Becker (1972) Traditional Music in Modern Java (Doctoral Dissertation)

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BECKER, Judith Margaret Chians, 1932-

TRADITIONAL MUSIC IN MCKERN JAVA.
The University o£ Michigan, Ph.D., 1972

Music
\ University Microfilms. A XEROXCompany, Ann Arbor. Michigan

f
© 1972
JUDITH MARGARET OMANS BECKER
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R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
TR AD IT I ON AL MUSIC IN MO DE RN JAVA
by
Judith Margaret Omans Becker
A d i s s e r t a t i o n s u b m i t t e d in p a r t i a l f u l f i l l m e n t
o f t h e r e q u i r e m e n t s f o r t h e d e g r e e of
D o c t o r of P h i l o s o p h y
(Far E a s t e r n S t u d i e s )
i n T h e U n i v e r s i t y of M i c h i g a n
1972
Doctoral Committee:
Professor W i l l i a m P. M a l m , C h a i r m a n
Professor L. A. P e t e r G o s l i n g
Professor G w y n n S. M c P e e k
Professor G a y l D. N e s s
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11
Nartosabdho
Ki
PREFACE
This dissertation is the result of two years research
in Java studying gamelan music and trying to understand the
role of gamelan music in the total society. The traditional
arts in Java would appear to be in good health. A wajang
kulit performance can be found nearly every night in the
larger towns. Wajang orang companies in Surakarta and
Semarang play every evening of t he week. Gamelan clubs
seem to b e born overnight, like mushrooms. Cheap comic
books of th e favorite wajang stories are sold by hawkers
who set up makeshift stalls by t he roadside at night. Large
outdoor theaters have been built which hold thousands who
come to see modernized versions of the old w a j a n g stories.
Government culture bureaus report that there are more dalangs
per population today than ever before. The overall effect
is one of a great deal, an almost overwhelming amount of
artistic activity.
However, if one spends any time at all with those in
volved in these activities, they communicate an unmistakable
depression or m a l a i s e . The source of the depression is often
difficult to pinpoint for b o t h artist and investigator. A
direct question elicits only a vague reply. " I t ’s not like
it used to b e , " or "Nowadays, nobody works hard at (playing
iii
the gamelan), (dancing)," or "The old masters were more pro
found than those today," or "Young people are not interested
in gamelan any more," or "The new gamelan pieces are all
only children's songs." Most of the statements above may
be more conventional than sincere, but that is not important.
What is important is that Java's musicians are troubled by
something.
A certain amount oi the unhappiness of Java's musi
cians can be attributed to simple economic need. Along with
many other segments of the population, the musician does not
receive enough money to live. Even with t he acknowledgment
of that fact, however, the a rt s in Java are in a troubled
state for other reasons. The imprecise complaints of the
village musician become the articulate and self-searching
appraisals of the intellectuals among the artists who often
appear on lecture platforms or w r i t e articles for popular
newspapers.
The problem is that there has come to be a gulf be
tween the projected aims of th e modern nation Indonesia hopes
to b e c o m e and the ethos and rationale that are e m b o d i e d in the
music of the gamelan. The government and many of the people
are eager for Indonesia to b e c o m e a twentieth century nation,
to obliterate the last traces of feudalism, to overcome the
deep-seated animism mixed with Hinduism which is still the
religious cast of many nominal Moslems in Java. The
iv
traditional Javanese world view is basically mystical and
non-rational. Inner reality is hidden, outward appear
ances can never be trusted and unseen forces operate on all
aspects of one's life. Many government leaders and most
intellectuals would change this orientation to a rational
approach in w h i c h things are what they seem to b e, in w h i c h
unseen forces are either ignored or disbelieved, and the
destiny of the individual and the nation can be controlled.
The world of the gamelan is not the world of m o d e r n goal-
oriented striving, but other-worldly and inner directed.
The situation is one of "cultural dissonance," a
term used by Leonard Meyer (M u s i c , The Arts and I d e a s ) to
describe a situation in w h i c h "an organism, a scientific
theory, or [in this case] a set of stylistic norms ceased
to be consonant with its environment." As Meyer points out,
change of a rather radical nature is the result if the
"dissonant" element is to survive.
It is my belief that such changes are occurring, and
can be demonstrated in some of the modern gamelan composi
tions by Ki Wasitodipuro and Ki Nartosabdho. In this study,
these compositions will be examined both as music per se
and as they relate to their cultural environment.
Note on Orthography
In contemporary Java there are at least three spelling
systems in everyday use, the Dutch romanization of Javanese
words, the Indonesian romanization and the Javanese romani
zation. Multiformity of spellings is commonplace and does
not bother anyone.
I have not been any more consistent than the Javanese
except to try to spell the same word always the same way.
The choice of a particular spelling for a particular word
has been made on t he basis of the spelling most familiar to
me. Thus the following appear. Djakarta not Jakarta,
a common v a r i a n t . Joel a k a r t a rather than D j ogd.1 a k a r t a ,
D.jo.1 a k a r t a , J o g d j a k a r a t a , Ngajog.1 a k a r t a or one of several
other possibilities, wa.i a n g rather than w a y a n g , S u r a b aj a
rather than S o e r a b a y a , and many others.
The variant spellings 0£ and u for the sound oo
(phonetic u), c a u s e d particular difficulty in the bibliographic
entry Sumarsam where one of t he items is published under t he
name S u m a r s a m , the other under the name S o e m a r s a m , both
unquestionably the same man.
Another special problem arises with the Javanese
sound aw (phonetic o), which in the Javanese romanization is
spelled either with the letter a or the l e t t e r £. Since £
is closer in sound to the Javanese o, I have chosen to use
the £ variant in the name Ki Wasitodipuro a nd Nartosabdho
where the medial and final £ a re all the o sound.
vi
A different problem occurs with the sound o in the
name of the city Suraba.1 a . It is pronounced by the Javanese
Surobojo, but it would look strange spelled Surobojo. I
would recommend that the reader with no experience in Java
try to disregard all the spelling problems. To the reader
who has lived in Java, all of the above is completely
familiar and of no cause for concern.
Note on Transcription
The problem of the type of m u s i c a l notation to use in
a study of music is one which recurs each time a scholar from
one culture writes about the music of another culture if both
cultures use a different musical notation system. Ideally,
the author should carefully consider t he alternatives and
come to a decision. I was unable to do t hi s , however, be
cause I hope this study will be read by people whose only
common interest may be either Indonesia or m u s i c . Thus the
intended audience includes those competent in the use of
Javanese cipher notation but to w h o m western notation is a
mystery, those who are familiar with western staff notation
but totally unaccustomed to cipher notation, and a wide range
of readers to whom either system may or m a y not be meaningful.
In Chapter I V, Djaja Manggala G i t a , the m u s i c a l examples are
given entirely in Javanese cipher notation. In Chapters V,
VI, and VII there are several songs in western notation and
some compositions in Javanese notation.
vii
Systems of musical transcripcion are a bit like
spelling systems and like languages. If one is exposed
long enough to m o r e than one system, both become equally
communicative and equally facile. The transition between
them or the or t he use of both together is no longer ^
difficult.
Acknowledgments
It is difficult to give acknowledgments as one's
debts to one's fellow-man are so all-encompassing.
However, I shall begin where most acknowledgments
end, with my husband. It w a s as his wife that I was able
to spend more than two yeors in Java. His tireless col
lecting of research materials on Javanese arts have cut my
library trips to a bare minimum. His ability to elucidate
instantly and at great length on such fine points as t he
definition of tiandrasangkala made him an invaluable, ever-
available and free research assistant. His painstaking
reading of the various drafts of this study prevented many
pitfalls of style and meaning. The above are by no means
all, but perhaps they are enough.
To the subjects of this study Ki Wasitodipuro of
Jogjakarta and Ki Nartosabdho of Semarang I am grateful
for their helpfulness and generosity. While not fully
understanding my purposes or m y motives, they offered me
all the material at their disposal and what is more
viii
important, their time and goodwill as well.
To my gamelan teachers, Hardjo Susilo of the Univer
sity of Hawaii, Pak Sumardjo, formerly of Jogjakarta and
now residing in Malang, and to Sulaiman Gitosapradjo,
formerly of Surakarta now residing in M a l a n g , I owe all
the understanding I have of the practice of gamelan music.
To my teachers of Indonesian and Javanese, Amran
Halim of Palembang, Soeseno Kartomihardjo and Imam Hanafi
of IKIP Malang I am greatly indebted. Without their help
all the Indonesian and Javanese-language materials used in
this study would have remained inaccessible, not to m e n t i o n
t he understanding gained through conversations over a two
year period with many people who know no English.
To William P. Malm, who has been my mentor, my guide
and my friend for lo these many years, and who has lost a
student and gained a colleague, I owe everlasting gratitude
To the members of my doctoral committee, I owe deep
appreciation for their helpful comments, their availability
and their encouragement.
I wish to thank the John D. Rockefeller III Fund
for providing me with a gr-.nt to conduct a research project
i.e., video-taping of Javanese theater forms, complementary
to that upon which this study is based.
Special thanks are given to the successive directors
of the Center for South and Southeast Asian Studies at t he
University of Michigan for their continuing support, moral
and financial, without which t hi s dissertation would not
have been written.
Finally, I wish to give thanks to the Ford Foundation
Djakarta, who, unbeknownst to them, supported me in comfort
while doing the research for this scudy. By hiring my
husband as a linguistic consultant at IKIP Malang, they
provided me with travel, a house, a car, servants, language
teachers, baggage allowance, schooling for my children, and
other items too numerous to mention.
TABLE OF CONTENTS
Page
P r e f a c e ..................................................... ill
List of F i g u r e s .......................................... xii
Chapter
I. The Context of Gamelan M u s i c ................. 1
II. F r o m O r a l t o W r i t t e n T r a d i t i o n in J a v a n e s e
M u s i c ............................................. 30
III. Nationalism and the G a m e l a n ................ 61
IV. Dj a.1 a M a n g g a l a G i t a . S o n g to t h e V i c t o r y
of H a p p i n e s s a n d W e l f a r e ..................... 83
V. M u s i c and P o l i t i c s : K i W a s i t o d i p u r o as
a M o d e r n - d a y P u d j a n g g a ........................ 119
VI. Western Influence in Gamelan Music . . . . 142
VII. Old Modes and New M u s i c ...................... 160
VIII. C o n c l u s i o n ........................................ 207
Appendix
I. B r i e f B i o g r a p h i c a l S k e t c h e s of Ki
W a s i t o d i p u r o and Ki N a r t o s a b d h o .......... 216
II. C o m p o s i t i o n s b y Ki W a s i t o d i p u r o a n d Ki
N a r t o s a b d h o U s e d as t h e B a s i s of T h i s S t u d y 219
T r a d i t i o n a l G e n d i n g U s e d as t h e B a s i s of
the A n a l y s i s o f P a t e t , C h a p t e r V I I . . . . 226
III. T ables I l l u s t r a t i n g the F r e q u e n c y and

D i s t r i b u t i o n of M e l o d i c P a t t e r n s A r r a n g e d
A c c o r d i n g to P i t c h L e v e l ..................... 234
Tables I l l u s t r a t i n g t h e P r o f i l e of P a t t e r n
D i s t r i b u t i o n f o r e a c h P a t e t ................ 250
IV. C o m p a r i s o n of t h e D a t a of t h e A u t h o r a n d
M a n t l e H o o d ..................................... 256
Bibliography ............................................. 260
xi
LIST OF FIGURES
Page
I. Guide to the G a m e l a n ........................... 17
II. D r a w i n g I l l u s t r a t i n g th e P o s i t i o n of Each
I n s t r u m e n t in S t r a t i f i c a t i o n H i e r a r c h y ,
O n e G o n g P h r a s e ................................ 18
III. D r a w i n g I l l u s t r a t i n g the P o s i t i o n of Each

I n s t r u m e n t in S t r a t i f i c a t i o n H i e r a r c h y ,
O n e K e n o n g P h r a s e ............................. 19
IV. Titilaras Rante, Saron . ...................... 37
V. Titilaras Rante, P e s i n d e n ..... ................. 38
V I. Titilaras A n d a ................................... 40
VII. Titilaras Kepatihan ........................... 41
VIII. Galin-Paris-Cheve Notation. . . . . . . . 43
IX. Titilaras R e b a b ................................ 44
X. Titilaras Kendang .............................. 45
XI. Titilaras Gerong ................................. 46
XII. Gending Bonangan Pangrawit ................. 64
XIII. N e k o l i m .............................................. 122
XIV. U S D E K ................................................. 1 2 4
XV. Kuwi Apa K u w i ...................................... 126
XVI. Keluarga Berentjana ........................... 127
XVII. Modernisasi D e s a .................................... 129
XVIII. Ladrang Sri Redjeki .................... 146
XIX. Aku N g i m p i ............................................149
XX. Orde B a r u ............................................152

XXI. Kawiwitan Meditasi/Konsentrasi ............. 155
XXII. Slendro; G I , GII, D; Dong, Dung,Dang . . 170
XXIII. Pelog; Gl, GII , D; Dong, Dung, D a n g .. . 171
XXIV. C o n t o u r .............................................. 179
XXV. Ladrang Ajun A j u n ............ .... 190
XXVI. Ketawang Subakastawa ........................... 191
XXVII. A d j a N g o n o ............................................ 198
Frontispiece photograph of Ki Wasitodipuro by

Danielle Diffloth.
xii
CHAPTER I
THE CONTEXT OF GAMELAN MUSIC
Gamelan Is the term for a Javanese musical ensemble
of gongs and metal xylophones. Sometimes the gamelan con
sists of only a few gongs kept in a special room, rarely
taken out, then only to b e struck a few times and returned
for safe-keeping. Sometimes the gamelan is elaborated and
expanded up to seventy-five instruments and played upon
nearly every night.
Gamelan music can be defined by its cultural en
vironment, i ts history, i ts geographical distribution, and
also by t he internal features of instrumentation, musical
structure and form. Musical change can be viewed in as many
ways. In the following paragraphs a few relevant topics are
summarized so that the reader unfamiliar with the subject may
be able to relate the material presented in this study do
the larger context of time, of p l a c e and of people.
Spacial Distribution
Knobbed gongs, the core instruments of the gamelan,
are found in valleys and highlands from northeastern Burma,
through Thailand, Laos, Cambodia and Malaysia, and all the
islands from Indonesia's Sumatra, Java, Bali, Lombok,
2
Kalimantan, Sulawesi to the southern Philippine island of
Mindanao.
Gongs and Gongsmiths
Gongs and their m a k e r s , the s m i t h i e s , have super
natural significance in Southeast Asia. The sound of. t he
gong is not an acoustical phenomenon of vibrating air par
ticles, but a voice. More than any other medium, it is
through gongs that the unseen powers speak. All the forces
operating beyond and behind the visible world find ways to
speak to man, and gongs are the favored way. Because of
this special function, gongs are highly respected and feared.
An insult to a gong is fraught with danger.
O n c e , t h e S u s u h u n a n of S o l o t o o k t h e g o n g w i t h
h i m to h i s p l a c e o f r e s i d e n c e - or , as s o m e w i l l
h a v e it, it w a s s t o l e n b y a S o l o n e s e . A l l the tigers
f r o m S o u t h - K a d i r i t h e n f l o c k e d a f t e r t he g o n g , a n d
t h e d i s t r i c t of S u r a k a r t a s u f f e r e d f r o m a v e r i t a b l e
p l a g u e of t i g e r s . The gong was th e r e f o r e b r o u g h t
b a c k to L o d a y a i n g r e a t h a s t e , a n d t h e p l a g u e of
tigers i m m e d i a t e l y ceased. N o E u r o p e a n is a l l o w e d
to t o u c h this gong. One civil servant, w h o v e n t u r e d
n e v e r t h e l e s s to t o u c h it, d i e d s o o n a f t e r w a r d s . 1
The blacksmith, the gong-maker, a humble figure in
western mythology, assumes the highest places among mortal
men in Southeast Asian myths. From northern Burma myth
portrays him as a priest and leader of men.
. . . in m o d e r n K a c h i n [Burma] o r i g i n s t o r i e s
N ' g a w n W a [ w h o is at o n c e t h e f i r s t p a r e n t of m e n
a n d t h e c r e a t o r of t h e e a r t h ] is u n q u e s t i o n a b l y a
blacksmith. He forges the earth and the terms used
to d e s c r i b e t h e p r o c e s s a r e t h o s e of a K a c h i n
s m i t h y . . . . M y t h as w e h a v e s e e n m a k e s t h e a r c h
t y p e g u m l a o l e a d e r a p r i e s t , a b l a c k s m i t h , and the
3
c h i l d of a l e v i r a t e wife of an elder brother in a

chiefly l ineage.2
In Java, ancient literature relates him to the gods.
T h e w o r d f o r " s m i t h " is p a n d e [ " e x p e r t " ] , h e

is a d d r e s s e d as e m p u o r k y a i [ " l o r d , " " m a s t e r " ]
and t h e s e old t e r m s are in a c c o r d a n c e w i t h s t i l l
existing notions and associations. H i s c r a f t is
n o t l o o k e d u p o n as a n o r d i n a r y p r o f a n e t r a d e , b u t
it is v e i l e d i n m y s t e r y . . . . F r o m t h e p a s s a g e s
in t h e o l d J a v a n e s e c h r o n i c l e s w h e r e t h e s m i t h is
m e n t i o n e d , r e p e a t e d l y g i v e t he i m p r e s s i o n t h a t i n
a n c i e n t J a v a t h e r o l e s o f p r i n c e a n d of s m i t h m o r e
o r l e s s o v e r l a p ; . . . T h e g e n e a l o g i e s o f the
s m i t h s , as of t h e p r i n c e s , go b a c k to t h e g o d s . 3
Historical Depth
It has long been assumed that the knowledge of
bronze-working originated in the Near East and reached
Southeast Asia sometime around 300 B.C. This theory is now
questioned on the evidence of discoveries from recent archae
ological digs in northern Thailand, supported by excavations
in Taiwan, North and South Vietnam, Malaysia and the
Philippines.
At o n e s i t e i n n o r t h e r n T h a i l a n d , b r o n z e w a s
b e i n g c a s t in d o u b l e m o l d s w e l l b e f o r e 2 3 0 0 B . C . -
p e r h a p s e a r l i e r t h a n 3 0 0 0 B.C. T h i s is s u b s t a n t i a l l y
e a r l i e r t h a n s u c h w o r k i n I n d i a or C h i n a , a n d p o s s i b l y
e a r l i e r t h a n the f i r s t b r o n z e cas t in th e N e a r E a s t ,
where, unt il now, most experts hav e thought that
b r o n z e m e t a l w o r k i n g b e g a n . 1*
4
Bronze Drums
The earliest types of signalling or m u s i c a l instru
ments that have come to light are the large bronze drums
usually associated with Han dynasty China or the Dongson
civilization of North Vietnam, circa 300 A.D.5 These drums
are still found throughout Southeast Asia as treasured hier-
looms. The relationship between these undoubtedly ancient
bronze drums, so common, so w i d e s p r e a d , and the modern
knobbed gongs of Southeast Asia, so equally common and
widespread, is tantalizing and mysterious. It seems natural
to assume that the modern gong form derived from t he ancient
bronze drums. The difficulty with this hypothesis is that
there are no clear intermediate forms which could substan
tiate this type of development and account for the very
different shape of contemporary gongs. However, o ne promi
nent scholar, Mantle Hood, is convinced of this line of
development and offers plausible evidence of t he transition
in Java from an imported set of Dongson-type bronze drums
to a set of large kenong-type instruments, both found in
horizontal sets or in v e r t i c a l hanging position.6 One of
the nagging problems with t he theory that present-day
Southeast Asian knobbed gongs developed from ancient bronze
drums is that there is no explanation for the fact that t he
development occurred everywhere in just the same way. The
shape of the original bronze drums could have led to any
5
number of different developments. If, however, the transi
tion occurred in one place and then spread over all Southeast
Asia, the theory is more plausible. Given the knowledge of
Javanese influence upon mainland Southeast Asia, it is pos
sible to imagine an innovation in instrumental form spread
ing from Java northward, eastward and westward.
Gong Grammars
What is certain is the familiar relationship of the
various gong ensembles of Southeast Asia. Their physical
appearance alone would be enough, but coupled as it is by
the structural identity of the music performed precludes the
possibility of independent development. In other words, all
these musical languages have the same basic grammatical
structures. It may be shocking to some readers to h a v e the
incredibly subtle, exquisite and delicate music of the
Mangkunegaran court in Java placed in the same category as
the simple gong beating of the Shans in Burma. But stripped
to their bare essence, they are identical. ( Le t it not be
assumed that all music systems when reduced become the same:
they most certainly do n o t . ) In all cases, one finds a
temporal/melodic unit of either four or a multiple of four
beats whose final beat is stressed. This temporal/melodic
unit is an ostinato, a repeated pattern.7 Everywhere the
basic ostinato unit is structured in the same way, by th e
principle of sub-division. For example, a basic four-note
6
ostinato, stressed at the end by a gong would be subdivided
by another instrument inserting notes exactly halfway be
tween the beats of the instrument playing four notes/gong.
1st instrument x x x x
2nd instrument x (x) x (x) x (x) x (x)
3rd instrument x(x)x(x)x(x)x(x)x(x)x(x)x(x)x(x)
etc.
Correlated with th e principle of subdivision is t he
general rule that the instrumental register becomes higher
with increasingly small subdivisions. A good term for this
principle of subdivision and rising register is stratification,
applied to gamelan by Mantle Hood.
U n l i k e t h e p r i m a r y t r a d i t i o n of t h e W e s t e r n o r
chestra, founded on a large h armonic complex which
m o v e s in v e r t i c a l s t r u c t u r e s , the g a m e l a n m o v e s in
as m a n y as t w e n t y - f i v e d i f f e r e n t h o r i z o n t a l s t r a t a .
For a time in the M i d d l e Ages W e s t e r n church m u s i c
w a s a l s o c o m p o s e d o n t h i s p r i n c i p l e of s t r a t i f i c a
tion: th r e e d i f f e r e n t v o i c e s p e r f o r m e d in suc h a
w a y t h a t t h e l o w e s t v o i c e h a d n o t e v a l u e s of l o n g
d u r a t i o n , the m i d d l e v o i c e a m e l o d y that was m o r e
a c t i v e , and the h i g h e s t v o i c e , the m o s t a c t i v e line.
W h e n , as i n g a m e l a n , t h e s e s t r a t a a r e i n c r e a s e d up
to t w e n t y - f i v e d i f f e r e n t l i n e s , t h e r e s u l t i n g c o m
p l e x i t y is o n e w h i c h r e q u i r e s a c o n s i d e r a b l e e x p o s u r e
to a p p r e c i a t e . 8
This typically Southeast Asian musical grammar, plus
t he similarity between all Southeast Asian knobbed gong en
sembles almost precludes the possibility of a non-indigenous,
imported music system.
7
Indian Traces
Any discussion of Southeast Asian cultural history
usually involves a rather lengthy review of Indian influence
on the area. When discussing music in Southeast Asia it is
more proper to speak of Indian non-influence. Today, where
are the myriad forms of Indian musical instruments found on
Southeast Asian medieval temple reliefs? One wonders if
they were ever really popular, or w e r e they high prestige,
low frequency items imported from India and played only

»- - f.
within court circles.9 What appear be direct borrowings
from India, turn out on close examination, to be a mere
facade, a thin transparent layer, an Indian terminology
placed upon a clearly indigenous form.
One reads that the Indian epics the Mahabharata and
the Ramayana form the basic repertoire of Javanese theater
performances. A careful examination makes it clear that it
is only the story motifs in b r o a d e s t form and the Indian
characters that have been borrowed. All the stories, as
presented in theater performances in Java, are Javanese in
formal structure and in plot d e t a i l . 10 The principle
characters whose names and general life stories are Indian,
are permeated by Javanese souls. After having become
familiar with the Javanese Ardjuna whose elegant refinement,
slow movements and carefully measured speech both mask and
suggest his sexual prowess, it is a physical shock to v i e w
8
the Indian A r d j u n a , a large, slightly overweight he-man
moving about th e stage with long, forthright strides.
Sanskrit terms abound in the technical vocabulary
of gamelan music, some in very general use, swara (sound,
voice,), nada (note, tone), irama (pause or hiatus), words
which are part of the everyday vocabulary of the Javanese
musician. Notice the generalized meanings of these terms.
Terms like n o t e , s o u n d or pause could equally well be bor
rowed by any music system in the w o r l d as thgir meanings
are non-specific. More rarely found musical terms of San
skrit derivation are da.j a s w a r a (important tone) , w a r g a s w a r a
(supplying t o n e ) , or the combination of Sanskrit and Javanese
bakuswara (basic tone). Baku means base in Javanese. But
when it comes to the names of the instruments or terms for
the many aspects of the structure and theory of music, all
are J a v a n e s e . 11 The phonetic structure of these words puts
them clearly within the family of Malayo-Polynesian lan
guages, not Indian languages past or present.
Names of instruments tone names interval names
gong nong - neng - gembjang

kenong nung - nang - ning kempjung
kempul
b arang
ketuk
gulu names of formal structures
bonang
dada
saron gending
lima
gender ladrang
nem
bedug bibaran
kendang ketawang
suling
etc.
9
The same general format appears everywhere in the
musical arts of Southeast Asia. The superficial Indian
veneer disguises th e fact of a totally indigenous music
s ys t e m . 12
Unity of Arts
Shared with India is the close integration of all
art forms in Southeast Asia. Poetry, drama, dance and
music are not separate categories, not isolatable entities.
The traditional dramatic forms of Southeast Asia manifest
clearly the unity of artistic expression. Music is not just
an accompaniment to such forms b u t is an integrated part of
the performance, setting the mo od, e s t a b l i s h i n g the place,
identifying the character by means of a leit-motif, and
accompanying songs and dances.
In a similar manner, the various roles within the
total a rt complex are ill-defined, with participants cross
ing from one role to another with great ease. An actor-
dancer in a professional theater company is an m u c h at home
playing in the gamelan as acting on stage.
Neither songs, dances, dramas, nor m u s i c are "arts"
in the western sense. The person who sings, or p l a y s or
dances is not an "artist," someone in a s p e c i a l c a t e g o r y
apart from other mortals. Anyone can dance, or p l a y an in
strument. Some are simply better at it than others. T he
arts are not considered as vehicles for personal expression,
10
media through which the "artist" presents his personal world
view. On the contrary, it is the performer/creator who is
the vehicle through which the traditions are continually
renewed and vitalized. A wall mural in a village will be
communally and sequentially painted, one person in his spare
moments taking up the portrait of a mythic figure where
someone else left off to pursue some other activity. During
a musical performance, one musician slips easily into the
spot left vacant by another who has left momentarily for a
bite to eat or a smoke. There is practically no opportunity
within the traditional arts for one individual to become a
"star." The arts are deeply communal and non-individualistic.
This is in part due to the fact that traditional arts are
still to some extent rituals, semi-ritualistic, or at least
bear the hallmarks of a ritual origin. In essence, the tra
ditional arts in Southeast Asia are communal expressions of
common ideals, aspirations and w o r l d views. But Southeast
Asian arts are not static. They exist within a modern,
secular world. By degrees, they a re beginning to reflect
this changing environment.
The Javanese Environment
In Java, one can find the w h o l e spectrum of forms
from ritual, semi-ritualistic, to almost purely secular
forms whose essence is entertainment. This spectrum does
not necessarily correlate with specific forms. Within one
11
form it is possible to see a range of uses and functions.
For example, the most famous Javanese dramatic form, the
wajang k u l i t , is sometimes pure ritual, mostly semi-ritualis
tic, sometimes largely entertainment. Wajang kulit is an
all-night performance of an e pi s o d e from the Hindu-Javanese
version of the epics Mahabharata or Ramayana, all characters
portrayed by delicately carved and painted flat leather
puppets whose arms are articulated by sticks. The puppeteer,
d a l a n g , manipulates all the puppets, speaks for each charac
ter, controls the accompanying gamelan, and intermittently
sings passages from Old Javanese poetry whose place in the
drama has been fixed by tradition.
Wajang kulit in a pure ritual form occurs every day
of the year in East Java at Mount Kawi. On the side of
Mount Kawi is the tomb of a holy man. The tomb and the ad
joining mountainside a re felt to be spiritually charged and
magically powerful. It is a favorite spot for p i l g r i m s
coming to seek special favors from the gods or to give
thanksgiving for a boon granted. On either side as one
ascends the stone steps leading to the tomb are resting
houses for pilgrims, restaurants, food vendors^ stalls,
beggars, and sheds for w a j a n g kulit performances. Day in,
day out, year after year, the shadow-play performances go
on. The dalang sits before the lighted screen, his puppets
arranged on either side of him, a full gamelan playing behind
him, and acts out the epic stories. Only one factor
12
distinguishes these performances from any other wajang kulit
performance. There is no audience. The performances a re
commissioned either to give thanks for a boon or to induce
the gods to grant one. It is for an unseen audience, and
no one, busy as they are with their own concerns on Mount
Kawi, pays the slightest attention.
At the other extreme a re the highly publicized
sendratari performances of the Ramayana stories given during
the summer months on a grandiose stage erected before the
10th century temple complex Prambanan. Sendratari is a re
cently developed form derived from wa.1 a n g orang. In w a j a n g
orang the same epic stories are portrayed as f or w a j a n g
kulit, but live actors substitute for leather puppets. The
role of the dalang is reduced to singing only the fixed
passages of Old Javanese poetry and narrative transitions.
The gamelan accompaniment is essentially the same as in
wajang kulit. In sendratari, the wajang orang format is
shortened to only two hours, all the dialogue is omitted
and story is told entirely through dance gestures. Since
the vocabulary of dance comes nowhere near th e complexity
and subtlety of t he vocabulary of speech, the philosophic
overtones of the w a j a n g orang are gone, as well as the
element of speech-play, beautifully composed phrases or
clever puns and innuendoes. What is gained is a visually
arresting, fast-moving and easily comprehenced theatrical
form which contains many elements from earlier forms such
13
as dance gesture, costumes, story format and, of course,
gamelan. This new form is highly popular with foreign tour
ists in Java as well as many urban Javanese who feel the old
forms are boring, interminably drawn-out, and expressive of
an outmoded, out-of-date philosophical framework.
Wajang kulit, wajang orang, and sendratari are all
related by virtue of story, plot format, and their basis in
Hindu-Javanese religious philosophy. Secular theatrical
forms with quite different origins and development also are
accompanied by gamelan, in many cases playing much the same
repertoire as for the more prestigious "wajang" forms. Lower
class theatrical forms such as East Javanese Ludruk and
Djakarta L e n o n g , considered by upper-class Javanese to b e
vulgar and tasteless, are done in modern dress without the
stylized movements of w a j a n g theatrical forms. Still, one
finds within these forms the same type of integration of
music, poetry and dance characteristic of all Southeast
Asian theater.
E v e r y l u d r u k p e r f o r m a n c e is a c o l l e c t i o n of
e x a m p l e s of t h e f o l l o w i n g g e n r e : ngremo [dance],
d a g e l a n [jokes], s e l i n g a n [interludes], t j e rita
[story]. Every ludruk performance opens with a
d a n c e c a l l e d t h e " n g r e m o " t h a t is p e r f o r m e d b y a
m a n d r e s s e d in b i z a r r e b l a c k m e n ' s or w o m e n ' s
clothes. . . . A f t e r the n g r e m o , the d a g e l a n b e
gins; a single clown sings, s o l i q u i z e s , then e n
g a g e s i n a d i a l o g u e w i t h a s e c o n d c l o w n , a l l of
w h i c h leads into a co m i c skit. After the d a g elan
a female i m p e r s o n a t o r sings and dances. T h i s is
the selingan. A f t e r the s e l i n g a n the t j e r i t a b e
gins. T h a t is u s u a l l y a m e l o d r a m a t i c s t o r y w i t h
many comic episodes. S e l i n g a n [ int e r l u d e s ] by
f e m a l e i m p e r s o n a t o r s are p r e s e n t e d b e t w e e n s c e n e s
14
of the m e l o d r a m a . I n c o m m e r c i a l p e r f o r m a n c e s t he
n g r e m o las ts abo ut h a l f - a n - h o u r , d a g e l a n about an
h o u r , m e l o d r a m a abo ut two h o u r s , and all the s e l i n
gan t o g e t h e r c o n s u m e a n o t h e r h o u r ; so the total
p e r f o r m a n c e l a s t s a b o u t f o u r a n d a h a l f h o u r s . 13
Though no longer a village, Djakarta audiences still support
the rural theater form Lenong.
In the v i l l a g e s , l e n o n g p e r f o r m a n c e s u s u a l l y o pen
w i t h a s o n g , a d a n c e or a d a n c e - f i g h t [ p e n t j a k ] . . . .
A s o n g o r d a n c e is d e d i c a t e d to t h e p e r s o n i n t h e
a u d i e n c e w h o p e r h a p s has fl u n g a p i e c e of pa per , a
h a n d k e r c h i e f or s o m e t h i n g e l s e up o n s t a g e w i t h a
r e q u e s t f o r a s p e c i f i c s o n g a l o n g w i t h t h e n a m e of
t h e p e r s o n r e q u e s t i n g . . . . S o n g r e q u e s t s l i k e th i s
are do ne in e x a c t l y the s a m e w a y by the c l o w n fi gur es
P e t r u k or G a r e n g i n w a j a n g k u l i t . . . . As e ach c h a r
a c t e r a p p e a r s for the f i r s t time, he r e c i t e s a p o e m
[ p a n t u n ] as a k i n d of i n t r o d u c t i o n , w h i l e h a l f
walking, half-dancing. . . . A l s o gr ief or l a m e n t a
t i o n is e x p r e s s e d i n s o n g . . . . In t h o s e v i l l a g e s
w h i c h s t i l l p l a y o l d - s t y l e le non g, the a u d i e n c e can
a l s o j o i n i n t h e d a n c i n g on t h e s t a g e . ll+
Wajang kulit, wajang orang, sendratari, ludruk and
lenong are all events which include drama, dance, song and
gamelan. Music unites with o t h e r art f o r m s in one integrated
event.
No longer, however, is all gamelan playing within
the context of a larger event. There are signs of a trend
away from the total integration of former times.
Radio broadcasts of gamelan music alone are becoming
more and more popular. In the radio broadcasts the ritual -
secular spectrum also appears. Once every thirty-five days,
at the coincidence of the five-day/week Javanese calendar
with the Arabic seven-day/week calendar, D j u m * a t - L e g i ,t h e
palace gamelan in Jogjakarta broadcasts a performance of
15
traditional gamelan pieces. These broadcasts are widely
followed, not only for the beauty of the music but for the
nourishment of the spirit which is made possible by the
combination of circumstances, the coincidence of the two
calendars, plus the playing of traditional pieces on the
honored and sacred palace gamelan. At the other end of
the spectrum are the regular "mono suka," or listener's
choice broadcasts by the governmental Radio Republic Indo
nesia stations. Here, one may call in a request and it
will be played, be it a long, traditional piece or a popu
lar tune of the day, regardless of the time/mode restric
tions .
The gamelan ensembles connected with these different
kinds of events vary immensely. The accompaniment for East
Javanese r e o g , an exorcistic trance ritual with a minimal
plot, may make do w i t h a f ew iron gongs, a serunai (double
reed oboe), two rusty bonang kettles and a rough-hewn drum.
A central Javanese court gamelan may have ten times as many
instruments, made of the highest quality bronze, with
elaborately carved and gilded frames. The smaller, more
primitive ensembles are becoming the victims of progress.
If at all possible, the individual or the kampung (neighbor
hood unit) will try to acquire a large, central-Javanese
style gamelan. The large number of instruments involved
means high cost. Rather than have a smaller ensemble, the
purchaser will sacrifice bronze keys and substitute iron
16
disguised with gold paint, so strong Is the social pressure
to h a v e a "standard" central-Javanese gamelan.
Javanese Gamelan Instruments
Recognizing the bias involved, it is just such a
gamelan that is used as the basis f or the description below
(See Figure I). On page 18 is a brief explanation of the
instruments in Figure I. Each of these instruments has a
particular function in the musical structure of gamelan music.
The position of those instruments which participate in the
subdivision or stratification hierarchy is abstracted in
Figures II and I II . In Figure II, one whole gong section,
one complete phrase, is diagrammed. The longest vertical
line at the right end represents the gong, marking the end of
the phrase. The second longest line represents the kenong
dividing the gong unit into four sections. The third longest
line represents the kempul subdividing the kenong phrase, or
creating eight sections per gong. The fourth longest line
represents the ketuk subdividing the kempul phrase, i.e. six
teen sections per gong. The subdivisions continue in like
mannerwith the remaining instruments. Because of the increas
ingly great density of the subsequent subdivisions, in Figure
I II one kenong section is abstracted and blown up in size to
illustrate the continuation of the process of subdivision.
The structural form used in Figures II and III is
Ladrang, Irama II. ( Fo r explanation, s ee p p. 21-25). The
relative position of each instrumental subdivision varies
only slightly from form to form, from irama to irama.
17
(jir i6 e to t h e
sar-jcm
kemi>j<3n^
Kenonq
MiMii
cjem^'*?. ®
ônan q
& RUrRS
Figure I
Tina Liden-Jones
18
gong (ageng): 1 or 2 in each gamelan.
sijem: a small sized gong
kenong: there is a wide variety of the number of individual kenong

fonnd within one gamelan, from as few as 2 or 3 up to 12.
The greater number is not always considered desirable.15
kempul: again a wide latitude canbe found in the total number of

gongs within one gamelan, from as few as 2 to 11.
»
ketuk: 1 or 2.
saron demung: the largest of the saron family, a xylophone-type

instrument with thick heavy keys.
saron barung: the middle-sized instrument of the saron family
saron peking (panerus): the smallest of the saron family
bonang barung: the middle-sized instrument of the bonang family.

