great unrestricted God) and Narayana, came to join the congregation. They are: Sakra Devanam Indra the god of heavens, Great
    [Show full text]
  • Journal Für Religionskultur
    ________________________________ Journal of Religious Culture Journal für Religionskultur Ed. by / Hrsg. von Edmund Weber in Association with / in Zusammenarbeit mit Matthias Benad, Mustafa Cimsit, Natalia Diefenbach, Alexandra Landmann, Martin Mittwede, Vladislav Serikov, Ajit S. Sikand , Ida Bagus Putu Suamba & Roger Töpelmann Goethe-Universität Frankfurt am Main in Cooperation with the Institute for Religious Peace Research / in Kooperation mit dem Institut für Wissenschaftliche Irenik ISSN 1434-5935 - © E.Weber – E-mail: [email protected]; [email protected] http://web.uni-frankfurt.de/irenik/religionskultur.htm; http://irenik.org/publikationen/jrc; http://publikationen.ub.uni-frankfurt.de/solrsearch/index/search/searchtype/series/id/16137; http://web.uni-frankfurt.de/irenik/ew.htm; http://irenik.org/ ________________________________ No. 215 (2016) Dang Hyang Astapaka and His Cultural Geography in Spreading Vajrayana Buddhism in Medieval Bali1 By Ida Bagus Putu Suamba2 Abstract The sway of Hinduism and Buddhism in Indonesia archipelago had imprinted deep cultural heritages in various modes. The role of holy persons and kings were obvious in the spread of these religious and philosophical traditions. Dang Hyang Asatapaka, a Buddhist priest from East Java had travelled to Bali in spreading Vajrayana sect of Mahayana Buddhist in 1430. He came to Bali as the ruler of Bali invited him to officiate Homa Yajna together with his uncle 1 The abstract of it is included in the Abstact of Papers presented in the 7th International Buddhist Research Seminar, organized by the Buddhist Research Institute of Mahachulalongkornrajavidyalaya University, Ayutthaya, Thailand held from the 18th to the 20th of January, 2016 (2559 BE) at Mahachulalongkornrajavidy- alaya University, Nan Sangha College, Nan province.
    [Show full text]
  • BAB II LANDASAN TEORI 2.1 Daerah Istimewa Yogyakarta
    BAB II LANDASAN TEORI 2.1 Daerah Istimewa Yogyakarta Daerah Istimewa Yogyakarta (DIY) merupakan Provinsi terkecil kedua setelah Provinsi DKI Jakarta dan terletak di tengah pulau Jawa, dikelilingi oleh Provinsi Jawa tengah dan termasuk zone tengah bagian selatan dari formasi geologi pulau Jawa. Di sebelah selatan terdapat garis pantai sepanjang 110 km berbatasan dengan samudra Indonesia, di sebelah utara menjulang tinggi gunung berapi paling aktif di dunia merapi (2.968 m). Luas keseluruhan Provinsi DIY adalah 3.185,8 km dan kurang dari 0,5 % luas daratan Indonesia. Di sebelah barat Yogyakarta mengalir Sungai Progo, yang berawal dari Jawa tengah, dan sungai opak di sebelah timur yang bersumber di puncak Gunung Merapi, yang bermuara di laut Jawa sebelah selatan. (Kementerian RI, 2015) Yogyakarta merupakan salah satu daerah yang memiliki kebudayaan yang masih kuat di Indonesia, dan juga Yogyakarta memiliki banyak tempat-tempat yang bernilai sejarah salah satunya situs-situs arkeologi, salah satu dari situs arkeologi yang banyak diminati untuk dikunjungi para masyarakat dan wisatawan adalah peninggalan situs-situs candi yang begitu banyak tersebar di Daerah Istimewa Yogyakarta. 2.2 Teori Dasar 2.2.1 Arkeologi Kata arkeologi berasal dari bahasa yunani yaitu archaeo yang berarti “kuna” dan logos “ilmu”. Definisi arkeologi adalah ilmu yang mempelajari kebudayaan (manusia) masa lalau melalui kajian sistematis (penemuan, dokumentasi, analisis, dan interpretasi data berupa artepak contohnya budaya bendawi, kapak dan bangunan candi) atas data bendawi yang ditinggalkan, yang meliputi arsitektur, seni. Secara umum arkeologi adalah ilmu yang mempelajari manusia beserta kebudayaan-kebudayaan yang terjadi dimasa lalu atau masa lampau melalui peninggalanya. Secara khusus arkeologi adalah ilmu yang mempelajari budaya masa silam yang sudah berusia tua baik pada masa prasejarah (sebelum dikenal tulisan) maupun pada masa sejarah (setelah adanya bukti-bukti tertulis).
