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 ................................................................................................................ viii Abstract ............................................................................................................................ xi Chapter 1: The Gamelan ................................................................................................... 1 1.1 Introduction .......................................................................................................... 1 1.2 Gamelan Playing Styles ........................................................................................ 1 1.3 Gamelan Playing Styles within Central Java ........................................................ 2 1.4 The Creation of the Gamelan: Summoning Gods ................................................ 3 1.5 Ancient Melodies .................................................................................................. 4 1.6 Ancient Loud-Style Gamelan Sets ....................................................................... 5 1.7 Ancient Ceremonial Gamelan Sets (Sekaten Gamelan) ....................................... 6 1.8 Soft-Style Gamelan .............................................................................................. 6 Chapter 2: The Gamelan Instruments ............................................................................... 8 2.1 Introduction .......................................................................................................... 8 2.2 The Gamelan in Javanese Society ........................................................................ 8 2.3 Gamelan Etiquette .............................................................................................. 10 2.4 Instruments’ Roles .............................................................................................. 10 2.5 Colotomic Instruments ....................................................................................... 12 2.5.1 Colotomic Instruments: The Gongs ................................................................. 12 2.5.2 Colotomic Instruments: Kenong ...................................................................... 13 2.5.3 Colotomic Instruments: Kempul ...................................................................... 15 2.5.4 Colotomic Instruments: Kethuk and Kempyang .............................................. 16 v 2.6.1 Other Percussive Instruments: Kemanak ......................................................... 17 2.6.2 Other Percussive Instruments: Keprak ............................................................ 17 2.6.3 Other Percussive Instruments: Kecèr .............................................................. 18 2.6.4 Other Percussive Instruments: Kendhang ....................................................... 19 2.7.1 Vocal Parts in Charge of Melodic Elaboration: Pesindhèn ............................. 21 2.7.2 Vocal Parts in Charge of Melodic Elaboration: Penggérong .......................... 23 2.8.1 Instruments in Charge of Melodic Elaboration: Rebab ................................... 27 2.8.2 Instruments in Charge of Melodic Elaboration: Suling ................................... 28 2.8.3 Instruments in Charge of Melodic Elaboration: Celempung ........................... 29 2.8.4 Instruments in Charge of Melodic Elaboration: Gambang ............................. 30 2.8.5 Instruments in Charge of Melodic Elaboration: Gendèr ................................. 32 2.9 Balungan Instruments ......................................................................................... 35 2.9.1 Balungan Instruments: Saron .......................................................................... 35 2.9.2 Balungan Instruments: Slenthem ..................................................................... 36 2.10.1 Mediating Instruments: Saron Panerus ......................................................... 39 2.10.2 Mediating Instruments: Bonang .................................................................... 40 2.11 Wide Range of Difficulty Levels within the Gamelan Ensemble .................... 46 Chapter 3: The Wayang Kulit ......................................................................................... 47 3.1 Introduction ........................................................................................................ 47 3.2 The Origins of the Wayang Kulit ........................................................................ 48 3.3 The Physical Layout ........................................................................................... 50 3.4 The Making of Wayang Kulit Puppets ............................................................... 53 vi 3.5 The Mood and Forms of Wayang Kulit Puppets (Wanda) ................................. 55 3.6 The Puppeteer (Dhalang) ................................................................................... 60 3.7 Performance Setting and Context ....................................................................... 63 3.8 The Stories in Wayang Kulit (Lakon) ................................................................. 65 3.9 The Gamelan and Music ..................................................................................... 68 Chapter 4: Rama’s Crown in the Classic Palace Style ................................................... 71 4.1 Introduction ........................................................................................................ 71 4.2 Performance Analysis: Rama’s Crown (Makutharama), by Ki Purbo Asmoro . 71 4.3.1 The Gendhing: Setting the Scene .................................................................... 76 4.3.2 The Gendhing: Structure ................................................................................. 78 4.3.3 The Gendhing: Tuning and Mode ................................................................... 84 4.4 The Mood Songs (Sulukan) ................................................................................ 86 Chapter 5: Conclusion .................................................................................................... 94 5.1 Summary ............................................................................................................. 94 5.2 Personal Observations ........................................................................................ 94 Glossary...........................................................................................................................96 Bibliography ............................................................................................................... ..104 vii List of Figures Figure 2.1 Gamelan Ensemble ......................................................................................... 9 Figure 2.2 Gamelan Instruments and Their Roles .......................................................... 11 Figure 2.3 Gong Ageng and Gong Suwukan .................................................................. 13 Figure 2.4 Kenong .......................................................................................................... 15 Figure 2.5 Kempul .......................................................................................................... 16 Figure 2.6 Kethuk-Kempyang ......................................................................................... 17 Figure 2.7 Kemanak ........................................................................................................ 17 Figure 2.8 Playing of the Keprak ................................................................................... 18 Figure 2.9 Kecèr Used in the Accompaniment of Wayang Kulit ................................... 19 Figure 2.10 Kendhang .................................................................................................... 21 Figure 2.11 Sindhènan ladrang Wilujeng, Sléndro Manyura ......................................... 22 Figure 2.12 Wangsalan Text and Translation of Sindhènan ladrang Wilujeng, Slendro Manyura .......................................................................................