HARMONIA : Journal of Arts Research and Education 15 (1) (2015), 34-45 p-ISSN 1411-5115 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia e-ISSN 2355-3820 DOI: 10.15294/harmonia.v15i1.3695

LARAS IN MUSIC’S PLURALITY

Widodo Music Department, Faculty of Languages and Art, Semarang State University, Sekaran Gunungpati, Semarang 50229, E-mail: [email protected]

Received: April 22, 2015. Revised: May 5, 2015. Accepted: June 13, 2015

Abstract

Coercion, strife, contention, assault, and battle between individuals and groups today have never deserted from the news in mass media. The triggers are selfishness, feeling of self-righteous, overbearing, and a desire to be always comfortable and win, while neglecting differences had by one to another. It is pushed by unwillingness and inability to respect the differences as God’s will and grace. Plurality as an inevitability cannot be ignored as well as rejected. Willy nilly, it has to be faced, accepted, and respected as it is. It also needs to be assembled in order to actualize harmony in togetherness as in diversity in the musical aspects of traditional Javanese karawitan in gending composition. This paper is a reflection result towards diversity in gending composi- tion which raises beautiful musical alignment in order to reflect the plurality in life and to build harmony.

Keywords: laras; plurality; karawitan; gamelan

How to Cite: Widodo. (2015). Laras in Gamelan Music’s Plurality. Harmonia: Journal of Arts Research And Education, 15(1), 34-45. doi:http://dx.doi.org/10.15294/harmonia.v15i1.3695

INTRODUCTION half of a particular belief seemed to be justi- fied to attack another group and end up to Recently, willingness and ability to have many casualties. Political nuances of appreciate and respect differences are st- particular religious ideology have become rongly decreasing. Coercion, strife, con- a covert movement that led to the imposi- tention, assault, and the battle between in- tion of the will towards homogeneity that dividuals and groups which are triggered refuses diversity. In addition to it, there are by the selfishness, self-righteous, overbea- many other dreadful news that shows the ring, wants to be always comfortable and spirit of hostility towards difference. win, while neglecting differences with ot- We need to take a look at the an- hers have never deserted from the news in cestral cultural heritage of the nation that mass media. Dissatisfaction over the law has not completely disappeared from the decision can end in strife and dissension. records and memories. The ancestors had Security officers who are supposed to crea- realized that diversity was natural reality te a safe state for the people, even shooting given by God which was impossible to be one another instead of securing society just rejected and avoided. Paku Buwana IV in because of a small problem. Students of the text of Tembang Pangkur Wulangreh said formal education institution as the next na- that: tion generation are often involved in fights Sekar Pangkur kang winarna between groups. Groups of people on be- Lelabuhan kang kanggo wong aurip

34 Widodo, Laras in Gamelan Music’s Plurality 35

Ala lan becik puniku ralism, and heterogeneous (Echols & Sha- Prayoga kawruhana dily, 2010:435). Pluality is the reality of life. Adat waton punika dipun kadulu Millions of His creature are in different sta- Miwah ingkang tatakrama te. One of the type is human. Every human Den kaesthi siyang ratri is different physically and psychically. Shape, measurement, skin colour, voice, People as the superior human beings walking style, talking style, hair type, and who have had thought and mind are ha- other physical aspects are different. For ving an obligation to angrawuhi or to un- the non-physical aspects, such as: nature, derstand differences, ala lan becik or bad desires, wants, needs, thoughts, beliefs, and good, involving adat waton or human pleasures, abstinence, etc. are all different nature and habit with full manners in or- as well. Those differences are implicated der to mamayu hayuning bawana, to main- to the diversity of human culture. Culture tain and enhance the degree of safety and is a whole system of human ideas, actions, beauty, and not to make excessive exploi- as well as art works which are obtained tation and even to destroy it. through the learning process. It is univer- The ancestors pass down adi luhung sally comprised of the aspects of language, (wise) messages which are packaged in art knowledge system, social organization, works for us to respect diversity and create technology, occupation, religion, as well as harmony. One of the artworks here is Ja- the arts. Each of the aspect is transformed vanese karawitan, the inherited traditional into three forms of culture, there are (1) music of Java. From the point of view of complexity of ideas and norms, (2) human materials, shapes, measurements, playing