    [Show full text]
  • Challenges in Conserving Bahal Temples of Sri-Wijaya Kingdom, In
    International Journal of Engineering and Advanced Technology (IJEAT) ISSN: 2249 – 8958, Volume-9, Issue-1, October 2019 Challenges in Conserving Bahal Temples of Sriwijaya Kingdom, in North Sumatra Ari Siswanto, Farida, Ardiansyah, Kristantina Indriastuti Although it has been restored, not all of the temples re- Abstract: The archaeological sites of the Sriwijaya temple in turned to a complete building form because when temples Sumatra is an important part of a long histories of Indonesian were found many were in a state of severe damage. civilization.This article examines the conservation of the Bahal The three brick temple complexes have been enjoyed by temples as cultural heritage buildings that still maintains the authenticity of the form as a sacred building and can be used as a tourists who visit and even tourists can reach the room in the tourism object. The temples are made of bricks which are very body of the temple. The condition of brick temples that are vulnerable to the weather, open environment and visitors so that open in nature raises a number of problems including bricks they can be a threat to the architecture and structure of the tem- becoming worn out quickly, damaged and overgrown with ples. Intervention is still possible if it is related to the structure mold (A. Siswanto, Farida, Ardiansyah, 2017; Mulyati, and material conditions of the temples which have been alarming 2012). The construction of the temple's head or roof appears and predicted to cause damage and durability of the temple. This study used a case study method covering Bahal I, II and III tem- to have cracked the structure because the brick structure ples, all of which are located in North Padang Lawas Regency, does not function as a supporting structure as much as pos- North Sumatra Province through observation, measurement, sible.
    [Show full text]
  • The Moldavian Composer V. Rotaru and His Chamber- Instrumental Work
    İNÖNÜ ÜNİVERSİTESİ KÜLTÜR VE SANAT DERGİSİ İnönü University Journal of Culture and Art Cilt/Vol. 5 Sayı/No. 1 (2019): 41-51 THE MOLDAVIAN COMPOSER V. ROTARU AND HIS CHAMBER- INSTRUMENTAL WORK. Natalia Djalilova*1 *Academy of Music, Theatre and Fine Arts, Chishinau, Republic of Moldova Summary This article analyzes the piano Trio INO-3 V. Rotaru, its significance in the author's work, the basic style, the harmonic, rhythmic and inerprtative aspects. The connection with neo-folklore direction in music and traditional genres in Moldovan folk music is revealed, the synthesis of traditional folklore with modern composition techniques. This article assumes to define first of all value of the considered Trio INO-3 in the context of all area of chamber-instrumental music of V. Rotaru, as the last composition of the composer in this genre sphere. The article also focuses on the neo-folklore features of the composer's style and their harmonious combination with the classical traditions typical of the trio of Russian and Western European composers. As for the classical traditions, the Trio is a three-part cycle with a characteristic tempo dramaturgy: I. Moderato II. Lento e molto lamento III. Allegro moderato Since this Trio is the last in the cycle and was written shortly before the composer's death, the author's appeal to the genre of mourning Saraband in the middle part is of interest. As for the neo-folk style elements, they define the whole thematic, rhythmic and Lado - harmonic material of the composition. The article focuses on the Lado - harmonic features of all parts of the Trio, which are characteristic intonation formulas of Moldovan folklore: motives with II increased and decreased levels, motives with IV increased level, VI increased level, enriched with melismatics.
    [Show full text]
  • Dona Sutta (A 4.36) Deals, in Poetic Terms, with the Nature of the Awakened Saint in a Brief but Dramatic Dialogue
    A 4.1.4.6 Aṅguttara Nikya 4, Catukka Nipāta 1, Paṭhama Paṇṇāsaka 4, Cakka Vagga 6 (Pāda) Doṇa Sutta 13 The Doṇa Discourse (on the Footprint) | A 4.36/2:37 f Theme: The Buddha is the only one of a kind Translated by Piya Tan ©2008, 2011 1 Versions of the Sutta Scholars have identified five versions of the (Pāda) Doṇa Sutta, that is, (1) Pali (Pāda) Doṇa Sutta A 4.36/2:37 f; (2) Chinese 輪相經 lúnxiàng jīng1 SĀ 101 = T2.99.28a20-28b18;2 (3) Chinese 輪相經 lúnxiàng jīng3 SĀ2 267 = T2.100.467a26-b24; (4) Chinese (sutra untitled)4 EĀ 38.3 = T2.125.717c18-718a12;5 (5) Gāndhārī *Dhoṇa Sutra6 [Allon 2001:130-223 (ch 8)]. There is no known Sanskrit or Tibetan version. Although the text is well known today as the “Doṇa Sut- ta,”7 the sutta’s colophon (uddāna) lists it as the mnemonic loke (“in the world”), which comes from the phrase jāto loke saṁvaddho at its close (A 3:39,1 f); hence, it should technically be called the Loka Sutta (A 2:44,15). The colophons of the Burmese and Siamese editions, however, give doṇo as a variant read- ing.8 The untitled Chinese version, EĀ 38.3 is unique in mentioning that Doṇa (simply referred to as 彼梵 志 póluómén, “the brahmin”), after listening to the Buddha’s instructions on the five aggregates and the six internal faculties and six external sense-objects, and practising the teaching, in due course, “attained the pure Dharma-eye” (得法眼淨 dé fǎ yǎnjìng) that is, streamwinning (T2.125.718a12).
