Indonesian Gamelan Music Interlocking Rhythms Interlocking Worlds Chapter

Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds Chapter 7

Introduction • This chapter explores musical traditions of Indonesian gamelan music, with a particular focus on the gamelan beleganjur, the Balinese “gamelan of walking warriors. ” (p. 90) • Gamelan beleganjur [PL 7 -1] • The term gamelan essentially means “ensemble” or “orchestra. ” • Refers to a diverse class of mainly percussion-dominated music ensembles found on Bali, Java, and several other Indonesian islands. • Related types of ensembles also are found elsewhere in Southeast Asia, for example, in Malaysia and Cambodia.

Balinese Gamelan Music in Context: The Republic of Indonesia • • Southeast Asia 17, 000 islands (close to 6, 000 inhabited) Formerly Dutch East Indies Company (colonized by Dutch) National independence: 1945 (full sovereignty, 1949) • Java • Jakarta (capital) • Surakarta and Yogyarkarta (Central Java – gamelan) • National unity efforts • • Unity in Diversity (slogan) Bahasa Indonesia (language) Cultural nationalism (including gamelan and related arts) Religion • • Islam principal religion of Indonesia (world’s largest and most populous majority-Islamic nation) Hinduism (Agama Tirta) principal religion of Bali

Varied Types of Gamelan Music • Central Javanese court gamelan, “Ladrang Pangkur” [PL 7 -2, “Tjatrik”] • Sundanese gamelan of West Java • Gamelan degung [PL 7 -3] • Gamelan salendro [PL 7 -4] • Jaipongan [PL 7 -5] • Bali • Wayang kulit (music of the shadow-puppet theater) [PL 7 -6] • Gamelan selonding (ancient gamelan of the Bali Aga, indigenous people of Bali) [PL 7 -7]

Balinese and Javanese Gamelan: A Comparison • Comparison of the two best-known types of gamelan from Java and Bali, respectively: • Central Javanese court gamelan (gamelan kraton) • Balinese gamelan gong kebyar • Comparison in the text (pp. 93 -97) is of two of the best-known compositions for these ensembles: • “Ketawang Puspawarna” [PL 7 -8) – Central Javanese court gamelan • “Taruna Jaya” [PL 7 -9] – Balinese gamelan gong kebyar • That comparative discussion is summarized on the next several slides.

General Similarities • Instruments • Gongs, metallophones (gangsa in Bali), drums, end-blown bamboo flutes, bowed chordophones • Cyclic forms (gong cycles) • Related tuning systems, scales, modes • Slendro, pelog (OMI #21) • • Similar polyphony (higher=faster, lower=slower) Melodic layers: core melody, melodic elaboration Hindu basis and related musical symbolism Associations with dance, dance-drama, shadow puppetry (wayang kulit), and other arts

General Differences (pp. 96 -97) Central Javanese Court Gamelan Balinese Gamelan Gong Kebyar Slow, majestic, ethereal Fast, hyper-virtuosic, intense Musically symbolic of subtle, nuanced social interaction ideal Musically symbolic of closely integrated, cooperative community ideal Drumming subtle and understated; one drummer playing multiple drums Drumming fast and prominent; two drummers playing one drum each in fast interlocking patterns Complex multiple-melody textures; “loose” rhythmic treatment Emphasis on intricate melodic interlocking (kotekan); precisely coordinated rhythmic treatment Wide tuning across ensemble Paired tuning between matched sets of instruments; ombak (I&P box, p. 97; OMI #21, #22)

“Ketawang Puspawarna” [PL 7 -8] • Title: • “Ketawang” = a 16 -beat gong cycle • “Puspawarna” = “flowers of many colors” • Gamelan • Paku Alaman royal palace (kraton) • More than 250 years old • Many different types of instruments with wide range of timbres • Rebab (two-string fiddle) • Kendhang (drums) • Bronze gongs, melodic sets of kettle-gongs, metallophones • Wooden xylophone (gambang), plucked chordophones • Female vocalist, male chorus • Dense, multiple-melody texture, “loose” rhythmic treatment, slow tempo (one 16 -beat gong cycle about 15 seconds, e. g. , 0: 07 -0: 22) • Classic recording from 1971 (included on Voyager Golden Record, 1977)