activities, and also (3) human artefacts technique, nature and character, task, as (Koentjaraningrat, 1980, p. 216). well as musical function in Javanese kara- Plurality is an inevitability in life. witan, there are different ricikan and vocals. Therefore, whether it is agreed or not, the However, the difference is not creating plurality has to be faced, accepted, and disharmony. In fact, it creates a beautiful respected as it is. It is impossible for us to musical composition of Javanese karawi- avoid or reject its existence. One way to tan which is well-known as laras. Learning maintain diversity is to build a country or- from this Javanese karawitan, how beau- ganization and form a governmental sys- tiful it will be if every diversity aspect in tem which is open for participation from this life is maintained in order to realize a any parties in order to develop together- beautiful and harmonious condition. This ness. Throughout the historical memory, paper is an afterthought on how Javanese there had never been a state or government karawitan can be learned as the reflection of was built without mankind’s intervention. harmony in plurality. How is plurality in The appearance of Hindu or Buddhist re- Javanese karawitan created in order to es- ligion in Nusantara (Indonesia and its co- tablish laras? This question will be briefly lonization area) bequeathed a royal power discussed in order to reveal and discover system. In this region once stood Buddhist positive values in laras as the reflection kingdom of Srivijaya and Majapahit Hin- sources in order to build harmony and di- du as the first and the second Nusantara versity. empire. The advent of Islam affected to the establishment of the kingdom of Demak PLURALITY IN JAVANESE KARAWI- and Mataram (Islam), and the presence TAN of the European nation with the Christian Plurality is derived from the word gospel, built a system of the Dutch East In- plural. It means more than one, com- dies. pound, heterogenous (KBBI). A plurality The collapse of Srivijaya provi- means the situation where there are nu- ded lessons for Majapahit in maintaining merous people with much diversity, plu- its political sovereignty. Disintegration 36 HARMONIA : Journal of Arts Research and Education 15 (1) (2015): 16-24 triggered by differences in beliefs, anti- ture should be developed in order to live cipated by uniting the differences. Hin- together in a diversity can be lived in har- duism allows for the slaughter of animals mony like the beautiful knit of diversity in for ritual ceremonies, while the Buddha musical composition Javanese karawitan. forbid it. Hindus believe that the Buddha Martopangrawit in his writing entit- is an avatar (incarnation) of Vishnu as Kri- led Pengetahuan Karawitan (the Knowled- shna Vasudeva, while the Buddha Dhar- ge of Karawitan) delivers that karawitan is ma does not teach it. Hinduism teaches the art of voice either vocal or instrumen- that the highest essence is the Atma, while tal which employs and laras the Buddha is without Aku (sabbe sangk- (Widodo, 2010, p. 172). Karawitan is also hara anatta). Interestingly, although some known as Gamelan music. In Indonesia, aspects of the conflicting teachings, but the term Gamelan is used to address to a bloodshed between community groups on set of musical instruments (ricikan) which behalf of Hindu and Buddhist had never comprises ricikan of metal, wood, leather, been heard. Both also employ similarities wire or string, bamboo, or a mixture of in the teachings of certain aspects such as two or three materials in either laras pelog karma, that good works will reap the hap- or slendro. Whereas, karawitan refers to its piness and evil deeds will earn suffering. musical and cultural system (Supanggah, Both realized that the teachings of dharma 2002:12). The Gamelan was also previously can not be limited by the ability of human known by mrdangga, which means . thought. People may differ in perceiving The term was changed to merdangga, then dharma, but there are no two conflicting mradangga, and finally pradangga. Another truths. There is only one truth, which is the synonym is , it is an acronym of tem- truth itself. Buddhist poet, Mpu Tantular, baga (copper) and rejasa (white tin) as the in his work entitled Negara Kertagama deli- materials to make bronze. Bronze itself is vers a slogan Shiva-Buddha Bhinneka Tung- well-known as the best metal to make a gal Ika Tanhana Dharma Mangrwa, which blade, pencon, disc, and the other ricikan means although Hindu and Buddhist are which are made of metal. Ricikan Gamelan different, however, there are in one unity can also be made of iron and brass, howe- since there is no ambiguous truth. ver, the quality is far behind the bronze. Diversity in Nusantara today is legal- The combination of final syllable temba- ly recognized, however, its management ga and rejasa, gasa, which is merged into has not yet fully capable