Course Name : Indonesian Cultural Arts – Karawitan (Seni Budaya Indonesia – Karawitan) Course Code / Credits : BDU 2303/ 3 SKS Teaching Period : January-June Semester Language Instruction : Indonesian Department : Sastra Nusantara Faculty : Faculty of Arts and Humanities (FIB)

Course Description The course of Indonesian Cultural Arts (Karawitan) is a compulsory course for (regular) students of Faculty of Cultural Sciences Universitas Gadjah Mada, especially for the first and second semesters. The course is held every semester and is offered and can be taken by every student from semester 1 to 2. There are no prerequisites for Karawitan courses.

The position of Indonesian Culture Arts (Karawitan) as the compulsory course serves to introduce the students to one aspect of Indonesian (or Javanese) art and culture and the practical knowledge related to the performance of traditional Javanese musical instruments, namely gamelan. This course also aims to provide both introduction and theoretical and practical understanding for the students of the Faculty of Cultural Science on gamelan instrument techniques, namely gendhing technique, that is found in Karawitan. Topics in this course include identification of Javanese gamelan instruments, exploration of tones in Javanese gamelan, gendhing instrument method and practice, as well as observation of traditional art performances.

Proportionally, 30% of these courses contains briefing theoretical insights, 40% contains gamelan practice, and 30% contains provision of experience in a form of group collaboration and interaction

Course Objectives The course of Indonesian Culture Arts (Karawitan) in general aims to provide theoretical and practical supplies through skill, application, and carefulness to recognize various instruments of Gamelan. Through this course, students are observant in identifying the various instruments of the gamelan and its application as instrumental and vocal art in karawitan. In addition, students can intelligently apply educational outcomes in the context of work in accordance with their field, and try as closely as possible to apply their knowledge to solve problems cooperatively and systematically.

Learning Outcomes and Expected Competencies Gained a. Knowledge After completing this course, students are expected to be able to carefully and observantly identify the various names of Javanese gamelan instruments, and to be able to apply the basic theory of Karawitan using gendhing technique. Students are expected to be familiar with various instrument terms related to gendhing, building the “sense” of musical elements in it and being able to play the instruments. b. Skills

Students are expected to acquire the skills needed to practice some traditional musical instruments on the basic level and master the basics of performance techniques for some gamelan instruments in every type of gendhing. In addition, students are expected to be able to sing some Javanese songs/gendhing. c. Attitude

Shaping the attitude of working together in team work, maintaining cohesiveness, as well as performance harmony. This is due to the fact that the practice of gamelan is basically not an individual game. In addition, this course is designed to cultivate the attitude of organising creatively, cultivating the soul of leadership, and mutual tolerance between colleagues, as well as to cultivate the taste, sensitivity, and concern for the cultural assets shown by mutual attitude and tolerance that will create the essence of a harmonious gendhing.

Topics

The learning material in Indonesian Culture Arts (Karawitan) tends to be dominated by the practice of gendhing alit. General/ basic knowledge is introduced durung pre-gendhing, which is to know the tones of slendro and pelog. Next, the course will cover the pattern/ form of performances, particularly gendhing gangsaran, gendhing lancaran, gendhing ladrang, and gendhing bubaran.

In addition, students will be introduced to appreciate gendhing performances through video and audio recordings. The material given in this lecture is in the form of text of the notation/ scores numbers for some gendhing, namely Gangsaran Laras Slendro Pathet Manyura, Lancaran Bindri Laras Slendro Pathet Sanga, Lancaran Suwe Ora Jamu laras Pelog pathet Nem, Ladrang Grompol laras Slendro pathet Sanga, Bubaran Udan Mas Laras Pelog pathet Barang.

Learning Evaluation Learning evaluation is done in three stages: evaluation on a weekly basis; midterm evaluation; and final evaluation through practical exam. In karawitan, students learn to play gamelan instruments. Overall throughout the semester, this course is filled with practical activities that build upon the material given. The material is delivered gradually from simple performance to complex material- which makes up stages and levels in the course progression. Because each gamelan instrument has different difficulty level and to make the most effective of contact hours during the semester, there are gamelan instruments that must be mastered by the end of the course:

• Group of balungan instruments (demung, saron, peking, and slenthem) • tabuh kalih instruments (bonang barung and bonang penerus) • Complementary and decorative instruments (kenong, kethuk, kempul, suwukan, and gong) • The main instrument for controlling (providing tempo) all instruments is kendhang (kendhang ketipung [alit] and kendhang bem [ageng]).