The largest bonang (panembung) is not usually represented.
bonang panerus: the smallest member of the bonang family.
slentem: the largest member of the gender family, having thin bronze
keys suspended over tube resonators.
gender barung: the middle-sized member of the gend&r family.
gend&r panerus: the smallest size member of the gend&r family.
gambang: a wooden xylophone
tjelempung: a zither
Instruments which do not participate in the subdividing

process are the following:
rebab: 2-stringed bowed fiddle
suling: bamboo flute
kendang gending or g e d d : the largest of the kendang (drums), used

either alone or in conjunction with the ketipung.
ketipung: the smallest of the kendang (drums)
batangan or tjiblon: a middle-sized kendang used for playing rhythmic

patterns to accompany dance. Also substituted for the other
drums in certain sections of long compositions.
19
Ladrang, Irama II
Density
Lone cenong section!
Time
Key:
gong kenong kempul ketuk
saron saron peking bonang barung}

gend&r barungS
b o n a n g panerus'
g e n d e r panerusy
tjelempung
gamb ang
Figure II
20
III
Figure
21
Formal Music Structures
Nearly all formal gamelan music structures can be
subsumed under two categories, ladrane or k e t a w a n e . The
basic unit is a repeated temporal/melodic pattern whose
first subdivision is either into one or four sections. A
gong section, th e basic temporal / melodic pattern marked
by a gong at the e nd , is either divided into two or four
kenong sections. This is the primary and most important
subdivision within the gong section. Secondly, within these
two general categories the ratio of ketuk and saron per
kenong vary with the form. Translated and quoted below is
th e description of Javanese formal structures by one of
Java's foremost music theorists, Ki S i n d o e s a w a r n o . 17
T h e u n i t of m e a s u r e m e n t of g a m e l a n p i e c e s is
the g a t r a . O n e g a t r a c o n s i s t s of f o u r s a r o n s t r o k e s
a n d is t h e s m a l l e s t m e a n i n g f u l u n i t . Gatra measure
o n e k e n o n g s e c t i o n , t h a t is to s a y , o n e l o n g u n i t
m a r k e d at t h e e n d b y a k e n o n g .
A k e n o n g u n i t t wo g a t r a l o n g (8 s a r o n s t r o k e s )
is c a l l e d a s h o r t or s m a l l m e a s u r e m e n t .
N = kenong
^ i j ^ « ^ » <
gatra gatra
A kenong unit 4 g a t r a long (16 saron strokes)

is called a medium measurement.
N
4 • • •
* j- >
gatra
22
A k e n o n g u n i t 8 g a t r a l o n g (32 s a r o n strokes)
is c a l l e d a l o n g or l a r g e m e a s u r e m e n t .
N
gatra
. . . Besides the above measurement, t h e r e is a l s o

the g o n g u n i t , t h a t is to s a y a l o n g u n i t m a r k e d at t h e
end by a gong.
A gong unit 2 kenong units long is called ketawang,
G = gong
N N
A gong unit four kenong units long is called

Ladrang.
G
N N N N
T h e r e a r e k e t a w a n g of s m a l l m e a s u r e m e n t s , m e d i u m
m e a s u r e m e n t s a n d l a r g e m e a s u r e m e n t s ; th e s a m e f o r
ladrang. T h e s y s t e m is as g i v e n b e l o w :
Composition Small (2 gatra) Medium(4 gatra) Large (8 gatra)
2 kenong/gong Ketawang Gending Gending Ageng

(Ketawang Ageng) (great)
4 kenong/gong Ladrang Gending Gending Ageng
(Ladrang Ageng)
( T h e t e r m L a d r a n g - a g e n g is n o t u s u a l . Usually
g e n d i n g a g e n g are. d e s i g n a t e d b y k e t u k f r e q u e n c y o n l y .
For example: g e n d i n g k e t u k [so m a n y ] . )
G e n d i n g ( i n c l u d i n g G e n d i n g - a g e n g ) c o n s i s t of two
parts. T h e f i r s t p a r t is p e a c e f u l a n d is c a l l e d
Merong. T h e s e c o n d p a r t is m o r e l i v e l y a n d is c a l l e d
M u n g g a h , M i n g g a h , or n D a w a h . . . . In p r a c t i c e , the
M u n g g a h is c h a r a c t e r i z e d b y a c h a n g e in k e t u k o c c u r -
r a n c e s , a c h a n g e of d r u m p a t t e r n , a n d d i f f e r e n t m e t h o d s
of p l a y i n g t h e o t h e r i n s t r u m e n t s .
The book continues with a more detailed analysis of
the various ketawang and ladrang forms, as well as a descrip
tion of those compositions which are the staples of the
theater repertoire, Sampak, Srepegan and Ajak-Ajakan which
do not fit the categories given above.
23
Irama
In addition to the formal structures, the other
pillar of gamelan composition is the concept Irama. This
is a Sanskrit word meaning pause or interval, often translated
in Java as tempo. Neither translation approaches the meaning
of Javanese irama. Irama expresses a relationship or ratio
between the v a r i o u s layers, subdivisions or strata of a gamelan
c o m p o s i t i o n . 18 It is easy to understand that the faster the
primary subdivisions, the less time there is for secondary
subdivisions. The movement to a "slower" tempo is really an
expansion of the primary subdivisions in order to make room
for more secondary subdivisions. In m o v i n g , say, from Irama
I to Irama II the form expands like a balloon, thus creating
space for finer and finer subdivisions. The concept of irama
is explained below by two Javanese theorists, R. L. Marto-
pangrawit and Ki Sindoesawarno. The t wo descriptions vary
in detail but not in basic concept. (Anyone studying for
any period in Java becomes accustomed to such differences
in terminology and description. Musical pedagogy as well
as music practice operates mostly within an oral tradition.)
Below is the description of R. L. Martopangrawit.
T h a t w h i c h is c a l l e d i r a m a i n J a v a n e s e m u s i c is the
w i d e n e s s o r t h e n a r r o w n e s s of the s p a c e b e t w e e n t h e
g a t r a of a c o m p o s i t i o n . ( Se e the p i c t u r e b el o w ) .
24
a: 6365
b : .6 . 3 .6 .5
c: ...6...3...6...5
d: ........ 6 ........ 3 ........ 6 ......... 5
e: .................. 6 .................... 3 ................... 6
................... 5
T h e f i g u r e s w r i t t e n a b o v e a r e b a s e d on t h e p a t t e r n
6 3 6 5. B u t t h e p a t t e r n 6 3 6 5 is n o t in t h e s a m e
p l a c e on ev e r y line. T h e p a t t e r n 6 3 6 5 i n l i n e ,a
fills every place. T h u s it is c l e a r t h a t w e c a n n o t
f i l l it f u r t h e r .
In l i n e b^, 2 d o t s c a n b e f i l l e d f o r e a c h d i g i t o f
the p a t t e r n . 4 d o t s c a n b e f i l l e d f o r e a c h d i g i t in
l i n e £. 8 d o t s c a n b e f i l l e d f o r e a c h d i g i t i n l i n e d^.
16 d o t s c a n b e f i l l e d f o r e a c h d i g i t i n l i n e e.
T h i s is w h a t is c a l l e d i r a m a . If w e c h a n g e p a t t e r n
6365 f r o m l i n e a^ to l i n e b_ w e h a v e c h a n g e d i r a m a . . .
Line a: I r a m a L a n t j a r : it is g i v e n thes ign 1/1 w h i c h
m e a n s t h a t o n e d o t is f i l l e d b y o n e m o t i o n .
Line b: I r a m a T a n g g u n g , w i t h t h e s i g n 1 / 2
Line c: I r a m a D a d o s , w i t h t h e s i g n 1 / 4
Line d: I r a m a W i l e t , w i t h t h e s i g n 1 /8
Line e: I r a m a R a n g k e p , w i t h t h e s i g n 1 / 1 6 . 19
This is the description by Ki S i n d o e s a w a r n o .
Wirama [irama]
Tempo Level
( e l e m e n t of time) ( e l e m e n t of contents)
1. fast 1. s e s e g
2. medium 2. l a n t j a r
3. slow 3. t a n g g u n g
4. d a d i (= w i l e t )
5. r a n g k e p
T h e i r a m a l e v e l c a n b e k n o w n b y t h e m e t h o d of
p l a y i n g , p a r t i c u l a r l y t h e m e t h o d of t h e d r u m . Each
i n s t r u m e n t c a r r i e s out the i r a m a by a fixed n u m b e r
o f s t r o k e s p e r o n e s t r o k e of t h e s a r o n . As a n e x a m p l e ,
we w i l l use the part of the ga mba ng. The g a m b a n g hits
t w o t i m e s in i r a m a s e s e g , f o u r t i m e s in i r a m a l a n t j a r ,
d o u b l i n g each t ime for the s u c c e s s i v e irama. . . .
I n c o m p l e t e f o r m it a p p e a r s as b e l o w :
25
Seseg:
Saron
Gambang
Lantjar:
Saron
Gambang
Tanggung:
Saron
Gambang
Dadi (wilet):
Saron . . . .
Gambang .....................................................................
Rangkep:
Saron
Gambang
M.Ng. Wirawijaga used the Roman numerals I through IV for

the levels of irama:
Irama Seseg is not given a numeral
Irama Lantjar is given numeral I
Irama Tanggung is given numeral II
Irama Dadi is given numeral III
Irama Rangkep is given numeral IV.20
Musical Change
Most of the music played by the gamelan, like the formal
structures, is traditional and anonymous. The age of any compo
sition is impossible to determine because the question is w r o n g l y
put and irrelevant. Within an oral tradition, no two performances
are ever alike. Each gamelan, or each director of a gamelan,
adds to or subtracts from the version from which he learned.
Certain stylistic practices become fashionable at certain times
26
and in certain localities. Thus a composition may develop
distinct differences from one area to another over a period
of time. A piece is never fixed, but involved in a continual
process of r e - c r e a t i o n with every performance, even with every
repetition. It is this that is meant by the adage that
within an oral tradition, all music is contemporary. Change
is not new to the music of the gamelan, but is an integral
part of the w h o l e music system. Oral traditions are based
upon change. Only when music becomes notated is the process
of continual creation arrested.
Gamelan music is changing today and the aim of this
study is to examine closely some of the changes that are
taking place, with the idea of viewing those changes within
a total societal framework, and hopefully, gaining some
understanding of those changes. The works of two Javanese
composers Ki Wasitodipuro and Ki Nartosabdho have been chosen
for study in the belief that their creations embody the
general direction of gamelan change occurring today. At
least 95% of the gamelan music one hears all over the island
is traditional, whether central Javanese style, Surabaja
style, Banjumas style, etc. It might be possible to dis
count the remaining 5% w e r e it not for one very important
factor. The Javanese themselves are very much interested
in new gamelan music. A concert of new pieces by a popular
composer will be well attended, covered by the major news
papers, the subject of descriptive or philosophical reviews
27
(seldom critical reviews) in news magazines, and the topic
of countless discussions by those in attendance as well as
those who were not present. A concert of new pieces given
in Djakarta is known the next day in East Java. Traditional
performances do not, as a rule, receive anything like that
kind of coverage.
The new gamelan music is not only interesting in
itself, but serves as an indicator of social change, as a
societal barometer. In Java, new gamelan pieces are called
kreasi baru or "new creations." The mirrored image of the
changing environment found in kreasi baru is sometimes hazy,
sometimes crystal clear. The following chapters will delineate
the close yet subtle interrelationships between the Javanese
music system and its social matrix.
28
Notes
1K u n s t , J a a p , M u s i c I n Java. The Hague: Martinus

Nljhoff, 1 9 4 9 , V o l . I, p. 152 .
2 L e a c h , E. R. , P o l i t i c a l S y s t e m s o f H i g h l a n d Burma,
G. Bell a n u S o n s , L t d . , L o n d o n , W . C . 2} 1 9 5 4 , p p. 2 5 1 a n d 263.
3R a s s e r s , D r . W. H . , PanjjL, T h e C u l t u r e H e r o , A
S t r u c t u r a l S t u d y of R e l i g i o n in J a v a , Th e H a g u e ; M a r t i n u s
N i j h o f f , 1 9 5 9 , p. 22 4 .
^ S o l h e i m , W i l h e l m G. II. "New Light on a F o r

g o t t e n P a s t , " N a t i o n a l G e o g r a p h i c , V o l . 1 3 9 , N o . 3, M a r c h ,
1 9 7 1 , p. 3 32 .
5C o e d e s , G. , T h e I n d i a n i z e d S t a t e s of S o u t h e a s t
A s i a , E d i t e d b y W a l t e r F. V e l l a , t r a n s l a t e d b y S u s a n B r o w n
C o w i n g , E a s t - W e s t C e n t e r P r e s s , H o n o l u l u ; 1 9 6 8 , p. 7.
6H o o d , M a n t l e , " T h e E f f e c t of M e d i e v a l T e c h n o l o g y
o n M u s i c a l S t y l e i n t h e O r i e n t , " S e l e c t e d R e p o r t s , V o l . I,
No. 3, P u b l i c a t i o n o f t h e I n s t i t u t e of E t h n o m u s i c o l o g y ,
U n i v e r s i t y o f C a l i f o r n i a at L o s A n g e l e s , 1 9 7 0 , p. 15 7.
7 I c a n f e e l t h e o u t r a g e of t h o s e l o v e r s of g a m e l a n
that I s h o u l d c all such a f o r m as t h e J a v a n e s e Gending ketuk
4^ a w i s , m i n g g a h JB a n o s t i n a t o ! I a s k t h o s e r e a d e r s to t h i n k
c a r e f u l l y a b o u t the fact tha t all m u s i c a l u n i t s in Java, no
m atter how long, are repeated. Why the s t r i n g e n t n e c e s s i t y
of r e p e a t i n g a l l u n i t s ? W h a t is t h e m e a n i n g of t h a t r e p e t i
tion?
8H o o d , M a n t l e , " T h e E n d u r i n g T r a d i t i o n : M u s i c a n d
T h e a t e r in J a v a and B a l i , " I n d o n e s i a , E d i t e d by R u t h M cVe y,
P u b l i s h e d by S o u t h e a s t A s i a S t u d i e s , Y a l e U n i v e r s i t y , 1963,
p. 4 5 2 .
8The not a b l e e x c e p t i o n to t h i s g e n e r a l r u l e is t h e
a r c h e d h a r p w h i c h is s t i l l p l a y e d in Bu rma . A h i s t o r y of
t h e B u r m e s e a r c h e d h a r p c a n b e f o u n d in t h e a r t i c l e , " T h e
M i g r a t i o n o f t h e A r c h e d H a r p f r o m I n d i a to B u r m a , " T h e G a l p i n
S o c i e t y J o u r n a l , Vol. XX, Marc h, 1967, by the a u t h o r , and a
d e s c r i p t i o n o f t h e m a k i n g o f a B u r m e s e h a r p c a n b e f o u n d in
" T h e C o n s t r u c t i o n a n d D e c o r a t i o n of O n e B u r m e s e H a r p , " b y
M u r i e l C. W i l l i a m s o n i n S e l e c t e d R e p o r t s , V o l . I, N o . 2.
1 0 A f u l l e r d e s c r i p t i o n of t h e J a v a n e s e q u a l i t y of
all w a j a n g l a k o n can be f o u n d in a f o r t h c o m i n g a r t i c l e by
A. L. B e c k e r o n " S o u t h e a s t A s i a n Aesthetics."
29
1 1 T h e o n l y n o t a b l e e x c e p t i o n is t h e w o r d f o r t he
J a v a n e s e f i d d l e , r e b a b , t h e e t y m o l o g y of w h i c h is not clear
a l t h o u g h t h e t e r m is a p p l i e d t o a b o w e d s t r i n g e d instrument
in t he N e a r East.
12A d i s c u s s i o n of the same p h e n o m e n o n in B u r m e s e

m u s i c c a n b e f o u n d i n t h e a r t i c l e , " A n a t o m y of a M o d e , " b y
t h e a u t h o r , i n E t h n o m u s i c o l o g y , V o l . X I I I , N o . 2, M a y , 1 9 6 9 ,
p . 26 9.
1 3 P e a c o c k , J a m e s L . , R i t e s of M o d e r n i z a t i o n , S y m
b o l i c and S o c i a l A s p e c t s of I n d o n e s i a n P r o l e t a r i a n D r am a,
U n i v e r s i t y of C h i c a g o Pre s s , 1968, pp. 61/62.
lltE x c e r p t s f r o m a l o n g n e w s p a p e r a r t i c l e b y M u h a d j i r
p u b l i s h e d i n K o m p a s , J u l y 28, 1 97 0 . T h e a u t h o r p o i n t s o ut
t h e c h a n g e s t h a t o c c u r w h e n l e n o n g is t a k e n f r o m i t s v i l l a g e
context and staged inside a commercial theater.
15Kunst, £2.* c i t . , p. 162.
160 m i t t e d f r o m this d e s c r i p t i o n are m a n y i n s t r u m e n t s ,

s o m e t i m e s f o u n d b u t n o t f e l t to b e n e c e s s a r y , s u c h as g o n g
suwukan, gong sijem, bonang panembung, b e d u g k e n d a n g wajangan,
k e n d a n g p e n u n t u n g , k e m p j a n g , e n g k u k , k e m o n g , k e p r a k or k e p j a k
for d a n c e a c c o m p a n i m e n t , k e t j e r , a n d m a n y o t h e r r a r e r forms.
1 7K i S i n d o e s a w a r n o , I l m u K a r a w i t a n , D j i l i d I, pub
l i s h e d in s t e n c i l f o r m by the K o n s e r v a t o r i K a r a w i t a n
I n d o n e s i a a t S u r a k a r t a , J a v a , pp. 5 1 - 5 3 .
18Hood, M a n t l e , T h e E t h n o m u s i c o l o g i s t , M c G r a w - H i l l
B o o k C o m p a n y , 1 9 7 1 , p. 1 1 5 , " A l t h o u g h i n J a v a n e s e m u s i c t h e r e
a r e s e v e r a l u s e s o f t h e w o r d ’irama,1 i t s b a s i c i m p l i c a t i o n
a p p e a r s to b e n o t s o m u c h a m a t t e r of ’s p e e d 1 or p u l s e s p e r
m i n u t e as a n i n d i c a t i o n o f t h e r e l a t i o n s h i p , i n t e r m s of
r e l a t i v e d e n s i t y , a m o n g t h i r t y or f o r t y l e v e l s of s t r a t i f i c a
tion."
1 9M a r t o p a n g r a w i t , R. L . , T h e o r i K a r a w i t a n , p u b l i s h e d
i n s t e n c i l f o r m b y t h e K o n s e r v a t o r i K a r a w i t a n I n d o n e s i a at
S u r a k a r t a , J a v a , p. 1.
20 S i n d o e s a w a r n o , o£. c i t ., p p . 36-37.
CHAPTER II
FROM ORAL TO WRITTEN TRADITION
IN JAVANESE MUSIC
The introduction of notation to teach gamelan pieces
seems to be a catalyst around which many changes are develop
ing. Formerly found exclusively at the courts of Jogjakarta
and Surakarta, notation is now becoming increasingly wide
spread throughout central and eastern Java. Unlike other
types of borrowings such as musical instruments which are
relatively easy to incorporate and absorb, notation is not
an object but a technology. Its use forces it s own biases
upon the user, all the more powerfully because the user is
unaware of the implications of the new technology and there
fore offers no conscious resistance.
Gamelan music appears to b e relatively untouched by
Western influence. Except for a few short-lived experiments
there is no evidence of gamelan tunings inclining away from
the traditional pelog and slendro systems toward diatonic
scales. Foreign instruments only rarely find their way into
the gamelan.1 The traditional modal structures, patet.
within whose framework the composer c r e a t e s new pieces, show
no signs of disintegration. The most popular, the most
30
31
frequently played pieces are still the old "classics" such
as Pangkur or Gambir S a w i t , pieces known by generations of
Javanese. Yet the most pervasive, penetrating and ultimately
the most influential type of western influence goes largely
unnoticed, namely, notation.
Musical notation systems first appear in Java at the
courts of Jogjakarta and Surakarta in the second half of the
nineteenth century. The time of their appearance deserves
careful note. Why were notation systems introduced at that
late date? Writing has been known in Java since at least
the fifth century A.D., (Sanskrit inscription from Taruna,
West Java), and the earliest known literary work in Javanese
is the manuscript C a n d a k a r a n a , c. 700 A.D.,2 based upon t he
Indian manuscript Dasanama. This was the era of Indian in
fluence in Java and that influence extended to literature,
the adoption of Indian writing systems and epics, all aspects
of politics and government, and to music. One occasionally
finds in Javanese theoretical writings direct paraphrasing
from Indian music theory such as the following:
A c c o r d i n g to f o r m e r t e c h n i c a l t e r m s , t h e r e is
t h a t w h i c h is c a l l e d n a d a , t h a t w h i c h is h e a r d b y
t h e e a r s of m a n k i n d . T h e r e are n a d a w h i c h are m a n i
f e s t e d a n d t h o s e w h i c h a re u n m a n i f e s t e d . Manifested
n a d a a r e of t w o k i n d s , o n e is c a l l e d s w a r a . t h e
other s w a b a w a . S u a r a is clear, s m o o t h and b e a u t i f u l .
S w a b a w a is n o t c l e a r , n o t s m o o t h a n d b e a u t i f u l . Nada
w h i c h is u n m a n i f e s t e d is c a l l e d n a d h a a n a h a t a , t h a t
is t o n e w i t h i n t h e h e a r t , or s o u n d w i t h i n q u i e t u d e . . . 3
32
India was until c. 1000 A.D. a center of influence
and prestige for all Southeast Asia. Javanese musicians bor
rowed from Indian music that which was felt to b e useful to
them: instruments, which mostly disappeared later, technical
terms and theory which remained. There is no evidence of
any early system of musical notation being borrowed from
India; probably, had one been in use it w o u l d have been bor
rowed too. The ready acceptance, wide use and long life of
an Indian-based script in Java indicates the receptivity of
the Javanese to w r i t i n g systems from outside. But Javanese
music as yet used no notation system and continued to flourish
and develop without benefit of any written record.
A thousand years later, in central Java, suddenly one
finds a great deal of experimental creation of m u s i c a l nota
tion systems. Why at that time and in that particular area?
A visit to the palaces of Surakarta and Jogjakarta suggests
the answer. Nineteenth century European furniture, ornate
statues, china and crystal, European chandeliers, Italian
floor tiles, large portraits of ancestors, grandfather clocks,
and gilded mirrors are to b e found in abundance in all the
noble residences. It was a period when things European,
especially Dutch, were the fashion and acquired by all who
had the means to do so. Among the nobility, the Dutch had
replaced the Indians of an earlier era as prestigious models.
Dutch people, not only government officials but visiting
33
artists, scholars and businessmen were frequent visitors at
the palaces. There was ample opportunity for the members of
the court, including the musicians, to b e c o m e familiar with
European modes of thought, European biases about music and
European musical notation systems.4 Prof. Ir. Purbodiningrat
writes:
E u r o p e a n p i e c e s a l r e a d y have b e e n notat e d , that

is t h e r e a s o n w h y o l d p i e c e s at t h i s t i m e a r e s t i l l
a v a i l a b l e and can be s t u d i e d b y w h o e v e r can r e a d the
notation. It is o t h e r w i s e w i t h J a v a n e s e p i e c e s . H o w
c a n o n e k n o w t h e i n t e n t i o n s a n d f e e l i n g s of t h e c o m
p o s e r w h e n he w r o t e the p i e c e ? . . . T h e r e a r o s e in
J o g j a k a r t a the i d e a of h a v i n g a n o t a t i o n s y s t e m f o r
g a m e l a n p i e c e s m o t i v a t e d b y t h e f e e l i n g t h a t it
w o u l d b e a s h a m e if t h e o l d p i e c e s a r e n o l o n g e r
k n o w n b y ou r p e o p l e , and the c o n n e c t i o n the p i e c e s
h a v e w i t h th e d e v e l o p m e n t of our p e o p l e . Therefore,
b e g i n n i n g i n the 19th c e n t u r y a n o t a t i o n s y s t e m for
Javanese gamelan pieces was being searched f o r . 5
The same concern is expressed on the title page of a
book of notated gamelan pieces presented by the Sultan of
Jogjakarta to the Royal Batavia Society in 1932.
B y c o m m a n d of h i s H i g h n e s s . . . f o r t h e p u r p o s e
of s a v i n g the o r i g i n a l and a n c i e n t m u s i c a l m e l o d i e s
f r o m b e i n g lost. . . .6
Why, after untold hundreds of years of gamilan play
ing, did certain people at the court of Jogjakarta suddenly
become concerned about old pieces being forgotten? The rea
son is that neither the Dutch nor the Javanese themselves
understood oral traditions where through a process of con
tinual re-creation every piece is at once contemporary and
the accumulative result of ageless tradition. The concern
34
for preserving old compositions is a European concern reflect
ing European reliance upon notation. Since t he use of notation
became widespread in Europe, a piece unwritten is indeed soon
lost and forgotten. Oral traditions are much more stable
(but not static!) An unwritten composition may persist in
similar form for generations, or it may slowly and subtly
evolve into some other piece or form. But the idea of pre
serving a gamelan piece as it manifests itself at one particu
lar point in h i s t o r y and in one particular locale is surely
not an indigenous concept. It was introduced by foreigners
who mistakenly believed that a gamelan piece is a fixed en
tity which if captured in notation would be preserved from
extinction. The irony is that by accepting this western
view of their own music, Javanese musicians are contributing
to m a k i n g it, in fact, a true view.
As many as seven or m o r e different experiments with
notation were attempted between the years 1886 and 1942.
One, the Kepatihan system, came to dominate all others and
with slight variations, is the basis of all contemporary
notation.7
The initial question faced by those developing nota
tion systems must have been this: of all the different
polyphonic lines of the gamelan, which shall be chosen to
notate? Gamelan music is composed of a series of layers of
melody, increasing in density as the register of the instrument
35
is higher. (See Figures II and III.) The gong may be
visualized as the lowest layer, sounding only once each
melodic period, then the kenong layer composed of four notes
for each melodic period.8 With the kempul sounding between
each kenong, another layer of eight notes per melodic period
is added. Proceeding upwards, t he next layer is t he tones
of the bonang panembung or sometimes the slentem playing
sixteen notes per melodic period, then comes the saron
demung playing thirty-two notes per melodic period, then
the b o n a n g barung playing sixty-four notes per melodic
period, then the bonang panerus playing one-hundred twenty-
eight notes per melodic period. If one changes to a slower
tempo, more layers yet are added. Most traditional western
music is not constructed this way, but rather has a main
melody with supporting, but subordinate harmonic structures.
Western n o t a t i o n was developed to accommodate European
musical structure. Where is the main "melody" in a Javanese
gamelan piece? In a series of polyphonic layers this is
not at all clear. The part or parts emphasized in a ny
given performance depends upon many different factors such
as 1) area (Jogjakarta musicians often emphasize saron
demung and saron barung; Solo musicians more often emphasize
the gendfer b a r u n g , rebab and g a m b a n g ) , 2) the relative
sgrength of the members of t he gamelan (a g a m e l a n with a
weak bonang player will not play gending bonangan which
stress the bonang), 3) the style of m u s i c being played (dance
36
pieces tend to have strong saron parts; concert and radio
pieces usually feature the softer instruments), 4) the place
ment of microphones (the modern practice of putting a micro
phone in front of the pesinden (singer) sometimes reduces the
gamelan to an accompanying part for a female soloist). There
is nothing in the practice of gamelan to put preference on
one part over another. On the contrary, musicians will often
say that ideally, all parts should be equal. Given an impos
sible choice, a compromise solution was accepted. A middle
part of m e d i u m density was designated as the "melody," the
part to be notated. Since this part was singled out by
notation and placed in special focus, a new word had to be
coined to designate that part. The word now in use is
b a l u n g a n , or framework, a word still not in general use and
familiar only to those who have had contact with the Music
Conservatory in Surakarta, the Academie Seni Karawitan
Indonesia.
One of the early attempts at notation of gamelan
music was the system known as titilaras r a n t e , or "chain"
notation, developed in Surakarta in 1888 by Kyai Demang
Gunasantika, the head musician at the home of a nobleman of
Surakarta. (S ee Figures IV and V.) Of all the notation
experiments, titilaras rante most clearly resembles western
notation. As in all other Javanese notations, something
more than just the "melody" has been notated. The inadequacy
37
fbJl
m
U[
F i g u r e IV: t i t i l a r a s r a n t e . rante n o t a t i o n , for saron,

k e n o n g a n d g o n g , c. 1 8 8 8 . T h e c o m p o s i t i o n is L a d r a n g
G l e j o n g , P e l o g P a t e t Nem. Horizontal lines represent
t h e k e y s of t h e s a r o n n u m b e r i n g f r o m t h e b o t t o m ,
1 2 3 5 6. T h e n o t e b e t w e e n l i n e s t h r e e a n d f i v e is
p i t c h level four. T h e n o t e a b o v e t h e s t a f f is p i t c h
level seven. The n o t a t i o n b e g i n s w i t h the b u k a ,
introduction.
Key: = gong w = first kenong
= second kenong = third kenong
38
F i g u r e V: t i t i l a r a s r a n t e for f e m a l e
v o c a l i s t , p e s i n d e n , c. 1 8 8 8 . The
c o m p o s i t i o n is S e k a r - a g e n g S a s t r a s u r e n d r a .
l a m p a h 12, p e d o t a n 5 - 7 . The h o r i z o n t a l
l i n e s r e p r e s e n t t h e k e y s of t h e g e n d e r .
The w a v y lines b e t w e e n notes i nd i c a t e
melodic ornamentation. T h e t e x t is w r i t t e n
b e l o w the staff. ( F i g u r e s IV a n d V a r e
t a k e n f r o m S o e t a n d i j a , G e n d i n g Em e n g m i n g g a h
Ladrang Nal o n g s a dan Ladrang W r e d a - M u s p r a .
an u n p u b l i s h e d m a s t e r ' s t hes is f r o m the
Akademi Seni Karawitan Indonesia, Surakarta,
p. 2 6 . )
39
of notating only one out of many polyphonic lines is obvious.
In the titilaras rante, t he kenong and gong parts were added.
The gong is of central importance in m a r k i n g the melodic
period and the kenong is next in importance as t h e primary
subdivision of the gong unit.
Soon after the appearance of titilaras rante in
Surakarta, another s y s t e m was developed at the p a l a c e of t he
Sultan in Jogjakarta, c. 1890, known as titilaras a n d a , or
"ladder" notation, sometimes called "kraton checkered script"
notation.9 The original model for this type of notation is
not known but the resemblance to lute and guitar tableture
is striking. ( Se e Figure VI.) This system gives more infor
mation than titilaras rante, including in addition to the
saron and kenong parts, the ketuk, kempul and kendang parts.
At about the same time, c. 1890, the first step to
ward the development of the Kepatihan notation was taken. A
nobleman, Raden Mas Tumenggung W r e k s a d i n i n g r a t , living in
the royal residence known as the Kepatihan in Surakarta
(thus the name Kepathihan notation) worked out a system of
numbering the keys of the gamelan instruments. Instead of
the filled-in circles of the rante and anda systems, each
note is referred to b e a number. (See Figure VII.) Refine
ments included the addition of a dot below the note to in
dicate the lower octave, a dot above the note to indicate
the upper octave, horizontal lines above the notes to indi
cate rhythm, and a dot after a note to indicate a sustained
40
■■- - — -- --- —
jbotboeka loinba trots
4r
r *
^ P A
/ /
5 4 /
\ * Q
r.
p
/• /
& n
h
— / /
C
tY r -s
K
f fLi ^ a
/ j /
/ A /
/
“ * /
£ / /
'S A 1. 'S
Fi g u r e VI: t i t i l a r a s a n d a . "ladder" n o t a t i o n , c a l l e d H
by Kunst th e"Jogja kraton checkered script notation,
c. 1 8 9 0 . T h e c o m p o s i t i o n is G e n d i n g G u n u n g s a r i ,
K e n dangan Ketawang Kendang Kalih, Slendro Patet
Manjura. T i t i l a r a s a n d a is r e a d f r o m top to b o t t o m ,
l e f t to r i g h t . The v e r t i c a l lines r e p r e s e n t the ke ys
of t h e s a r o n , th e h o r i z o n t a l l i n e s r e p r e s e n t r h y t h m i c
puLses. F i g u r e s to the l e f t of t h e s t a f f a re :
Qr ® gong ^ = kempul ^ = ketuk yj = kenong
F i g u r e s - to the right of t he staff are drum notation.