of ensuring all gangsa, turns into another term for gamelan. components of the nation’s independen- Gasa also refers to the dose size composi- ce in carrying out their respective belief. tion of copper and rejasa. Further, the best Reality shows that community groups on comparison for the combination of copper behalf of a particular belief is still free to and rejasa in order to make bronze as the do the will of the coercive action by violent material instrument of Gamelan is tiga-se- means. They perform their action when dasa or three to ten. Three for the rejasa and they consider that they have found the ap- ten for the chopper. propriate momentum. This shows that ac- Material, type, shape, size, techni- ceptance, respect, and respect for the dif- que, play pattern, duties and musical ferences have not been fully internalized functions of each ricikan Gamelan in Java- and implemented by all elements of the nese karawitan are varied. Materials used nation. Therefore, countries need to cons- to make Gamelan are: metal (bronze, iron, tantly maintain in order to ensure that all brass), wood, bamboo, leather, wire or elements of diversity are truly free without string, as well as a combination between threats, coercion, and violence. The values the previously mentioned materials. Metal of tolerance, harmonious, respectful, mu- made ricikan has various shape, there are: tual assistance, mad-sinamadan, daya-dina- (1) pencon, it consists of two types: pencon yan which are rooted in the national cul- wadon and pencon lanang, (2) wilah or bla- Widodo, Laras in Gamelan Music’s Plurality 37 de, it comprises of three types: nggeger sapi rung, penerus, , clempung, blade, kruwingan or blimbingan, and nyigar , , slentem, demung, , and sa- penjalin; (3) piringan berpencu; (4) bladdery ron penerus. Whereas, racikan that are ha- piringan without pincu; (5) ricikan which ving the task to support the ryhtym are ket- shaped like a banana. Nggeger Sapi is a type huk, kempyang, , , , kecer, of blade which shaped like a cow’s back, dan (Martapangrawit, 1975, p. 3). blimbingan is a type of blade in which the Classification on the basis of thericikan po- surface is shaped like a star fruit, while sition that is closely related to the roles and nyigar penjalin shaped like split rattan. level of difficulties in gending presentation Reckon made of wood, skin, and also are: (1) ricikan ngajeng (front ricikan). It con- wire also has a variety of shape and size, sists of , barung, bonang barung, such as: cylinder, wood shells, membrano- and pesindhèn; (2) middle ricikan which us bathokan, stringed box, as well as a hol- consists of slentem, demung, saron, saron low bamboo. The size of each ricikan are penerus, gambang, kempul-gong, gérong, ken- varied depending on its name and type. ong, siter; (3) wingking or back ricikan that Every ricikan gamelan explained abo- consists of bonang penerus, gendèr penerus, ve is grouped according to the needs. Ga- kethuk-kempyang, and suling. It needs to be melan makers divided the racikan into two noted that this classification is not the fix groups, pencon and wilah in order to ease arrangement or rule. It means that a ricikan the production process as well as to deter- can be moved to another group according mine the mold, size, type, dose, and the to the purpose of the karawitan presentati- amount of material required. Other ricikan on. In klenèngan, kempul and gong are often which are made of non-metallic materials categorized into wingking (back) group, are not taken into account because the ma- however, in shadow puppet show, it is nufacturing is done by other artists. Grou- usually categorized into middle group. ping is also made according to the playing Fees and respect for the music players are technique, namely: ricikan kosok or stringed central in determining the grouping type. instrument which is rebab, sebul or wind Supanggah (2002, p. 71) formulates instrument which is suling, plucked instru- the classification of ricikan Gamelan based ment which are clempung and siter, kebuk on the musical role in garap gending (the or keplak which is kendang, and percussion performance). They are: (1) ricikan balun- instruments which are bonang penembung, gan, a group of ricikan in which the pre- bonang barung, bonang penerus, gendèr ba- sentation is closed to gending, it rung, gendèr penerus, , demung, sa- comprises slentem, demung, saron, saron ron, peking, kenong, kethuk, kempyang, kem- penerus, and bonang penembung; (2) rici- pul, gong, kemanak, kecèr, gambang, engkuk, kan garap, a group of ricikan which plays kemong, as well as bedhug. balungan gending by interpreting, selec- Ricikan Gamelan classification is also ting, and implementing the technique of done on the basis of duties and musical certain céngkok or sekaran, and wilet based functions of the gending (Javanese songs or on the character and purpose of the gen- sounds) performance. There