“Taruna Jaya” [PL 7 -9] • Title: Means “Victorious Youth” • Classic early composition in the kebyar style (c. 1914); was composed to accompany a dance of the same title • Kebyar • Lit. , to burst open (like a flower in bloom), to flare up (like a match) • Name captures the fiery, exciting spirit of the music (also sometimes translated as “lightning”) • Also the name of the exciting, unison opening sections of pieces in this style (e. g. , 0: 000: 42) • Also name of the ensemble (gamelan gong kebyar) • At 0: 42, second part of piece marked by entry of gong cycle • This gong cycle 32 beats (0: 48 -0: 58), and essentially three times faster than its Javanese counterpart! (10 seconds as opposed to 15 seconds, e. g. , 0: 48 -0: 58 • Unfathomably rapid, complex melodic elaboration parts (instruments: gangsa)

Musical Guided Tour: “The Gamelan Beleganjur” • Access at Online Learning Center (OLC): www. mhhe. com/bakan 3 e • Text transcript, pp. 99 -100 • This Tour introduces: • The instruments of the ensemble (know gong ageng, reyong) • The music’s basic gong cycle (i. e. , the recurring sequence of strokes on different gongs that serves as the music’s foundation), which is called gilak. • The relationship between the music’s core melody and the elaboration of that melody in other instrumental parts • The standard rhythms and interlocking rhythmic and melodic patterns (kotekan) employed, especially the kilitan telu patterns of the cymbal parts. • The stratified structure of the music, in which higher-pitched instruments play at faster rates than lower-pitched ones.

Balinese Kecak and the Kilitan Telu • Ubiquitous set of interlocking rhythms in Balinese gamelan • Featured in cymbal (ceng) interlocking in beleganjur • Same set of rhythms (aka cak telu) also used in Kecak dancedrama • • Sanghyang Dedari roots (trance dance of the celestial nymphs) Gamelan suara Ramayana dance-drama (Rama, Sita, Rawana) is context for Kecak Film: Insel der Dämonen (Island of Demons) (1933); Walter Spies • Transferred to melodic interlocking contexts, this same set of rhythms generates intricate melodic tapestries such as those heard in pieces like “Puspanjali” [PL 7 -10] • Kecak (from Baraka film); audio example PL 7 -11

Beleganjur in Balinese Ritual • Agama Tirta (Religion of Holy Water) • Cremation ceremony (ngaben) • Performed by members of the banjar • Purpose: Release soul (atma) to Upper World of Balinese cosmos • Procession of atma to cremation grounds • Multi-tiered cremation tower (wadah), followed by gamelan beleganjur, directed by lead drummer [PL 7 -12] • Gamelan beleganjur functions: • • • Frighten and deflect evil spirits (bhutas, leyaks) Give courage to the atma Energize tower carriers Regulate pace of procession At end, “ladder to Upper World” • Function of the ensemble most important at crossroads. Why?

GLE: Beleganjur Music Performed during a Balinese Cremation Procession [PL 7 -12] • 0: 00– 0: 35 • Sound of crowd assembling, singing of sacred verses (kidung). • 0: 36– 0: 55 • • • Entry of lead drummer (0: 36), cueing beleganjur ensemble and signaling beginning of procession. Full ensemble enters over gilak gong cycle at 0: 41 (as tower carriers hoist tower onto their shoulders and the procession begins); unison rhythms in cymbals. Brief passage of kilitan telu cymbal interlocking cymbal at end of section (0: 53– 0: 55). • 0: 56– 1: 05 • Gong cycle only (no drums or cymbals), followed by interlocking drumming and return of cymbals. • 1: 06– 1: 38 • Long passage featuring kilitan telu cymbal interlocking. • 1: 39– 1: 49 • Drum duet feature section. • 1: 50–end • Cymbals reenter, more kilitan telu interlocking; excerpt fades out after 2: 05 cymbal crashes as gong cycle continues.

Kreasi Beleganjur • Modern, contest style • Rooted in “warrior ideal” of antiquity • “Baris” (warrior’s dance) [PL 7 -13] • Gerak (choreography) reflects this ideal • Style originated in 1986 • Two of the pioneering composers: Sukarata [PL 7 -14], Asnawa • Exhibitionistic rather than functional • Innovations of kreasi style • • Compositional originality Ensemble virtuosity Showmanship emphasis (including gerak) Varied musical textures