Instruments that are more complex (or instruments that require the players to have mastered above instrument groups) will not be taught in this course. These instruments include kendhang ciblon/ batangan, gender barung, gender penerus, gambang, siter, rebab, dan suling (flute).

Having said that, these instruments within the above groups are each further categorised as COMPULSORY instrument and OPTIONAL instrument. It is classified as such to optimise the learning process. The compulsory instruments in Karawitan course for a semester are:

• Demung / saron instrument • Slenthem instruments • Kenong instrument • Instrument kethuk • Kempul instruments • Instrument suwukan • Instrument gong • Peking instruments

There are three kind of OPTIONAL instruments and students can choose which ones they prefer to learn. These instruments are considered to have a 'character' and a certain degree of difficulty. The three instruments are:

• Instrument of kendhang (kendhang ketipung and kendhang bem) • Instrument bonang barung • Instrument bonang penerus

Because it is considered to have more difficulties than the compulsory instrument, thus students must choose one of the three instruments mentioned above. In addition, if possible, students can also choose other instruments to play. Mid-semester tasks are evaluated through group assignments. The task for this semester is to observe a traditional or contemporary music performance. Students make observations about what is witnessed, then record the parts of the show, doing interviews with traditional music artists, describe what can be obtained and then give reviews. The purpose of this task is to add insight and perspective to a form of culture to foster a positive attitude towards one of the nation's cultural heritage. In addition, students can work together in a team to provide practical solutions based on a scientific perspective that can be applied after observing a performance. For this mid-semester task, each group consists of three students. The assessment is combined with the practical assessment of each lecture week.

For the final exam of the semester practice is based on material that has been learnt throughout the semester. This practical exam is performed alternately and rotates between instruments, based on their COMPULSORY and OPTIONAL nature, as described previously. The assessment include Individual and group work- considering gamelan is not an individual/solo performance. a. Component Rating:

Assessment is done by considering 3 components:

1. Mid Semester Exam: 30% 2. Final Semester Exam: 40% 3. Attendance/ Participation + Tasks (attitude and "sense"): 30% b. Assessment criteria:

Assessment criteria consist of 3 components:

1. Cognitive domain: able to apply in performance and understand performance of gamelan instrument in some types of gendhing such as Gangsaran, Lancaran, Ladrang, and Bubaran. 2. Psychomotor domain. Students are able to: a. identify the names of gamelan instruments, b. meticulously recognise the tones or tunes of the slendro and gamelan tones pelog c. explain and distinguish both the characteristics and characteristics of the form of gendhing in the gamelan ranging from Gangsaran, Lancaran, Ladrang, and Bubaran d. play gamelan e. understand the basic theory of gamelan music in karawitan f. cultivate "sense" and find enjoyment in gamelan instruments 3. Affective sphere: develop mutual care and tolerance, work together in groups, cultivate leadership attitudes, and appreciate teamwork after learning and learning Karawitan and the dynamics of gendhing. c. Assessment Methods: The assessments, especially for the Mid Semester Exam, is done through a written exam that is undertaken after observing a traditional music arts group or gamelan-related performances.

For the Final Examination is done with practical exam that test the skills learnt about gendhing, combined with the assessment of participation and student’s weekly learning development/progress.