^ - tak / = dung / = dang
( Figure VI is taken from Kunst, Music in Java, op. cit.,

p. 4 9 3 . ) ----
41
• • • z Z 3 5 7 6f Z f
£ 3 z / $ 7. 3• ?)
0
2 3 z f k 5. 3m D0
2 2 m • Z 3 5
1 6 5 4 Z / Z ®
Figure VII: titilaras kepatihan, kepatihan notation,

c. 1 8 9 0 . T h e c o m p o s i t i o n is L a d r a n g G l e j o n g , P e l o g
Pa t e t Nem. The n u m b e r s read a c r o s s the pag e fro m
l e f t to r i g h t . The circled note indicates gong,
indicates kenong. ( F i g u r e V I I is t a k e n f r o m
S o e t a n d i j a , o£. c i t ., p. 26.)
42
tone. The basis and refinements of this system were based
upon a nineteenth century European system, the Solfege system,
the creation of Galin, Paris, and C h e v e . 10 (See Figure VIII.)
All the Javanese sources on notation acknowledge the European
basis of their most popular notation system, the Kepatihan
system. Thus the notation systems developed in central Java
in the late 1 9 0 0 ’s w e r e based upon previously existant
European models.
The use of notation for the saron demung part is now
well established in central and eastern Java. Notation is
considered to b e progressive and modern, and is highly valued
if not always practiced. Increasingly, teachers who them
selves learned gamelan without benefit of notation are now
using notation to teach their own pupils. The sophisticated
musicians of the court centers of Jogjakarta and Surakarta
have proceeded further in t he refinement of the notation
system and can now use notation as a pedagogical aid to
teach any instrument of the gamelan. (See Figures IX, X,
XI.) Since the highly trained and accomplished musicians of
Jogjakarta and Surakarta are the models for musicians of all
central and eastern Java, it is probably only a matter of
time before the use of notation for all gamelan parts will
become widespread. What then, are the b r o a d e r implications
and subtle side effects of this innovation?
In the towns of central and eastern Java, it is pos
sible to observe a gradual shift from an oral tradition to a
43
M Jfoi. — Tent d t ftezJi-
|3 r n |5 TT\ \U yZpf 321 \T~t> \ 3~aToTo 2 3 L \
Figure VIII: v o c a l n o t a t i o n by G a l i n - P a r i s - C h e v e ,
F r a n c e , c. 1 8 8 4 . F r o m M e t h o d e E l e m e n t a i r e de
M u s i q u e V o c a l e , o p . c i t ., p. 176.
44
Umjicik:
A .
\
Z 3
X
2
\
?
\
/ \
ft* 7 Z 2 3 3 2 3 2 £
l*i U
m u CL b
Z
T i T 3 z 7 i ©
\ s' y \
. 5 i I if 2 ik z I m.
F i g u r e IX: titilaras rebab, rebab notation. The

c o m p o s i t i o n is K e t a w a n g L a r a s m a j a , P e l o g P a t e t
Barang. T h e n u m b e r s of t h e u p p e r l i n e r e p r e s e n t
the s a r o n part, the n u m b e r s b e l o w r e p r e s e n t the
rebab part. D i a g o n a l lines indicate bowing.
" P s I*and''Ps I I * i n d i c a t e f i n g e r p o s i t i o n s . *Ir. II*
is a n a b b r e v i a t i o n f o r I r a m a T w o . Superscript I
a n d II i n d i c a t e t h e f i r s t a n d s e c o n d k e n o n g t o n e s .
( F i g u r e I X is t a k e n f r o m a b o o k of r e b a b p a r t s
c o m p i l e d by S u l a i m a n G i t o s a p r o d j o , M a l a n g . )
45
© .?. b... t ■?. P.P.t. ?.
f t b.F .76 i. ?...£ f-...
F i g u r e X: titilaras kendang, drum notation.

T h e n o t a t i o n r e p r e s e n t s t h e s u w u k or c l o s i n g
phrase for Ken d a n g a n Kalih Lad r a n g a n . Key:
P = dung £ = dang
t - tak . - tong
S u p e r s c r i p t I I I a n d IV i n d i c a t e t h e t h i r d a n d
f o u r t h k e n o n g tone. ( F i g u r e X is t a k e n f r o m a
b o o k of k e n d a n g p a r t s c o m p i l e d b y S u l a i m a n
G i t o s a p r o d j o , Malang.)
F i g u r e XI: titilaras gerong, gerong notation. The
g e r o n g p a r t is f o r t he c o m p o s i t i o n K e t a w a n g
P u t j u n g , Slendro Patet Manjura. The numbers
c o r r e s p o n d t o p i t c h l e v e l s on t h e s a r o n , t he
t e x t is b e n e a t h . ( F i g u r e X I is t a k e n f r o m
P e l a d j a r a n Bawa G e r o n g , c ompil ed by Soewardi,
Direktorat Djenderal Kebudajaan, Djawa Timur,
S u r a b a j a , 1967.)
47
written tradition. In the villages, the change seems not yet
to h a v e had much impact, and in the cities it is far from
complete. But clearly, an important change is taking place.
The technical term, oral tradition, has a much wider
meaning than simply the absence of an elaborate notational
system, just as the term, written tradition, involves much
more than solely the use of n o t a t i o n . 11 The special charac
teristic, the all-important difference between oral and
written traditions, is that for the oral performer, the
moment of performance is also the moment of creation. This
seemingly simple fact differentiates oral from wri t t e n tra
ditions. The musician from an oral tradition must compose
while playing in front of an audience. In his mind before
hand is only t he outline of the performance he intends to
create, never the full content in every detail. The group
performance in Java puts many restrictions on the freedom of
t he musician, but still the music must be recreated, not
reproduced, in the performance.
Until recently, it w a s believed that oral performances
were either memorized or improvised. In fact, they are
neither. The basic building block of an oral tradition is
t he melodic formula, not a fixed formula, but one which can
be expanded, condensed or rearranged according to the needs
of the musical situation in combination with the fancy of
the performer. From the melodic patterns which combine to
create the now-notated saron barung part, to the lower density
48
parts of the bonang panembung and kenong parts, or the higher
density parts of the gender, every aspect of gamelan music
is formulaic. The degree of freedom of any individual player
is severely restricted. Each performer has at his command
only a limited number of patterns, usually his own variants
of the patterns he learned from his teacher. Thus while the
total inventory of patterns used by one hundred accomplished
gender players would be quite extensive, those used by an y
one musician are rather limited. The musician knows the main
melodic outline of the piece being played and chooses his
formulas accordingly. As the choices of the individual will
never be precisely the same for each repetition, the piece
can never be exactly the same when repeated. The process of
the oral tradition is not primarily one of memorization or
i m p r o v i z a t i o n , but is based upon formula choice and manipula
tion. It is precisely this process of motivic choice and
arrangement which is threatened by notation.
Notation systems are not new to A s i a 12 a n d do not
necessarily erode oral traditions. What is new in Java is
the attitude toward notation systems and the reliance placed
upon them. Traditionally, Asian notation systems have been
mnemonic devices. It was assumed that the musician con
sulting the notation already knew the composition in question
and needed only to b e reminded of certain passages. Thus,
Asian notation systems were never devised or used to teach a
composition. Systems of notation were nearly always semi
49
secret and used within the confines of a court, thus very
limited in their impact. It was never possible to recreate
the sound of the full ensemble solely from a notation system
which gave only rudimentary melodic progressions. Javanese,
or any other Asian notation system was never comparable to a
western score. Learning the m u s i c a l tradition was an aural,
never a visual process.
An increasing number of students, particularly, but
not exclusively those who study at the conservatory in
Surakarta, are becoming familiar with and skilled in the use
of Kepatihan notation. On the blackboards in classrooms the
melodic formulas for the saron, the gender, the rebab, e tc .
of a given teacher are written out in full and copied in
notebooks by the students. These formulas are then m e m o rized
and repeated exactly by the student. Before notation, pre
cise repetition of a teacher was not only difficult, but not
considered a thing of any value. A student learned method
from a teacher, he learned process, not full content. The
emphasis has now changed and the student memorizes formulas,
or the content of the piece. The student has in his note
book, fully notated and precisely repeatable, the melodic
formulas of h i s teacher. In a culture which places great
importance and reverance toward the role of the g u r u , these
written formulas assume a greater significance and aura of
sanctity than would the classroom notes of a western student.
It seems inevitable that the written parts of the venerated
50
teacher will assume such authority as to stifle the student's
own impulses toward re-creation of formulas. It is likely
that what is now intended as a suggestion for p o s s i b i l i t i e s
of variation, will in time, because of their repeatable
character, become proscribed methods of procedure. The
danger is even greater as the graduates of t he Surakarta
conservatory become gamelan teachers in all urban areas of
central and eastern Java. Because of their credentials, and
because they control the technology of w r i t i n g gamelan parts,
they become the foremost gurus in the area, regardless of
ability or experience.
The court areas of Jogjakarta and Surakarta have been
models for artistic activity of large areas of central and
eastern Java for a long time. With a medieval communi
cation system, it w a s largely impossible for people in out
lying areas to copy accurately musical styles of those centers.
W i t h i n the l a s t t w e n t y y e a r s , h o w e v e r , c h e a p l y produced books con
taining the saron parts for hundreds of traditional pieces
have become available. Nearly all these books represent t he
Jogjakarta or Surakarta version of these pieces. The avail
ability of a printed book with a prestigious version of a
piece slightly different from that used by a local gamelan
group is quite enough to induce that group to change i ts
version. Printed books with court-city versions of pieces,
plus the presence of Surakarta-trained, notebook-toting
51
teachers, has already produced a great deal of homogenization
of gamelan style in the urban a r e a s . 13
The city of Malang, a large commercial town in east
Java is a case in point. Thirty years ago, specifically
east-Javanese gamelan style flourished along with other east-
Javanese art forms such as wayang klitik (wooden wayang
k u l i t ) , and w ayang topeng (masked dance-drama). Now, wayang
klitik and wayang topeng have disappeared, and east Javanese
gamelan style is in full retreat. Nearly every gamelan in
the town plays Surakarta style and those that are not yet
reconstructed are a p o l o g e t i c . 11* All this is justified in
terms of "upgrading" the rougher, more dynamic gamelan style
of East Java. It may be true that the resultant performances
are more esthetic than the original style, but at the high
cost of loss of regional style, diversity and variety.
Besides the easily observable effects of the introduc
tion of notation, there are other, subtler implications.
Print technology, in this case musical notation, teaches
that parts can be separated from their total environment,
and broken up into smaller units. On the printed page one
letter follows another, one word follows another w o r d . 15
The unity of experience is broken up into bits, all in linear
sequence. The synthesis, if it happens, must occur in the
mind of the reader. In musical terms, this means that a
young pianist trying to learn a Beethoven sonata will work
on one section at a time, even breaking the section into
52
smaller bits and w o r k i n g on one phrase at a time. Only after
weeks of detailed, phrase-oriented practice will he attempt
to synthesize the w h o l e piece. For the student of w e s t e r n
classical music, the totality of a musical composition may be
the last thing he learns.
The early training and subsequent predilection of the
gamelan musician jls quite otherwise. The totality, the ex
perience of the whole piece is learned first, and only slowly
and gradually does he learn to fill in the component parts.
A child begins, often as young as five or six, at rehearsals
in his neighborhood gamelan, by playing the gong, which marks
the large formal divisions of the piece. Thus, first of all
he learns to experience t he complete musical section. Later,
he may be entrusted to play a smaller gong which subdivides
the largest formal division. At this point in his training,
he is still far from playing anything close to a "melody."
What he is learning is t he overall structure of a composition
by first experiencing the largest structural unit of it. As
a result, the particular melodic content of a composition
never becomes more important than the formal structure.
Later in his career he w i l l learn that a wrong note on a
saron (medium density instrument) can be overlooked, a mis
placed tone on a gender (high density instrument) is scarcely
noticeable, but to omit or m i s p l a c e one of the main structural
markers such as the kenong, or especially the gong, is almost
unforgivable. Thus the phenomenon in gamelan music that the
53
slower the instrument, the lower its density, the greater its
importance. The early training emphasizing structural form
remains with the musician throughout his c a r e e r . 16
Related to learning the totality first, is the concept
that parts of the composition are not isolatable or separable.
An oral tradition of ensemble performance, based as it is
upon the use of formulas, has an upward limit of complexity
for any one instrument that a system using notation does not
have. Therefore it is possible and usual for the gamelan
musician to h a v e much greater familiarity with all the gamelan
instruments than the w e s t e r n musician in a symphony can pos
sibly have. Even though a man may be considered a specialist
on one instrument, he will certainly be able to substitute
on ma n y other instruments to an extent not common in the west.
This kind of flexibility produces great awareness of, and
sensitivity to, other members of the gamelan. One gets the
distinct impression that the total sound of the gamelan is
passing through the mind of the musician even if h e is play
ing alone, in the privacy of his home. Never does one hear
a musician playing alone without simultaneously singing or
humming or speaking some other part. There is no solo tra
dition in gamelan. Each part is totally integrated and con
ceptually indivisable.
The dependence upon written music trains the musician
to grasp one musical line at a time. In a symphony orchestra
a musician is required to play only his own part and follow
54
sensitively the indications of the conductor. In w e s t e r n
classical music the p a r t s are isolated both physically a nd
psychologically. Only the conductor is required to make t he
synthesis which Javanese musicians make unconsciously. Tra
ditional gamelan music is, to the highest degree, integrative
and communal. Individualism or pyrotechnic display have no
place.
It is possible that w i d e s p r e a d use of notation can
change the communal and integrative aspects of gamelan play
ing, and therefore change the essential meaning of the music.
Notation works hand in hand with new life style patterns to
alter old teaching methods. More and more Javanese are
living in c i t i e s , and are no longer tied to an agricultural
cycle. Increasingly, they have jobs in offices or schools
with regular working hours. The changing life style affects
gamelan pedagogy. Traditionally, learning is totally infor
mal. The teacher does not in fact "teach" in the w e s t e r n
sense of the word. The student spends hours and days and
weeks and years observing the teacher, the model, and imi
tates to the best of h i s ability. This is a very slow
process, but it produces musicians with profound intuitive
understanding of their music system. But today's urban
gamelan teachers cannot spend infinite hours demonstrating
for students. The teacher may have a job which requires
him to be in an office for most of the daytime hours and
therefore he cannot teach long hours of the night. Notation
55
gives this teacher an easy answer to h i s problem. He need
only write out the parts for the gamelan and the student can
practice them privately. It therefore becomes possible for
the student to conceive of o ne part as separable from the
total gamelan sound. Formerly, all learning was within t he
context of the whole gamelan, now it is not necessarily so.
A student may learn a part without hearing the sound of t he
total gamelan simultaneously. With notation, it is possible
to break through the confines of a formulaic system and
create high-density parts of great complexity. This in turn,
leads to greater specialization in the gamelan, and concbm-
mitantly, greater reliance upon a leader who has to assume
the integrative role of the w e s t e r n conductor. Already, it
is possible to see the seeds of such a development i. the
new compositions for gamelan being written by Java's innova
tive composers.
The movement toward a notation-based music system is
today only a trend. Its effects are most evident in the
cities. The rural areas seem relatively unaffected. But
since the cities or court centers are the models for rural
behavior, it seems likely that city styles will in time be
disseminated to the villages.
Yet there is an important factor not yet mentioned
that could reverse t he whole process. Notation and its con-
commitant implications are accepted because they a re believed
to b e modern. The Javanese musician has been convinced that
56
standardization, fixability and permanence are positive
values in m u s i c . The attitude that t he multiformity of the
old oral tradition is backward and that progress lies in
establishing fixed standards is widely prevalent and illus
trated by the quotation below taken from a master's thesis
by a student from t he Konservatori K a r a w i t a n Indonesia.
In f o r m e r t i me s w h e n s o m e o n e w a n t e d to s t u d y
m u s i c , it w as c o n s i d e r e d e n o u g h to feel, to l i s te n,
to s e e a n d to p r a c t i c e , w i t h o u t t h o u g h t o r u n d e r
standing. Indeed, some p e o p l e said that m u s i c was
b a s e d u p o n f e e l i n g only, w i t h o u t u n d e r s t a n d i n g or
thought.
H o w e v e r , i n t h i s t i m e of r e a l i t y a n d f a c t s ,
p r o b l e m s like this m u s t be s o l v e d by m e t h o d o l o g y
b a s e d u p o n f i x e d n o r m s . 17
The need for notation, based upon European musical develop
ments, has been accepted by the Javanese musician for his
own system which has a very different structural basis and
a different history. Notation systems were developed in
response to D u t c h concepts that pieces would be lost if not
notated. But that era has now passed in the west. In a
sense, western musicians are now looking eastward as well as
back into their own past. Things written down in all the
arts no longer have the authority they once had. Simul
taneously, scholars are becoming increasingly aware of the
modus operendi of oral traditions, and nineteenth century
biases toward fixed texts are now questioned. It may be
that Javanese musicians will come to realize that their
traditional oral system is actually the more modern, and
notation may once again be relegated to libraries, of
57
interest to scholars and historians, but not of any particular
use to a practicing musician.
58
Notes
* T h e t e r m f o r e i g n a s a p p l i e d to i n s t r u m e n t s u s e d i n
t h e g a m e l a n is m o r e c l o s e l y l i n k e d t o d u r a t i o n of r e s i d e n c e
i n J a v a t h a n to p l a c e of o r i g i n . The p r e s e n t - d a y gamelan
dr ums , k e n d a n g g e n d i n g , k e t i p u n g , and t j i b l o n are b a s e d on
ancient Indian models. B u t no o n e w o u l d t o d a y c a l l t h e m
Indian drums. H o w e v e r , t h e w e s t e r n ba ss dru m, n o w f o u n d in
n e a r l y e v e r y w a y a n g o r a n g and k e t o p r a k g a m e l a n f o r use in
s c e n e s of m a r c h i n g a r m i e s , is s t i l l n e w e n o u g h t o b e i n c o m
pletely incorporated. O t h e r i m p o r t s s u c h as T u r k i s h b e l l -
t r e e s a n d E u r o p e a n t r u m p e t s w e r e at c e r t a i n t i m e s a n d p l a c e s
p l a y e d w i t h g a m e l a n but are rarely h e a r d today. The rebab,
w h i l e p r o b a b l y not i n d i g e n o u s has b e e n p l a y e d in J a v a long
e n o u g h and h a s a s s u m e d a r ole i m p o r t a n t e n o u g h to b e now
considered a Javanese instrument.
2 P o e r b a t j a r a k a , P r o f . Dr. R . M . N g . a n d H a d i d j a j a ,
Tardjan, Kepustakaan D j a w a , published by Penerbit Djambatan,
D j a k a r t a / A m s t e r d a m , 1 9 5 2 , p. 1.
3 S i n d o e s a w a r n o , K i , I l m u K a r a w i t a n , D j i l i d I, p a g e 9.
The p a s s a g e i n I n d o n e s i a n is as f o l l o w s :
Menurut istilah dulu, maka adalah ses u a t u jang
disebut nada, jaltu jang didengar oleh telinga
manusia. N a d a i t u a d a jang ditimbu l k a n , ada jang
timbul dari sendirinja. Nada jang ditimbulkan
itu a d a dua, j a n g s a t u dis e b u t swara, jang l a i n n j a
swabawa. Swara itu jang njaring, rata dan indah,
s w a b a w a jang tidak njaring, tidak rata dan tid ak
indah. N a d a j a n g t i m b u l dari s e n d i r i n j a d i s e b u t
nadha anahata, jaitu n ada dida l a m hati, atau nada
d idalam sunji.
^The idea that Javanese notation might be a European

i n n o v a t i o n w a s f i r s t s u g g e s t e d to m e b y m y h u s b a n d , Dr. A . L .
Becker. S u b s e q u e n t r e s e a r c h c o n firme d this h y p o t h e s i s . See
S i n d o e s a w a r n o , I l m u K a r a w i t a n (i b i d .) , p. 22 a n d P u r b o d i n i n g r a t ,
f o o t n o t e 5.
5P u r b o d i n i n g r a t , P r o f . I r . , " G a m e l a n , " f r o m t h e
m a g a z i n e S a n a - B u d a j a , p u b l i s h e d by the m u s e u m S a n a - B u d a j a
i n J o g j a k a r t a , V o l . I, N o . 4, D e c . 1 9 5 6 , p. 203. The passage
i n I n d o n e s i a n is as f o l l o w s :
Untuk g e n d i n g 2 Eropa telah terdapat titiraras-
titiraras jang menjebabkan b a h w a g e n d i n g 2 jang kuno
p a d a saat s e k a r a n g m a s i h terdapat dan dapat d i p e l a d -
jari oleh s i a p a - p u n jang dapat m e m b a t j a t i t i r a r a s 2
itu. L a i n dari p a d a itu dalam g e n d i n g 2 itu dapat
dirasakan bagaimana perasaan sipentjipta waktu
59
m e n j u s u n g e n d i n g 2 i t u. Seperti telah dike t a h u i oleh

umum dalam g e n d i n g 2 Eropa terdapat gending2 jang
n a m a n j a sama akan tetapi dari m a t j a m 2 pentjipta.
T i m b u l n j a p i k i r a n di J o g j a k a r t a u n t u k m e n g a d a k a n
titiraras untuk g e n d i n g 2 Djawa terdorong oleh perasaan
sajang a p abil a k elak g e n d i n g 2 kuno tidak d i k e n a l lag!
oleh b a n g s a k i t a b e r h u b u n g dengan p e r t u m b u h a n mas-
jarakat. Dari sebab itu mulai p ada abad ke X I X telah
dimulai mentjari suatu titiratas untuk g e n d i n g 2 Djawa.
6K u n s t , J a a p , M u s i c in J a v a , E n g l i s h t r a n s l a t i o n by
E m i l e v a n L o o , 2 n d r e v i s e d e d i t i o n , V o l . I, T h e H a g u e : M.
N j i h o f f , 1 9 4 9 , p. 3 49 .
7 A s l i s t e d b y P r o f . Ir. P u r b o d i n i n g r a t i n h i s a r t i c l e
" G a m e l a n " ( s ee a b o v e ) , pp . 2 0 3 - 4 , t h e s e e x p e r i m e n t s a r e as
follows:
1) T i t i l a r a s k r a t o n J o g j a k a r t a j a n g l a m a , c. 1 8 8 6
2) T i t i l a r a s P a k u a l a m a n , c. 1 8 7 8
3) T i t i l a r a s t a n g g a . (No d a t e g i v e n b y P r o f . P u r b o d i n
ingrat. K i S i n d u s a w a r n o s u g g e s t s t h e d a t e c. 1 8 9 0
i n h i s b o o k I l m u K a r a w i t a n (see a b o v e , p. 24.) T h i s
n o t a t i o n s y s t e m is m o r e c o m m o n l y r e f e r r e d t o b y t h e
J a v a n e s e t e r m t i t i r a r a s A n d a , or l a d d e r n o t a t i o n .
4) T i t i r a r a s r a n t a i . No dat e g i v e n by Prof. P u r b o d i n i n
grat. K i S i n d u s a w a r n o s u g g e s t s t h e d a t e c. 1 8 7 0 i n
his a r t i c l e " R a d y a p u s t a k a d a n N u t - a n g k a " in the m a g a
zine R a d y a p u s t a k a , p u b l i s h e d by P e r t j e t a k a n Taman-
S i s w a J o g j a k a r t a , 1 9 6 0 , p. 61.
5) T i t i r a r a s k r a t o n J o g j a k a r t a j a n g b a r u , c. 1 8 9 7 .
6) T i t i r a r a s K e p a t i h a n . No date g i ve n by Prof.
Purbodiningrat. K i S i n d u s a w a r n o g i v e s t h e d a t e c.
1 8 9 0 , i n t h e m a g a z i n e R a d y a p u s t a k a ( s ee a b o v e ) , p. 61.
7) P o n o t i t i r a r a s . 1942.
O t h e r e x p e r i m e n t s d i s c u s s e d b y Ki S i n d u s a w a r n o i n I l m u
Karawitan a r e :
T i t i r a r a s S a r i s w a r a b y Dr. Ki H a d j a r D e w a n t a r a . 1928,
p . 21 a n d
T i t i r a r a s D a m i n a , b y M a c h j a r A n g g a K u s u m a d i n a t a , p. 23.
8T h i s a n a l y s i s is b a s e d u p o n L a d r a n g f o r m , I r a m a I.
T h e r a t i o of k e n o n g t o n e s t o g o n g t o n e s c h a n g e s i n d i f f e r e n t
structural forms. L i k e w i s e , t h e r a t i o of s a r o n t o n e s t o g o n g
ch a n g e s in d i f f e r e n t s t r u c t u r a l forms and s o m e t i m e s w i t h i n
t h e s a m e f o r m if t h e t e m p o c h a n g e s . S e e C h a p t e r I, pp. 2 1 - 2 5 .
8T h i s is t h e n o t a t i o n s y s t e m c a l l e d b y K u n s t ,
" c h e c k e r e d s c r i p t " n o t a t i o n , (M u s i c i n J a v a , s e e a b o v e ) , p.
349. K u n s t f a v o r e d t h i s n o t a t i o n a b o v e t he o t h e r s a n d h o p e d
t h a t it w o u l d b e c o m e a d o p t e d a l l o v e r J a v a . This sy s t e m
n o t a t e s the s a r o n p a r t in p r i m a r y p o s i t i o n , and the gong,
60
kenong, k e m p u l and k e t u k in s e c o n d a r y p osition. No i n s t r u

m e n t o f h i g h e r d e n s i t y t h a n t h e s a r o n b a r u n g is n o t a t e d at
all. This n o t a t i o n s y s t e m p r e s e n t s a v i s u a l m o d e l of K u n s t ' s
t r i - p a r t a n a l y s i s o f g a m e l a n i n t o 1) N u c l e a r m e l o d y , 2) C o l o -
t o m i c a n d 3) P a n e r u s a n p a r t s . It is a s t r i k i n g e x a m p l e o f a
visual model affecting aural perception.
1 0 T h e G a l i n - P a r i s - C h e v e n o t a t i o n s y s t e m is p r e
sented i n t h e b o o k M e t h o d e E l e m e n t a i r e de M u s i q u e V o c a l e ,
Paris, C h e z L e s A u t e u r s , 36, R u e V i v i e n n e , 1 8 84 .
11 T h e a n a l y s i s of o r a l t r a d i t i o n s o w e s m u c h to t h e
s e m i n a l w o r k of A l b e r t Lord, The S i n g e r of T a l e s , A t h e n e u m ,
1965, N e w Y ork .
12K a u f m a n n , W a l t e r , Musical Notations of the Orient,

B l o o m i n g t o n , I n d i a n a , 1 96 7.
1 t e c h n o l o g i e s r e i n f o r c e o n e a n o t h e r a n d in J a v a
t h e h o m o g e n i z i n g e f f e c t o f p r i n t e d b o o k s is s t r e n g t h e n e d b y
th e w i d e d i s s e m i n a t i o n of p h o n o g r a p h r e c o r d s , r a d i o b r o a d
casts and c a s e t t e tapes all t e a c h i n g c e n t r a l J a v a n e s e , e s
pecially Surakarta style gamelan.
llfT h e o n l y n o t a b l e e x c e p t i o n to t h i s g e n e r a l t r e n d
is t h e g a m e l a n s t y l e w h i c h a c c o m p a n i e s t h e e a s t - J a v a d r a m a t i c
form Ludruk. L u d r u k g a m e l a n s h o l d f i r m to the S u r a b a j a
v a r i a n t of e a s t - J a v a n e s e g a m e l a n s t y l e .
1 5 T h i s a n a l y s i s is h e a v i l y i n d e b t e d to t h e w o r k s of
Marshall M c L u h a n , e s p e c i a l l y The G u t e n b e r g G a l a x y .
16T h i s s a m e p r i o r i t y g i v e n t o t h e o v e r a l l f l o w a n d
f o r m of a c o m p o s i t i o n , r a t h e r t h a n t o a n y p a r t i c u l a r p a r t is
r e f l e c t e d a g a i n i n the g r e a t r e l u c t a n c e of J a v a n e s e m u s i c i a n s
to b r e a k o f f a p i e c e i n m i d - c o u r s e . If a p a r t i c u l a r s e c t i o n
o r t r a n s i t i o n p r o v e s d i f f i c u l t f o r s o m e of t h e m e m b e r s of
t h e e n s e m b l e , it is m u c h p r e f e r r e d to c o n t i n u e o n t h r o u g h
t h e w h o l e g o n g s e c t i o n a n d t h e n r e p e a t it e n t i r e l y r a t h e r
than r e p e a t i n g many times a small, t r o u b l e s o m e section. The
c o m m o n w e s t e r n p r a c t i c e of g o i n g o v e r a n d o v e r a s m a l l p h r a s e
of a p i e c e is u n h e a r d of i n J a v a n e s e g a m e l a n p r a c t i c e . Only
i n e x t r e m e s i t u a t i o n s w h e r e th e o u t l i n e of t h e p i e c e is h o p e
l e s s l y o b s c u r e d w i l l t h e d r u m m e r o r r e b a b p l a y e r o r d e r t he
e n s e m b l e to stop and b e g i n again.
17S o e t a n d i j a , Gending Emeng minggah Ladrang N alongsa