GLE: I Ketut Suandita, “Wira Ghorava Cakti ’ 95, ” Pt. 1 [PL 7 -15] • 0: 00– 0: 06 • Excerpt begins with impressive interlocking drumming, syncopated cymbal rhythms; gilak gong cycle provides foundation. • 0: 07– 0: 18 • Brief passage featuring distinctive, eight-part interlocking cymbal texture (0: 07– 0: 09). • Reyong, drums, and other instruments come in from 0: 10 on. • 0: 19– 0: 27 • Unaccompanied reyong feature (gong cycle drops out); superb example of fast, intricate reyong interlocking. • 0: 28– 1: 14 • Gong cycle returns; talents of full ensemble on display; good examples of more eight-part cymbal interlocking from 0: 38. • Continues on next slide

GLE: “Wira Ghorava Cakti ’ 95, ” Pt. 2 • 1: 15– 1: 28 • Transition to slow-tempoed section of the piece; contrasting musical character. • 1: 29– 2: 11 • Slow section proper begins (over a dramatically slower gilak gong cycle). • Unpredictable and dramatic changes in tempo, texture, and rhythm. • 2: 12–end • Drums and cymbals play at double the tempo of the other instruments, creating an effect of two levels of tempo (slow and fast) occurring at once. • Excerpt fades out as performance continues (3: 00). • Video of same piece performed by 1992 Badung contest champions from Banjar Meranggi, Denpasar

Crossing International Borders • Western composers who have been influenced by/composed for gamelan • • • Janet Jackson, “China Love” [PL 7 -16] Claude Debussy, “Pagodes” [PL 7 -17] John Cage, “Daughters of the Lonesome Isle” (prepared piano) [PL 7 -18] Lou Harrison, Suite for Violin with American Gamelan (4 th mvmt. ) [PL 7 -19] Christine Southworth, “Supercollider” (Gamelan Elektrika, Kronos Quartet [PL 7 -20] • Composers associated with Gamelan Sekar Jaya (Berkeley, CA) • Michael Tenzer, “Unstable Center” [PL 7 -21] • Wayne Vitale, “Khayalan Tiga” [PL 7 -22] • Evan Ziporyn, “Tire Fire: IV” (Gamelan Galak Tika) [PL 7 -23] • Musik Kontemporer (Indonesia) • I Nyoman Windha, I Wayan Sadra, I Komang Astita, I Ketut Gede Asnawa • Book: Radical Traditions, by Andrew Clay Mc. Graw • “Kekembangan, ” by I Nyoman Windha; then collaboratively recreated with Evan Ziporyn [Pl 7 -24]

I Wayan Balawan and Batuan Ethnic Fusion, “Country Beleganjur” [PL 7 -25] • Electric guitar virtuoso, including of double-necked electric guitar and double-necked guitar synthesizer • In “Country Beleganjur, ” standard, single-necked guitar • Piece combines elements of country, bluegrass, funk, jazz, rock, and standard beleganjur music – even a bit of Kecak • See detailed discussion, pp. 112 -13

GLE: Michael Bakan, “B. A. Ph. PET” (Charles Tremblay, turntable soloist; FSU Balinese Gamelan), Pt. 1 [PL 7 -26] PART I • 0: 00– 0: 13 • The four reyong kettle-gongs come in one after the other, together building a dissonant cluster of notes (chord). • Ostinato rhythm is a shortened variant of the basic kilitan telu rhythmic pattern. • 0: 14– 0: 53 • Large gong enters, followed by metallophones (gangsa). • Instruments continue to enter, one by one, gradually filling out the texture with multiple layers and interlocking ostinato parts. • 0: 54– 1: 25 • Synthesizer melody unfolds over a steady, slow-moving core melody in lower-register metallophones. • Sequence of low gong strokes (supplemented by electric bass tones) combines elements of a Balinese-style gong cycle and the bass line of a Western-style chord progression. • Continues on next slide

GLE: “B. A. Ph. PET, ” Pt. 2 PART II • 1: 26– 1: 41 • • All instruments drop out except for a single reyong (like at the beginning). Synthesized drums enter (1: 30). Electric bass enters, establishing funk groove (1: 33). Scratch turntable sneaks in and builds with a crescendo (1: 39– 1: 41). • 1: 42– 3: 37 • Improvised scratch turntable solo—soloist: Charles Tremblay (Note: new bass line begins at 2: 16). • Second, third, and fourth reyong kettle-gongs reenter, one after another, beginning at 2: 29. • All other gamelan instruments gradually reenter, building as before. • 3: 38–end • Return of synthesizer tune over gamelan core melody, low gongs, and electric bass, plus all other instruments; dense, layered, polyphonic texture. • Climax of piece arrives at 3: 55, followed by fade-out ending.