10. Information Resources and References

References

Becker, Judith. Traditional Music in Modern Java: Gamelan in a Changing Society. Honolulu: University Press of Hawaii, 1980. Hood, Mantle. The Nuclear Theme as a Determinant of Patet in Javanese Music. Groningen dan Djakarta: J.B. Wolters, 1954. ------. The Evolution of Javanese Gamelan, Book I: Music of the Roaring Sea. New York: Heinrichshofen, 1980. ------. The Evolution of Javanese Gamelan, Book II: The Legacy of the Roaring Sea. New York: Heinrichshofen, 1984. Kunst, Jaap. Music in Java. Its History, Its Theory, and Its Technique Vol 1-2. Edisi Ketiga yang diperluas oleh E.L. Heins. The Hague: Martinus Nijhoff, 1973. Lindsay, Jennifer. Klasik, Kitsch, Kontemporer Sebuah Studi Tentang Seni Pertunjukan Jawa. Yogyakarta: Gadjah Mada University Press, 1995. Martopangrawit. Pengetahuan Karawitan I. Surakarta: Akademi Seni Karawitan Indonesia, 1975. Murhadi, R.M. Kumpulan Gendhing Pakurmatan Tuwin Beksan ing Pura Pakualaman Jilid I. Ngayogyakarta: Lembaga Studi Jawa, 1996. Pradjapangrawit, R.Ng. Wedhapradangga (Serat Saking Gotek). Serat Sujarah Utawi Riwayating Gamelan. Surakarta: STSI Surakarta dengan The Ford Foundation, 1990. Probohardjono, Samsudin. Gending Djawi. Solo: Sadu Budi, 1957. Sumanto dan R. Bima Slamet Raharja. Pengenalan Seni Karawitan Jawa. Sebagai Pegangan untuk Mata Kuliah Karawitan. Yogyakarta: Jurusan Sastra Nusantara Program Studi Sastra Jawa Fakultas Ilmu Budaya Universitas Gadjah Mada (handout tidak diterbitkan), 2008. Sumarto, I. Dan C. Sri Suyuti. Karawitan Gaya Baru Jilid 1-2. Solo: Tiga Serangkai, 1978. Surjodiningrat, R.M. Wasisto. An Introduction to Javanese Gamelan Music. Gadjah Mada University Press, 1996. Tjokro, Ki dan Pak Ar. Tjatetan Not Gending Slendro-Pelog. Jogjakarta: Tanpa penerbit, 1960. Unit Kesenian Jawa Gaya Surakarta. Kumpulan Notasi Gending Jawa. Yogyakarta: Unit Kesenian Jawa Gaya Surakarta, Univesitas Gadjah Mada. tt. (tidak diterbitkan) Widodo, Mateus Anwar. Not asi 202 Gendhing Yogyakarta Mataraman. Yogyakarta: UKM Swagayugama, Gelanggang Mahasiswa, Universitas Gadjah Mada, 2004 (tidak diterbitkan).

Audio and Video materials

1. Audio dan Video: Gendhing Gangsaran Laras Slendro Pathet Manyura 2. Audio dan Video: Gendhing Lancaran Bindri Laras Slendro Pathet Sanga 3. Audio dan Video: Gendhing Lancaran Suwe Ora Jamu Laras Pelog Pathet Nem 4. Audio dan Video: Gendhing Ladrang Grompol Laras Pelog Pathet Sanga 5. Audio dan Video: Gendhing Bubaran Udan Mas Laras Pelog Pathet Barang

Weekly Learning and Activity Plans

Week Topic Subject Sub Subject

I Housekeeping Lecture contents, rules, Introduction description II Identify the instruments Srawung-Tepung- Dunung Identification of gamelan and functions, Pre- (to approach, to know, and instruments, tone recognition in Gendhing, and Recognise to show) identification of gamelan Tone in Gamelan gamelan instruments

III Pre-Gendhing and Tone recognition and how The introduction of a tone in a Knowing Tone in the to play random way and how to hold a Gamelan gamelan percussion instrument IV Gendhing I Gangsaran Laras Slendro Identification and explanation of Pathet Manyura performance methods, characteristics, and practise the instruments V Gangsaran Laras Slendro Practise the instruments Pathet Manyura

VI Gangsaran Laras Slendro Practise the instruments, pathet manyura dan laras identification of tone Pelog Pathet Nem differences VII Gendhing II Lancaran instrumental; Identification and explanation of Lancaran Bindri Laras performance methods, Slendro Pathet Sanga characteristics, and practise the instruments VIII Mid-Semester IX Gendhing III Lancaran ber-vokal Identification and explanation of Lancaran Suwe Ora Jamu performance methods, laras Pelog Nem characteristics, and practise the instruments

X Lancaran ber-vokal Practise the instruments and Lancaran Suwe Ora Jamu improvement laras Pelog

XI Gendhing III Ladrang Grompol Laras Identification and explanation of Slendro Pathet Sanga game methods, characteristics, and practise the instruments

XII Ladrang Grompol Practise the instruments and Laras Slendro improvement Pathet Sanga XIII Bubaran Udan Mas Laras Identification and explanation of Gendhing IV Pelog Pathet Barang game methods, characteristics, and practise the instruments

XIV Bubaran Udan Mas Laras Practise the instruments and Pelog Pathet Barang improvement

XV Material Review I-IV All gendhing materials Practise the instruments and improvement

XVI Final exam Practice