d an L a d r a n g W r e d a - M u s p r a , a thesis for the S a r d j a n a M u d a
d e g r e e f r o m A k a d e m i S e n i K a r a w i t a n I n d o n e s i a , S u r a k a r t a , p.
11 .
R eproduced with permission o f the copyright owner. Further reproduction prohibited without permission.
CHAPTER III
N AT IO NA LI SM AN D THE GAMELAN
The crisis forced'upon gamelan traditions by the
adoption of notation is equalled by the difficulties of
adjustment to t he new values of Indonesian nationalism.
Nationalism has been and still is one of the most
potent forces promoting change in the twentieth century.
Indonesian nationalism has colored Javanese artistic activity
since at least t he early 1940's. Although its roots go back
much further, Indonesian nationalism as a widespread moti
vating force in Javanese society can be viewed as dating
from March, 1942, when t he Japanese invaded the then Dutch
East Indies. The quick collapse of the colonial government
proved to be a watershed in the long sustained efforts of
those men who had been striving for many years to free their
country from Dutch domination. From that moment on, the
Dutch were discredited in the minds of many Javanese who
formerly might have continued to accept their colonial status
as inevitable. Although seven long years of occupation and
revolution were to pass before the dream of independence be
came an actuality, the changed climate of opinion pre-ordained
the final outcome.1
61
62
Colonial occupation had scarcely disturbed traditional
sources of power and authority or tarnished the luster of
their supporting artistic institutions. The Dutch had given
support to the traditional rulers of Java, the prija.1 i , o r
aristocracy, and in part had ruled through them. The role of
the gamelan under a colonial government had remained essen
tially th e same as before the Dutch occupation. In a subtle
way, the gamelans and the gamelan music played in the palaces
were a legitimizing force for the authority and power of the
nobility. Closely mirrored in the m u s i c of the palace gamelans
was the psychological set or the state of mind of the ideal
monarch. The rule of cyclic order was felt to be not only the
law of the universe, but t he ideal psychological state for all
men too. The closer one came to this calm, impassive state of
mind, the higher one's inner state of being. The nobility, by
virtue of being born into an honored position, ought to be
more ordered and serene than ordinary men. In his monograph
on statecraft in J a v a from t he sixteenth through the nineteenth
centuries, Moertono discusses at length the philosophical,
psychological framework of the Javanese monarchy.
I n a t t u n i n g h i m s e l f to t h e G r e a t O r d e r m a n is le d
to a c c e p t t h e c o n c e p t o f H a r m o n y . a c o s m i c h a r m o n y ,
in w h i c h e v e r y o n e a nd e v e r y t h i n g has its a s c r i b e d
place. . . . It is a h a r m o n y n o t o n l y of m a n ' s w o r l d ,
th e m i c r o - c o s m o s , w i t h t he g r e a t e r m a c r o - c o s m o s , b u t
also a h a r m o n y w i t h i n his own s p h e r e of life. . . .
T h e J a v a n e s e . . . w o u l d n o t c o n s i d e r t he s t a t e to
h a v e f u l f i l l e d i t s o b l i g a t i o n s if it d i d n o t e n c o u r a g e
an i n n e r p s y c h o l o g i c a l o r d e r (t e n t r e m , p e a c e a n d t r a n
q u i l i t y of h e a r t ) as w e l l as e n f o r c i n g the f o r m a l
or d e r (t a t a ) . O n l y t h e n is t h e s t a t e of p e r f e c t
b a l a n c e , of p e r f e c t h a r m o n y , a c h i e v e d . . . . It is
63
n ot v e r y s u r p r i s i n g , t h e r e f o r e , tha t the s t a t e s h o u l d
h a v e b e e n s e e n as a n i m a g e of t h e G r e a t C o s m i c O r d e r ,
in w h i c h the gods m a i n t a i n a b s o l u t e d o m i n i o n . This
s c h e m a t i c s i m i l a r i t y b e t w e e n c o s m i c o r d e r and the
s t a t e is s e e n as i d e n t i t y , a n d t h i s s e r v e s a d o u b l e
purpose. Fir st, . . the s a f e t y of one a s s u r e s the
s a f e t y of t h e o t h e r . S e c o n d , and p o l i t i c a l l y the
m o s t i m p o r t a n t , i t s e r v e s to e s t a b l i s h t h e k i n g ' s
p o w e r o v e r h i s s u b j e c t s . . . . T h u s , t h e s t a t e as a
r e p l i c a of the c o s m i c o r d e r m u s t a l s o h a v e the p r o
p e n s i t i e s a n d c a p a c i t i e s of t h a t h i g h e r o r d e r , a
p o w e r w h i c h , as a p a r t o f t h e G r e a t O r d e r , n o s u b j e c t
p e o p l e d a r e r e s t r i c t or d i s t u r b . This be li e f accounts
f o r t h e a b s o l u t e c h a r a c t e r of t h e o l d k i n g d o m s . 2
The importance of the "Great Cosmic Order" to concepts
of state and statecraft in old Java finds a remarkable parallel
in the development, within the palace, of fantastically elon
gated, yet perfectly ordered, formal gamelan structures. The
extreme length of th e musical phrases involved can hardly be
understood unless some other rationale is operating besides
purely musical considerations. The saron part for one such
composition is given in Figure XI I.
A Javanese musician must at all times know exactly
where he is in relation to the approaching gong. It is the
focal point toward which he consciously and deliberately moves.
Within a hierarchical musical structure, a gong section sub
divided by kenong sections, kenong sections subdivided by
ketuk, etc. it is possible for the musician to comprehend very
large time units as one musical phrase, but it is difficult to
understand the necessity for it. Why not two shorter gong
units? But if the long unit is a musical portrayal of a cos
mic cycle, the great length immediately makes sense. This
type of musical form is a "specialty" of the palaces and has
64
• • 3 1 • 3 • 2 3 • 3 5 6 5 3 2
. 3 2 1 • 3 • 2 3 • 3 5 6 5 3 2
. 3 2 1 • 3 • 2 3 • 3 5 6 5 3 2
3 . 3 5 2 3 2 1 • • 1 2 3 5 6 5N
• • 5 7 5 6 7 6 7 7 653 6 5 2 3
5 5 • 7 5 6 7 6 7 7 6 53 6 5 2 3
5 5 • 7 5 6 7 6 7 7 653 6 5 3 2
5 2 • 3 6 5 3 2 • 4 • 2 4 5 2 IN
• • 1 3 • 2 1 2 3 • 3 5 6 5 3 2
. 3 2 1 • 3 • 2 3 • 3 5 6 5 3 2
. 3 2 1 • 3 • 2 3 • 3 5 6 5 3 2
3 . 3 5 2 3 2 1 6 6 • • 2 3 2 IN
. 2 1 6 • 2 • 1 • 2 1 6 • 2 • 1
2 3 • • 6 5 3 2 3 2 1 6 2 1 6 5
1 5 • 6 2 1 6 5 1 5 • 6 2 1 6 5
6 6 • • 6 6 7 6 • 5 3 2 • 5 • 3N/G
Umpak Minggah •
•
• • 5 6 7 7 5 6 « 7 5 6 7 7 5 6
. 7 5 6 7 7 5 6 • 5 3 2 • 5 • 3N/G
Minggah :
. 6 3 5 6 7 5 6 • 5 3 2 • 5 • 3
. 6 3 5 6 7 5 6 • 5 3 2 • 5 • 3
. 6 3 5 6 7 5 6 • 5 3 2 • 5 • 3
. 4 • 2 • 4 • 1 • • 1 2 3 5 6 5N
. 3 • 6 • 3 • 5 • 3 • 6 • 3 * 5
. 3 • 6 • 3 • 5 3 2 1 3 1 2 3 2
3 2 1 6 5 3 6 5 3 2 3 • 3 2 3 5
3 2 3 • 3 2 3 5 6 5 4 2 4 5 2 IN
3 2 3 • 3 2 3 5 6 5 4 2 4 5 2 1
3 2 3 • 3 2 3 5 6 5 4 2 4 5 2 1
3 2 3 • 3 2 3 5 6 5 4 2 4 5 2 1
6 6 • • 6 6 5 6 7 7 6 7 5 6 7 6N
5 3 2 5 2 3 5 2 5 3 2 5 2 3 5 6
5 3 2 5 2 3 5 6 7 • 7 6 5 4 2 1
6 5 6 • 6 5 2 1 6 5 6 • 6 5 2 1
• • 5 6 • 1 • 6 • 1 • 6 5 4 2 4N/G
6 5 4 6 4 5 6 1 2 3 2 1 6 5 4 4
6 5 4 6 4 5 6 1 2 3 2 1 6 5 4 4
6 5 4 6 4 5 6 1 2 3 2 1 6 5 4 4
6 5 6 1 6 5 4 4 • 3 • 2 . 3 • 5N '
. 3 • 6 • 3 • 5 • 3 • 6 • 3 • 5
. 3 • 6 • 3 • 5 3 2 1 3 1 2 3 2
3 2 1 6 5 3 6 5 3 2 3 • 3 2 3 5
3 2 3 • 3 2 3 5 6 5 4 2 5 4 2 IN
3 2 3 • 3 2 3 5 6 5 4 2 4 5 2 1
3 2 3 • 3 2 3 5 6 5 4 2 4 5 2 1
3 2 3 • 3 2 3 5 6 5 4 2 4 5 2 1
6 6 • • 6 6 • • 2 2 • • 2 3 2 IN
. 2 1 6 • 2 • 1 • 2 1 6 • 2 • 1
2 3 • • 6 5 3 2 3 2 1 6 2 1 6 5
• • 5 6 7 7 5 6 • 7 5 6 7 7 5 6
. 7 5 6 7 7 5 6 « 5 3 2 • 5 • 3N/G3
F i g u r e XII: Gending Bonangan Pangrawit, Pelog Patet Lima

k e t u k 8 k e r e p , m i n g g a h k e t u k 16
65
never been popular outside of those spheres.
There is another way in w h i c h gamelan music, all
gamelan music, subtly reinforces Javanese concepts of cos
mology and by implication, kingship. The important struc
tural points in gamelan music are those points at w h i c h
horizontal lines come together on the same note. The greater
number of h o r i z o n t a l lines which coincide at one point, t he
more important is that point in the formal structure. The
gong is the greatest point of coincidence, where all parts
coincide. The kenong marks the point of next importance
where many parts coincide, the kempul the next and so on.
In like manner, time in Java is reckoned by the distance
between points of coincidence of two calendrical c y c l e s . 1*
The J a v a n e s e c o m b i n e the ir own f i v e - d a y m a r k e t

w e e k ( L e g i , P a i n g , P o n , W a g e , K l i w o n ) w i t h t he
W e s t e r n - M o s l e m seven -day w e e k (Minggu, Senen,
Selasa, Rebo, Kemis, Djumuwat, S e t u ) . . . . As
s e v e n t i m e s f i v e is t h i r t y - f i v e , t h e r e a r e t h i r t y -
five p o s sible separate days (Minggu-Legi . . .
Senen-Paing . . . Djumuwat-Legi . . . Setu-Paing . . .
e t c . ) , a n d t h i s c y c l e f o r m s the " m o n t h . " Actually,
h o w e v e r , th ese " m o n t h s " are not f i x e d and a b s o l u t e
u n i t s as o u r s b u t m e r e l y t h e l e n g t h of t i m e b e t w e e n
a n y o n e s i n g l e d - o u t d a y a n d its n e x t o c c u r r e n c e
t h i r t y - f i v e days later. . . . J a v e n e s e c a l e n d r i c a l
t i m e is p u l s a t i v e , n o t s p a t i a l l i k e o u r s . W h e n the
c o g s of t h e c a l e n d e r c l i c k t o g e t h e r i n a c e r t a i n
c o m b i n a t i o n , it is t i m e f o r a c e r t a i n c e r e m o n y to
b e h e l d , a j o u r n e y to b e b e g u n , or a m e d i c i n e to
be t a k e n . 5
The calculation of time by the distance between points
of conjunction of different cycles is all-Indonesian. Some
times the parallel between cycle coincidence and melodic
conjunction in gamelan music even extends to terminology.
66
The A c h e n e s e s e a s o n s [ N o r t h w e s t Suma tra ] are r e g u

l a t e d b y t h e c o n j u n c t i o n s of K a l a ( t h e S c o r p i o n ) w i t h
the moon. These conjunctions they call keunong
( I n d o n e s i a n : k e n a = to h i t , c o m e i n t o c o n t a c t w i t h ) . 6
The similarity of morphology between Achenese keunong
and Javanese kenong (kena, pronounced kenaw, to hit + nj», a
bright, metallic sound) is suggestive as the term as used
in t he gamelan could also refer to cyclic coincidences.
The repetition of grand cyclic forms, the coincidence
of smaller cyclic forms, cycles within cycles, points to the
philosophical basis f or the "ostinato" forms of gamelan
music. In this suggestive, subliminal yet penetrative way
gamelan music supported Old Javanese concepts of the cosmos
and of kingship.
If t he order of t h e universe and of the gods is re
flected in the Javanese monarchy and reflected again in t he
music of the gamelan, one would expect to find political as
well as musical conservatism. Certainly that was the case
with the Javanese body politic. Referring to the conse
quences of Javanese kingship theory, Moertono has this to s a y:
T h i s l e a d s to a n a t t i t u d e of c o n s e r v a t i v e t r a d i t i o n
a l i s m , a c l i n g i n g to e s t a b l i s h e d c u s t o m s a n d so t o a
d i s t a s t e f o r c h a n g e or f o r w h a t e v e r m a y d i s t u r b t h e
r e g u l a r a n d p r e d i c t a b l e f l o w of e v e n t s . 7
The religious basis for conservatism in all matters
is intensified for the Javanese musician by the intrinsically
conservative nature of oral traditions. The oral musician
does not think of himself as a creator of anything, but as
a preserver. Through his music-making, he carries forward a
67
treasured inheritance from his honored ancestors which would
die without him. The description of a Yugoslav epic singer
by Alfred Lord could equally well apply to t he Javanese
musician.
W h a t is of i m p o r t a n c e h e r e is n o t t h e f a c t of
e x a c t n e s s or l a c k of e x a c t n e s s , b u t t h e c o n s t a n t
e m p h a s i s b y the s i n g e r on h i s r o l e in t h e t r a d i t i o n .
I t is n o t t h e c r e a t i v e r o l e t h a t w e h a v e s t r e s s e d
f o r t h e p u r p o s e of c l a r i f y i n g a m i s u n d e r s t a n d i n g
a b o u t o r a l s t y l e , b u t the r o l e of c o n s e r v e r of t h e
tradition.8
The court musician in central Java was not only a
conserver of a musical tradition but a supporter of a
monarchical and cosmological tradition as well. Even the
instruments upon which he played served to legitimize the
role of the king. Several of the gamelans, or gongs within
a particular gamelan,found within central Javanese palaces .
ar e p u s a k a s , that is, magically charged items, usually of
considerable age. As the wealthiest and most powerful man
around, it was easy for a monarch to acquire t he finest
and/or the oldest gamelans in an area. As all gamelans are
to some degree sacred ( se e Chapter I), very old or very fine
gamelans are more so. Possessing such fine sets of instru
ments both enhanced the prestige and power of t he monarch
and established his right to that power.
. . . c e r t a i n p u s a k a s i n t h e p a l a c e of t he
Sultan, ([gamelan], spears, swords, flags) have
m a g i c a l p o w e r s w h i c h s u p p o r t a n y S u l t a n w h o is
l e g a l l y a n d c o s m o l o g i c a l l y e n t i t l e d to r u l e o v e r
the cou n t r y . . . . T h e s e p u s a k a s are an e s s e n t i a l
p a r t of t h e S u l t a n ’s a u t h o r i t y ; w i t h o u t t h e m , it is
b e l i e v e d , a S u l t a n c ann ot e n j o y the f a i t h and
l o y a l t y of t h e p e o p l e a n d t h u s h e c a n n o t r u l e o v e r
the s t a t e .9
68
One of t he duties of a king was to put on the best,
the most magnificent performances of traditional arts,
wajang kulit, wajang orang, etc. If someone else outdid him,
(hardly likely in view of his tremendous financial advantage),
there might be doubts as to h i s right to be the monarch. It
has been suggested by a Javanese sociologist that the great
flowering of artistic activity at t he t wo major courts of
Surakarta and Jogjakarta from t he mid-nineteenth through
the mid-twentieth centuries was due to the fact that both
courts were rendered politically impotent by the Dutch a nd
therefore transferred their innate hostility and competition
from the political to the artistic sphere. Regardless, the
finest, grandest performances were given by the princes,
who although largely neutralized politically, still kept and
maintained the trappings of power.
In t h e s e c e r e m o n i e s t h e S u l t a n u s e d t o d i s p l a y
m u c h p o m p a n d s p l e n d o r a c c o r d i n g to t h e a n c i e n t
t r a d i t i o n a l ru le s , in o r d e r to m a i n t a i n h i s d i g n i t y
a n d e s t e e m i n t h e e y e s of t h e n o b i l i t y a n d t h e
priyayis. It w a s e s s e n t i a l i n t h e s e t t i n g of t h e
J a v a n e s e b e l i e f s y s t e m r e g a r d i n g the S u l t a n that
the t r a d i t i o n a l c e r e m o n i e s and r i t u a l s in the
'kraton [palace] be observed. If t h e y w e r e e v e r
n e g l e c t e d , t h e r o y a l a n c e s t o r s , t h e g o d d e s s of t h e
I n d i a n O c e a n , t h e h e a v e n l y g u a r d i a n s of t h e m o u n
t a ins and the s t a t e p u s a k a s m i g h t feel o f f e n d e d
a n d e v i l w o u l d b e f a l l t h e s t a t e a n d its p e o p l e .
The court c e r e m o n i e s and r i t u a l s w e r e c e r t a i n l y
a n e f f e c t i v e m e a n s of p r e s e r v i n g u n i t y b e t w e e n t h e
S u l t a n , t h e n o b i l i t y , a n d t o p - r a n k i n g o f f i c i a l s of
the s t a t e i n c l u d i n g the g r a n d v i z i e r . These occa
s i o n s f u n c t i o n e d as a s o c i a l p r e s t i g e b u i l d i n g a n d
m a i n t a i n i n g s y s t e m for t h o s e w h o h a d the p r i v i l e g e
of a t t e n d i n g t h e m , a n d t h i s p r i v i l e g e t e n d e d to
s t r e n g t h e n l o y a l t y to t h e S u l t a n . 10
69
All this was to end abruptly and finally with the
arrival of the Japanese. Japanese sanction and support was
not given to the nobility, the prijaji, but to two groups
with quite different motivations, backgrounds and aspirations;
the nationalists (including Communists) and the s a n t r i , those
with strong ties to Islamic traditions and aspirations.
These two groups were sources of opposition to traditional
authority. Thus the changing attitudes toward traditional
rulers which had been spreading throughout the world belatedly
came to J a v a . All the spirituality and mystical power of the
prijaji had been unable to prevent colonial occupation by the
Dutch, military occupation by Japan. Now the best hope for
the future lay in the hearts and minds of a small group of
men who for the m o s t part did not share either the ascribed
status of the prijaji or their interest in the mysticism and
symbolic function of traditional Javanese arts. The reali
zation that Sukarno in his later years became kinglike and
used the traditional arts in their o ld legitimizing role,
does not alter the fact that between 1942 and the present,
there has been a gradual but continuing trend toward secu
larization of Javanese a r ts .
The loss of its role in legitimizing kingship, the
secularization of society and the rise to p r o m i n e n c e of men
from outside the Javanese prijaji constituted the most
serious and continuing challenge to the traditional arts
since the arrival of Islam.
70
Before any overt musical activity illustrating new
attitudes appeared, t he intellectual climate for such change
had to b e created.
In the 1930's a group of artists, writers and poets
explored the role of t he arts and emerging nationalism, and
began the search for a national, as opposed to a Javanese,
culture. The establishment of the literary magazine,
Pudjangga B a r u , in July 1933,proved to b e the gentle herald
of a momentous upheaval in the attitudes and directions of
those involved in Javanese arts.
The title of the magazine deserves attention.
Pud .j a n gg a Baru means simply New Poets, but implies a good
deal more. Pud.j a n g g a is the Old-Javanese word for poet,
also meaning one who can foresee the future, a p r o p h e t . 11
The term was used for either poet or musician, both often
being one and the same person. Generally, a pudjangga was
associated with a particular king or realm, and his works
usually were dedicated to h i s king. Sometimes, he would
sign his king's name to h i s own works. The pudjangga were
important sources of legitimizing power for the o ld Javanese
kings. They could rewrite history as w e l l as create proper
geneologies for a usurper of the throne.
E a c h t i m e t h e c e n t e r of p o w e r s h i f t e d t o a n e w
p l a c e , t h e c l a i m to l e g i t i m a c y w a s s a n c t i o n e d b y
the n e w k i n g ' s p u d j a n g g a , t h e p o e t of the c o u r t ,
w h o w r o t e t h e m i r a c u l o u s t a l e of the k i n g ' s d e s c e n t
f r o m m i g h t y r u l e r s e m i n e n t in t h e i r m a g i c p o w e r . 12
71
The Pud.j a n g g a B a r u , however, had quite different sources of
inspiration and allegiance. In i ts third year, the magazine
was given the subtitle, Bearer of a new spirit in literature,
art, culture and general social problems. Later still, the
subtitle became, Conveyer of a new, dynamic spirit for the
formation of a new culture, a culture of Indonesian u n i t y .13
The question of a national language was their most
burning issue. Language was the central problem in forging
a meaningful unity to the heterogenious area that was
Indonesia. The Malay language, or Bahasa Indonesia,had
already been decreed as the national language in 1 9 2 8 , ll+b u t
was far from being universally understood. Along with their
interest in a national language, the contributors to the
magazine were concerned about the creation of a national
culture. Thus began a great debate concerning methods to
attain a national culture which continues only slightly
abated into the present day.
All of the men involved in the magazine were national
ists, and ma n y of them were non-Javanese. The non-Javanese
among them, joined by a number of Javanese intellectuals,
feared Javanese domination of a unified republic, were sus
picious of traditional Javanese conservatism, and resented
t he assumed superiority of many- J a v a n e s e toward the peoples
of the outer islands. The desire to b r e a k t he power of tra
ditional Javanese attitudes and loyalties is forcefully
expressed in a poem by one of t he leading proponents of
72
Indonesian nationalism, Sutan Takdir Alisjahbana. The poem
was written about the central Javanese Shaivlte temple,
Tjandi Prambanan (Loro Djanggrang). This is the last stanza
of the poem.
My heart does not yearn for your era,
When the p r i e s t a n n o u n c e d t h e p r e s e n c e of S h i v a ,
when the object of w o r s h i p b e c o m e s i n c a r n a t e
in a t e m p l e statue,
No, no! N o, no!
Y e s God, Yes D i v i n e , m a k e s i n c e r i t y and

i n t e g r i t y of t h e s o u l r e t u r n t o y o u r
r eligious order
and I w i l l g i v e b i r t h to a n e w a r t, n o t in
this shape or for m . . .
But e t e r n a l l y i n a c c o r d a n c e w i t h t he i m p a s s i o n e d
s p i r i t of m y t i m e . 15
Takdir Alisjahbana went further than most nationalists
in h i s advocacy of models from the west f or the n e w n a t i o n a l i s m .
A brief summary of t h e views of Alisjahbana are q u o t e d below:
T i m e and a g a i n . . . h e [ A l i s j a h b a n a ] d e p i c t s t he
d e v e l o p m e n t of t h e W e s t s i n c e t h e M i d d l e A g e s , t h e
c h a n g e f r o m a s t a t i c to a d y n a m i c s o c i e t y , t h e f r e e z i n g
of t h e i n d i v i d u a l f r o m t r a d i t i o n a l f e t t e r s , t h e e x p a n
s i o n o f W e s t e r n m a n i n a l l f i e l d s of l i f e , w h i c h
f i n a l l y g a v e t he W e s t t h e h e g e m o n y in the w o r l d , c u l
turally, politically, economically. This f r e e d o m may
h a v e i ts d a n g e r s , it m a y l e a d to e x t r e m e i n d i v i d u a l i s m ,
l i c e n t i o u s n e s s , e v e n c h a o s , b u t t h a t is n o t r e l e v a n t
in t h e c a s e of I n d o n e s i a . T a k d i r is c o n v i n c e d t h a t
o n l y b y f o l l o w i n g in t h e s t e p s of t h e W e s t w i l l I n d o
n e s i a b e a b l e to p l a y a n a d e q u a t e r o l e in t h e m o d e r n
world. A n d w i t h s p e c i a l v e h e m e n c e he r e j e c t s the
i d e a , so d e a r to m a n y of h i s c o u n t r y m e n , t h a t t h e W e s t
l e a d s o n l y i n m a t t e r s of t e c h n i c a l s k i l l , a n d t h a t
s p i r i t u a l l y and c u l t u r a l l y I n d o n e s i a , a n d th e E a s t in
g e n e r a l , is m u c h r i c h e r t h a n th e s o - c a l l e d m a t e r i a l i s t i c
W e s t , and that t h e r e f o r e I n d o n e s i a n sh o u l d r e m a i n its
own old self. P e o p l e f o s t e r i n g such i l l u s i o n s are won t
to r e c a l l I n d o n e s i a ' s g l o r i o u s p a s t , f a m o u s k i n g s a n d
poets, Gadjah Mada and Borobodur. But to T a k d i r
73
a l l t h i s is i r r e l e v a n t . F i r s t of a l l , h e p o i n t s
out, e v e r y t h i n g t ha t t h e s e m o d e r n l e a d e r s are, and
a l l t h a t t h e y k n o w , c a m e to t h e m f r o m t h e W e s t ,
w h i c h r e v e a l e d to t h e m t h e t r e a s u r e s of I n d o n e s i a ' s
p a s t b y t h e w o r k of s c h o l a r s a n d s c i e n t i s t s . Even
t h e n a m e a n d c o n c e p t of I n d o n e s i a is a W e s t e r n o n e .
T h e r e h a d b e e n no I n d o n e s i a b e f o r e t he t w e n t i e t h
c e n t u r y , a n d t h e g l o r i f i c a t i o n of h e r o e s a n d
a c h i e v e m e n t s of t h e p a s t a c t u a l l y i n t r o d u c e s a d e
g r e e of p r o v i n c i a l i s m a n d r e g i o n a l i s m w h i c h is
d a n g e r o u s t o t h e u n i t y of m o d e r n I n d o n e s i a . More
over, he argues, a tem p l e like B o r o b o d u r , b e a u t i f u l
a s it m a y b e , c o u l d o n l y b e b u i l t in a s o c i e t y
w h e r e 9 0 % of t he p e o p l e l i v e d in s l a v e r y or g r e a t
p o v e r t y , a n d w o r k e d f o r t h e c o n v e n i e n c e of t h e l o f t y ,
s p i r i t u a l c i v i l i z a t i o n of a s m a l l c o u r t c l i q u e . 16
Alisjahbana links modernization and westernization,
a connection most Indonesians would also make.
Where is the place and what is the role of the gamelan
in this new world proclaimed by Alishjahbana? The argument
summarized above is still used against those committed to
Javanese arts. Many of t he compositions of Java's modern
composers can be interpreted as an attempt to answer the
charges above.
The pro-western, anti-traditional attitude of many of
the Pud.j a n g g a Baru were opposed by a number of the same group
who felt that the past glories of Java should be the foundation
of the new nationalism, that Indonesia should affirm its
ancient traditions, maintain its individuality, and seek a
synthesis with the west rather than imitate it.
I m y s e l f w a s a s t u d e n t of a W e s t e r n s c h o o l . . .
f r o m t h e f i r s t to t h e l a s t g r a d e . I w a s a b l e to
s t u d y W e s t e r n s o c i e t y n o t o n l y in o u r c o u n t r y b u t
a l s o , f o r m a n y y e a r s , in E u r o p e . No one c o u l d
a c c u s e m e of d e s p i s i n g W e s t e r n s c i e n c e , a r t , a nd
culture. Y et I am c o n v i n c e d that the s p i r i t u a l
74
d e v e l o p m e n t of o u r p e o p l e - t h o u g h o u r m i n d s b e
s h a r p e n e d in l a b o r a t o r i e s , in the W e s t e r n m a n n e r -
w i l l p r o g r e s s a l o n g i t s o w n l i n e s as i n J a p a n ,
China, and India. There, though Western-oriented,
the c u l t u r e in e s s e n c e c e r t a i n l y r e t a i n e d its own
E a s t e r n base. O n c e m o r e , i t d o e s n o t m a t t e r if w e
u s e s p o o n s a n d f o r k s , m a c h i n e s a n d t o o l s f r o m th e
West. It's uo m i s t a k e to r e a d S h a k e s p e a r e , D an t e ,
and Goethe. I t ' s v e r y b e n e f i c i a l t o a d m i r e the
f i g u r e s of R e m b r a n d t a n d D a V i n c i . We are d e
l i g h t e d to h e a r t he m u s i c of B e e t h o v e n a n d W a g n e r .
Y e t , w e m u s t s e e k a n a r t of o u r o w n , a c u l t u r e of
o u r o w n , a l i t e r a t u r e of o u r o w n . 17
One of the most famous supporters of Javanese cul
tural traditions as a foundation for a new culture was Ki
Hadjar Dewantara. He established a widespread school system,
the Taman Siswo (garden of pupils), in w h i c h gamelan, Javanese
dancing, Javanese language, history and literature formed the
core of the c u r r i c u l u m . 18 Though thoroughly Old-Javanese
in outlook, Ki Hadjar Dewantara did not remain passive in
th e face of change.
The late Ki Hadjar D e w a n t a r a believed that

h u m a n d e s i r e s a r e b u t c o g s in t h e U n i v e r s a l
Machine. T h e i n d i v i d u a l ' s w i l l is s u b j e c t to
" t h e l a w s of c a u s e a n d e f f e c t , " w h i c h h e i d e n t i
f i e d w i t h t h e I n d i a n c o n c e p t i o n of K a r m a . Change
is i n e v i t a b l e a n d , c o n f r o n t e d w i t h it, p e o p l e a r e
a l w a y s a m b i v a l e n t - d e p l o r i n g l o s s of t h e o l d , y e t
w e l c o m i n g th e n e w as a l i b e r a t i o n . T h o u g h m a n is
o n l y a s m a l l p a r t of t h e u n i v e r s a l w i l l , h e s t i l l
c a n g i v e d i r e c t i o n to the era, p a r t i c i p a t e in
s h a p i n g h i s w o r l d . 19
One of the consistent themes of t he Pudjangga Baru
was the necessity for the artist to take an active role in
the formulation of new attitudes, that the artist had a
responsibility directly to society replacing the traditional
personal responsibility of the poet to h i s ruler.
75
. . . it is t h e a r t i s t w h o m u s t l e a d t h e w a y a nd
p a s s o n w h a t e v e r he h a s f o u n d t o b e o f v a l u e f or
himself. H i s a r t s h o u l d b e i n t h e s e r v i c e of t he
p e o p l e .2 0
The establishment of an independent Indonesia with
Sukarno as its first president in December, 1949, had imme
diate and lasting repercussions in the Javanese artistic
world. It is not surprising in a country where artistic
activity has had so much symbolic meaning that very early,
the newly independent government turned its interest to the
gamelan. It was decided to establish a school of music, a
radical idea within the framework of an oral tradition, an
idea clearly based on w e s t e r n models. Perhaps there was a
recognition by those in the new government that t he arts,
particularly the gamelan, must change its focus, i ts orien
tation, its very meaning, and come to terms with a new world.
Or perhaps the motivation was more simple and self-interested.
Possibly the new government wanted to enlist the help of t he
arts in legitimizing the regime. However interesting t he
underlying motives for the building of a conservatory may be,
the declared purposes are fascinating in themselves.
One repeatedly articulated aim was that within t he
confines of the conservatory an attempt should be made to
synthesize an Indonesian musical art, an artistic expression
which would be representative of the whole republic.
T h u s l a t e r w i l l c o m e to p a s s r e s u l t s f r o m a l l
the I n d o n e s i a n a r t i s t s of the n e w g e n e r a t i o n , b e
c a u s e t h e r e (at the c o n s e r v a t o r y ) a l l t h e a b o v e
m e n t i o n e d a r t i s t s h a v e t h e o p p o r t u n i t y to o r g a n i z e *
76
a t h o u s a n d and one v a r i e t i e s , e x p e r i m e n t s , u n t i l
finally, with contented hearts, they will meet
t h a t w h i c h t h e y a r e a l w a y s s e e k i n g , t h a t is
I n d o n e s i a n m u s i c w h i c h is t r u l y b a s e d u p o n th e
f o u n d a t i o n of n a t i o n a l c u l t u r e . 21
This high hope must, twenty years later, be termed a failure.
The closest thing to a pan-Indonesian musical expression is
krontj o n g , popular songs accompanied by western stringed
instruments, which flourishes outside of the confines of any
c o n s e r v a t o r y . 22 Still, the ideal of an Indonesian musical
expression continues to b e an important source of inspira
tion for Java's gamelan composers.
The choice of Surakarta as the seat of t he first
music conservatory is interesting. On the surface, it would
appear that Djakarta, as the new capital, should be given
preference. It does not have the strong regional character
of central Java. I ts population represents peoples from all
over Indonesia, and as a government sponsored and supported
institution, the conservatory might better be near the source
of its support. If, however, the government h o p e d to tap
some of t he legitimizing power of the gamelan tradition,
then the school had to b e placed close to the s o u r c e s of
that power, the c o u r t s of central Java.
The school was oficially opened on August 27, 1950,
with an evening of artistic e n t e r t a i n m e n t at the pendapa, a
large, opensided, square-front veranda especially for artistic
performances, Sasana-Mulja in Surakarta. The curriculum from
that day until now looks astonishingly broad, including in
77
addition to gamelan performance, dancing, singing, acoustics,
western music, Indonesian language, English, Sociology,
History of art and culture, and research into the music of
non-Javanese areas of Indonesia. In fact, most of the non
music subjects are not regularly taught or not well taught.
The strength of the school is the strength of its faculty.
They are superb performers of Surakarta-style traditional
gamelan music. Also, they are for t he most part intellec
tually committed to m o d e r n i z i n g gamelan traditions while at
the same time emotionally attached to the old t r a d i t i o n s . 2 **
This curious ambivalence leads to conservative, traditional
gamelan style being taught in a radical non-traditional way.
Court gamelan compositions from the last century or older
are taught with notation. A thin, delicate old man in tra
ditional dress may be found presiding over a class of rebab
players, all playing in unison. Because of the background
of its teachers, the Surakarta conservatory, far from becoming
t he fountainhead of experimentation and synthesis as w a s
originally supposed, is now one of the few viable institu
tions sustaining court traditions.
Arrayed against the Conservatory and t he traditions
it upholds are the santri, orthodox Moslems, and certain
sections of the intelligentsia. Independence and the search
for new goals, new symbols, gave moral and intellectual sup
port to those forces within Java which were traditionally
hostile to Javanese arts, such as t he santri, as well as
78
many high-minded, intellectual Javanese who felt gamelan
to be a conservative force, binding the people to their
old habits and patterns of thought, and quite out of tune
with the spirit of discovery, ferment and democratic ideal
ism in w h i c h they lived.
The Indonesia-wide interest in the problem of a
national music brought to the surface a good deal of outright
resentment and disparagement of the gamelan and its associated
life style and thought patterns. In a book published in 1952
about national music is the following passage:
The Soul of Indonesia Has Changed
Even though difficulties and p s y c h o l o g i c a l problems

a p p e a r b e f o r e us, we ar e c a r r y i n g out our i n t e n t i o n s .
Not only m o d e r n m u s i c a l forms and note a r r a n g e m e n t s
h a v e a l r e a d y e n t e r e d de ep in our so uls , but a l s o all
our c o n s c i o u s t h o u g h t s h a v e b e c o m e m o d e r n , c o n t e m p o r a r y .
A n d e v e n our f e e l i n g s are d i f f e r e n t , n o t b e c a u s e w e ' v e
a l r e a d y c o m e f a c e to f a c e w i t h t he i n t e r n a t i o n a l w o r l d ,
o u t s i d e c o u n t r i e s , b u t a l s o f r o m the i n f l u e n c e of o u r
revolution. W e ' v e s t u d i e d h o w to t h i n k q u i c k l y a nd
h o w t o f e e l n o f e a r , as is d e m a n d e d b y o u r s i t u a t i o n
a n d t h e w o r l d n o w a d a y s , w h i c h is f u l l of d y n a m i s m ,
t u r b u l e n c e and conflict. W e a r e at o n c e a l r e a d y
f a m i l i a r w i t h t h e p r o b l e m s of l i f e a n d t h e i r s o l u t i o n s ,
f a m i l i a r w i t h t e c h n i c a l p r o g r e s s and s c i e n t i c k n o w l e d g e .
We are no l o n g e r ti ed to p r o v i n c i a l m u s i c , w h e t h e r
J a v a n e s e g a m e l a n , S u m a t r a n m u s i c or t o t h e m u s i c of
our o t h e r i s l a n d s . Our new soul p refers m u s i c that
c a n p o r t r a y the t u r b u l e n c e of t he s o u l , t h e c o n t r a s t s
of l i f e a n d t h o u g h t , f e e l i n g s of e x s t a c y , n o t m e r e l y
r e l a x a t i o n e n t e r t a i n m e n t whi l e chatting and eating
f r i e d p e a n u t s as is u s u a l w i t h o u r i n d i g e n o u s m u s i c .
If J a a p K u n s t . . . s a y s t h a t m o s t of o u r m u s i c w h i c h
is l o v e d a n d p r a i s e d h a s a m a g i c o - r e l i g i o u s q u a l i t y ,
t h e n w e s a y w e n o l o n g e r e n j o y m u s i c w h i c h is m a g i c a l
and p r i m i t i v e , and our r e l i g i o u s f e e l i n g s h a v e c h a n g e d .
A g o o d e x a m p l e of t h e c h a n g e in o u r s o u l s c o u l d
b e s e e n w h e n t h e f i l m " S i x H o u r s to J o g d j a " b y U s m a r
I s m a i l wa s f i r s t s h o w n in D j a k a r t a . It b e g a n w i t h a
79
battle scene accompanied by gamelan. Spontaneously

came the r e s p o n s e f r o m the a u d i e n c e , "Why it's a
gamelan!? W h y n o t a s t i r r i n g m a r c h ? " 25
Traditional foes of gamelan, the santri were now
joined by fervant nationalists who felt gamelan traditions
were an obstacle to democracy and a hindrance in the path of
a nation trying to m o d e r n i z e , a nd those non-Javanese in the
new government with no emotional attachment to gamelan tra
ditions and a good deal of distaste for all manifestations
of purely Javanese cultural traditions. On the side of the
gamelan were those who felt that the cultural past should
not be overthrown in a senseless, head-long rush toward
modernization, that to loose one's cultural heritage is to
loose one's soul. Also must be added the great majority
of the Javanese people, not deeply involved in the polemics
of the day, ordinary people for whom gamelan had been an
integral part of their whole life and who, in all innocence,
loved it.
Caught between these two opposing forces, modern
gamelan composers have sought, sometimes tentatively, some
times forthrightly, and with varying degrees of success, a
way to m a k e gamelan traditions meaningful, relevant a nd
contemporary. In the following four chapters, some modern
compositions will be examined with the aim of illustrating
the various ways in w h i c h Ki Wasitodipuro and Ki Nartosabdho
have responded to the challenges and opportunities of a new
Java.
80
Notes
^ a n N i e l , R o b e r t , " T h e C o u r s e of I n d o n e s i a n H i s t o r y , "
I n d o n e s i a , edited by Ruth M c V e y , S outhea st A sia Studies, Yale
U n i v e r s i t y , by a r r a n g e m e n t w i t h H R A F P r es s, N e w H a v e n , 1963,
p. 2 9 9 .
2 M o e r t o n o , S o e m a r s a i d , S t a t e a n d S t a t e c r a f t in O l d
J a v a , A S t u d y of t h e L a t e r M a t a r a m P e r i o d , 1 6 t h to 1 9 t h C e n
tury , M o n o g r a p h Series, M o d e r n Indonesia P r oject C ornell
U n i v e r s i t y , 1 9 6 8 , p. 3, 4.
3 C o p i e d f r o m a m a n u s c r i p t of G e n d i n g B o n a n g a n in t he
p o s s e s s i o n of t h e A k a d e m i K a r a w i t a n I n d o n e s i a , S u r a k a r t a .
‘‘T h e i d e a of the r e l a t i o n s h i p b e t w e e n g a m e l a n s t r u c
ture and Javanese c a l e n d r i c a l c y c l e s w a s f i r s t s u g g e s t e d to
me b y my husband, A. L. B e c k e r .
5G e e r t z , C l i f f o r d , T h e R e l i g i o n of J a v a , T he F r e e
P r e s s , A d i v i s i o n of t h e M a c m i l l a n C o m p a n y , N e w Y o r k , N . Y . ,
1 9 6 0 , pp. 38, 39.
6Soebardi, "Calendrical Traditions in I n d o nesia,"