are two types: ding presentation. Ricikan which belongs ricikan pamurba or the leader and pamengku to this group are rebab, gendèr barung, gen- or supporter. The task of pamurba is to lead dèr penerus, bonang barung, bonang penerus, the gending, whereas pamengku is to frame gambang, siter, clempung, suling, and vocal and follow the musical ideas which are gi- (sidhèn dan gérong); (3) structural ricikan, ven by ricikan pamurba. There are two types a group of ricikan which the playing pat- of ricikan pamurba, which are song pamurba terns are determined or determining the which is rebab and pamurba that is gending form. It comprises kethuk, kenong, kendang. Other ricikan that are having the kempul, gong, engkuk, kemong, kemanak, and task to lead the song are bonang barung, kecer. gendèr barung, gendèr penerus, bonang ba- The next is playing technique. The 38 HARMONIA : Journal of Arts Research and Education 15 (1) (2015): 16-24 playing technique deals with how to pro- of gending and balungan gending; (2) peng- duce the sound of ricikan. Ricikan playing garap, they are pengrawit, pesinden, and wi- techniques can be classified into two types, raswara (the music player, the singer and namely general and specific techniques. backing vocal); (3) the tool or medium, in The general technique comprises the way a form of gamelan instrument; (4) the de- to swipe, pluck, menggebuk or mengeplak (to vices, it is the technique and vocabulary beat the musical instrument hard), blew, mastery, comprises of céngkok, wiled, irama and beat as well as the way to close it in and laya, laras, pathêt, as well as dynamic; order to get quality sound according to (5) determinant, it is signs which can affect the character of each ricikan. Special tech- garap, such as the authority, the social fun- niques contained in certain ricikan, the ction as well as art services; (6) considerati- group of ricikan balungan has both genjotan on, it is the accidental circumstanses which and kecekan techniques. In addition, rebab affect the presenter in deciding the garap, has ngicrik, kadhal menek, sendal pancing, like the internal physical and psychologi- and plurutan. While gendèr barung has the cal condition of presenters as well as the teachniques of gugukan, genukan, samparan, external condition, such as the audience sarugan, pipilan, umbaran, pethetan, mba- and presentation purposes. Waridi (2000: lung, ukelan, etc. 2) adds that the ruler, taste, money, func- Furthermore, the playing pattern tionality, forums, figure, environment, oral is also well-known as céngkok, sekaran, or and communal nature can be a motivating kembangan. Almost all ricikan gamelan as factor in the emergence of alternative garap its own playing pattern. The playing pat- on Javanese karawitan. tern in ricikan balungan are pinjalan, imba- This part will only show one element lan, cacahan, kintilan. In bonang barung, the of garap in Javanese karawitan, which is playing pattern comprise milah, pipilan, gending. Gending or karawitan is the compo- gembyangan, klenangan, and -sekaran. sition of material, object, or event to work In gendèr barung are putut gelut, putut seme- on for the artists of Javanese karawitan to di, jarik kawung, kacaryan, ora butuh, gantun- make it into a wonderful musical perfor- gan, ayu kuning, ela-elo, dua lolo, tumurun, mance. Laras, rhythm and laya, the musical dhebyang-dhebyung, nduduk, rambatan, ya form (form of gending), and pathêt are the suraka, etc. The previous brief illustration main aspects inside gending. It also needs merely shows that in terms of material, to be known that each aspect has its own shape, size, technique, pattern games, du- diversity aspect. ties and musical function, the ricikan game- Laras in this context means tone and lan in Javanese karawitan are very diverse. scale. As the scale, laras is a system of fre- Such diversity is a unifier element of the quency setting and tone interval in ka- alignment of musical compositions in Ja- rawitan. Laras containing a row of seven vanese karawitan musicality. The following and five tones that form a circle, starting shows the musical diversity of karawitan with a certain tone (basic) and ends with from garap gending (song arrangement) that very same tone in higher or lower point of view. gembyangan (octave). In gamelan, this sys- Garap literally means to make or to tem is divided into two: sléndro and pélog do certain goods, rice fields, arithmetic, (Martopangrawit, 1975:5; Sutton, 1991:28; houses, and other construction materi- Hastanto, 2009:23; Kusnadi, 2006:111-113). als (Perlman, 1993, p. 163). Conceptually, Sléndro occupies five tones in one octave garap is a system of creative work which with the relatively same interval, more or consists of several stages, each of which less 240 cents (Hardjito, 2001). However, support each other to produce a particular the numbers are not the standard size. It result. Supanggah (2009:3-4) states that ga- can be slightly reduced or increased. In the rap in Javanese karawitan employs several context of embat or the variety of interval aspects, which are: (1) material, in a form structure (jangkah), in the tone and scale Widodo, Laras in Gamelan Music’s Plurality 39 that determine the nature and characteris- is only “able” to play one beat, so that, the tics of gamelan instrument, those numbers rhythm is called lancar (1/1). If the total can be slightly reduced or increased. Alt- beat is twice in each play, it is called irama hough it has five tones formally, however, tanggung (1/2). Futher, if the total beat is every tone in laras sléndro can be increased four times in each play, it is called irama or decreased up to half tone or wilah. dadi/ dados (1/4). The last, if the total beat Pélog comprises seven tones in one is eight times in each play, it is called irama scale (gembyong). The names and symbols wiled. In Javanese karawitan is also known are panunggul (1), gulu (2), dhadha (3), pé- irama rangkep, laya which is in certain irama log (4), lima (5), nem(6), and barang (7). The is slowed. So that, in certain limitation, sa- prononciation is the same as the tones in ron penerus keeps multiply its beat counts. sléndro, which is to be pronounced ji, 2 ro, 3 Most of Javanese karawitan musicians lu, 4 pat, 5 ma, 6 nem, and 7 pi. In particular, are often employed the term irama siji or for 7, it is not pronounced as tu but pi under I, irama loro or II, and irama telu or III. The ethical and aesthetical consideration. The substance of irama siji is equal to irama lan- tone 7 in karawitan can be followed by the car and tanggung, irama loro is equal to ira- tone 5,6, and 2. If 7 is pronounced tu, there- ma dados and wilet, and irama telu is identi- fore, the combination pronounciations are cal to rangkep. A certain irama is called siji tu-ma, tu-nem, and tu-ro respectively. Tuma if (started from the opening till the certain is actually the javanese word for lice while part of the music) it plays irama lancar to turo (k) is women’s vagina. Therefore, in tanggung. It is called irama II if the music order to not to create negative impression, has already established (dados) and is pla- the tone 7 is pronounced pi. ced in irama dados or wiled gradation. Las- Rhythm or wirama in Javanese term tly, if the rhythm is double, therefore, the is another important musical element in gradation is called irama telu or III. karawitan besides laras. Martapangrawit The term laya is borrowed from In- (1975:1) states that rhythm is widening dian music terminology to refer to the and narrowing gatra (line) with multiple rhythm aspect which is closely related to or two ratios. The presentation Javanese the time or tempo of the gending (Supang- gending itself can be done in a gradual or gah, 2002, p. 127). Laya is the speed gending terraced tempo which creates distance in the same rhythm gradation. Javanese ka- consequences which is well-known as wi- rawitan do not have an exact tempo measu- den sabetan balungan or vice versa, so that, rement as in western music, as for using some of ricikan in the group of garap have the metaphor adante (motion), marche (line to fill the gap by playing the instruments in up), or second unit size and metronome. two beats. The slower of sabetan balungan is The speed of gending is determined by the played as a result of tempo gradation, the speed of kendang. Javanese karawitan mu- gap is also wider, and vice versa. The gap sician is usually called the tempo of gen- has to be filled with ricikan played in two ding with the specific tem tamban or alon, beats (Supangah, 2007:76). langsam, nglentreh for the slow tempo, sed- Javanese karawitan has five grada- heng or medium tempo, and seseg, cepet, or tions of rhythm (irama), there are: lancar, fast tempo. tanggung, dados, wiled, and rangkep. Mar- Each kendang player has their own topangrawit (1975:1) identifies the grada- habit in playing the gending tempo. The tions on the basis of the numbers of sound tempo is varied. There are fast, medium, saron penerus in every sabetan balungan gen- and slow. The tempo can be influenced by ding. The slower one sabetan balungan gen- internal factor, like, the condition of emo- ding leading to the another sound of sabetan tion, character, and capacity of the player. balungan gending, saron penerus has space There are also external factors, for instan- and time to multiply its beat, and vice ver- ce, the atmosphere around the venue, sa. If at any sabetan balungan, saron penerus time of presentation, and the request of 40 HARMONIA : Journal of Arts Research and Education 15 (1) (2015): 16-24 the other parties. The unstable emotion of (1) gending alit, as follows: sampak, srepeg, the kendang player can affect the tempo of lancaran, gangsaran, ayak-ayak, kemuda, keta- kendang becomes unstable also, so does for wang, ladrang, dan jineman; (2) gending