    [Show full text]
  • JAVANESE CATHOLIC MUSICAL TRADITIONS in YOGYAKARTA, CENTRAL JAVA Elizabeth Hamilton SIT Study Abroad
    SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Fall 2018 FROM ORGAN TO GAMELAN: JAVANESE CATHOLIC MUSICAL TRADITIONS IN YOGYAKARTA, CENTRAL JAVA Elizabeth Hamilton SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Catholic Studies Commons, Ethnomusicology Commons, and the South and Southeast Asian Languages and Societies Commons Recommended Citation Hamilton, Elizabeth, "FROM ORGAN TO GAMELAN: JAVANESE CATHOLIC MUSICAL TRADITIONS IN YOGYAKARTA, CENTRAL JAVA" (2018). Independent Study Project (ISP) Collection. 2939. https://digitalcollections.sit.edu/isp_collection/2939 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. FROM ORGAN TO GAMELAN: JAVANESE CATHOLIC MUSICAL TRADITIONS IN YOGYAKARTA, CENTRAL JAVA Elizabeth Hamilton ISP Adviser: Emilie Coakley, PhD Candidate at the University of Pittsburgh SIT Study Abroad Indonesia: Arts, Religion, and Social Change Fall 2018 FROM ORGAN TO GAMELAN 1 Table of Contents Acknowledgements ……………………………………………………………………………… 2 Introduction……………………………………………………………………………………. 3-6 Vatican II: A Bridge to Inculturation …………………………………………………………. 7-9 Pushing Keys, Striking Gongs, and Strumming Strings ……………………………………. 10-13 Pusat Musik Liturgi: The Center of Catholic Music ……………………………………….. 14-15 A Little Black Book with Red-Lined Pages ………………………………………………... 16-17 Tensions Between Traditional and Progressive Church Musicians ………………………... 18-19 Where Do We Find Music in Mass? ……………………………………………………….. 20-23 Music Gives Muscles to the Skeleton of Prayer …………………………………………… 24-26 With the Angels and Saints, We, Too, Sing ………………………………………………..
    [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]
  • Downloaded from Brill.Com09/26/2021 01:14:48PM Via Free Access Wim Van Zanten - 9789004261778 Downloaded from Brill.Com09/26/2021 01:14:48PM Via Free Access
    PART FIVE THE ETHNIC MODERN Wim van Zanten - 9789004261778 Downloaded from Brill.com09/26/2021 01:14:48PM via free access Wim van Zanten - 9789004261778 Downloaded from Brill.com09/26/2021 01:14:48PM via free access <UN> <UN> CHAPTER ELEVEN MUSICAL ASPECTS OF POPULAR MUSIC AND POP SUNDA IN WEST JAVA Wim van Zanten Introduction: Sundanese Music and the Technology of Enchantment Research on popular music, particularly in the field of cultural studies, has tended to focus on political and sociological aspects, to the exclusion of musical structures and actual sounds. Whereas in most societies musi- cal genres are in the first place classified by social criteria, it is undeniable that also the technicalities of the music play a role: audiences hear the differences between, for instance, jaipongan and degung kawih perfor- mances. This is because these musics are produced in different ways, using different instruments, tone material, musical structure, etc. Alfred Gell made an important contribution to the anthropological study of art by pointing out that the production of art is a technological process. He mentions that there are ‘beautiful’ things, like beautiful women, beautiful horses and a beautiful sunset. However, art objects are made ‘beautiful’ by human beings and this requires technology. He criti- cizes sociologists like Pierre Bourdieu, who do not really look at an art object as a concrete product of human ingenuity, but only elaborately look at the represented symbolic meanings (Gell 1999:162). In contrast, Gell proposes that anthropologists should look at art as a ‘component of technology.’ We call something an object of art if it is the outcome of a technological process, the kind of processes in which artists are skilled.
    [Show full text]