Madj a l a h Ilmu Sastra I n d o n e s i a , Indonesian J o u r n a l of C u l
t u r a l S t u d i e s , D j i l i d I I I , N o m o r 1, M a r e t , 1 9 6 5 , p. 53.
7M o e r t o n o , ££_. c i t . , p. 3.
8L o r d , Albert, The Singer of T a l e s , Atheneum, 1965,

p . 28.
9S e l o s o e m a r d j a n , S o c i a l C h a n g e in J o g j a k a r t a , C o r n e l l
U n i v e r s i t y P r e s s , I t h a c a , N e w Y o r k , 1 9 6 2 , p p. 1 7, 18.
1 ° S e l o s o e m a r d j a n , I b i d ., p. 28.
1 * W o j o w a s i t o , P r o f . D r s . S o e w o j o , K a m u s K a w i (D j a w a
K u n o ) - I n d o n e s i a , Berdasarkan bahan dari Dr. S o e w i t o S a n t o s o ,
P ub l i s h e d by Team Publ i k a s i Ilmiah Fakultas K e r g u r u a n Sastra
dan Seni, I K I P , Mal an g, East Java, I n d o n e s i a , p. 213.
12Vlekke, Bernard, N u s a n t a r a . A History of Indonesia,

W. van H o e v e L t d , T h e H a g u e , 1 9 6 5 , p. 53.
1 3 T e e u w , A ., M o d e r n Indonesian L i t e r a t u r e , The Hague,

M a r t i n u s N i j h o f f , 1 9 6 7 , p. 29.
1 ‘‘T e e u w , A., I b i d . , p. 22.
81
15Teeuw, A ., I b i d . , p. 35.
16Teeuw, A ., I b i d . , p. 36.
17Am ir, " P e r t u k a r a n dan P e r t i k a i a n P i k i r a n , " (Ex

c h a n g e of I d e a s a n d C o n t r o v e r s y ) , f r o m P o l e m i k K e b u d a j a a n ,
e d i t e d b y A c h d i a t K. M i h a r d j a , D j a k a r t a , 1 9 5 0 , p p. 9 6 - 1 1 4 .
T r a n s l a t i o n by C laire Holt.
1 8 W e r t h e i m , W. T . , I n d o n e s i a n S o c i e t y i n T r a n s i t i o n ,
A S t u d y of S o c i a l C h a n g e , 2 n d r e v . e d . , T h e H a g u e an d
B a n d u n g , 1959, pp. 303-305.
19Holt, C l a i r e , A r t in I n d o n e s i a . C o n t i n u i t i e s a n d
C h a n g e , Cornell U n i v e r s i t y P r e s s , I t h a c a , N e w Y o r k , 1 9 6 7 , p.
213.
20Teeuw, A., Ib i d . , p. 39.
21Soekanto, "Konservatori Karawitan dan Kebudajaan

N a s i o n a l , " B u d a y a , D j a w a t a n K e b u d a j a a n K e m . P.P. dan K . ,
J o g j a k a r t a , M a d j a l a h B u l a n a K e b u d a j a a n No. 2, F e b r u a r i , 1 9 5 3 ,
p . 24.
Disitulah nanti akan terdjadi h a s i l 2 bag! para

ahli seni-suara Indonesia angkatan baru, karena
disi t u l a h para ahli tersebut b e r k e s e m p a t a n m e n g a d a k a n
seribu satu matjam, e k s p e r i m i n 2 , sehingga achirnja
m e r e k a dengan puas dapat menemukan apa jang mereka
selalu tjari, ialah seni-suara Indonesia jang s u n g g u h 2
b e r d a s a r atas sendi k e b u d a j a a n nasional.
Just opposite this statement is a f u l l - p a g e p h o t o g r a p h

of Ki W a s i t o d i p u r a p l a y i n g the r e b a b w i t h a g r a n d p i a n o i n the
background.
2 2 K r o n t j o n g is t h e p r o d u c t of a s y n t h e s i s b e t w e e n o l d
P o r t u g u e s e p o p u l a r m u s i c p l a y e d on g u i t a r or u k e l e l e a n d t h e
r e g i o n a l m u s i c in w h i c h it f i n d s i t s e l f . T he i n s t r u m e n t a t i o n
of kront,j o n g a l w a y s i n c l u d e s a g u i t a r p l u s o t h e r s t r i n g e d i n
s t r u m e n t s s u c h as t he u k e l e l e , b a s s g u i t a r or a c e l l o p l a y e d
as a b a s s g u i t a r . O f t e n a f l u t e a n d / o r v i o l i n is a d d e d . Each
r e g i o n of I n d o n e s i a s u p e r i m p o s e s it s o w n i d e n t i f y i n g c h a r a c -
t i s t i c s on t h e k r ont.j o n g of its a r e a . In c e n t r a l J a v a k r o n t j o n g
s h o w s c l e a r g a m e l a n i n f l u e n c e , w h i l e i n A m b o n , o n e of t h e e a s t
e r n is lan d s , krontj ong r e s e m b l e s m i s s i o n a r y c h u r c h mu s i c .
2 3 K. M. S o e r j a a t m a d j a , " K o n s e r v a t o r i K a r a w i t a n
I n d o n e s i a , " S a n a - B u d a j a , T a h u n K e 1, No. 5, M e i 1 9 5 7 , p u b l i s h e d
b y the m u s e u m S a n a - B u d a j a , A l u n L o r No. 2, J o g d j a k a r t a , p. 207.
82
21*An e l o q u e n t a n d i n t e l l i g e n t s t a t e m e n t of t h i s
a w k w a r d p o s i t i o n c a n b e f o u n d in a l e c t u r e , " P e r k e m b a n g a n
S e n i K a r a w i t a n , " ( t h e d e v e l o p m e n t o f t h e a r t of g a m e l a n
m u s i c ) , g i v e n at t h e c o n s e r v a t o r y o n F e b r u a r y 18, 1 9 7 1 , b y
o n e o f t he f a c u l t y m e m b e r s , S u m a r s a m . C o p i e s of t h i s l e c
t u r e a r e a v a i l a b l e at t h e c o n s e r v a t o r y i n S u r a k a r t a .
2 5 J. A. D u n g g a a n d L. M a n i k , M u s i k d i I n d o n e s i a d a n
B e b e r a p a P e rs oa l a n n . 1 a . ( M u s i c In I n d o n e s i a a n d S o m e of Its
P r o b l e m s ) , B a l a i P u s t a k a , D j a k a r t a , 1 9 5 2 , p. 83.
Tapi ini ada la h t j a r a m e n d j a l a n k a n m a k s u d - m a k s u d

diatas, tapi alangkah sulitnja m e l a k u k a n n j a , soal-soal
p s y c h o l o g i s s e g e r a m u n t j u l d i d e p a n kita. Pengaruh
bentuk m u s i k dan s u s unan-nada modern bukan sadja sudah
m asuk s e d a l am-dalamnja d alam d j i w a kita, tapi seluruh
berpikir kita sudah setjara m o d e r n , setjara sekarang.
Dan t j ara m e r a s a k i t a p u n s udah lain, b u k a n k a r e n a k i t a
sudah berhadapan langsung dengan dunia i n t e r n a s i o n a l ,
n e g e r i l u a r a n , tapi d j u g a p e n g a r u h r e v o l u s i k ita. Kita
sudah beladjar berp i k i r dan m e r a s a tjepat dan berani,
seperti d i k e h e n d a k i k e a d a a n s e k i t a r d a n d u n i a s e k a r a n g ,
jang penuh dinamik, pergolakan, konflik d s b . Kita
s u d a h b i a s a d e n g a n k e s u l i t a n h i d u p dan p e m e t j a h a n n j a
sekali, biasa de n g a n k e m a d j u a a n teknik, ilmu p e n g e t a h u a n
dsb. D a l a m m u s i k d j i w a ini tak t e r t a m p u n g lagi oleh
m usik asli jang manapun, dari gamelan Djawa dsb, termasuk
apa jang disebut m usik rakjat jang mempunjai kedudukan
dan keindahannja tersendiri. D j i w a ini m e n g h e n d a k i
be n t u k m u s i k jang b i s a m e n g g a m b a r k a n pula, e x t a s e - e x t a s e
rasa dll., bukan semata-mata verpozing, hiburan sedang
omong-omong dan makan katjang goreng, seperti umumnja
pada m u s i k asli kita. K a l a u Jaap Kunst (dalam b u k u n j a
D e I n h e e m s e m u z i e k e n d e Z e n d i n g t s b . , h a l 5, a l i n e a
penghabisan) mengatakan, bahwa kebanjakan music kita
b e r s i f a t m a g i s - r e l i g i e u s ja n g d i s u k a i d a n di p u d j i n j a
i t u , m a k a k i t a k a t a k a n , k i t a tak d o jan m u s i k m a g i s -
m a g i s - p r i m i t i f l a g i , d a n r a s a r e l i g i e u s k i t a s u d a h l ai n .
Suatu tjontoh baik, b a h w a d jiwa kita sudah lain
ialah waktu diputarkan buat pertama kali dikota Djakarta
f i l m U s m a r I s m a i l " E n a m d j a m di D j o k j a , " j a n g m e m u l a i
suatu scene pertempuran dengan iringan bunji gamelan.
Spontan keluar dari mulut o r a n g - o r a n g : Kok gamelan,
mengapa bukan mars bersemangat.
CHAPTER IV
DJAJA MANGGALA GITA
SONG TO THE VICTORY OF HAPPINESS AND WELFARE
The musical responses of modern gamelan c o m p o s e r s to
the new cultural and political environment have been highly
varied but all have at least one element in common. Never
has there been (among these compos-ers at least) a rejection
of traditional gamelan elements, but an attempt to r e a c h
some sort of compromise between the ethos and the related
structure of traditional gamelan music and the changing
tastes and attitudes of the present.
The innovative composition by Ki Wasitodipuro called
Dj a.i a M a n g g a l a Gita is one of the most interesting as well as
beautiful works inspired by Indonesian independence. In it
the composer attempts to portray musically t he history of
Java from the eleventh century up to the moment of the pro
clamation of independence in 1945. Fittingly, it w a s first
performed on the seventh anniversary of Proklamasi, Declara
tion of Independence, August seventeenth, 1952. The per
formance was held in a pendapa, the Bangsal Kepatihan, in
Jogjakarta and was simultaneously broadcast from the national
radio stations in Jogjakarta, Surakarta, Semarang and
Djakarta. It is a strong affirmation of Javaneseness,
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84
emphasizing Java's role in the history of Indonesia, glori
fying Javanese heroes and idealizing the Javanese people.1
The patriotic fervor and high hopes expressed are a perfect
reflection of the state of m i n d of Wasitodipuro's compatriots
at that time. The work also signals the willingness of one
musician, a court musician, to use t he powers at his disposal
in service and support of a republican government. Perhaps,
even, the ancient role of t he pudjangga also had its influence.
Dj a j a Manggala Gita can be v i e w e d as a ritual evocation of
all Java's past in order to link it with the present, an es
tablishment of sequence, an ordering of credentials legitimizing
the new regime.
The work is subtitled "History illustrated with gamelan
pieces from the time of Erlangga (eleventh century) until the
time of the Proclamation of 1945." The sources of inspiration
and thea u r a the piece wishes to c o n v e y c a n be seen by the
texts and the g a m elans used. In a d d i t i o n to a complete
slendro/pelog gamelan the work calls for the following:
a. G a m e l a n T j o r o b a l e n
b. G a m e l a n K o d o k - N g o r e k
c. K e m a n a k
d. K e t j e r
e. B e d u g
f. G a m e l a n M o n g g a n g
The b o o k s w h i c h a r e u s e d as g u i d e s , as s o u l
spirits o f t h e p i e c e s as w e l l as t h e p o e t r y :
a. N e g a r a - k e r t a g a m a
b. P a r a r a t o n
c. H a r d i - K a w i , d j i l i d I I I
85
All of the Instruments as well as the texts are asso
ciated with Javanese history and evoke regional pride and
loyalty. The three special gamelan t yp es , G a m e l a n Tjorobalen,
K o d o k - N g o r e k , and Monggang are all very old forms of gamelan,
probably dating from the Majapahit era of east Java, twelfth-
fourteenth centuries. E x t a n t e x a m p l e s of these gamelans are
found only in the palaces of Surakarta and Jogjakarta where
they are accorded the highest respect. As pusakas they are
believed to b e magically powerful.
The instrumentation for these ancient ensembles is
much simpler than that of present day gamelan and th e in
struments tend to be larger than their present-day counter
parts .
Gamelan Tjorobalen2 (4 or 6 tones)
1. B o n a n g G a m b j o n g - 4 or 6 " f e m a l e " ( l a r g e ,
flat) b o n a n g k e t t l e s in one row.
2. B o n a n g K l e n a n g - 4 or 6 " m a l e " ( s m a l l , h i g h )
b o n a n g k e t t l e s in one row.
3. Bonang Fenontong - bonang with exceptionally
b r o a d r im .
4. Kenong
5. Kempul/Gong
6. Kendang
G a m e l a n K o d o k - N g o r e k 3 (3 t o n e s ,
u s u a l l y u s e s o n l y 2)
1. B o n a n g K l e n a n g - f o u r r a c k s of 8 g o n g s e a c h ,
e a c h r a c k p l a y e d by two m u s i c i a n s .
2. 2 large gongs h a n ging from one rack
3. o n e k e n o n g u s e d as a k e t u k
4. 2 kenong
5. 2 drums, k e n d a n g gending and k e t i p u n g
6. 1 r o d j e h , p a i r of c y m b a l s h u n g f r o m a s m a l l
rack and hit with a mallet.
86
7. 3 slendro saron, 1 demung and 2 barung.

(These i n s t r u m e n t s are l ate r a d d i t i o n s , the
r e s u l t of t h e d e s i r e of S u l t a n H a m e n g k u B u w a n a
I to e x p a n d t h e r e p e r t o i r e of t h e K o d o k - N g o r e k
g a m e l a n .)
8. 1 b e l l tree (bjong)
Gamelan M o n g g a n g 1* (3 tones)
1. f o u r r a c k s of b o n a n g k e t t l e s , e a c h c o n t a i n i n g
3 gongs, called klenang.
2. 2 large gongs on one rack
3. 1 k e n o n g u s e d as a k e t u k
4. 2 kenongs
5. 2 drums, kendang gending and ketipung
6. 1 r o d j e h , a p a i r of c y m b a l s
All these ensembles contain approximately the same
instruments and all shared the same functions in t he days of
t he Javanese kings. They we r e used to w e l c o m e important
guests, at royal weddings, for the rites of circumcision, to
accompany tiger-buffalo fights, at religious festivals, to
accompany the drills of the soldiers, or at any other time
if the king so commanded.5
Special instruments called for in this composition
are the kemanak, the k e t j e r and bedug. The kemanak are a
pair of small bronze instruments shaped like a dried banana
peel, held in the left hand and struck by a tool in the
right hand. They are v e r y rarely heard outside the courts
today, but they have been discovered at the site of medieval
ruins in East Java and are also pictured on Tjandi Panataran
(1347 A.D.) in East Java. Today their use is almost wholly
restricted to the accompaniment of the highly sacred Bedaja
Ketawang dances at t he palace of th e Susuhunan in
S u r a k a r t a .6
87
The ketjer are small plates of bronze, mounted on
a wooden' f r ame and struck together. While still common in
Bali, their use is very limited in Java.
The bedug is a large pegged-heard drum associated
with Islam. A bedug hangs on the porch of every mosque and
signals the noon prayer. In some of the princely gamelans
of central Java, the bedug can be found as a signalling in
strument and replaces the kendang in the Sekati gamelan.
(A large old-fashioned type of gamelan owned by princes and
used for the largest Moslem festival, the Garebeg Mulud in
central Java.)
The literary works in Dj aj a M a n g g a l a Gita have the
same connotations and conjure up the same emotional responses
as the instruments. The Negara-kertagama was written in
the fourteenth century to honor an East Javanese king, Hayam
Wuruk. The author, whose pen name was Prapanca, was a member
of the Buddhist Court clergy. The book contains a chronicle
of events at the Majapahit court from 1353-1364 A.D.7
The second literary source, the Pararaton is t he
oldest extant specimen of Javanese historiography. It w a s
written in the fourteenth century, also during the M a j a p a h i t
era. It contains the story of the founding and flourishing
of Majapahit during the reign of King Hayam Wuruk and his
minister Gadjah Mada.8
The third literary source, the M a r d i - K a w i . V o l u m e
III, is a reader in Kawi, the literary language of the
88
Javanese courts, the medium of the traditional pudjangga
and the language of most of the early Javanese writings.
The musical description of Dj a j a M a n g g a l a Gita given
below ideally should be read while simultaneously listening
to a recording of the performance. The composition begins
with three slow strokes on the Suwuk hanging gong followed
by a Hindu-Buddhist mantra:
Aummmmmmmmmmm
We g i v e p r a i s e to t h e m o s t m e r c i f u l s p i r i t as
is o u r d u t y .
H a y we e ncoun ter no o b s t a c l e s ,
M a k i n g e v e r y e f f o r t to r e a c h l o n g l i f e ,
l oyalty and p e r f e c t i o n .
Aummmmmmmmmmm ®
Then begins a musical passage in the style of the four-toned
gamelan TjorobalSn. The word tjorobalen can m e a n either the
way of coming back, which characterizes the simple repeti
tive patterns used in this style, or, in the style of Bali.
To b e p l a y e d o n l y by Saron-Demung - Ritjik - Peking

and Go ng Suw uk a n
2 . . . We / ... n / ... W6 /.. .22 /

. W6 . H / . 35! . 2 2 / 5 3 2 5 / 2 3 5 2 /
5 3 2 5 / 2 3 5 2 / 5 3 2 5 / 2 3 5 2 / 5 3 2 5 / 2 3 5 2 /
Then the repeated saron pattern of
12 3 5 2 5 3 2 5||
is supplemented by a slower moving figure on the slentem
|| . 3 . 5 !l
In the second line, the pattern changes.
89
Saron: | . . 2 5 / 2 3 5 3 / 5 3 2 5 / 2 3 5 3
Slentem: | . 5 / . 3 / . 5 / . 3
5 3 2 5 / 2 3 5 6 / 6 6 6 3 / 6 5 3 5
5 / . 6 / . 3 / . 5
2 2 2 2 / 2 3 5 6 / 6 3 6 5 / . 3 . 2 / . 356. 22
2 / . 6 / . 3 / . 5 /
As this section softly repeats in t he background, the
narrator speaks the following lines:
It is w r i t t e n i n O l d J a v a n e s e c l a s s i c a l p o e t r y
[ k a k a w i n ] t h e s t o r y of a f o r m e r t i m e , c a l l e d t h e a g e
of K r e t o j o g a , the g r e a t k i n g E r l a n g g a , r u l e r of the
w o r l d , t h e i s l a n d of J a v a , i n t h e k i n g d o m of
K a h u r i p a n , i n t h e y e a r 1 0 2 8 A . D . 10
After the narration the gamelan increases in v o l u m e
continuing with the musical section given above. Then the
gamelan changes to another pattern in TjorobalSn style
played on the bonang barung and bonang panerus with the
kendang playing Balinese style ("kados kendangan Bali").
Two players sit at each bonang. This style is called imbal
tj o r o b a l e n . Again, the name possibly describes the backward,
forward, backward etc., movement on the bonangs.
Bonang barung: 2356 2356 2 356 2356 2356 2356 23 56 2356

Bonang panerus: 6532 6532 6532 6532 6532 6532 6532 6532
Slentem: 3 . 5 . 3 . 2
Kendang: - - - - - - - - - - - - - - - -
2356 2356 2356 2356 2356 2356 2356 5356

6532 6532 6532 6532 6532 6532 653. 3532
3 . 5 . 3 . 2
Before the narrator begins again, th e suling joins
in playing floridly around the principle four tones, 2 3 5 6,
90
as well as adding tone 1. While this section repeats softly,
the narrator continues:
C o u n t i n g f r o m t h e t i m e of S i n g o s a r i , 11 f o r o n e -
h u n d r e d t h i r t y y e a r s the i s l a n d of J a v a ha d no e n e m i e s ,
the tim e wa s p e a c e f u l , the k i n g d o m a l w a y s v i c t o r i o u s ,
t h e j e w e l a g e a r o s e o n t h e i s l a n d of J a v a . The most
e x c e l l e n t r u l e r , the w o r l d f a m o u s K i n g H a j a m w u r u k ,
d i e f i e d k i n g , t h e 2 n d r u l e r of M a j a p a h i t , w i t h h i s
advisor, the m o s t e x t r a o r d i n a r y m i n i s t e r , Prince
G a d j a h m a d a , s p r e a d t h e f a m e of t h e k i n g d o m of M a j a p a h i t
t h r o u g h o u t N u s a n t a r a [ I n d o n e s i a ] as w e l l as to f o r e i g n
c o u n t r i e s . 12
While the slentem, bonangs and flute continue their
pattern a male voice sings a poem in Kawi, with a second
part sung in the background by a w o m a n . 13
Voice I: . 7 2 3W 5 5 / '5 5w
6 6i
v i / 2 1w6 35w 2 / 2 ~ 3 —5 5
Tatka-la Sri N a - r e n - d r o - K r e - ta-ne-ga - ra
Voice II: . . . . / 2__ 1 3 ^ 2 / 6^_5__3 2J 2 6 J > 5
K r e - ta - ne ga - ra
. .6 32 6 / 3 1 / 2 6 3^ 5 J 6 6
M u - l i h ring'^Bu'""- da ba~ wa na
4 > * ft «
. . . . / 6 5 _3 3 / 1 1 2 JL / 2^ 6 21 6
Bu da ba" — wa na
. .3 56 6 / .3 5 6 6^1 / 1 2 A 1 ! 6 53 23 5
T r o “"- s a n g rat", duh , Ka* ha - ro ha" - r a
• • f
5^ 16 . 6 / . . . . / 5 2 2___1 / 2 6 5 5
Tro - sang Ha"’’- ro ha"" — ra
. .5 5 3 / 6 __ 5 2 1^/6 1 2 3 / 6^ 5 3 ^5 3 2
K a - d i m a - lu - j a reh n y a n ka-li yu - ga
. . . . / 2 i J l 6 / i 2 j 3 / ^ 2 r s f m i
n i3 a n ' - k a - li'~ ””*yu ^ga
The text translates:
W h e n the g r e a t k i n g K e r t a n e g a r a ,
R e m e m b e r e d t h e p e r f e c t e d w o r l d [th e r e a l m of religion]
T h r o u g h o u t the w o r l d the n e w s wa s spr ead .
He r et u r n e d again, w i t h a calm heart,
T o t h e r e l i g i o n of S h i v a .
Reproduced with permission of the copyright ow ne r Further reproduction prohibited without permissioh.
91
After the Ka w i poem, the previous gamelan pattern
gets louder and faster and ends with a clanging transition
on the saron:
2 / . . 2 . 2 2 . 2 / . . 2 . 2 2 . 2
leading directly into the following:
Saron: • 2 5 / 2 3 5 3 / 5 3 2 5 / 2 3 5 3
Slentem: • 5 / 3 / • 5 / • 3
4 • r • # 4
5 3 2 5 / 2 3 5 6 / 1 1 1 1 / 1 5 6 1
• 5 / • 6 / • i / • i
# 4 # 9 •
5 1 5 6 / 1 5 6 1 / 5 1 5 6 / 1 5 6 l
• 6 / • i / • 6 / • i
5 1 5 6 / 5 1 6 5 / 1 6i . 65 / • 6i • 65
• 6 / • 6 / • 1 . 5 / • i • 5
For the first time the fifth tone in slendro, in this
case tone 1, has been added and we briefly h e a r the full com
ponent of slendro tones. Then, using the common tone 5 as a
transition, the slentem and one saron switch to the pelog
scale and play the same pattern as before:
|| . 1 / . 5 / . 1 / . 5 (
Then the bonang barung and b o n a n g panerus join in p l a y i n g
in pelog t he tjorobalen pattern shifted down o ne note, a nd
returning to a four toned scale.
Bonang barung: 1 2 1 2 . . 1 2 1 2
Bonang panerus: 3 5 ..35 3 5 3 5
Slentem: 5 i
92
Simultaneously, the narrator continues:
One h u n d r e d and e i g h t y y e a r s later, the times

were changing . . . changing . . changing . . .
finally, corrupt and immoral!
(In A r a b i c ) "Peace be with you,

M a y God bless y o u . " 14
While the tjorobalen bonang and slentem continue
softly in the b a c k g r o u n d , the bonang panembung plays in the
style of the Sekaten gamelan, associated with the Moslem
religious festival Garebeg M u l u d . 15
Saron: __ __
Bonang panembung: / 3 . 2 . 33 . 1 / . 33 . 2 . 3.1 /
Bedug: x
6 5
. 33 . 1 1 . 6 / 6 . 3 . 55 32 . 5 3 . ® /
X X
3
. 55 . 2 . 5 • 3 / 5 . 3 . 6 53 . 5 . 3 /
5
. 552 33 . 1 • 33 2.3 . 5 / . 35 3.55 . 1 / . 33 2. 3.
X
6 1
. 33 1.1 . 6 / . 6.1.2.3.5 . 2 . 33 2 1 /
X X
2 1
. 1 . 33 . 1 3 2 . 5 3 (JJ16
After the Sekaten passage, the tjorobalen style returns
but with a five toned pelog scale.
93
Bonang: 5 6 . . 5 6 . . 5 6 . . 5 6 . .
. . 2 1 . . 2 1 . . 2 1 . . 2 1
Slentem: . 2 . 3 . 2 1
5 6 . . 5 6 . . 5 6 . . 5 6 . .
. . 2 1 . . 2 1 . . 2 1 . . 2 1
6 . 5 . (J)
While the g a m e l a n plays softly we hear the n a r r a t o r again:
There w a s a s t r o n g w i n d , b l o w i n g f r o m the n o r t h port,

f r o m D e m a k it c a m e , b r i n g i n g t h e t h u n d e r o u s s o u n d ,
[ A r a b i c ] 'I a c k n o w l e d g e , t h e r e is n o G o d b u t A l l a h ,
a n d M o h a m m a d is h i s p r o p h e t . ’ 17
After the Islamic creed, the bonang/slentem pattern
is displaced by a loud transition on the saron which leads
into full modern gamelan style, in Pelog Patet Barang.
Saron: /. 3. 71 / . 3. IT/. 3. 7l / . 2. 3 / . 6 . 53 /
. 6 . 5 3 / . 6 . 5 3 / . 5 . 6 * / . 7 . 6 / . 5 . 3 /
. 2 . 7 / . 5 . (6)
( ^ b e g i n n i n g h e r e the sa r o n b e c o m e softer, m o r e m e l l o w and

a l l t h e o t h e r i n s t r u m e n t s of t h e m o d e r n e n s e m b l e j o i n
in and c o n t i n u e w i t h a c o m p o s i t i o n in k e t a w a n g f orm of
w h i c h t h e s a r o n p a r t is g i v e n b e l o w . )
N
I. 7. 6. 7 . 2 . 3. 2 . 7 . 6 ||
| . 7 . 6. 7. 2 . 3 . 2. 7. (6/||
While the gamelan plays the ketawang above, the nar
rator continues:
Praise the Lord, Praise the L o r d . 18
leading into a song of praise in A r a b i c , with a countrapuntal
vocal part, accompanied by t he gamelan which plays another
ketawang.
94
Voice I: . .6 / 6 7 6 5 3 / .73 2 / 232 7 /

Allah numma so li Allah
Voice II: . . / . 71 I 5^63 3?7 / 232 7 /

Allah humma soTi Allah
N
Slentem: 6 6 5 3 2 3 2 7
e .6 / 7223 375 / 676 6.5 / 5 . 6 7 6 /

sa jid din na ja Mo cha mad
• • / . .5 / 6.7 6.5 / 3556 6 /

Sa jid d i n n a ja M o c h a m a d
2 7 2 6 5 6 7 ©
• 71 / 67$ 7 7 1 / .71 3.2 / 232 7 /
Ad chod te m £ Na bi jun na
73 m / 6~T7 673 / 56 72 / 32 7 /
Ad c h o d t e me' Ad chot teme Nabij unna
IN
• • 6 7 2 3 2 7
.67 5 / 5.65 3.7 / 7223 2 / 2327 6 /

Wal Im ma mi Allah mursa lin na
• .3 / 2 3 6 5 367 / 562 73 / 2327 6//

Wal Immami Allah Allah mursalinna
6 7 5 6 2 7 5 O 19
The translation of the Arabic is as follows:
May G o d b l e s s you.
The most honorable Mohammad
has c o m e to u s as o u r P r o p h e t .
And G o d h a s s e n t h i m to u s as ou r leader.
While the gamelan goes back to the previous ketawang,
the narrator says:
T h e h o l i n e s s of t h e W a l i s s p r e a d f a r ,
e v e r y w h e r e e n t e r i n g d e e p i n t o t h e h e a r t s of m e n ,
e v e r y w h e r e c a n b e h e a r d t h e s o n g s of p r a i s e . 20
The praise song is repeated again and afterwards the
gamelan goes into the variant tjorobalen style associated with
Jogjakarta known as gangsaran:
95
Bonang: 23.. 23.. 23.. 23.. 2 3. . 23.. 23.. 23..