sed- the careless one, and if the kendang player heng, there are: ketawang-gending and gen- is a newbie. The gending performance in ding kethuk 2 kerep; (3) gending ageng, it is a night fair tends to have fast tempo. It is kethuk 2 arang, kethuk 4 kerep, kethuk 4 arang, different to the performance held in go- kethuk 8 kerep and kethuk 16 kerep; and (4) vernmental place to the appreciation need. gending pamijen (Supanggah, 2009, p. 126). Request from the other parties to speed The concept of pathêt in karawitan up or slow down the tempo of the musical is interpreted variously by the experts, performance has an obvious effect on the among them are as follows: (1) pathêt as the laya in gending performance. theory of tone gong, (2) pathêt as the me- Javanese karawitan musical composi- lody theme development; (3) pathêt as the tions have a variety of forms. The meaning combination of contour, tone and position; of shape in this case is similar to the shape (4) pathêt as the concept which concepts in general music as well as language. Sha- that manage the duties and functions of pe or the form of music is a set of tone that the tone; (5) pathêt which is related to ga- contains the rhythm, melody and structu- rap; and (6) pathêt which is an atmospheric re. If the smallest unit of language is let- sense of sèlèh. Either laras sléndro or pélog, ter, then, the smallest unit of music is tone. each has gending or musical composition, The letters in the language arranged into which are: (1) laras sléndro, gending-gending words, words into phrases or sentences, pathêt nem, gending-gending pathêt sanga, sentences into paragraphs, and paragraphs and gending-gending pathêt manyura; and into discourse, and the tone of the music (2) laras pélog, which is gending-gending in arranged into patterns, motifs into phra- pathêt lima, gending-gending in pathêt nem, ses, phrases into a song. The letters in the bem, or nyamat, and gending-gending in pat- language are arranged into words, words hêt barang. Gending-gending in laras slendro into phrases or sentences, sentences into also have variants of pathêt which is called paragraphs, and paragraphs into discour- miring and is marked as garap miring. Rebab se, and the tones of the music are arranged and vocal in certain parts of gending have into motifs, motifs into phrases, and phra- to be increased a half wilah. Each pathêt in ses into a song. In Javanese karawitan, tones gending repertoar of either laras sléndro or are arranged into gatra, gatra into kenongan, pélog has different garap consequences. kenongan into gongan, and the arangement of gongan into gending. Kenongan is a song LARAS AS BEAUTIFUL SENSE sentence which is ended by kenong, gongan, Laras is a fundamental principle for and gong. Javanese people as a foundation and the The form of gending has its own for- intended direction in the act to achieve the mat and name. The large format of gending perfect balance point. Javanese community is called gending ageng, the medium one is uses it in the twelve context of usage imp- called gending sedheng, and the small one is licitly and explicitly, there are: (1) laras in called gending alit. Format size of the gen- samadi or meditation; (2) laras in klenèngan ding is determined by the amount of sabe- murya laras and mahas ing raras; (3) laras in tan balungan in each gongan. The greater the social intercommunication; (4) laras in gi- number of sabetan balungan, therefore, the nem raras bawa raos; (5) laras in panglaras gending format is bigger, and vice versa. (moderator); (6) laras in nglaras, the beau- The gending form is also determined or de- ty of nature and a relaxed art to loosen the termining the play pattern of the structural nerve; (7) laras in nglaras rasa, a sense of in- ricikan. The rhythm pattern of the song is ner processing to attain a higher degree of characterizing the gending form. Some of spiritual maturity; (8) laras as the name of a the gending form in Javanese karawitan are: person, organization, and certain goods or Widodo, Laras in Gamelan Music’s Plurality 41 belongings based on the concept of asma ki- healthy with sick, and so on. It is necessary narya japa; (9) laras as the scale designation to find the balance point of two opposing of sléndro dan pélog; (10) laras refers to to- circumstances, so that people will not easi- nes in sléndro and pélog; (11) laras in nglaras ly ngresula or complain, kaget or surprised, gamelan, the laras manufacture or repair in and gumun or wonder, but, tough, calm, gamelan; (12) laras in leres, rempeg, and la- strong, and fair in experiencing any cir- ras as the parameter to measure the sense cumstances. Ngono ya ngono ning aja ngono, quality of karawitan which is developed in a Javanese idiom, it means that we have to garap and gending performance. be always act fair and proper, and not to be Laras in this context means the type overreacting, or sak madya. Urip