Gamelan: Cultural Interaction and Musical Development in Central JavaGamelan is the first study of the music of Java and the development of the gamelan to take into account extensive historical sources and contemporary cultural theory and criticism. An ensemble dominated by bronze percussion instruments that dates back to the twelfth century in Java, the gamelan as a musical organization and a genre of performance reflects a cultural heritage that is the product of centuries of interaction between Hindu, Islamic, European, Chinese, and Malay cultural forces. Drawing on sources ranging from a twelfth-century royal poem to the writing of a twentieth-century nationalist, Sumarsam shows how the Indian-inspired contexts and ideology of the Javanese performing arts were first adjusted to the Sufi tradition and later shaped by European performance styles in the eighteenth and nineteenth centuries. He then turns to accounts of gamelan theory and practice from the colonial and postcolonial periods. Finally, he presents his own theory of gamelan, stressing the relationship between purely vocal melodies and classical gamelan composition. |
Contents
Introduction | 1 |
From Hindu to Islam The Early History of Javanese Music | 13 |
The Early Period of Islamized Java and Early Contacts with Europeans | 18 |
Sufism and the Javanese Court | 24 |
Outside the Court | 34 |
Javanese Interaction with European Colonialism Islam and the Peranakan Chinese A Period of Intensive Cultural Development | 48 |
Relationships between Europeans and Javanese Courtiers | 63 |
Evasion and Expression of Colonialism in the Javanese Court Culture | 71 |
The Involvement of Musicians in the Formulation of Gamelan Theories | 139 |
In Search of the Origins and Significance of Balungan | 142 |
Classification Systems of Gamelan Instruments | 151 |
Current Theories of Gendhing | 159 |
Additional Examples of the Process of Composition | 203 |
The Instrumental Element of Gendhing and Gendhing Bonang | 214 |
The Terms Gatra and Cengkok | 227 |
Conclusion | 236 |
Chinese Patronage of Javanese Arts | 81 |
The Decline of Islamic Ritual in the Courts of Central Java | 87 |
The Flourishing of Literature Influenced the Development of Gamelan Gendhing | 93 |
The Impact of Western Thought on Javanese Views of Music | 100 |
The Art of Adi luhung and Indonesian Nationalism | 111 |
The Development of Theories of Gendhing in the Twentieth Century | 128 |
Gamelan Instruments | 243 |
Glossary | 249 |
Notes | 259 |
References | 321 |
Index | 335 |
Other editions - View all
Gamelan: Cultural Interaction and Musical Development in Central Java Sumarsam No preview available - 1995 |
Common terms and phrases
ageng Bali Balinese balungan barung Becker bedhaya cèngkok Central Javanese Chinese colonial court culture Dalem dance dancers demung Dewantara dhalang dhikir discussion Djakoeb drums ensemble European music gambang gamelan gendhing gamelan music gamelan theory gatra gender gendhing gendhing bonang genre gérongan gong gongan Hindu-Javanese ibid important Indonesian ingkang intellectual irama Islamic Java Javanese aristocrats Javanese arts Javanese court Javanese culture Javanese elite Javanese gamelan Javanese music kang karawitan kemanak kempul kendhang kenong kenongan ketawang kethuk Kinanthi KOKAR kroncong Kumambang Kunst Kyai ladrang ladrang Pangkur lagu literature Mangkunegara Mangkunegara IV Martopangrawit Mataram melody musicians nese nineteenth century notation nulya Paku Buwana panerus pathet pathetan pélog performing arts period pieces played punika purwa rebab religious ritual santri saron sekar macapat Sekatèn sendhon Serat Babad Nitik Serat Centhini Serat Tjențini serimpi singing Sinom sléndro slenthem sound Surakarta swara talèdhèk tayuban terbang terbangan term traditional vocal Warsadiningrat wayang wong Western wilet Yogyakarta