Tuning in Gender Wayang: voices, concepts, and analysis by I Made Kartawan B.A. (S.Sn), Sekolah Tinggi Seni Indonesia (STSI) Denpasar, 1997 Master (M.Si), Udayana University Denpasar, 2003 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Ethnomusicology) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) January 2014 © I Made Kartawan, 2014 i Abstract This thesis brings light to gender wayang’s (metallophone ensemble) unique and complex tuning system, which has yet to be explored thoroughly in academic circles. In the thesis I examine the tuning of gender wayang instruments through cultural and scientific analysis of the four Balinese tuning concepts ulu suara (pitch), sruti (interval), angkep-angkepan (octave), and ombak (waves). The cultural analysis focuses on the ways that pande gong (metalsmiths), tukang laras (gamelan tuners), juru gender (gender wayang musicians), and dalang (puppeteers) conceptualize the tuning of gender wayang instruments. I juxtapose their perspectives against measurements of nine sets of gender wayang instruments that are spread throughout four of Bali’s nine regencies—Gianyar (Central Bali), Tabanan (West Bali), Badung (South Bali), and Buleleng (North Bali)—and then analyze the measurements with particular attention focused on the four concepts. Following the discussion of these concepts, and informed by them, I investigate tuning levels and their connection to dalang. The thesis also describes gender wayang instrument construction in detail. This provides the reader with suitable background information about the relationship between tukang laras and pande gong. ii Preface This thesis is original, unpublished, independent work by the author, I Made Kartawan. iii Table of Contents Abstract ...................................................................................................................................... ii Preface....................................................................................................................................... iii Table of Contents ...................................................................................................................... iv List of Tables ............................................................................................................................ vi List of Figures .......................................................................................................................... vii List of Symbols and Abbreviations......................................................................................... viii Glossary .................................................................................................................................... ix Acknowledgements .................................................................................................................. xii Dedication ............................................................................................................................... xiii Chapter 1: Introduction .............................................................................................................. 1 1.1 Introduction ...................................................................................................................... 1 1.2 The Term Gender Wayang .............................................................................................. 2 1.3 Performance Setting ......................................................................................................... 3 1.4 Gender Wayang Tuning Overview .................................................................................. 5 1.5 Motivation ........................................................................................................................ 7 1.6 Chapter Summaries ........................................................................................................ 10 1.7 Research Method ............................................................................................................ 11 Chapter 2: The Gender Wayang Instruments, Construction, and Ensemble ........................... 13 2.1 Introduction .................................................................................................................... 13 2.2 Instruments ..................................................................................................................... 14 2.2.1 The Pelawah ....................................................................................................... 15 2.2.2 The Keys ............................................................................................................. 19 2.2.3 The Resonators.................................................................................................... 20 2.3 Gender Wayang Construction ........................................................................................ 2 2 2.3.1 Making and Tuning Keys.................................................................................... 25 2.3.2 Making The Resonators ...................................................................................... 28 2.4 The Gender Wayang Ensemble ...................................................................................... 33 2.5 Conclusion ...................................................................................................................... 36 Chapter 3: Four Tuning Concepts in Gender Wayang ............................................................ 38 3.1 Introduction .................................................................................................................... 38 3.2 Brief Information about Pande Gong and Tukang Laras .............................................. 39 3.3 Four Traditional Concepts .............................................................................................. 41 3.3.1 Ulu suara (Derparture Pitch) .............................................................................. 42 3.3.2 Sruti (Interval) ..................................................................................................... 47 iv 3.3.3 Angkep-angkepan (Octave) ................................................................................. 55 3.3.4 Ombak (Wave) .................................................................................................... 63 3.4 Conclusion ...................................................................................................................... 67 Chapter 4: Tuning Perspective and Dalang’s Voice and Ensemble ........................................ 68 4.1 Introduction .................................................................................................................... 68 4.2 Brief Information about Musicians and Dalang ............................................................ 69 4.3 Instrument Tuning Perspective....................................................................................... 71 4.3.1 Instrument Tuning Perspective and Measurements ............................................ 78 4.4 Perspectives on the Relationship between Dalang and Gender Wayang Tuning ......... 85 4.4.1 Unity of Voice and Instrument ........................................................................... 86 4.4.2 Adapting to the Tuning Instruments ................................................................... 90 4.4.3 The Role of Dalang in Determining Instrument Tuning .................................... 95 4.5 Conclusion ...................................................................................................................... 97 Chapter 5: Conclusion.............................................................................................................. 99 Bibliography .......................................................................................................................... 103 Appendices ............................................................................................................................. 106 v List of Tables Table 3.1 Ulu suara of Nine Sets Ensembles. ......................................................................... 46 Table 3.2 Average Interval Sizes in Begbeg and Tirus .................................................. .......... 52 Table 3.3 Ombak .................................................. .................................................................... 65 vi List of Figures Figure 2.1 The Gender Wayang Instruments. .......................................................................... 15 Figure 2.2 Three Different Style of Pelawah........................................................................... 16 Figure 2.3 The Types of Carving ............................................................................................. 16 Figure 2.4 Adeg-adeg .................................................. ............................................................. 17 Figure 2.5 Various Dupak .................................................. ...................................................... 17 Figure 2.6 Sunduk .................................................................................................................... 18 Figure 2.7 Cagak and Cengkalak .................................................. ........................................... 18 Figure 2.8 The Shape of Keys.................................................................................................