Klenang: ..56 ..56 ..5 6 ..56 ..56 ..56 ..56 .. 5 6
Slentem: . 6 . 6 .6 . 6 .6 . 6 . 6
becoming:
N N N N N N N N
2 2 2 2 2 2 2 ^ / 2 2 2 2 2 2 2 ® /
which In turn leads to the closely related lantjaran style,
all these styles creating an aural image of the central
Javanese kingdom of M a t a r a m .
fvl P N P N P N
Saron: . 2 . 2 / . 2 , 2 / . 2 . 2 / 3 2 7 ® /
3 2 7 6 / 3 2 7 6 / 3 2 7 6 / 3 5 3 ® /
6 5 3 2 / 6 5 3 2 / 6 5 3 2 / 5 6 5 ® /
7 6 5 3 / 7 6 5 3 / 7 6 5 3 / 6 5 6 0 /
|| 3 5 6 7 / 3 5 6 7 / 3 5 6 7 / 6 5 3 © V
7 6 7 5 / 7 6 7 5 / 7 6 7 5 / 3 5 6 ® ||
While the gamelan repeats the sections between
the narrator reads:
A f t e r t h e t i m e of t h e W a l l s , in t h e s o u t h ,
d i v i n e r e v e l a t i o n c a m e to t h e c o u n t r y o f F a d j a n g in
t h e f o r m of t h e v e n e r a t e d S u l t a n H a d i w i d j o j o , in
t h e y e a r 1 5 9 4 A . D . 21
After repeating the musical section between
the gamelan moves back from pelog to slendro via th e common
tone 5 (5* above) and plays the archaic Kodok-Ngorek style:
Bonang: . 6 5 6 . 6 5 6 . 6 5 6 . 6 5
Saron: 5 . 5 . 5 . 5
Ketjer: xxx xxx xxx xxx xxx xxx xxx
‘‘ar" T V jl_____ j___
6 . 6 5 6 . 6 5 6 . 6 5 6 . 6 5
5 . 5 . 5 . (5)
xxx XXX xxx XXXXXX XXX xxx xxx
* Ji 3 J J 3 ■«
With this phrase repeating in th e background the narrator
continues:
96
K i n g d o m of P a d j a n g , a g a i n p a s s e d w e s t w a r d t he
p a t h of i n s p i r a t i o n . T r u l y , i t w a s t h e s o n of
Sultan Hadiwidjojo who received grace, Prince
S u t o w i d j o j o w h o r u l e d in M a t a r a m . He w as calle d
P r i n c e S e n o p a t i , i n t h e y e a r 1 6 1 4 A . D . 22
Following this the gamelan plays the traditional
piece Gending Gambirsawit2 3 often attributed to Prince
Senopati, while the narrator continues:
M a t a r a m , M a t a r a m w h i c h h a d i ts c a p i t a l t h r e e
t i m e s at P l e r e t . It w a s t h e y e a r 1 6 1 3 a c c o r d i n g to
the C h r i s t i a n s y s t em, that t h e g r e at S u l t a n
H a n j o k r o k u s i m o , the f a m o u s p r i n c e s h a r e d a l i k e the
j o y s a n d s o r r o w s of h i s p e o p l e . Since then, Java
h a s n o t k n o w n s u c h a g o l d e n a g e as t h e a ge of
K a w i d j aj a n .
Aummmm - Aummmmm - Peace
H o w e v e r , n o t h i n g in the w o r l d r e m a i n s c o n s t ant .
W h a t t r o u b l e c a m e to t h e l a n d of J a v a ? The Dutch
t r a d i n g c o m p a n y s e e k i n g t h e p r o d u c e of I n d o n e s i a
s u c h as c l o v e s , p e p p e r a n d n u t m e g ; a l l o w i n g a l u s t f u l
a t m o s p h e r e a n d i n t e n d i n g to t a k e a l l . The V.O.C. was
e s t a b l i s h e d at B e t a w i ! 2 ^ It w a s s a i d to b e a b u s i n e s s
c o o p e r a t i v e v e n t u r e , b ut a f t er a time f o rts w e r e b u i l t ,
then came cannons.
Why? - W h a t k i n d of b u s i n e s s m e n b r i n g c a n n o n s ;
t h e y m e a n t o t h e r w i s e , it w a s n o t t he w a y of a t r a d e r ,
b u t t h e w a y o f an i m p e r i a l i s t , t he w i d e r t h e i r c o n t r o l ,
t h e m o r e c r u e l l y it w a s a p p l i e d . T h e t a c t i c s of
k a n t j i l w e r e u s e d ; 25 w i t h o u t g e n t l e n e s s , the s t r a t e g y
co uld n o t h a v e b e e n m o r e low, f l a t t e r y , w i t h o u t c o n
sidering the m i s e r y of the p e o p l e , o n l y t h i n k i n g of
their own happiness. Consequently, several times they
w e r e at w a r w i t h M a t a r a m b u t w i t h o u t s u c c e s s . 26
From t he gong 5 of the Dawah section of Gending
G a m b i r s a w i t , the piece goes into Ladrang G o n d j a n g - G a n d j i n g ,27
another popular traditional piece, with a Bedajan gerong
part. Throughout the p l a y i n g of Gambirsawit and Gondjang-
Ga ndj ing the simple Kodok-Ngorek style is played in the
background:
97
N
Gambirsawit: . 3 5 . 2 3 5 6 2 2 . . 2 3 2 1 etc.
Kodok-Ngorek: f.656.656 . 6 5 6 . 6 5 6 .656.656 .656.656
( . 5 . 5 . 5 . 5 . 5 . 5 . 5 . 5
N N
Gondjang-Gandjing: . 2 . 1 . 6 . 5 . 2 . 5 . 2 . 1
Kodok-Ngorek: C. 6 5 6 *656 .656.656 .656.656 -656„656 et c.
|. 5 . 5 . 5 . 5 . 5 . 5 . 5 . 5
The elaborate, romantic style of Gambirsawit and
Gondjang-Gandjing superimposed upon the archaic K o d o k -N g o r e k
style gives a striking effect, like that of the ghost of
past gamelan style walking softly beside its more beautiful,
more sophisticated descendant. Simultaneous or superimposed
images fit Javanese conceptual patterns better than do our
temporal, linear sequence images. The feeling that the his
tory of Mataram exists in the present Mataram is effectively
expressed by this musical device.
While Gondj ang-Gand.jing (K o d o k - N g o r e k ) , a n d gdrong
Bedajan are heard faintly, t he narrator reads:
The c o m p a n y p r e s s e d f o r w a r d m o r e an d m o r e , tak ing

o ve r the p o w e r of the J a v a n e s e r u l e r s . Beginning
w i t h S u l t a n A g u n g S i n u h u n A m a n g k u r a t the 1st, S i n u h u n
A m a n g k u r a t the 2nd, the t h i r d w h o w as c a l l e d the
" g o l d e n " Suna n, u n t i l S u n a n P a k u b u w o n o the first
in K a r t a s u r a , c o n t i n u i n g w i t h P a k u b u w o n o the sec o n d ,
u n t i l t h e t h i r d w h o b e c a m e r u l e r in S u r a k a r t a .
The gamelan continues playing Gondjang-Gandjing but
switches to a livelier style:
98
Saron Demung I 2.2.2.2. 1.1.1.1. 5.1.1.1. 5.5.5.5.

(imbal) II .3.3.3.2 .2.2.2.1 .6.6.6.6 .6.6.6.5
Slentem: . 2 . 1 . 6 . 5
Saron Barung: 1 2 1 1 1 6 i 5
I 2.2.2.2. 5.5.5.5. 2.2.2.2. 1.1.1.1.

II . 3. 3 . 3 . 2 .6.6.6.5 .3.3.3.2 .2.2.2.1
2 . 5 . 2 . 1
1 2 i s i 2 1 1 etc.
while the narrator continues:
The k i n g d o m of M a t a r a m w as d i v i d e d in two,
S u r a k a r t a and Jog jakarta. The p r i n c e M a n g k u b u m i was
n a m e d S i n u w u n H a m a n g k u b u w o n o the f i r s t , f o l l o w e d b y
t h e s e c o n d a n d th e t h i r d . . . M e a n w h i l e , P r i n c e
D i p o n e g a r a c o u l d n ' t s t a n d h e a r i n g the s u f f e r i n g of
t h e p e o p l e a n d f i n a l l y i t w a s as i f t h e b u f f a l o h a d
r u n a m u k a n d b r o k e n d o w n t he s t a b l e . 28
As the music gets louder it changes to Gending Kebogiro:
N N N N
|| 1 2 3 5 / 1 2 3 5 / 1 2 3 5 / 2 3 2 ® /
5 3 2 1 / 5 3 2 1 / 5 3 2 1 / 3 2 3 © |[
The narrator says:
The people rallyed, following their Prince in 1825.
While the gamelan plays loudly and fast one hears
voices shouting,
Don't retreat a single step, friends!

L e t ' s g o , l i k e t h e m o t h 29 i r r e s i s t a b l y d r a w n i n t o
the flame. T h e b a m b o o c u r t a i n 88 is b r o k e n a n d
the b a r r i c a d e s are smashed!
A m u u u u u u u u k k k k ! ! ! 81
Then the gamelan suddenly drops in v o l u m e and goes
into Gending Sihing Widdi while a female soloist sings a song
of grief over th e fate of Diponegara. The gamelan instruments
99
of fixed pitch play in slendro while those without fixed
pitch and the singer use the scale s y s t e m b a r a n g m i r i n g . 32
In the notation below the altered tones are underlined.
Except for the underlining, the n o t a t i o n below is the com
poser' s .
Gending Sihing Widdi
i_ •__ 2 1
.5 5 5 £ 5 65 3 H TT 1
No ra njana no ra du ga
_
. 6 . ._ . 5
.1 1.1 2 . 3 5.5 5.4 456 5
Wa londo a nga pus k r a ma
75 5 7 5 6 . 1 . 1 2 1 . 6 56_7 6 . 5 4
Tu m i n d a ke tan p r a s a dja
• » » 6 s. _______- _ «(5)
7? 5 7 T 5 1 .13 2.3 1.26 5
Pa ngran te m a h p i n u s a r a
Stanza I
Who wou l d have supposed,who w o u l d have guessed

The D u t c h w o u l d d e c e i v e in s u c h a s m o o t h m a n n e r
The way without simplicity
The c o n s e q u e n c e , D i p o n e g a r a c a m e to g r i e f .
Stanza II
From i g n o r a n c e and greed

A l l the p e o p l e h a v e s u f f e r e d gre atl y.
They fervantly request
R e a s o n a n d O r d e r b e g r a n t e d to t h e m . 33
After one time through the song, the narrator says:
Ah, P r i n c e D i p o n e g a r a , the j e w e l of t h e n a t i o n ,
t h e c h a m p i o n of J a v a , y o u w e r e tricked and t r a p p e d
b y the o p p r e s s o r s . 3 ^
100
Scarcely before the second verse has finished the
saron section comes in stridently with the following:
|| . . 2 5 5 5 2 5 5 5 2 5 . 6 . © | |
Simultaneously, maniacal laughter is heard. Then the
gamelan switches to Kodok Ngorek while the narrator speaks
t he following:
Comrades, comrades! Over and over again you

endure misery! Hey! G o to the li mits! Drown
y o u r g r i e f i n p l e a s u r e . 35
After this, the gamelan plays Ladrang Gi.j a k - gi.j a k ,
while the narrator reads:
M u s t w e a c c e p t t h i s s t a t e of a f f a i r s ? O h n o,
s u r e l y not! T h e n a t i o n f e e l s t h e b e g i n n i n g s of a
w i l l to r e a c h a go al, m a n y p e o p l e are i n c r e a s i n g l y
aware. The m o v e m e n t f o r n a t i o n h o o d a rises! A
strong unity, all w o r k i n g together. Yes, remember
t h e a d v i c e of o u r a n c e s t o r s , as is w r i t t e n i n t he
p r o p h e t i c w r i t i n g s , t h a t h e l p w i l l c o m e to a b o l i s h
t h e t r i a l s of I n d o n e s i a . W h e n , Oh w h e n w i l l it
h a p p e n ? 36
Ladrang Gijak-gijak
N N
2 . 1 . 6 . 5 _._2_._5 2 . 1
5 . 6 . 2 . 1 . 1 6 . 5 '.6 .’ 5 . r . 5 6 2 l *
2 . 1 . 5 . 6 . 5 . 6 . 3 . 2
3 . 5 . 2 . 1 . 2 . 1 . 6 . ®
* s w i t c h e s h e r e to Lant.1 a r a n
Panggugah:
N N N
3 2 3 1 3 2 3 5 3 6 3 5 3 2 3 ©
During the strong playing of Lantjaran Panggugah we hear
shouts in the background:
B a n z a i !!3 7
101
Then begins one of the most curious musical sections
of t he whole composition. The sarons drop out while t he
kempul, kenong, ketuk, bonang and gong continue playing
Lant.1 a r a n Panggugah in slendro:
bonang: 1 1 1 1 5 5 5 5 5 5 5 5 1 1 1 1
kenong: . 1 . 5 . 5 . (p
kempul: 2 . 2 . 6 . 2
while the gender panerus plays in pelog bem a piece entitled
Lagu M a r s : Djepang which means Japanese march tune:
Lagu Mars D.1 e p a n g
gender panerus notation: . . . 5 . 5 3 5 . 1 2 3 .2 sT~2

gender panerus rhythm:6/8 (first line not a u d i b l e on tape)
Lantjaran Panggugah: . 2. . 1 . 2 . 5 . 6 . 5 . 2 . 1
. . 1 2 3 2 1 i 6 5 3 3 5 6 5
X X X X ^ aw X
2 . 1 . 2 . 5 . 6 . 5 . 2 . 1
6 5 3 5 6 5 1 . 6 5 3 3 2 3 1
x x x x x x x X X X ( X>X X X -
2 . 1 . 2 . 5 . 6 . 5 . 2 . 1
. . 1 .12 3 5 . 5 1 6 6 5 3 5
X (JW X X - X X X iX>X x x
2 . 1 . 2 . 5 . 6 . 5 . 2 . 1
. . . i 1 2 5 3 3 2 1 5 .56.561
X iX'X x X iXiXXfi* <> x X \ J
. 2 . 1 . 2 . 5 . 6 .'^5 . 2 . 1
The effect is polyrhythmical, 6 against 8 or 3 against
4, as well as polytonal, slendro plus pelog. This section
leads to a transition on saron:
102
|| . . 2 . 3 1 2 3 . 2 • 1 3 2 1 ff
. 5 5 | . 5 5 | . 5 5 | . 5 ®
3
Into a piece called Gending Sakura in meter.
Gending Sakura
saron: N
• 5 3 2 3 2 5 i 6 . 3 5
N
• 5 3 2 3 2 • 1 1 . 2 1
N
• 2 2 1 6 5 6 5 1 6 5 2
• . 2 . 2 5 • 6 1 . 5 2
Dai Nippon iku kantj a
1 3 2 1 3 2 • 5 1 . 6 ©
• 3 2 . . 5 • 5 1 . 6 5
kantja Du ta n i n g suksma
• 1 1 . 2 1 6 5 3 . 1 2!
• . 1 . 1 1 • 1 1 6 3 2
G a - w e r a •- h a - j u n i n g Nu
• . N
6 6 . i 5 6 1 5 2 5 16
• . 6 . 6 6 1 5 2 5 16
Sa dj a - g a d Asia Raja
N
1 . 5 . 6 i 2 5 3 2 3 2
• . 6 . 6 1 • 5 3 2 3 2
Mar ma a jo si ja ga
t . 5 5 1 3 2 1 6 5 3 ©
• 5 5 . 3 2 3 1 6 1 6 5
A m b a n t u sa liring karjo
Great Japan, my friends,

A m b a s s a d o r of G o d ,
B r i n g i n g h a p p i n e s s to o u r c o u n t r y .
W i t h i n t h e r e a l m of G r e a t e r A s i a
T h e y a r e p r e p a r e d to h e l p in
a l l k i n d s of u n d e r t a k i n g s .
Simultaneously, the narrator reads:
A h, n o w t h e m e a n i n g of t h e p r e d i c t i o n is c l e a r . . .
P r o s p e r i t y and h a p p i n e s s t o g e t h e r w i t h i n G r e a t e r Asia.
W e t r u s t t h e g u i d a n c e of o u r e l d e r b r o t h e r s . Hopefully,
H e W h o is A l l P o w e r f u l w i l l p e r m i t t h i s g r e a t i d e a to
b e f u l f i l l e d . 38
1C3
The gamelan then plays Ketawang Ruwido in slendro
while a female soloist sings a w e l a s a n 39 in barangmiring.
As before the altered tones are underlined.
Ketawang Ruwido
N
saron . ... 1 . . . 2 . . . 6 . . . 5
saron: . . . 1 . . . 6 . . . 5 . . . (D
voice: 56 6 5 6 5 3
ka ja nge
N
^ . . 5 . . . 3 . . . 5 . . . 3
3 — — 3" 5 5
ne kaja
2
*"■ '— ■--- ^ . . . . 1 . •^» « .
—•6*- ____ J§ )
6_ 5 356_ 1 111221 6_5456_5645"
mangkene ra sa ne
N
^ . 2 . . . 1 • • • 6 ---- 5^
- 6565 — 22i 2 2 2 22 26
Luwih
1? 221 1 1 6 1 6 1 6 5
abot Luwih abot p a r entahe
The English translation is as follows:
I t ’s l i k e t h i s t h e feeling, more and m o r e heavy

b e c o m e s the g u i d a n c e .
Simultaneously, the narrator reads:
Oh! Oh! W h e r e is t h e e v i d e n c e ? They say p r o s

p e r i t y together, they say h a p p i n e s s toget h e r . Why?!
It t u r n s o u t l i k e t h i s ! T h e l o n g e r t h e t i m e , t h e
l o n g e r 'the . . . .
O h, m y p e o p l e ! 1*0
Is t h e r e n o e nd to t h e s u f f e r i n g s w e m u s t e n d u r e ?
M y G o d , w e g o t r i d of t h e c o l o n i a l i s t s o n l y t o g et
another oppressor. Forced labor! B u r l a p b a g s for
104
trousers! R a t t a n to m a k e s h a w l s ! Rotten sweet

p o t a t o e s to e a t ! Snails. Finally, beri-beri.
F e a r f u l , sad, cold, hot, s t i n g i n g ! M a n y of ou r
c l e v e r e s t people are d e s t r o y e d . 4 *
From the w e l a s a n the gamelan goes directly into
Slepegan Kapindjalan:
N N
. . 3 . 1 . 3 2«* . . 3 . 1 . 3 2
. . 6. 3 . 6 5 . . 6 . 3 . 6 5
. . 2 . 6 . 2 1 . . 2 . 6 . 2 1
while the narrator continues with the following:
B e c a u s e of t h e s t r e s s o f s u f f e r i n g , t h e p e o p l e
emerge courageous. B u t b e c a u s e t h e y are a l w a y s
p u s h e d t h i s w a y a n d t h a t , t h e y a r e c o n f u s e d , in
d o u b t , t h e y do n o t y e t see the way. Everywhere are
underground movements. The Suprijadi rebellion
b r e a k s o u t in B l i t a r ! Japan becomes nervous, seeing
t h e c l e a r s i g n s of t h e f u t u r e . 1+2
Then the gamelan goes to Sampak:
■ ♦ 3 2 3 2 6 5 6 5 6 5 2 1 3 2 3 2
6 5 6 5 2 1 2 1 3 2 3 2 6 5 6 5 6 5 3 ©
1 1 1 1 2 2 2 2 6 6 6 6
2 2 2 2 1 1 1 1 5 5 5 5
5 5 5 5 5 5 5 5 5
Sampak gradually fades into the background while a running pas
sage up and down the row of gongs on the bonang becomes fore
grounded. This passage is described by the composer as t he
portrayal of t he sound of w a t e r , darnel swanten to.ja, o r
menggambarkan suara air. The narrator continues:
F i n a l l y . . . ( l o ud b e a t o n b e d u g d r u m )
The a t o m i c bomb at H i r o s h i m a . J a p a n s u r r e n d e r s to
the A l l i e s . T h e p e o p l e of I n d o n e s i a are m o r e a n d
mor e d e t e r m i n e d and w i l l not be de ni ed their future.
105
The gamelan becomes loud again briefly, then stops
abruptly as the narrator says " P r o k l a m a s i ," i n t r o d u c i n g
the Indonesian Proclamation of Independence. (After t he
narrator says "Proklamasi," there are three slow strokes on
the bedug. Then t he gamelan begins playing the archaic
Monggang gamelan style while the Proklamasi is being read.)
bonang panembung: . . . 3 . . . 2 . . . 3 . . . 1
ketier: x x _x x x _x
---- .1 ^ -i-TT— -
. . . 3 . . . 2 . . . 3 . . . 1
X^ X X X X X
---- T--------- '-------
" W e , t h e p e o p l e of I n d o n e s i a , h e r e b y d e c l a r e t h e
i n d e p e n d e n c e of I n d o n e s i a . T h e t r a n s f e r of p o w e r
and o t h e r m a t t e r s w i l l be c a r r i e d out c a r e f u l l y and
as q u i c k l y as p o s s i b l e . "
D j a k a r t a , 17 A u g u s t , 1 9 4 5
I n t he n a m e of t h e p e o p l e
of I n d o n e s i a
Sukarno / Hatta
As a coda, the rebab, gender, gambang and flute play
patetan Pelog Lima while t he narrator concludes with the
following:
T h i s m u s i c a l p r e s e n t a t i o n e n d s w i t h t he b l e s s i n g ;
M a y t he R e p u b l i c of I n d o n e s i a b e f o r e v e r v i c t o r i o u s ,
p e a c e f u l , m i g h t y , l o n g l i v e d a n d f r e e f r o m a l l d a n g e r . 1+3
The fervor and idealism of a newly independent state
radiate throughout Dj aj a M a n g g a l a Gita. The establishment
of the Republic of Indonesia is portrayed as an extension of
the kingdoms of Mataram and Majapahit. Undoubtedly it still
remains so in the eyes of many Javanese, much to the dis
comfort and dismay of the Sumatrans, Balinese, Makassarese,
106
Bandjarese, etc. In one sense, the piece is a summation
of all the past history of the association of gamelans and
monarchies, and relates that past to t he present. But
while the semantic content of the composition is heavy with
Javaneseness and traditional attitudes, structurally some
thing else is happening. From the perspective of an oral
tradition, the work is quite radical. At certain points one
feels the firm structural rules of the Javanese oral tradi
tion coming apart at the seams, if one thinks of the 4 / 8 / 1 6
beat unit as one of the central seams. For untold centuries
the absolute tyranny of t he four or m u l t i p l e s of four-beat
units has gone unchallenged. Yet in this composition there

3
are two pieces, Gending Sakura in meter and Lagu Mars:
Djepang in 4 m e t e r , which break this unwritten law. The

O
obvious imitation of Japanese music in these examples might
be considered as a kind of parody were it not for other
examples of imitation of other national styles by Ki
Wasitodipura where parody cannot possibly have been the
intent. Rather, it is a sincere attempt to w i d e n t he range
of expressiveness of the gamelan tradition.
The same could be said of the overall form of the
composition. It is conceived as a whole, a unit, having a
definite beginning which progresses on until it reaches i ts
conclusion. Traditional dramatic and musical arts a re
cyclic. A gamelan piece can be repeated any number of times
107
and need not necessarily end with t he last gong section.
Traditional dramatic forms using t he Javanese / Hindu epics
as basic story material may pick up the tale at any point
and drop it again at any other point. Music, like litera
ture, turns in endless cycles, having no clear beginnings or
endings.
Djaja Manggala Gita could not conceivably begin or
end anywhere else than it does, and to repeat it several
times would be quite meaningless. It is conceived as a
through-composed western work of art, demanding the close
attention of the listener and heard only o n c e. It compels
the focus of the listener in a way traditional music never
d o e s . 1*1* Normally, long programs are assembled like bead
stringing, by adding one item to another. Good taste will
produce a more pleasing string than insensitivity to m o o d
and mode, but nevertheless, it is always possible to remove
or add to the string at the last moment with no damage done.
I n Dja.ja M a n g g a l a Gita, however, each piece has its place
in a fixed temporal sequence aimed toward a specific goal.
This is a western use of time rather than a Javanese use.
As t he narration is didactic and pedagogic, its musical
support cannot be t he spiritual and psychic state-inducing
music of traditional Javanese courts. Like t he narration,
t he music too must have a beginning, a middle and an end.
108
Another innovation is the self-conscious use of
archaic gamelan styles for m o o d and effect. Within a
purely oral tradition, all m u s i c is contemporary. While
th e roots of any piece may be ancient, all compositions
are contemporary in style and in meanin g. Gamelan Monggang,
Tjarabalen and Kodok Ngorek do not represent musical styles
familiar to those outside the court cities of Surakarta a nd
Jogjakarta. They are only rarely played at fixed ritual
occasions. The resurrection and use of these sounds in a
contemporary composition are but another example of the kind
of tampering with t he tradition typical of modern gamelan
composers. It is clear that Ki Wasitodipura, while remain
ing one of Java's finest traditional musicians, thinks like
a western composer. The gamelan, t he musical structure,
t he texture of the individual instruments are all tools for
him to arrange and m a n i p u l a t e in a new way. He takes the
framework, the syntax of the Javanese oral tradition and
shakes it all loose to give him room to create something new
and original. The striving toward originality, toward
uniqueness, is one of t he distinguishing marks of a western
composer. While Wasitodipura comes nowhere close to the
centering on one's own view of the universe and the effort
to express that personal view of the western composer, his
works show definite trends in that direction. Were it not
for the momentum of the oral tradition in Java, the tendency
109
toward the emergence of the composer, as distinct from the
performer, would be more pronounced. As it is, a new idea,
if heard frequently enough, rather quickly becomes part of
the public domain, and soon shows up in the works of other
composers.
Dj a 1 a M a n g g a l a Gita is a very personal statement as
well as a national one, and one that scarcely could have been
written by any other Javanese composer. On the most personal
level, it can be viewed as a transfer of allegiance by Ki
Wasitodipura from the dedication of his ancestors to the
Javanese princes to h i s own loyalty and service to the in
dependent Republic of Indonesia. Any declaration of loyalty
involves risk and this one perhaps no less than his ancestors'
fidelity to a king who might be overthrown. Governments
change too, and those in favor with one are likely to be out
of favor with another. The safer way is to remain aloof
from all politics. Wasitodipura has not taken the safe way.
Perhaps he was not allowed to. In any case, Dj a.j a M a n g g a l a
Gita is the impressive herald of a great number of songs
by Ki Wasitodipuro written in support of t he various pro
grams and slogans of the free Indonesian state. It also
vividly illustrates the beginnings of a new approach toward
gamelan composition, with the composer / performer no longer
only a medium of transmission of traditional materials, but
a self-conscious creator who organizes and focuses the
110
musical materials of h i s tradition and expresses, If not
quite himself, at least his interpretation of the events
about him.
Ill
Notes
1 T h i s a n a l y s i s is b a s e d u p o n a t a p e r e c o r d i n g of t h e
p e r f o r m a n c e by RRI, R a d i o R e p u b l i c I n d o n e s i a in J o g j a k a r t a
a n d a t e x t of t h e c o m p o s i t i o n g i v e n to t h e a u t h o r b y t h e
c o m p o s e r , Ki W a s i t o d i p u r a .
2 I n s t r u m e n t a t i o n is t a k e n f r o m t h e p r o g r a m n o t e s of
a p e r f o r m a n c e g i v e n b y t h e A k a d e m i S e n i K a r a w i t a n , " (the
p r e s e n t a t i o n o f t h e a r t of g a m e l a n p l a y i n g ) , p r e s e n t e d b y
P r o j e k P e l i t a D e p a r t e m e n P e n d i d i k a n and Keguruan, Surakarta.
3P u r b o d i n i n g r a t , P r o f . I r . , " G a m e l a n , " S a n a - B u d a j a ,
T a h u n k e 1, No. 4, D e c . 1 9 5 6 . P u b l i s h e d b y t he m u s e u m
S a n a - B u d a j a , J o g d j a k a r t a , p. 194.
^Purbodiningrat, Ibid.
5W a s i s t o S u r j o d i n i n g r a t , G a m e l a n , D a n c e , a n d W a j a n g
in J o g j a k a r t a , p u b l i s h e d by G a d j a h M a d a U n i v e r s i t y , 1971,
p . 55.
6W a s i s t o S u r j u d i n i n g r a t , I b i d ., p. 14.
7P i g e a u d , Dr . T h ., J a v a i n t h e F o u r t e e n t h Century,
Vols. I-V, The H a g u e , M a r t i n u s N i j h o f f , 1960.
8P a r a r a t o n , t r a n s l a t e d i n t o I n d o n e s i a n by D r s . R.
Pitono H a r d j o w a r d o j a , B h r a t a r a , D j a k a r t a , 1965.
9A 1 1 q u o t e s a r e f r o m t h e m a n u s c r i p t of t h e c o m p o s i t i o n .
P r o l o g u e I g i v e s t h e c r e d i t s of t h e p e r f o r m a n c e a c c o m p a n i e d
by the R e b a b , G e n d e r , G a m b a n g and S u l i n g p l a y i n g the p a t e t a n
Manjura. P r o l o g u e II is i n K a w i , t h e l i t e r a r y l a n g u a g e of
Old Java.
"A u m m m m m m m m m m !
Mastungkara kraneng swingkara,
ring H j wang Suksma wasa, Awignamastu,
mwatta winengan dirga-haju,
Mastuna-Purnamasiddi.
Au m m m m m m m m m m "
1 0 K a h u r i p a n is a n e l e v e n t h c e n t u r y E a s t J a v a n e s e k i n g
d o m b e l i e v e d t o h a v e b e e n s i t u a t e d n e a r t h e d e l t a of t he
r i v e r B r a n t a s , t h e r e f o r e i n the g e n e r a l a r e a of p r e s e n t - d a y
Surabaja. T h e t e x t is:
P r o l o g u e III
"Honoto tjitraning kakawin kang dingin
p i n u r w o k o l o , a r a n d j a m a n K r e t o j o g o , Sri M a h a
Prabu Erlangga, binataringrat Nuswo Djowo,
ing Kah u r i p a n Prad janiro, me n g k o n o s i nengkala n
’N i r ( N i r G a t i n i n g W i w o r o ) ' "
112
The l a s t p h r a s e ' N i r ( N i r G a t i n i n g W i w o r o ) is a t l a n d r a s a n g k a l a .
The e x p l a n a t i o n b e l o w w a s w r i t t e n b y A. L. B e c k e r .
" T j a n d r a s a n g k a l a is a s y s t e m f o r r e p r e s e n t i n g the
d a t e of a l u n a r ( t j a n d r a = m o o n ) y e a r i n t h e w o r d s of a s e n t e n c e
w h i c h h a s s o m e o b l i q u e r e f e r e n c e to t h e e v e n t s s o d a t e d , e . g .
t h e c o m p o s i t i o n of a p o e m , t h e d e a t h of s o m e o n e ( m a r k e d o n
h i s g r a v e s t o n e s ) , t h e e r e c t i o n of a h o u s e ( m a r k e d o v e r t h e
do or) , etc. B e s i d e s b e i n g a c o n v e n i e n t w a y of r e m e m b e r i n g
dates, the s y s t e m has d e e p e r s i g n i f i c a n c e for p e o p l e w h o b e
l i e v e i n t h e e f f i c a c y of v e r b a l f o r m u l a t i o n a n d v e r b a l
m a n i p u l a t i o n as a w a y of d i s c o v e r i n g h i d d e n t r u t h s a n d
control ling events. T h e w o r d s a n g k a l a is t h e S a n s k r i t £ a k a
K a l a , t i m e of £ a k a , t h e a n c i e n t k i n g w h o s e n a m e is g i v e n to
the old I n d i a n c a l e n d r i c a l s yst e m . (Iâka k a l a > ^ a k a l a >
sangkala). A c c o r d i n g to J a v a n e s e t r a d i t i o n , K i n g ^ a k a
( A d j i s a k a ) c a m e to J a v a a n d t a u g h t w r i t i n g a n d t h e r e c k o n i n g
of t i m e to t h e J a v a n e s e p e o p l e . The y e a r 1 dates his a r r i v a l
i n J a v a (78 A . D . )
I n d i r e c t r e f e r e n c e s , o f t e n e x t r e m e l y s u b t l e , are
c o m m o n in J a v a n e s e l i t e r a t u r e . W o r d s of s i m i l a r m e a n i n g
(e.g. w o r l d - e a r t h ) , s i m i l a r s o u n d ( e . g . t r e e - t h r e e ) , or c o m m o n
a s s o c i a t i o n (e.g. l i g h t - l a m p , g i a n t - w i l d ) m a y s u b s t i t u t e f o r
o n e a n o t h e r i n an o b l i q u e r e f e r e n c e . In s o n g t h e s e a r e r e
f e r r e d to as w a n g s a l a n ( r e t u r n i n g s ) . For e x a m p l e a s i n g e r
m i g h t r e f e r to ' th e s o n of A n d j a n i ' w h e n s h e w a n t e d to r e f e r
to y o u n g m e n and als o to use the s i n o m v e r s e form: the son
of A n d j a n i = H a n u m a n , w h i c h r h y m e s w i t h a n o m ' y o u t h ' a n d a l s o
s i n o m , t h e n a m e of a v e r s e f o r m . In m y s t i c a l w o r k s such
o b l i q u e r e f e r e n c e s h i d e m y s t e r i e s of g r e a t s u b t l e t y .
In the t j a n d r a s a n g k a l a s y s t e m each n u m b e r has a set
of w o r d s a s s o c i a t e d w i t h it. These words have some c o n n e c t i o n
w i t h the nu mber. 1, f o r i n s t a n c e , is r e p r e s e n t e d b y t h e m o o n
( t j a n d r a , w u l a n , s a s i ) , t h e n a v e l ( n a b i ) , t h e e a r t h ( b um i )
or m a n ( d j a n m a < S a n s k r i t j a n m a - 'b o r n ' ). T h e w o r d s for zer o
r e f e r to t h e i n v i s i b l e h e a v e n , ( b o m a < b j o m a ) , e m p t i n e s s
( s o n j a < g u n y a ) , or s o m e t h i n g l o s t ( n i r ) . Thus in the s e n t e n c e
r e f e r r i n g to t h e d a t e of t h e b e g i n n i n g of E r l a n g g a ’s r e i g n
(9 5 0 o r 1 0 2 8 A . D . ):
Nir G atining Wiwara
N i r , ( e m p t y , l o s t ) m e a n s z e r o (cf. n i r v a n a ) , g a t i m e a n s f i v e
( c f . t a t a g a t a . Sanskrit and Old J a v anese for wind, referring
to t h e f i v e d i r e c t i o n s , n o r t h , e a s t , s o u t h , w e s t , a n d c e n t e r ,
f r o m w h i c h the w i n d s c o m e ) , and W i w a r a m e a n s n i n e ( wiw ara =
d o o r , h o l e , r e f e r r i n g to t h e n i n e h o l e s in t h e b o d y ) . As a
s e n t e n c e , ' N i r g a t i n i n g w i w a r a ' is o p e n to i n t e r p r e t a t i o n ,
m e a n i n g , p e r h a p s , ' D e s t r o y e d ( n i r ) t r u l y ( g a t i ) is t h e g a t e
( w i w a r a ) , r e f e r r i n g to K i n g E r l a n g g a ' s m i l i t a r y v i c t o r y o v e r
the p r e v i o u s k i n g d o m . T h i s i n t e r p r e t a t i o n i s, h o w e v e r , j u s t
a guess. M o s t s a n g k a l a n s a r e a m e n a b l e to m u l t i p l e i n t e r p r e
tations .
113
The o t h e r s a n g k a l a n s r e f e r r e d to b e l o w are:
Karaseng Dlalmo Tatanlne Ratu
6 1 5 1 = 1516 or 1594 A.D.
essence man titled king
and:
K a r e n e a t T r l W l s l k l n g Pianino
6 3 5 1 1536 or 1 6 1 4 A.D.
Hear three teaching man
T h e s e h a v e o b l i q u e r e f e r e n c e to t h e r e i g n s of S u l t a n H a d i -
w i d j o j o and P r i n c e S u t o w i d j o j o in M a t a r a m .
F o r a f u l l e r d e s c r i p t i o n of t h e t j a n d r a s i n g k a l a s y s
t e m s e e t a t r a n g a n Tj a n d r a s a n g k a l a b y R a d e n B r a t a k e s a w a , B a l a i
Pustaka, Djakarta, 1952."
^ T h e k i n g d o m of S i n g o s a r i f o l l o w e d t h a t of K a h u r i p a n .
I t s c a p i t a l w a s n e a r t h e s l o p e s of the e a s t J a v a n e s e m o u n
t a i n s A r d j u n a , W i l i r a n g a n d P e n a n g g u n g a n , p r o b a b l y c l o s e to
t h e p r e s e n t d a y t o w n of S i n g o s a r i o n t h e r o a d b e t w e e n
Su r a baja and Malang.
12 " P i n e t u n g w i t i n g d j a m a n Sin g o s a r i , ono satus

tridoso warso, Nuswo Djowo datansah kambah-kambuhing
parangmuka. Nengno tekeng wahjo kalane, samengko teteping
djojo-djojo widjajanti abad kentjananing Nuswo Djowo timbul
R a t u n S r a t u u t o m o , k a l o k e n g r a t Sri H a j a m w u r u k , b i n a t a r a ing
Madjopahit kang kapindo, kanti tuwanggana papatihe patih
linuwih, tengran Harjo Gadjahmada, pan pranjoto kumarane
nagri Madjopahit angebeki Nusantoro, sumarambahing ngamontjo
p r o d j o ."
130 n the t a p e the f e m a l e p art can not be h e a r d and

t he m a l e s i n g s a m u c h s i m p l e r p a r t t h a n is w r i t t e n i n t he
manuscript. Both, h o w e v e r , e x c l u s i v e l y u s e the four
t j o r o b a l e n t o n e s , 2 3 5 6.
llfP r o l o g u e V. "Satus hastho doso war s o wus

k a p u n g k u r , s a m a n t a r a o b a h d j a m a n e , o b a h ........... s o j c
o b a h .............. o w a h ................... t e m a h a n n g g l e w a n g !
A s s a l a m u 'a l a i k u m W a r a c h m a t u ' l l a h W a b a r a k a t u h u "
* 3 " O n c e a y e a r t h e o l d g a m e l a n S e k a t i is b r o u g h t
f r o m its p l a c e in S r i m e n g a n t i h a l l i n s i d e the J o g j a k r a t o n
t o b e p l a y e d f o r a w e e k i n s i d e t h e c o m p o u n d of t h e G r e a t
Mosque.
O n l y a f t e r i n t e n s i v e r e h e a r s a l s m a y the court
m u s i c i a n s f r o m the K a w e d a n a n H a g e n g K r i d a M a r d a w a p l a y the
gamelan Sekati. F o r a c c o r d i n g to t r a d i t i o n f r o m the D e m a k
e r a a b o u t 5 0 0 y e a r s a g o , t h e g a m e l a n s S e k a t i a r e to b e
p l a y e d d u r i n g t h e S e k a t e n w e e k f r o m t he n i g h t of t h e 6 t h
to the 1 2 t h of the t h i r d J a v a n e s e m o n t h , M u l u d , e x c e p t o n
114
T h u r s d a y night and F riday morning. This c e l e b r a t i o n p r o

c e e d s t h e G a r e b e g M u l u d w h i c h is o n t h e 1 2 t h M u l u d , t h e d a t e
of t h e M a u l i d , or t h e b i r t h d a y of t h e P r o p h e t M u h a m m a d . "
F r o m D a n c e , D r a m a a n d G a m e l a n in J o g j a k a r t a , b y W a s i s t o
S u r j o d i n i n g r a t , p. 1.
1 6 T h i s is t h e c o m p e r ' s n o t a t i o n . It d o e s n o t p o r t r a y
the m a n y g r a c e n o t e s of t h e b o n a n g , the p a r l a n d o r u b a t o t e m p o
of t h e b o n a n g or t h e l o n g b r e a t h p a u s e s b e f o r e t h e s a r o n
beats. B u t it s h o u l d b e r e m e m b e r e d t h a t a l l t h e p l a y e r s i n
this g a m e l a n are f a m i l i a r w i t h S e k a t e n g a m e l a n s t y l e and n e e d
o n l y t he o u t l i n e of a n o t a t i o n t o g i v e p i t c h d i r e c t i o n .
17P r o l o g u e V I. Ono barat luwih gede, nempuh saka

m b a n g k a l o r a n , ing Demak pinangkane, nggowo sworo kaliwat
gumuruh,
(Arabic) "Ashadhu Allah Ilia ha Ilalah,
W a 'a s h a d h u a n n a M o e h a m a d a R o s u l l u l l a h "
( T h i s r e f e r s t o t h e p e n e t r a t i o n of I s l a m i n t o J a v a o r i g i n a t i n g
f r o m t h e t r a d i n g p a r t s of t h e n o r t h c o a s t , e s p e c i a l l y D e m a k . )
18P r o l o g u e VII. "Subechanalahu Wabichamdi