sak madya of sense, atmosphere, conditon, or impres- means to live our life based on its propor- sion of beauty which is deep and touching tion and balance, not to be too ambisious. and is arised after accomplishing a perfect Another Javanese idiom to illustrate this balance point in a “pull and push” interac- is aja rumangsa bisa ning bisoa rumangsa. It tion (Suharto, 1992, p. 20-31). The balance means that there is no truth, goodness, ex- illustration can be see from the swing mo- cellence, strength, greatness, beauty, and vement in children swing, that is the ext- absolute beauty. Another one is bener ning reme position in the outer pole will create ora pener means that if something is true balance after it is released naturally. A pole for one person, it does not mean that it is will be strongly moving back to its origin if appropriate or suitable for another person another side of the outer pole is swinging or group (Endraswara, 2010, p. 49-51). strongly, so that the distance from the axis A situation can sometimes be turned is becoming further (Syafie, 2011: 3-4). into another state. It is in contrast with the condition which is currently happening. Therefore, we need to be conscious and alert or éling lan waspada. Éling lan waspa- da asks us to be cautious in every spoken word, act, and behavior in order to strong, stable, and not to be easily shaken when facing change in life. When people are not aware with the surrounding and also only depend on their aji mumpung, then, one Figure 1. The illustration of balance in day someone will receive the impact or children’s swing punishment, ngundhuh wohing pakarti. Aji Note: literally means weapon, while mumpung P: Axis, A: The outer side of the pole 1, A’: means when they are currently (Widodo, the outer side point 2, Suwadji, dkk, 2000, p. 526). Words follo- S : The distance between the outer points, wing mumpung are: rich, powerful, beau- S’: Th distance side of the point 2. tiful, poor, low, etc. Aji mumpung means using the opportunity in order to get one’s Balance of the swing above can be own benefit while one is rich, powerful, used as a modality of two opposing nature rich, beautiful, etc. or circumstances, large-small, healthy-ill, Supardi (2009, p. 93-95) says that high-low, rich-poor, strong-weak, hap- Gusti Ora Saré, that God never sleeps, py-sad, optimistic-pessimistic, satisfied- thus, sapa nandur bakal ngundhuh, whoever disappointed, stabil- unstable, fast-slow, plants the trees, they will reap the harvest. hard-weak, sweet-bitter, and others. If the Sapa nyilih mbalekake, whoever borrows state at one pole of love, then penyeim- someone’s belonging, they have to return bangnya grief, healthy penyeimbangnya it. Sapa nggawe bakal nganggo, whoever ma- sick, and so on. If the state at one pole is kes they will uses it. Lastly, sapa sing mbibiti happy, then the balancing state is sad, ala wahyune bakal sirna, that whoever does 42 HARMONIA : Journal of Arts Research and Education 15 (1) (2015): 16-24 something evil, they will lose their luck. Besides the idioms mentioned above, there are still other idioms that illustrate the im- portance of having a balance life, such as: Sepi jroning rame means in a lonely state, there is a crowd; susah jroning bungah , in- side the sadness there is happiness; peteng jroning padhang, in every darkness, there is a light; becik jroning ala, there is goodness in every bad things. The meaning behind Figure 5. Laras in mutual attraction inter- the revious explanation is that in every action between many elements condition there will be always another condition. These conditions can happened Note: A, B, C, and D are elements of mu- alternately at anytime. Balance is laras de- tual attraction terminants. It is a wonderful, deep, and thorough sense of intrinsic. The schematic Common people often say that the illustration of the conception of laras, along sound of Javanese gending (songs) are less with the forming elements as well as the passionate and causing drowsiness. State- factors causing the manifestation to hap- ments are often given in negative conno- pen, is presented in the following scheme: tation, that Javanese songs and sounds are no more than bedtime songs. However, for the people who love Javanese karawitan, they can feel the meaning of the songs and sounds wholeheartedly. The process of absorbing the meaning of the sounds and songs are best to be done while the eyes are closed. For the performers themselves, they often perform the Javanese karawitan while closing their eyes. They do it in or- der to feel the meaning behind the sounds. Further, in this state, they can concentra- Figure 3. Laras, the aspects, and factors te to their performance better while at- that cause its manifestations tempting to also connect their instrument sounds with other aspects of the perfor- Note: 1 enak, 2 kepenak, 3 éndah, 4 betah, mance. 