There was a belief that Gamelan Sekaten as a royal heirloom also changed hands following who will rule next. Since Majapahit, Demak, Pajang and Mataram, and so many Gamelan Sekaten changed hands from one ruler to another leader, or passed down from generation to generation.
However, the journey of history has not ended, because Mataram Hadiningrat itself then also broke into two, in AD through the agreement Giyanti, or become Surakarta and Yogyakarta. See also: History of Batik Yogyakarta. The treasures including the Sekaten Gamelan were then divided in two. The result of the historical research conducted by Depdikbud Ministry of Education and Culture in stated that Gamelan Sekaten must be a pair, each of Mataram Hadiningrat Surakarta and Yogyakarta fractions, and make new Gong as their partner Kiai Nogowilogo and Guntur Sari.
See also: History of Malioboro Yogyakarta. The music of Javanese gamelan in Java itself is called karawitan. Karawitan is a term used to describe the soft music of gamelan. Karawitan art using gamelan instruments is found in the art of dance and sound art of Javanese, which is as follows:. Javanese gamelan art is not only played to accompany the art of sound, dance, and wayang attraction. When there was an official event of the kingdom in the palace, it usually used the strains of gamelan music as accompanist.
He needed a signal to summon the gods, and thus invented the gong. For more complex messages, he invented two other gongs, thus forming the original gamelan set. New World Encyclopedia. Most of the instruments are made from cast bronze and are in the shape of hanging gongs gong, kempul and racked gongs bonang and kenong which look like gongs lying on their backs with the boss facing up towards the ceiling.
There are metallophones saron which are like xylophones but made from metal, in this case, bronze polished to a gleaming luster and drums kendhang played with the hands. Gamelan Suprabanggo is a complete gamelan which means that it has instruments tuned in both the 5-tone Slendro and the 7-tone Pelog scales or laras.
Other popular Balinese styles include Gamelan and kecak , also known as the "monkey chant. Outside of the main core on Java and Bali , gamelans have spread through migration and cultural interest, new styles sometimes resulting as well. Malay gamelans are designed in ways that are similar to the Javanese gamelan except they lack most of the elaborating instruments and are tuned in a near-equidistant slendro, often using a western Bb or C as a tuning basis. Javanese emigrants to Suriname play gamelan in a style close to that found in Central Javanese villages.
Gamelan is also related to the Filipino kulintang ensemble. There is also a wide variety of gamelan in the West, including both traditional and experimental ensembles. In Indonesia, gamelan usually accompanies dance wayang puppet performances, or rituals or ceremonies. Typically players in the gamelan will be familiar with dance moves and poetry, while dancers are able to play in the ensemble. In wayang , the dhalang puppeteer must have a thorough knowledge of gamelan, as he gives the cues for the music.
Gamelan can be performed by itself — in "klenengan" style, or for radio broadcasts — but concerts in the Western style are not traditional.
Gamelan's role in rituals is so important that there is a Javanese saying, "It is not official until the gong is hung. Certain gamelans are associated with specific rituals, such as the Gamelan Sekaten , which is used in celebration of Mawlid an-Nabi Muhammad 's birthday.
In Bali , almost all religious rituals include gamelan performance. Gamelan is also used in the ceremonies of the Catholic church in Indonesia. When a "leaving" piece such as " Udan Mas " is begun, the audience will know that the event is nearly finished and will begin to leave. Certain pieces are also believed to possess magic powers, and can be used to ward off evil spirits.
Gamelan is frequently played on the radio. For example, the Pura Pakualaman gamelan performs live on the radio every Minggu Pon a day in the day cycle of the Javanese calendar. In the court tradition of central Java , gamelan is often played in the pendopo , an open pavilion with a cavernous, double-pitched roof, no side walls, and a hard marble or tile floor. The instruments are placed on a platform to one side, which allows the sound to reverberate in the roof space and enhances the acoustics.
In Bali , the Gamelan instruments are all kept together in the balai banjar, a community meeting hall which has a large open space with a roof over top of it with several open sides. The instruments are all kept here together because they believe that all of the instruments belong to the community as a whole and no one person has ownership over an instrument.
Not only is this where the instruments are stored, but this is also the practice space for the sekaha Gamelan orchestra. The open walls allow for the music to flow out into the community where the rest of the people can enjoy it. The sekaha is led by a single instructor whose job it is in the community to lead this group and to come up with new songs.
When they are working on a new song, the instructor will lead the group in practice and help the group form the new piece of music as they are practicing. When the instructor creates a new song, he leaves enough open for interpretation that the group can improvise and as a group they will be writing the music as they are practicing it.
Therefore, understanding gamelan is paramount as it embodies culture and identity of each area. Gamelan was originally adapted from Hindu-Buddhist culture that was introduced to the Javanese during Majapahit Dynasty. Despite numerous Indian cultural aspects that were adapted to Indonesian culture, the Indian influence of Gamelan only prevails in Javanese way of singing and traditional shadow puppet plays called Wayang Kulit.
Its earliest known use was originally found in the form of a sculpture depicting musicians playing harp, bell, drum, bamboo flute, and strings. The sculpture was embedded on an 8th century temple called Borobudur. He was a god who once ruled Java and resided in a palace at Mahendra Mountain today known as Mount Lawu. At first, the gong was invented by him as a signal to summon other gods.
Afterwards, another gong was created to deliver more specific messages. These two gongs were then claimed as the initial model of a Gamelan set. In Java, a classical art performance accompanied by smooth Gamela n music is widely known as Karawitan. Its rhythm generally sounds peaceful and in tune.
0コメント