Subechanalahu Wabichamdi"
19A l t h o u g h w r i t t e n for two part s , a male and female

c h o r u s , o n t h e t a p e b o t h p a r t s s i n g V o i c e I. P e rhaps lack
of r e h e a r s a l t i m e n e c e s s i t a t e d t h e c u t t i n g o f t h e s e c o n d p a r t .
T h i s is a r e l i g i o u s h y m n , t h e t h e m e of w h i c h is p r a i s e of t h e
Prophet Mohammad. T h i s h y m n is r e c i t e d in u n i s o n b y M o s l e m s
on s e v e r a l o c c a s i o n s : f e s t i v a l s , the P r o p h e t ' s B i r t h d a y ,
after Friday Prayer. ( N o t e s a n d t r a n s l a t i o n c o u r t e s y of
D r . R a g i R a m m u n y , D e p t , of N e a r E a s t e r n L a n g u a g e s , U. of M . )
20The Wali are M o s l e m saints who are believed to

have brought Islam to J a v a .
Prologue VIII. "Sangsojo ngrebdo karamate poro

Wali, wus waroto rumesep aneng sanubarining wo n g, Sa-enggon2
kapijarso um junging k i d u n g sasanti.
2 1 P r o l o g u e IX. Mungkur djaman ka-Walen, ing mbang

k i d u l ana w a h j u t u m u r u n , ing P a d j a n g l u n g g j a n j e . T a n ono
lijo amung nDjeng Sultan H a d i w i d j o j o kang wenang sinembah,
Sinengkalan "Karaseng Djalmo Tataning Ratu"
2 2 P r o l o g u e X. K r a t o n Padjang wus gumingsir, m a n g u l o n

ontjating wahju. Temen nora kalijo pentjoke marang putro
dewe. D i j a n S u t owidjojo winenang m b awani ing Mataram,
adjed j u l u k P a n e m b a h a n Senopati, ono dene s e n g k a l a n i r a :
"Karengat Tri W i s i k i n g Djanmo"
117
s l e n d r o s c a l e b y the b a r a n g m i r i n g s c a l e d e p e n d s e n t i r e l y
u p o n t h e f i n e n e s s of t h e m e a s u r i n g t o o l . Kunst prefers
a n o t h e r d e s c r i p t i o n of t h e b a r a n g m i r i n g s c a l e s a y i n g t h a t
t o n e s 3, 5 a n d 1 a r e l o w e r e d . ( K u n s t , M u s i c I n J a v a , pp.
67-68.) B a r a n g m i r i n g h a s t he a f f e c t i v e c o n n o t a t i o n o f g r i e f
and d i s a p p o i n t m e n t .
33N o r a n j a n a n o r a d uga
Walondo angapus krama
Tuminda ketan prasadja
F a n g r a n temah pinusara.
Dening sang hangkara murka,
s a g u n g r a k j a t sru duhhita,
dahat deniro aminta
siking Widdi pinaringna.
3ItP r o l o g u e X I I I . Duh n d j e n g P a n g e r a n D i p o n a g o r o ,
sesotijaning bang s a babantenging Nuswa Djowo, paduko
k a l o r o b i n g a p u s , k a p i k u t i n g p e n d j a d j a h ..........
35P r o l o g u e XIV. Rakjat, rakjat! Bola bali rakjat

kang nandang sangsarane!
J o , j o , j o, t u t g n o n g g o n m u s u k a n 2 h o n d r o w i n o !
Tutugno!
Prologue X V. (Gudjeng tjukakaan wongsal wangsul.)
3eP r o l o g u e XVI. Apa trimo mung mengkene iki? Ah

ora! T e m e n 2 o ra ! Bongso Indonesia wiwit gumragah, wong
pinter mundak a k e h , Pergerakan Kebangsan! Persatuan kang
k u w a t , s a e k a - p r o j o - J o, e l i n g 2 w e t j a n i n g p a r a l e l u h u r ,
k a n g w i s p i n a t j a k i ng d j o n g k o 2 j e n i n g t e m b e b a k a l a n a k a n g
tetulung, ng r e w a n g e mberat m e malaning Indonesia, jen mul a
njata m b a n d j u r besuk k apan tekane?
"Djago wiring kuning, tjebol kepalang."
37P r o l o g u e XVII. Banzai! (Japanese war cry mean

ing h u r r a y . )
38P r o l o g u e XVIII. Omulo njoto, iki b a b a r i n g djongko!

. . . H a kko I t j i u = K e m a k m u r a n b e r s a m a ing A s i a Raja. Wis
pr atjojo m a r a n g tuntuna ning sadulur tuwo m u g o 2 kang m u r b e n g
D u m a d i n g i d e n a n a m e r a n g g e g o j u h a n k a n g l u h u r iki!
3 9 W e l a s a n is a s o n g e x p r e s s i n g c o m p a s s i o n i n s a d
situations. T h e r o o t w o r d is w e l a s m e a n i n g f e e l i n g , m e r c y r
or pity.
tf0P r o l o g u e X I X . Elo, Elo! Lha endi buktine? Djare"

H akko Itjiu? Unine kemakmuran bersama, kok kojo mangkene
dadine. Sojo suwe, sojo . . . A d u h , bangsaku!
118
^ P r o l o g u e XX. Durung uwis2 nggone nandang popot-

jintroko. Aduh mbuwang p e n d j a d j a h dadi malah oleh p a n l n d e s .
Romusha! K a t o k goni! S l e n d a n g rami! Gogik, Bekitjot,
w e k a s a n = B e r i 2 !! K e k e s r a s a n e , atis, p a n e s , pe rih ! Malah
w o n g p i n t e r 2 akeh sing podo ditumpesi.
^ P r o l o g u e XXI. Saking m e p e t 2 ing p a n andang, rakjat

dadi tukul w a n i n e , nanging tansah m a d j u - m u n d u r , m o n g a - m a n g u ,
awit durung mang e r t i dalane. Kono kene ana gerak an dedemitan ,
p e m b r o n t a k a n Suprijadi p e t j a h ing Blitar! Djepang wiwit
kosek, ngawang glagat wis katatir.
^ P r o l o g u e XXII. D u m a d a k a n . . . '. .
Bom atom ing Hirosckima.
Djepang nungkul marang Sekutu. Rakjat Indonesia sojo kempleng
tekade*, t a n k e n o o r a k u d u M e r d i k o .
Proklamasi
"K ami b a n g s a I n d o n e s i a , d e n g a n ini m e n j a t a k a n

k emer d e k a a n Indonesia. H a l 2 jang mengenai pemindahan
k e k u a s a a n dan l a i n 2 diselen g g a r a k a n dengan tjara saksama,
d a n d a l a m t e m p o j a n g s e s i n g k a t - s i n g k a t n j a ."
D j a k a r t a 17 A g u s t u s 1 9 4 5
Sukarno - Hatta.
" Ti ti p a m e d a r i n g gito, p i n u n g k a s ing s a s a n t i d j o j o 2
Republik Indonesia. Haju. Luhur - W i d o d o . niring sambekolo."
^ F o r a d i s c u s s i o n of t h e " n o n - c o m p u l s i v e " a s p e c t s
of A s i a n d r a m a , h o w t h e v i e w e r is n o t f o r c e d i n t o a n y d e g r e e
of c o m p u l s i v e n e s s , s e e A . L . B e c k e r , " J o u r n e y T h r o u g h t h e
N i g h t , " T h e D r a m a R e v i e w , W i n t e r 1 9 7 1 , p. 83.
CH A P T E R V
MUS I C AND POLITICS:
KI WASITODIPURA AS A MODERN-DAY PUDJANGGA
Music has played a special role in Indonesian political
life because of i ts power to strengthen and propagate the
symbolic formulations of the government. The importance of
symbols in Indonesian political life can scarcely be exagerated.
Often enough, the formulation and proclamation of a new policy
is somehow sufficient to maintain the interest and trust of
t he people in their government. Sloganizing reached almost
unbelievable proportions under Sukarno, largely replacing
other types of political activity.
T h e P a n t j a S i l a o f t h e n a t i o n a l c o a t of a r m s a n d
the h a s t i l y d r a f t e d p r e s i d e n t i a l u n i t a r y c o n s t i t u t i o n
of 1 9 4 5 , w h i c h w a s p u t i n t o f o r c e a g a i n by t h e c o u p
d ’e t a t of 1 9 5 9 , b e c a m e t r a n s f o r m e d , u n d e r S u k a r n o ' s
p e r s o n a l r u l e , b y t h e M a n i p o l ( M a n i f e s t o p o l i t i k ) of
1959, i n t o a n a t i o n a l c a t e c h i s m k n o w n u n d e r t he i n i
t i a l s of U S D E K . I t s s t u d y s e r v e s as t h e o b l i g a t o r y
i n i t i a t i o n i n t o I n d o n e s i a n p o l i t i c s . . .: f u n d a m e n t a l
l a w of 1 9 4 5 , I n d o n e s i a n s o c i a l i s m , g u i d e d d e m o c r a c y ,
guided economy, Indonesian national identity. More
f r e q u e n t s t i l l a r e t h e T r i S i l a or s y n t h e t i c t r i n i t i e s
s u c h as R . I . L . , ( R e v o l u s i - I d e o l o g i - L e a d e r s h i p ) ...
or R e - S o - P i m , ( R e v o l u s i - S o c i a l i s m e - L e a d e r s h i p ) , the
t i t l e a n d c r e d o of t h e P r e s i d e n t i a l s p e e c h of A u g u s t
17th, 1961. F i n a l l y , t he c o r n e r s t o n e , w h i c h is t h e
m a g i c a l t h r e e f o l d f o r m u l a of t h e N a s a k o m l a u n c h e d b y
t h e M a n i p o l of 1 9 5 9 a n d e l e v a t e d i n t o a s l o g a n f o r
t h e f u n d a m e n t a l i n t e g r a t i o n of t h e r e g i m e : Nasionalisme-
Agama-Komunisme (Nationalism,-Religion-Communism) a
s y n t h e s i s of the n a t i o n a l s p i r i t u a l f o r c e s a n d of
t h r e e 'major' p a r t i e s u n i t e d in the N a t i o n a l Fro nt.
119
120
I t w o u l d b e I m p o s s i b l e to e x a g g e r a t e t h e s p i r i t u a l
a n d m a g i c a l e f f i c a c y a t t r i b u t e d to t h e s e f o r m u l a s ,
t h e c o n s t a n t r e n e w a l a n d e x e g e s i s of w h i c h a r e r e
g a r d e d as e s s e n t i a l c o n t r i b u t i o n s to t h e n a t i o n a l
wealth and p o w e r . 1
Symbolic political activity has a very long history in
Indonesia. The last king of the 13th century East-Java king
dom of Singosari, Kertanagara, feared greatly the expansionist
tendencies and great power of the Chinese empire under Kubla
Khan. Kertanagara sought to counter this strength by t he
development of his own magic power symbolized by the erection
of a statue of himself upon the spot where a great wizard is
believed to h a v e lived. A similar statue was sent to Sumatra,
an attempt to w i d e n the spiritual shield of safety against the
Mongols. Symbolic magic was used in the same way the western
world uses military treaties and armaments.
Ever since, a great deal of Indonesian political
activity has this same symbolic quality. It has been argued
that the recent national elections, July 1969, were a ritual
act rather than an empirical test of political support for
the present government. z
The great output of political propaganda songs by
Ki Wasitodipuro must be seen as part of his role as a modern
day pudj a n g g a for a new style government. The songs support
and publicize t he slogans, giving the people the feeling the
government is actively concerned with them. It w o u l d be a
mistake to interpret cynically this activity. Symbolic
political activity takes place in a nation where ritual is
121
often considered more real, more potent than everyday activity,
where words still possess magic power, where the spirit be
hind an act is often more valued than the deed. Al&o, tra
ditionally the prosperity and happiness of the people were
directly in proportion to the strength and spirituality of
their ruler.
T h e o l d J a v a n e s e w r i t e r s h a d a w o r t h i e r t a s k to f u l
f i l l t h a n m e r e l y to s a t i s f y t h e c u r i o s i t y of p o s t e r i t y ,
it w a s t h e i r d u t y to s t r e n g t h e n t h e k i n g w h o s e i n n e r
p o w e r w a s the m a i n p i l l a r u p o n w h i c h h is k i n g d o m and
t h e w e l l b e i n g of h i s p e o p l e r e s t e d . 3
Therefore, it was simply in one's self interest to aid,in any
way possible, the acquisition and m a i n t e n a n c e of power by
one's ruler. The government of a newly independent state,
recovering from three hundred years of colonial domination,
is a fragile thing. Surely, Ki Wasitodipuro must have been
sincerely motivated in his desire to lend whatever support
he could, to volunteer whatever talents he h ad to strengthen
his fledgling government.
Of the many political songs written by Ki Wasitodipuro
since independence, most have been forgotten as quickly as they
were written. He was the principal songwriter for the Sukarno
era, producing a song for every slogan. Most of them are un
distinguished, written in the style of d o l a n a n , children's
songs. Some must even cause him acute embarrassment such as
t he song Nekolim (Figure XIII) written during the time of
Sukarno's agitation against Malaysia known as Konfrontasi or
Confrontation.
Nekolim
Ki Wasitodipuro
h m
-rJ— } *D -L i-j p 1=3=1
Nekolim p<Bnghalang tvidjuan me rdika aneka v;am a tjaran e tjuriga
—p f -p-
--- r J J **--- rF-— P ?— r* -1 --
-0 —
,
( b /d/ / * J ** I .î j^j — — J-—J— ■
-^Kita kab<eh ngalami pendjadja han rlerusake an ane perb udakan a-
\A 1 v—J— — <1 J"i - — «_ JJ /y JJ" *J rJ + -fv— -

K —-*-/-^--
|[n)a/ — J— —
C jo a- jo a jo d£idi ganja ng a-■jo a-j o a jp dadi ganj ang kita
1 n 0 —f — f— i%, j". |
—J J J J ^ r Lf --Jn-J JnJ -^ — J-J——-- I'1 t f = l
—
^ --- 1
ganjang nekolim kita sering imperialis hantjur lebur projek Malesia
Incgris
123
S u ka rno's fight against M a l a y s i a was a ctually a

f i ght a g a i n s t the " i m p e r i a l i s t d e v i l " and e q u a l l y
a f i g h t f o r f o r g i n g t h e u n i t y of t h e c o u n t r y . . . .
T h e c r y of G a n j a n g M a l a y s i a f u l f i l l s t h e c r y i n g n e e d
of a p e o p l e f o r w h o m i n d e p e n d e n c e h a s n o t m e a n t
m a t e r i a l w e l f a r e , a n d w h o m u s t t h e r e f o r e s e e k i ts
m e a n i n g e l s e w h e r e . **
The English translation is as follows:
N e o c o l o n i a l i s m , o b s t r u c t o r of f r e e d o m ,
Y o u r s u s p i c i o u s w a y s are m any.
We w h o e x p e r i e n c e d c o l o n i a l i s m ,
S t i l l o u r s l a v e r y g o e s on.
L e t ' s go, l e t ' s g o, s m a s h t h e m a l l .
L e t ' s go, l e t ' s go, s m a s h t h e m a l l .
Kill neocolonialism, attack imperialism.
C r u s h to b i t s , t h e E n g l i s h p r o j e c t M a l a y s i a .
The verbal violence of Nekolim gives way to g e n t l e
teaching in USDEK (Figure XIV). This song refers to the pro
gram put forward in President Sukarno's Indepence Day speech,
his political manifesto, (Manipol-Manifesto P o l i t i k ) , of
August 17, 1959.6 The English translation of USDEK is as
follows:
Usdek, Usdek, Usdek

We a l l m u s t b e h a p p y t a k i n g t h e r o a d in b u i l d i n g
our c o u n t r y .
O l d e r s i s t e r , U, w h a t d o e s it m e a n , o l d e r s i s t e r ?
Oh, l i t t l e b r o t h e r , it is a c a l l to r e t u r n to t h e
s p i r i t of 1 9 4 5 .
Older s i s t e r , S, w h a t d o e s it m e a n , older sister?
It m e a n s w e m u s t p o s s e s s a S o c i a l i s t s p i r i t .
Older s i s t e r , D, w h a t d o e s it m e a n , older sister?
Older s i s t e r , E, w h a t d o e s it m e a n , older sister?
Older s i s t e r , K, w h a t d o e s it m e a n , older sister?
I must understand, I must understand.
Not like that, not like this.
T h e h e a r t is c o n t e n t w h e n o n e u n d e r s t a n d s .
L e t 's g o , l e t 's g o .
L e t ' s go to w h e r e ? L e t ' s g o to w h e r e ?
L e t ' s take the path, u n d e r the g u i d a n c e that we a l l
unders t a n d .
124
USOEK
Ki Wasitodiouro
m
Usdek Usdek Usdek kita kabeh kudu gelem anglako-
P ni saka behing tindak kang wus kapatjak nagari

__________ ju mbak.iu
U
_
apa tege-
__
W
se mbakju? o adi undang undang dasar ball marang em-
f =ep
pat lima ju mbakju
1.
S
S e
apa tegese mbakju? kita kudu andar be-
ni sosialis djiwa ju mbakju apa tegese mbakju? ju mbakju
apa tegese mbakju? ju mbakju K apa te?ese mbakju?
|P Aku kudu ngerti aku kudu neerti horak horak ngono ho-
rak horak ngene jen wis ngerti bisa maremake ati a- jo jo a-
jo a- jo jo a- jo aj0 nenjang endi ajo menjang endi angla
dawuhe kang pada ngerti
Figure XI V .
125
Lest the reader gain the Impression that all songs of
this genre are pure sloganizing with very little referent
outside of themselves, the next two songs should alter that
judgment. Kuwi apa kuwi (Figure X V) refers to corruption.
Initiated by economic need and sanctified by tradition,
corruption is an aspect of life in Java which darkens the
spirit of all Javanese.
The English translation of Kuwi Apa Kuwi is as
follows:
That thing, w h a t ' s that, j a s m i n e flower?

Not, I pray, corruption.
B e c a u s e if w e h a v e c o r r u p t i o n
it is o u r c o u n t r y t h a t l o s e s .
W h a t is t h a t t h i n g ?
S u r e l y not, no, not that.
The song Keluarga Berentjana (Figure XVI) "family planning"
addresses itself to the most serious, perhaps irreparable,
of Java's problems, overpopulation. The English translation
of Keluarga Berentj ana is as follows:
R e m e m b e r , p l e a s e r e m e m b e r , fri end s w h o are l i v i n g now,

So that w e d o n ' t m a k e d i f f i c u l t i e s for our d e s c e n d a n t s ,
S o c i e t y m u s t b e o r d e r e d a n d in h a r m o n y ,
A l s o , t h e m a n y c h i l d r e n of o u r e r a ,
it is b e s t , it is n e c e s s a r y ,
m u s t b e l i m i t e d a c c o r d i n g to o n e ' s s a l a r y .
In o r d e r t h a t s t a b i l i t y b e r e a c h e d ,
e a c h f a m i l y m u s t b e t h a n k f u l a n d f e e l c o n t e n t w i t h t wo ,
at t h e v e r y m o s t , t h r e e .
W e m u s t b e s t e a d f a s t , a l l th e p e o p l e b e l i e v i n g i n G o d
and a b i d i n g by P a n t j a s i l a .
S o t h a t it m a y b e r e a l i z e d ,
t h e h a p p i n e s s a n d p r o s p e r i t y of t h e I n d o n e s i a n p e o p l e .
The "message" of these songs, nationalism, moderniza
tion, social welfare, is a new message. Oftentimes, the
musical form which conveys this message contains new elements,
126
Kuwi Apa Kuwi

Ki Wasitodipuro
** Kuwi apa kuwi e kembang me la ti*
---- —
C RT
& 7't U i'1 — f-f-t— ^ ---
Ja tak pudja pudji adja da ko rupsi
-------
1i-flT-— r^--Jj--- r-y w ~
^ = £ .
:
Marea .ien korupsi negarane riigi
prtrp Pripun kang niku ijak ora ora ora ngono
Figure XV
127
lantiaran Keluarga Berent.iana

Ki Wasitodipuro
* / ’
Eling dipun eling kantja wong urip punika
P Mrih tan repot pemburine, bebrajan diatur
±E
rukun sakarone kehing putra neki
betjike, mestine, kudu diwatesi
ir.anut kehir.g pengasiiane’
hj-y
nrih tentrem pir.anggin, sakula wargan^
sukur tjukup loro, keh akehe telu.
=P
netepi anggone dadi, angeotaning masjarakat
^ ’berTuhan Ia
la nKbermoral
* h a rT n tifln
n I pantjasila, mahanani
na m ia m
kerta, rahardjaning bangsa kita Indonesia.
Figure XV I
128
indirectly reinforcing and reflecting t he semantic content of
the songs.
The trend toward incorporating other gamelan styles
into central Javanese gamelan composition is one of t he most
prominant traits found in modern compositions. This seems
to b e a part of a general tendency toward widening the ex
pressive capacity of the gamelan and is surely related to
the idea of finding or developing an all-Indonesian music.
The syncretized elements are limited, almost all being either
Sundanese or Balinese. But accumulatively, they represent a
significant amount of new material absorbed and acculturated
into central Javanese gamelan style.
The song Modernisasi Desa (Figure XVII) "village
modernization," illustrates the borrowing of Balinese elements
into a Javanese song. Unlike so m a n y of the propaganda songs,
Modernisasi Desa is widely known and has maintained its popu
larity over a number of years. It is frequently heard on the
radio and often sung by the clowns in the various Javanese
theatrical forms. Underlining and underlying the musical
structure is a drum rhythm based upon Balinese-style drumming;
a nervous, driving c o un t e r p o i n t adding great dynamism to the
overall effect of the piece.
129
Modernisasi Desa » PelOK Fatet Iêm

Ki Wasitodipuro
Mo- der- ni-sa- si desa Mo- der- ni- sa- .si mental
Urnpaki
C' Mo- der- ni- sa- si desa sa In- done-sa- a

sarom ___
|C, -
£
P N c kenong P = kempul S = sijem
kon- tja ti-line;e- na
ZT.
on- tâ pi- jar-sak- na Enp- gal ka- tin- dak' na
De- sa-ku wit ku- na ' wis raes- ti
Figure XVII
130
Koderalsasl Desa (cont.)
P Tan- sah dadi ob- jek, ning sa- i- ki gan- ti
¥4 -
-- ----------
. -
V Pem-ba- ngu- nan desa ja te-ge- se kuwi
m m
W Tja kudu dadi sub- jek me- lu nem-tok- a- k

e"'
kono- a
ii lan so- si- al
Figure XVII, continued
131
Modernisasi Desa (cont.)
lan ka- bu- da- jan du we O

' ti- vi- tas
c
-1
-4-2----1
---— 1
— t*“
l — F—
— 1 f
— 1---1l
-L^r— i
Krih kang tun-done*kan#*-•go bran-tas pengang- gur- an
—c
J-----
Lrf:— — ----- — J — <)— -— — f
t----- ^
j ^ ^1r -----1
r ^* i^-p -
..—
-j ■f r>- — r - t — — *— f—^ —
— r— F
— ---
. u ~ . — t— i
... t — ' T~ .■
Mo-der- ni-sa- si desa Mo-der- ni- sa- si roen- tal
Ko-der-ni si de sa sa In- done- 3i
Figure XVII, continued
132
The English translation of Modernisasi Desa is as follows:
H e y , f r i e n d s , l i s t e n to m e .
L o o k now, f r i e n d s ,
Work quickly.
For a long time our v i l l a g e s h a v e b e e n s t u d i e d .
[The i m p l i c a t i o n b e i n g t h a t t h e y w e r e s t u d i e d by
s c h o l a r s i n t e r e s t e d in t h e i r b a c k w a r d n e s s . ]
N o w t h a t is a l l c h a n g e d .
Village modernization, village development.
That m e a n s , m y f r i e n d s , we m u s t all ta ke part
i n m a t t e r s of P o l i t i c s , E c o n o m i c s , S o c i e t y a n d C u l t u r e ,
m a k i n g them our own c o n c er ns.
U n t i l f i n a l l y u n e m p l o y m e n t is a b o l i s h e d .
Village modernization!
Mental modernization!
Village m o d e r n i z a t i o n all over Indonesia.
The frenetic Balinese drumming as a backdrop for th e
whole piece forces the song into a very fast tempo. The rapid
tempo of m a n y new compositions may also b.e a B a l i n e s e borrow
ing. The generally slower tempos of Javanese pieces and the
generally faster tempos of Balinese pieces constitute one of
the m o s t obvious differences between the two gamelan styles.
General tempo differences between the two styles are also
obvious to the Javanese and Balinese musicians. It is this
aspect of the m u s i c a l differences between them which is
usually the first to be parodied when they make fun of each
other.
Another innovation in this composition is the new
style kempul part. Traditionally, t he kempul is a subdivider
of the kenong phrase as in t he following example:
133
The relationship of the kempul to kenong in M o d e r n i s a s i Desa
is as follows:
it . N . N . N . N
The traditional relationship of kempul to gong is as follows:
P . P . P G
In this composition, the relationship of kempul to gong sijem
is as follows:
P . . P . S
1 2 3 1 2 3. 1 2
or
3 + 2
or if sijem is felt as beat one
3 +
The additive three + two + three rhythm is not typically
Javanese. Where did it come from? India might be one assump
tion. But Indian music has had little impact upon Java,
limited to those santri who prefer to listen to Indian popular
music than gamelan, feeling that it is m o r e religious because
it is closer to Arabic (Islamic) music. Certain Near Eastern/
Indian musical styles do appear at Moslem religious festivals.
134
Even though the gulf between the santri and those involved in
gamelan traditions is great, Indian/Arabic rhythmic patterns
occasionally occur in other modern gamelan compositions.6
So there is the possibility that this innovation is based
upon Indian/Arabic rhythms.
The other alternative, that this kempul pattern is
based upon South American dance forms seems more likely.
Only a few w e s t e r n musical styles are at all w e l l - k n o w n in
Java, among them, the South American dance forms. The
rumba, t he samba, and the tango, all enjoyed a long period
of popularity. They were played by dance orchestras during
colonial times and continue to b e heard today on the radio.
In a composition by Ki Nartosabdho, Aj o P r a o n 7 t h e composer
indicates that the kempul and kenong should be played as in
a samba (kempul - kenong g a n t o s , samba). Another composition
by Ki Nartosabdho employs m a r a c c a s .8
Having established the possible ancestry of this
innovation, one is tempted to pass on to other matters and
thus miss entirely the real import of this new kempul part.
It assigns to the kempul a new function, that of providing
rhythmic contrast to the basic four-square rhythms of the
gamelan, and removes the traditional role of the kempul as
one of the primary subdividers of the gong phrase and as a
marker of an important point of convergence of different
melodic lines. The additive three+two+three pattern cannot
possibly mark regular points of coincidences. In a
135
traditional piece the points of convergence or coincidence
are derived by division of the unit: one (gong phrase)
becomes two (kenong phrase) becomes four (kempul phrase)
becomes eight (ketuk phrase) etc. This regularity and order
in turn reflects the orderly universe. Traditional gamelan
music both sanctioned and was sanctified by heaven resulting
in a musical conservatism manifested by the rigid adherence
to four-beat units which may be either multiplied or sub
divided and found in the music of gong ensembles all over
Southeast Asia. The introduction of an additive rhythm on
an instrument of high structural importance in gamelan music
is more than just an interesting oddity. It is a musical
statement that the old sanctions are no longer in operation,
that gamelan music is just like any other music of the world,
that it expresses men not gods, and that one man may alter a
musical relationship that has remained fixed for a thousand
years or m o r e .
The rhythmic kempul part in M o d e r n i s a s i De s a is
previewed in the Umpak by the s a r o n , (Figure XVII, measure 16)
kempul/sijem: . . P . . P . S . . P . . P - . S
saron: . . 1 . . 1 . 6 . . 6 . . 6 . 1
x x ; 7 ± *
3 -f | t 3+t 2 3 f 1 i+1
136
Syncopated figures such as this are common in the works
of Ki Wasitodipuro and other composers as well. The whole
concept of syncopation is new in Java and represents another
break with traditional modes of m u s i c a l expression. There is
a great deal of "off-beat" playing in traditional Javanese
music, but it is of a special kind. The "off-beat" pattern
is regular and consistent and played on one instrument, so
that it is not necessary to think of it as "off-beat" at all.
The "off-beat" player can feel himself "on-beat" with a dif
ferent basic pulse than the rest of the gamelan.
Thus a bonang panerus part might look like this:
5. 5 . 6 . 6 . 5 . 5 . 3 . 3
While the bonang barung, whose rhythm coincides
with the regular points of convergence of the formal struc
ture plays:
. S . 5 . 6 . _ 6 . 5 . 5 . 3 . 3
Put together, the bonang panerus is "off-beat",
bonang panerus: 5 . 5 . 6 . 6 . S . 5 . 3 . 3 .
bonang barung:
But there is no intrinsic reason why it must be so described
or experienced as such by the m u sician. Shifted meter is a
more appropriate term than syncopation to describe traditional
"off-beat" playing.
The syncopations in Modernisasi Desa do not follow
the traditional pattern. Most important is the fact that the
137
"on-beats" and "off-beats" are all played on the same instru
ment. This prevents the musician from conceptually placing
himself on the beat. The music is truly syncopated in a way
that traditional gamelan music is not.
The rapid tempos, syncopation, the element of dynamism
and restlessness in M o d e r n i s a s i Desa can be found in m a n y of
the politically motivated songs of Ki Wasitodipuro. The
whole musical structure of Modernisasi Desa underscores the
fervent cry of t he singers, "Village Modernization, Mental
M o d e r n i z a t i o n !"
The modern intellectual resistance to gamelan tradi
tions, as distinct from the santri religious objections, is
based upon the feeling that gamelan music is "old-fashioned"
and "feudal" and prevents the populace from developing new
attitudes and progressing in the m o d e r n world. It is not
hard to understand why traditional gamelan music conveys this
impression, this ethos of acceptance, to m e m b e r s of the society.
Ki Wasitodipuro understands too, and it is no surprise that
young gamelan musicians are eager to play the fast-tempo,
swinging new gamelan pieces, often to the disapproving
grumbles of their elders. Somehow, the faster tempos, the
syncopations, better reflect the w o r l d of young Javanese, who
have surely lost their firm anchorage in Old Javanese mysticism
and Hindu-Buddhist philosophy.
The Sukarno government fell with the attempted
Communist coup in 1965 and the army took over the reigns of
138
power under the leadership of G e n e r a l Suharto. While not
nearly so involved with symbol making as was Sukarno, the new
government still needs the validation and legitimizing power
to b e derived from slogans. One of the new slogans is Orde
B a r u , "The New Order." There is also the song Orde Baru.
The w o r d s , like those of Organisasi Desa are suitably
vague for a song intended to arouse the emotions and to instill
allegiance, not to propogate specific actions.
Go f o r w a r d , g o f o r w a r d , g o s t r a i g h t f o r w a r d !
Hey, young people, ste p forward!
M o v e at a t r o t , f a n e n t h u s i a s m ,
Attack all obstacles and o bstructions
to t h e N e w O r d e r ,
S m a s h t h e m to b i t s ,
Go f o r w a r d f o r t h e s a k e of v i c t o r y .
This song, unlike those previously discussed, does not
use the regional language of J a v a , Javanese, but the national
language, Bahasa Indonesia.
Orde B a r u , Pelog Patet Barang
(Instrumental refrain played as introduction. The
gender play with wooden mallets, Balinese style, and play the
same line as the saron. The kempul occurs between the kenong,
as expected. The saron and bonang drop out during the vocal
c h o r u s , Figure X X , C h a p t e r VI.)
N N N N
• 2 2 2 . • . . 6 5 6 7 6 5 3 2
• • « . 5 5 5 5 7 5 6 7 • • 6 2
• 7 7 7 . • . . 3 5 3 5 6 7 6 2
7 7 . . 7 7 . . 7 7 • • 6 5 7 $
• . 2 2 . • 2 2 . • 7 5 6 5 3 I
• 2 3 5 . 2 3 5 . 2 3 5 • •
139
The saron part in this composition, unlike Organisasi
D e s a , is not in itself distinctive. The melodic contours
and sequences are all possible within the traditional rules
of patet. Only the tempo is extraordinary, being absolutely
breakneck. The gender, playing the vocal melody with hard
mallets, is one of the repeatedly found innovations in m o d e r n
compositions. Initially, this is a Balinese borrowing and
gives some of the metallic percussive flavor of the Balinese
gamelan to the Javanese gamelan. But even more, it stresses
one line of the whole polyphonic structure out of proportion
to any other. By eliminating one of the contrapuntal lines and
reinforcing one of the others, the texture comes closer to a
western melody plus accompaniment than do traditional compo
sitions. Thus while the texture suggests the Balinese gamelan,
structurally t he innovation has a different meaning, namely,
western influence. As such it is part of a generalized trend
toward adoption of some of the techniques of western music
to b e examined in the next chapter.
All of the songs discussed above and the many more
like them indicate an attitude of social responsibility on
the part of their composer, Ki Wasitodipuro. The political
activism of Ki Wasitodipuro might be assumed to be part of
the doctrine of Marxist social realism in the arts of which
Sukarno was very much aware. It is worth noting that Ki
Nartosabdho never writes such songs. In fact, he disparages
them, calling Ki Wasitodipuro a "political artist," seniman
140
politlk. Ki Nartosabdho did not grow up at court, but in a
small village and he prides himself on being an artist of the
common people, seniman r a k j a t . If social realism had motivated
the political songwriting of the Sukarno era , a gifted village
youth would have been a more likely candidate for state song
writer than a middle-aged court musician. But there is a
convergence of the role of the social realist artist of
Marxism and the pudjangga of old Java. Both had a deep
moral/religious obligation to support their overlords. As
a court musician, the pudjangga role would have more meaning
f or K i Wasitodipuro than would Marxist social realism. It
is a case whe r e a new doctrine fit perfectly into an old
conceptual framework. Old Javanese traditions, not Marxism,
held both Sukarno and Ki Wasitodipuro and forged the link
between them.
141
Motes
^ u e t h y , Herbert, I n d o n e s i a in T r a v a i l , Congress
for Cultural Freedom, New Delhi, India, 1 9 6 6 , p p . 78, 79.
2 S e e A. L. B e c k e r , " T h e I n d o n e s i a n E l e c t i o n s as
T h e a t e r of t h e A b s u r d , " a n a d d r e s s t o t h e S o u t h e a s t A s i a n
A s s o c i a t i o n of O n t a r i o , G u e l p h , O n t a r i o , O c t o b e r , 1 9 7 1 .
3V l e k k e , B e r n a r d , N u s a n t a r a , A H i s t o r y of Indonesia,
W. van H o e v e L t d . , T h e H a g u e , 1 9 6 5 , p. 59.
**Luethy, Herbert, Indonesia in Travail, o p . ci t .,