5 adhem, 6 ayem, 7 sengsem, 6 tentrem, 9 Buka is to start the gending perfor- merdika mance by playing certain ricikan (instru- ment) or vocal. It needs to be responded by other ricikan (instruments) besed on the desired gending composition. If the respon- buka Figure 4. Laras in mutual attraction inter- se towards is not appropritate to the action between two elements desired gending composition, then, the per- formance will be ruined. The worst part is Note: A and B are elements of mutual at- when buka is never responded, therefore, traction gending will never be performed. Musical interaction between ricikan and vocal as well as vocal and ricikan in Javanese gen- ding performance is conducted almost du- ring the whole performance. Certain musi- cal code which is given by kendang player needs to be responded by gong or ricikan Widodo, Laras in Gamelan Music’s Plurality 43 balungan, and in another part needs to be teraction can take place properly. In order responded by ricikan and vocal. Similarly, to create a series of qualified questions and musical decoys from rebab needs to be res- answers, all participants or those who at- ponded by gendèr barung, the vocal musi- tended the discussion need to concentra- cal code needs to be responded by bonang te, pay attention, and respect each other. barung, etc. In order to make the musical Similarly, in the gending performance, all interaction to run well, therefore, all per- performers must concentrate, pay atten- formers need to have competence and full tion, and give respect, so that the decoys concentration along with the gending per- and musical responses can run properly. formance. An offer to perform gending garap si- CLOSING rep, udhar, seseg, mandheg, suwuk, tomove on to another gending which is pioneered The above explanation is aiming at by kendang also needs to be responded by showing that gending performance applies all ricikan based on their oen musical task. the value of respect, harmonious, mutu- Because of the decoys are all musical, there- al cooperation, mad-sinamadandaya dina- fore, all of performers have to understand yan, and togetherness. Each ricikan and all the musical codes. By understanding vocal with its own character and musical and paying attention to each other while task composes the musical composition performing gending, thus, the musical in- of Javanese karawitan, so that, the musical teraction between performer will run well. sound of gending is created. If one of rici- If one of the performer does not pay their kan or vocal is not presented, therefore, the attention to the musical codes given, then, beauty of the musical composition will be the musical interaction will be disturbed. reduced. On the other hand, the more ty- Therefore, in performing gending, the per- pes of ricikan and vocal are involved, then, formers have to give their full concentrati- the composition sound of Javanese karawi- on to their own ricikan and vocal as well as tan will be more beautiful as well. When to listen well to other plays in order to run the gending is performed by one outstan- the gending performance well. The con- ding performer, then, the sound of rebab centration usually can be maintained whi- will be heard beautifully, and so does with le closing the eyes. This is when common gendèr. However, it needs to be noted that people often misinterpret the situation by the sound of rebab and gendèr are different. thinking that the performers are sleepy. It will be impossible to produce the same The performance of Javanese gen- sounds of the two very different instru- ding is conducted as if people are doing ments. The tone can be the same, but the discussions with a considerable number sound colours are different. Differences in of questions and answers. If the questions karawitan are intentionally created in order and answers in discussion are conducted to establish musical conformity. If natural verbally, then, in karawitan it employs the plurality and Nusantara culture are as- sounds of ricikan and vocal. If the questi- sembled as in the musical composition of ons in discussion are answered verbally Javanese karawitan, then, the beauty of its by the presenters, then, the questions of composition will be amazingly beautiful, musical code are answered musically by or in another word, laras. ricikan and vocal. Discussion can take pla- ce dynamically, beautifully, comfortably, REFERENCE happily, and fulfilling when the material quality and delivery of the questions and Backer, Judith. (1980). Traditional Music in answers are done with mutual respect and Modern Java. Hawai:The University appreciation, and so does with the gending of Hawai. performance. A beautiful musical dyna- Benamou, Marc. (1998). Rasain Javanese mics will be built up when the musical in- Musical Aesthetics. Dissertation. 44 HARMONIA : Journal of Arts Research and Education 15 (1) (2015): 16-24

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