p p . 27, 29.
5 " E a r l y i n 1 9 6 0 t h e c e n t r a l m e s s a g e of t h e c e l e b r a t e d
s p e e c h w a s s t a t e d as c o n s i s t i n g o f f i v e i d e a s - t h e 1 9 45
c o n s t i t u t i o n , S o c i a l i s m a la I n d o n e s i a , G u i d e d D e m o c r a c y ,
G u i d e d E c o n o m y , and I n d o n e s i a n P e r s o n a l i t y - and the f i r s t
l e t t e r of t h e s e f i v e p h r a s e s w e r e p u t t o g e t h e r t o m a k e
the a c r o n y m USDEK. With "political Manifesto" shortened
t o " M a n i p o l , " a n d t h e n e w c r e e d b e c a m e k n o w n as " M a n i p o l -
U S D E K " . . . A n d f o r m e m b e r s of s o m e I n d o n e s i a n c o m m u n i
t i e s , n o t a b l y fo r m a n y J a v a n e s e , t h e r e w a s r e a l m e a n i n g
in t h e v a r i o u s c o m p l e x s c h e m e s w h i c h t h e P r e s i d e n t p r e
s e n t e d i n e l a b o r a t i o n of M a n i p o l - U S D E K , e x p l a i n i n g t he
p e c u l i a r s i g n i f i c a n c e a n d t a s k s of t h e c u r r e n t s t a g e of
h i s t o r y ."
Q u o t e d f r o m " D y n a m i c s of G u i d e d D e m o c r a c y " b y H e r b e r t
F e i t h in I n d o n e s i a , e d i t e d by R u t h M c V e y , Y a l e U n i v e r s i t y P r e s s ,
1 9 6 3 , pp . 3 6 7 , 368.
eF o r e x a m p l e the t a m b o u r i n e p a t t e r n i n t he s o n g
N g unda L a j a n g a n , by Ki Nartosabdho, on the L o k a n a n t a r ec o r d ,
G a r a - g a r a , BRD-014.
7G e n d i n g 2 p j a w i s a h a D o l a n a n g a g r a k e n g g a l , " New
S t y l e J a v a n e s e P i e c e s , " b y K i N a r t o s a b d h o , p u b l i s h e d b y the
N g e s t i P a n d o w o W a j a n g O r a n g C o m p a n y , S e m a r a n g , 1 9 6 9 , p. 7.
8 See the s o n g Suara Suling, Lokananta recording Ki

N a r t o s a b d h o , ARD-037.
9 F r o m the b o o k G e r o n g c o m p i l e d by the c o m p o s e r , Ki
W a s i t o d i p u r o , f o r t e a c h i n g at R.R.I., Radio Republic
Indonesia, Jogjakarta.
CHAPTER VI
WESTERN INFLUENCE IN GAMELAN MUSIC
Western thought and w e s t e r n technology have become
increasingly widespread and accepted in Java over the last
three hundred years. As a nation, Indonesia is fully com
mitted to t he ideals of m o d e r n agriculture, improved harbors,
railroads, trucking and bus systems, European governmental
bureaucracy, a large standing army and general elections.
Most Javanese feel that advancement and status should be the
result of talent and effort, not birth. Most desire a society
with social mobility and hope that their children will be
better educated than they are. Being progressive and modern,
being concerned with the development and improvement of th e
country, being involved in the political concerns of the day
is inextricably linked with an image of w e s t e r n man. Nation
alism itself is, in some respects, a western concept.
Many Indonesian students associated readily with

t h e i r D u t c h c o - s t u d e n t s in H o l l a n d . . . t h e y w e r e
s t r e n g t h e n e d in t h e i r n a t i o n a l i s t c o n v i c t i o n s by
their European experience. In t h o s e d a y s ( b e f o r e
1 9 4 1 ) E u r o p e w a s t he s c e n e of n a t i o n a l r e v i v a l s in
many countries. The l i b e r a t i o n of P o l a n d b y P i l s u d s k i
a n d o t h e r s , of C z e c h o s l o v a k i a b y M a r s a r y k , of F i n l a n d
a n d t h e B a l t i c s t a t e s , a n d t h e w a r w a g e d by the I r i s h
Sinn F e i n n a g a i n s t B r i t i s h rule, s t i r r e d the fee li n g s
of t h e y o u n g e r g e n e r a t i o n i n n e a r l y e v e r y c o u n t r y of
E u r o p e as w e l l as t h e c o l o n i a l a r e a s . 1
142
143
Underlying all conscious innovation, in music or any
other area, is the unspoken assumption that experimentation
is legitimate, even praiseworthy. Traditional Javanese
society, and to some extent, present-day Javanese society,
does not value experimentation. Any new program in Java will
encounter opposition, or rather, passive resistance. The
disappointing results of high-minded programs such as t he
miracle-rice program in Java only tend to confirm the deep-
seated feeling that any new program will not be better than
the old. w a y and will very likely be worse. Reluctance to
attempt innovation, specifically musical innovation, is illus
trated by the results of a contest held in t he 1 9 3 0 ’s to judge
new gamelan compositions. The criterion of originality had
to b e abandoned as the compositions submitted all seemed
based upon traditional pieces.2 For certain segments of the
population, this traditionally conservative stance is changing.
Large numbers of western-trained Javanese in h i g h - l e v e l posi
tions in government, education, business, communications and
the arts have lent a certain authority to t he concept of ex
perimentation .
While Ki Wasitodipuro and Ki Nartosabdho are in back
ground and behavior traditional Javanese, they both have
frequent and sometimes intensive contact with t he "new
Indonesia," the w e s t e r n - i n f l u e n c e d elite in government, edu
cation, the army and business. They both have had ample
opportunity to observe and absorb the new approaches and
144
attitudes of this prestigious group. While not abandoning
traditional Javanese values, a new set of motives and aspira
tions has been added to old values. These new values must
surely find reflections in their new music.
The profound impact of w e s t e r n - d e r i v e d musical nota
tion upon gamelan traditions was examined in Chapter II.
Less ubiquitous, less radical, but more obvious influences
are also to be found. These include purely musical influences
whose sources are easy to identify, and the influence of
western attitudes, less easy to p i n p o i n t .
Of the innumerable styles of western music of the
past and present, only a few have influenced gamelan music,
and those few come from rather unexpected sources. One
might guess that western popular music, particularly rock,
being the m o s t widespread of w e s t e r n styles, would have left
its imprint on the music of the gamelan. Western popular
music can be heard anywhere, anytime, mostly via the radio.
However, there has been no assimilation of musical style
between western popular music and gamelan music. Perhaps
th e fact that w e s t e r n popular music is the concern of a select
group within the society, upper-class urban youth who are
largely divorced from old Javanese associations, has prevented
any assimilation with gamelan traditions. The western styles
which have been imitated and fairly successfully assimilated
into gamelan traditions are what might be called light clas
sical show tunes and, s u r p r i s i n g l y , C a t h o l i c liturgical styles.
145
Only vocally do these styles appear in gamelan music. In
strumental borrowings are restricted to Sundanese and Balinese
techniques.
One of the m o s t frequently encountered forms of vocal
innovation is a technique called suara bersama. The term
simply means singing together and is used to encompass non-
traditional styles of two or three-part singing. Traditional
Javanese two-part singing includes a male chorus, gerong, and
a female soloist, pesinden, singing with the gamelan. The
differences between traditional Javanese two-part singing and
suara bersama are illustrated in Figures XVIII, XIX, XX, and
XXI. A cursory glance at t he one traditional and the three
modern styles reveals the vast differences between t h e m.
Ladrang Sri Redjeki illustrates a Javanese way to create
vocal polyphony while Aku N g i m p i , Orde Baru and Kawiwitan
M e d i t a s i /K o n s e n t r a s i represent western ways of combining
vocal lines. What are the conceptual differences between
such different-looking notations?
In Ladrang Sri R e d je k i . F i g u r e XVIII, the relation
ship of the gerong to the saron line is straightforward.
The gerong is a rather simple elaboration of the saron line,
basically syllabic. But the pesinden part appears unrelated
to the saron or the gerong. The apparent freedom of the
pesinden is deceiving as she operates within rather rigid
structural rules. The pesinden phrase must end on the same
note as the kenong. She is always aiming toward the kenong
146
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147
tone, but in order to b e stylistically correct, she must ar
rive l at e. (See arrows on Figure XVIII.) Thus the pesinden
phrase overlaps into the next kenong phrase. Her phrases are
based upon a limited number of m e l o d i c formulas and consist
of fixed poetic verses. If h e r poetic line consists of twelve
syllables, she must begin her phrase after th e fourth saron
stroke of the kenong phrase. If her poetic line consists of
eight s y l l a b l e s , as in Ladrang Sri R ed je k i , she must begin
after the fifth saron stroke of t h e k e n o n g phrase (Figure XVIII
third measure) or, as illustrated below in Kepatihan notation:
Ladrang Sri R e d j e k i . Pelong Patet Nem
(fragment o n ly )
N
Saron: 1 6 1 2 1 6 3 5
1 6 1 2 1 6 3 5
2 1 2 . 2 1 2 .
2 3 2 1 6 5 6 1
Underlinings indicate the sections of the gong phrase where
the pesinden sings .
The third line of Ladrang Sri Redj eki contains an ir
regular pesinden phrase, the declaimed "hidjo." A simple
phrase or a single word is substituted for a poetic line when
the saron line is "queer" or "uneven," p a d a n g . g a n d j 1 1 , 3 i. e.
it contains sustained tones. The irregular third line is
underlined below:
148
Saron: 1 6 1 2 1 6 3 5
1 6 1 2 1 6 3 5
2 1 2 . 2 1 2 .
2 3 2 1 6 5 6 1
"Hidjo" is one of a number of words and/or phrases
called isen- isen or abon-abon which may be used when the saron
line is irregular. The gerong and the pesinden part are not
closely related at all. The pesinden style is often florid
and melismatic, like the first phrase in the example, in con
trast to t he more regular, syllabic gerong part. The concept
of two simultaneous vocal lines singing individual styles, not
related melodically to each other but to two different lines
in the instrumental polyphony is in striking contrast to
western practice.
The vocal style of Aku N g i m p i , Figure XIX, by Ki
Nartosabdho is based upon a different conceptual framework
than that of Ladrang Sri Redjeki. Here the parts are not
equally independent or equally melodic. The "tune" is t he
part of the pesinden with the t wo gerong parts in supportive
roles. This example comes close to^k melody with a harmonic
structure beneath. The vocal parts are more closely related
to each other than to any musical line outside of themselves
and both are syllabic. The voice quality and vocal style of
this song as sung under the direction of the composer has a
hauntingly familiar quality. One hears the shade of Gertrude
Lawrence in the light, girlish voice and the lilting p h r a s e s . **
It is one of the accidents of history that recordings of
149
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Figure XIX
150
European and American show tunes of the thirties were popular
in central Java during the youth of the now middle-aged com
poser Ki Nartosabdho. This source of new material is only one
of m a n y sources for an eclectic man like Ki Nartosabdho and
should not be overstressed. Still, Aku Ngimpi is not an
isolated example. The ghosts of Noel Coward and Cole Porter
tread softly through certain other compositions of Ki
Nartosabdho.5 The English translation of Aku Ngimpi is as
follows:
What's that? Who's that?

Fo r a long time, - I ' m s u r p r i s e d ,
- slender - yellow -
waving - beckoning
The d o o r m o v e s , the d o o r c r e a k s ,
Someone sweet comes near.
T h e d r e a m is b r o k e n .
A h, m y d i s a p p o i n t m e n t s u b s i d e s .
Even the text is ghostly.

3
The use of meter ( s ee also Gending Sakura, p. 1 02 )
is one of those radical innovations which leaves one numb with
amazement at the boldness of the composer. Although a direct

3
borrowing from the west, the use of meter in a gamelan tune
is not conceptualized by the Javanese composer as it w o u l d

3
be by a western composer. All the new gamelan pieces in-^-
meter have superimposed upon them a gamelan-type formal
structure as illustrated below:
K N K N
kae a-pa kuwi saga, suwe su-we, gawd ga-mun etc.
151
with the stress at the end of the unit rather than as appears
in the western transcription, on the first beat of the measure.

3
If meter occurred in one composition by one composer it
could be dismissed as a freak, but there is a persistency
ab o u t this a b e r r a t i o n w h i c h gives one pause. New metrical
structures, if not generally accepted in Java, occur in com
positions by Ki Wasitodipuro and Ki Nartosabdho and at least
one other modern composer, R. C. H a r d j o s o e b r o t o .6
In the song Orde B a r u , Figure XX, there is a contra
puntal vocal section. (See Chapter V, p. 138.) The two
lines are conceived as two equal melodies, and in this respect
at least, follow Javanese tradition. But both lines relate
more closely to each other than any Javanese pesinden and
gerong part, and use the same melodic material.
Thematic development as practiced in w e s t e r n classical
traditions is not a Javanese way of handling musical materials.
Gamelan music is b a s e d upon many sets of m e l o d i c formulas, one
set for each instrument, which can be contracted, expanded,
re-ordered or varied, but not, as the term is used in W e s t e r n
music, developed. Gamelan compositions are not built upon
the principle of taking one small amount of m u s i c a l material
and looking at it any number of different ways as are some
western compositions. Oral traditions cannot easily encompass
this kind of fragmental thematic development, especially with
two voices, as the technique presumes a sophisticated nota-
tional system.
Figure XX.
15 3
In embryonic form, one finds this kind of treatment
in Orde Baru. A small musical phrase forms the basis of the
whole composition. ( S ee the bracketed phrase in Figure XX . )
Sometimes inverted (measure nine, Voice II), sometimes frag
mented (measure five, Voice I), sometimes augmented (measures
seven and eight, Voice I), oft-times repeated and tossed
between the voices, the kernal melody is m u s i c a l l y "played
with" in a way that is uncharacteristic of traditional gamelan
pieces.
Also unlike gamelan practice is the irregular rhythmic
displacement of the kernal melody. In Chapter V I, in connec
tion with t he song Modernisasi D e s a , the gamelan technique of
rigidly regular rhythmic displacement was explained. In
contrast, the rhythmic placement of the appearances of t he
kernal melody in Orde Baru is unpredictable. Within the
measure, it may appear in any position.
The treatment of melodic pattern found in Orde Baru
does not illustrate a Javanese use of pattern. However, it
does Illustrate a long established European way of h a n d l i n g
melodic pattern which was especially popular in the middle
ages from the tenth through the fifteenth century.
T he question arises, how is it that a medieval
European compositional technique suddenly appears in the
works of a twentieth century Javanese composer?
154
The connecting link in this case is the Catholic
Church. The fragmentation of basic melodic pattern and the
rhythmic displacement of that pattern found in Orde Baru
are consonant with the kind of counterpoint employed in the
early history of liturgical counterpoint in the w e s t and the
rhythmic patterns of Gregorian chant.
The Catholic Mass would seem to be an u n l i k e l y source
of inspiration for a court musician unless one is aware of
the special role of the Catholic Church in Jogjakarta. In
the heartland of traditional Java, the Catholic Church has
provided a catalyst fo r change and innovation and produced
writers and artists f ar out of proportion to their membership
in the whole society. The Catholic Church in Jogjakarta and
in Semarang have held gamelan masses long enough for there
to h a v e developed 'a b o d y of gamelan pieces for church use.7
While Ki Wasitodipuro is not Catholic, he has written many
compositions on a Christian theme including th e m u s i c for t wo
Christian sendratari, Alelu.jah and Kelahiran K r i s t u s , "The
Birth of Christ."
The strict parallelism found in K a w i w i t a n Meditasi/
K o n s e n t r a s i . Figure XXI, also derives its inspiration from
liturgical sources. Kawiwitan Meditasi/Konsentrasi is t he
most radical of the three examples showing western influence
in gamelan music because it is conceived harmonically. The
three parts are locked together rhythmically, moving as a
155
KwctKtfot ’
AhditUi/
\uu $kb>___ Al tt&jUt&JUtOu
P— 1* -f^-p-- T---;--- ----------- r-=i
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^
Tit
PP
a ^ c - r ' f -
<-y« m u - j t . ra. - ha -^y« mu
3 j T -r P f ~ f - '
— Ji • f4 * /k' JQ /If
yzzz'^ p :
ftU-ja-ft A-law h-la H- *a Stvtuti
Figure XXI.
156
block. The predominance of parallel fourths gives this piece
a medieval, organum-like quality.
In addition to the parallel motion, the voice quality
of Kawiwitan M e d i t a s i /K o n s e n t r a s i suggests western influence.
Under the direction of the composer, the vocal quality of the
singers is not the rather tense, nasalized quality of a Javanese
chorus, but a more relaxed quality associated with western
choruses.
The text of the composition, however, unites these
western elements with Old Javanese mystical traditions.
I n t h e n a m e of G o d t h e m e r c i f u l a n d p o w e r f u l ,
B l e s s our c o u n t r y , o u r land, our p e o p l e ,
E v e n i n t h i s d i f f i c u l t era.
This Old-Javanese invocation to the gods is still used
in H i n d u Bali, in Java as a solo sung by t he puppeteer in a
shadow puppet play, and in rituals of the mystic sects com
bining animism, Hinduism, Buddhism and Islam known as kedjawen,
" J a v a n e s e n e s s ," or ilmu D j a w i , "Javanese science."8
The concert of new compositions which opens with
Kawiwitan M e d i t a s i /K o n s e n t r a s i continues with a gamelan piece
called Kagok Pangrawit. The saron and gender line is given
below.
Kagok P a n g r a w i t . Pelog Patet Lima

(played very fast)
. .11 . .11 6.5. 4561 .1. . 1. .1 6.5. 4562
223. 1232 3 23 . 3235 656 . 6532 3235 3231

113. 1232 323. 3235 656 . 6532 3235 3212
161.
# 16
•
1 5r .16.
• 16 65
• • » 161.
»
1 6* 1 5f .16.
157
The title of this piece means deviating or strange
gamelan playing. Anyone familiar with the generally slow
paced gamelan melodies and the regular stress patterns of
traditional Javanese gamelan music will find this piece
strange indeed.
The title can also mean a deviant version of Gending
P a n g r a w i t , the long traditional piece given in Chapter III,
p. 64. Gending Pangrawit in its long form is rarely heard.
Few musicians outside of court traditions would even know of
it. The juxtaposition of the two pieces, by giving them t he
same name, and the same patet, illuminates symbolically a
social reality; a change in musical taste away from t he very
long, old-style court gamelan compositions to a more direct
and simple type of musical expression. The "kagok" Pangrawit
is fast and syncopated. By no means could it be expected to
contribute to the attainment of that mental state of repose,
i k l a s , so valued in traditional Java. The driving drum rhythms
which underlie Kagok Pangrawit and t he syncopated saron line
suggest a nervous dynamism which, f or good or ill, is in
keeping with the values of th e present age.
On the recorded version directed by t he composer, nearly
all the m e l o d i c instruments drop out the second time through,
leaving the two g enders p l a y i n g alone with wooden mallets,
Balinese style. The third time through, all the instruments
join in a g a i n . This did not occur spontaneously, it w a s planned
that way. The manipulation of orchestral sound, found again
158
and again in n e w - s t y l e gamelan music, is a perogative of a
western composer. In traditional gamelan music, the way an
instrument is played depends upon tradition, when it is played
depends upon the style of t he piece and the irama, never upon
the w h i m of one man. No traditional gamelan director has the
power of a western composer or conductor. Likewise, t he
autonomy of any gamelan musician far exceeds that of his wes
tern orchestral counterpart. A knowing smile is practically
the strongest expression of disapproval one m u s i c i a n can direct
toward another. The fact that Ki Wasitodipuro can silence
half the gamelan at his will is the assumption of a kind of
control common in w e s t e r n traditions but unknown in tradi
tional Java.
The emergence of the composer, as one who creates a
composition in full detail, directs the composition and w h o s e
name is attached to t he composition is an innovation in J a v a
leading away from an oral tradition. Both Ki Wasitodipuro
and Ki Nartosabdho sometimes actually conduct t he gamelan
during rehearsals. Traditionally, musical direction is always
covert, never overt. The leader gives aural signals with
the rebab or the drum, with no accompanying physical gestures.
The sight of a composer waving his hands over the heads of
the gamelan players, albeit gently, presages a new relation
ship between the members of the gamelan. Some of the old
communality has gone; a certain amount of individual autonomy
has been surrendered.
159
Notes
^ • l e k k e , B e r n a r d H. M. , N u s a n t a r a , A H i s t o r y of
I n d o n e s i a , W. V a n H o e v e L t d . , T h e H a g u e , 1 9 6 5 , p. 371.
2W a s i s t o S u r j o d i n i n g r a t , G a m e l a n , D a n c e and Wajang
In Jog.jak art a, p u b l i s h e d by G a d j a h M a d a U n i v e r s i t y , Jogjakarta,
1 9 7 0 , p. 50.
3Sulaiman G i t o s a p r o d j o , Ichtisar Theori Sindenan, a

m a n u s c r i p t in s t e n c i l form p u b l i s h e d in Malang, East Java,
1 9 7 1 , p. 5.
^Lokananta recording Ki_ N a r t o s a b d h o , A R D - 0 3 9 .
5See also Adja Lamis on L o k a n a n t a Ki Nartosabdho,

ARD-039.
6 " P i e c e s w i t h t h e t e m p o -r w e r e p r e s e n t e d at t h e c o n
s e r v a t o r y in S u r a k a r t a in the y e a r 1967. They were L a n g e n -
s e k a r c o m p o s i t i o n s w r i t t e n b y R. C. H a r d j o s o e b r o t o ," The
p a s s a g e a b o v e is t a k e n f r o m t h e b o o k l e t P e r k e m b a n g a n S e n i
K a r a w i t a n b y S u m a r s a m , p u b l i s h e d in s t e n c i l f o r m by the
A k a d e m i S e n i K a r a w i t a n I n d o n e s i a i n S u r a k a r t a , 1 9 7 1.
7T h e c o m p o s e r s of C h r i s t i a n c o m p o s i t i o n s g i v e n b y
S u m a r s a m i n t h e b o o k l e t P e r k e m b a n g a n S e n i K a r a w i t a n a r e R. C.
H a r d j o s o e b r o t o , D a r s o n o a n d R. L. M a r t o p a n g r a w i t . To the
b e s t of m y k n o w l e d g e , they are all, like Ki W a s i t o d i p u r o , not
themselves Christian.
8P o r a d e s c r i p t i o n of J a v a n e s e m y s t i c i s m s e e G e e r t z ,
C l i f f o r d , T h e R e l i g i o n of J a v a , T h e F r e e P r e s s , A Division
of t h e M a c m i l l a n C o m p a n y , N e w Y o r k , 1 9 6 0 , t he c h a p t e r e n t i t l e d
" T h e M y s t i c a l S e c t s , " p. 339.
C H A P T E R V -T I
OLD MODES AND NEW MUSIC
One frequently hears the charge by Javanese musicians
that modern composers are " d e s t r o y i n g " 'p a t e t . Patet is the
Javanese system of classifying gamelan pieces, usually trans
lated as mode. In central Java each scale system has three
modes as follows: Slendro Patet Nem

Patet Sanga
Patet Manjura
Pelog Patet Lima

Patet Nem
Patet B a r a n g .1
The six modes differentiate compositions musically as
well as having different associations of time and mood.
Wajang K u l i t , shadow puppet, performances are divided into
three sections according to time and mode: 9:00 P.M.-12:00
midnight, Slendro Patet Nem; 12:00 Midnight - 3:00 A.M.,
Slendro Patet Sanga; 3:00 A.M. - 6:00 A.M., Slendro Patet
Manjura. Patet Nem is associated with youth, Patet Sanga
w i t h maturity and Patet Manjura with old a ge . The temporal
associations of the pelog patet are: Pelog Patet Lima, 8:00
A.M. - 12:00 noon; Pelog Patet Nem, 12:00 noon - 3:00 P.M.,
and Pelog Patet Barang, 3:00 P.M. - 8:00 P.M. As the pelog
patet do not have the strong associations with wajang per
formances as do t he slendro patet, they likewise do not carry
160
161
as strong temporal or sequential associations of progression
from youth to old age. Patet Lima, the first pelog patet,
is felt to be rather melancholy, very serious, and suitable
for feelings of religious devotion. Patet Lima has become
the favored patet for Christian gamelan pieces, perhaps be
cause church services are held between 8:00 A.M. and 12:00
noon. The related aspects of time and mood are known in
Java as the r a s a , t he "feeling" of a given patet.
In addition to the associative meaning of time and
mood, the various patet also imply a range or a register.
It is this aspect of patet which links it to the dalang, the
puppeteer. The aspect of patet as register is also the mean
ing of m a n y of the rather nebulous definitions of patet given
by Javanese musicians such as "patet is the place of a certain
piece" or "patet is used to give place to a piece."2 When
accompanying the dalang in a shadow puppet play, the gamelan
must accommodate itself to the voice range capabilities of
the dalang. If the dalang cannot sing comfortably a high
pitch on the gamelan, the gamelan will shift down one note
and go on as before. When a piece is transposed in this way
to accommodate a dalang's voice, some musicians will say the
patet has changed, some w ill say it has not. As the wajang
kulit night progresses, the dalang's general pitch range
rises. This is most noticeable when the dalang sings suluks,
passages of classical poetry, and when a few of the gamelan
members play p a t e t a n , "pateting." The general register of
162
the patetan (a b r i e f free-rhythm i n t e r l u d e ) , rises from patetan
Slendro Nem to patetan Slendro Sanga to patetan Slendro
Manjura and from patetan Pelog Lima to p a t e t a n Pelog Nem to
patetan Pelog Barang. Another Javanese definition is based
upon this aspect of patet, playing of the patetan and singing
by t he dalang.. "Patet is the singing of the dalang accompanied
by rebab, gender, gambang, suling, kendang and sometimes gong."3
In instrumental pieces, the range aspect of patet as associated
with the temporal aspect of patet is only loosely followed.
Pieces in Slendro Patet Manjura (theoretically high range)
are often played in the first section of the wajang night
(Slendro Patet Nem, theoretically low range). The emphasis
on the range aspect of patet is thus a singer's definition
and p robably has its origin with the dalang - singer, actor,
and priest of Java. The ranges of the patets a re v a r i o u s l y
given. Patet range according to Sulaiman Gitosaprodjo/R.L.
Wignjosusastro is as follows:
Slendro Nem: 2 ! ) 5 * ? 1 2 3 5 6 i 2 3
Slendro Sanga: 5 § 1 2 3 5 6 i |
Slendro Manjura: 3 5 6 1 2 3 5 6 i 2 3
Pelog Lima: 1 2 $ 4 5 § 1 2 3 4 5 6 .
Pelog Nem: * ’ 3 4 5 6 1 2 3 4 5 6 i 2 3
Pelog Barang: 2 3 4 5 6 7 2 3 4 5 6 7 2 ^
Slendro patet range according to Ki Hadjar Dewantara
is as follows:
Slendro Nem: 2 3 5 6 1
Slendro Sanga: 5 6 1 2 3
Slendro Manjura: 6 1 2 3 55
163
The explanations given above do not define patet, but
only describe some of the associative meanings of the wo rd.
Patet has a musical meaning as w e l l . Every music
system has a structure, a grammar, a means of limiting the
musical material in order to give meaning to particular
shapes, contours and figurations. The patet system is the
Javanese way of giving their music structure, order, or gram
mar, and thereby makes possible all the extra-musical meanings
which have through time attached themselves to certain musical
configurations. For all of these reasons, the Javanese musi
cians feel that the patet system is the very essence of their
music. Therefore, the charge that modern composers violate
patet is a serious one.
In order to examine this charge and determine its
meaning, one must first establish a definition of patet.
This necessitates a rather lon g digression as patet is not
a simple, easily defined concept. Also, the problem has
been complicated by previous writings on the subject by wes
tern scholars who are not at fault for w h a t they said, but
rather for w h a t they di d not say .
If one participates in scholarly dialogue, one of
the joys of the profession, o ne cannot help but be aware of
and sensitive to the implications of current theories. At
the same time, one of the h a z a r d s of all scholarship is the
tenuency to become enthralled with currently fashionable
theories. In th e w e s t though not in Java, th e question of
164
patet has been obscured because of the power and Imagination
of an early twentieth century theory. This theory postulated
that one of the universals of m u s i c was that many music sys
tems are based upon the acoustical phenomenon of a series of
overblown fifths.6 This theory was so attractive and so
sweeping as to lead scholars to attempt to force it upon
music systems to w h i c h it was irrelevant or only marginally
relevant. Jaap Kunst, surely one of the greatest of m u s i
cologists, was in his most productive years fascinated by
the theory of overblown fifths. Supported by t he fact that
certain confirmations of this theory seem to exist in Javanese
patet, and by a contemporary Javanese theorist, Ki Hadjar
Dewantara who was heavily influenced by western music theory,
Jaap Kunst delineated an elaborate, cerebral construct of
Javanese patet which works reasonably well only in slendro.
However, it raises more problems than it answers in pelog,
and has never been fully accepted by Javanese musicians,
those most familiar with Javanese patet.
Kunst's theory proposes that there are three prin
cipal tones of each mode and that these three tones are
separated by a fifth within each mode and also between each
mode. The three principal tones of each patet are 1) the
principal gong tone, 2) the second gong tone lying a fifth
below the principal gong tone and 3) the dasar (foundation)
which lies a fifth above the principal gong tone.7 The
system can be illustrated as below:
165
(pitch level) 5 6 1 2 3 5 6 1 2 3
Patet Nem GI GII*D ^transposed up

o o o o o one octave
GI = Gong tone I
GII* Gong tone II
D = Dasar
Patet Sanga GI GII*D
(These tones rep
O O 0 o o
resent not only the
theoretical basis of
patet but also the
sequential order of
the m o s t fre
Patet Manjura GI GII*D
quently heard
O O 0 o o g o n g t o n e s In
each p a t e t . ) 8
or in a fifth r e l a t i o n s h i p , like this:
(pitch level) 1 (2, 3) 5 (6, 1) 2(3, 5) 6 (1, 2) 3
Patet Manjura GII GI - D
Patet Nem GII - GI - D
Patet Sanga GII - GI - D 9
In pelog, the theory can be illustrated as below:
166
(pitch level) 1 2 3 4 5 6 7 Scale
Patet Barang GII D GI

O 0 O 0 0
High Auxiliary
O 0 o o o Principal
O O 0 o o
Low A u xiliary
Patet Nem GI GII D .

0 0 o o
High Auxiliary
0 0 0 o o
Principal
o o o o o
Low A u x i l i a r y
Patet Lima GII D

0 o o q Hlgh Auxiliary
0 ° 0 Principal
Low Auxiliary
Pelog Miring*0
The principal tones of each mode, GI, GII and D should
be, in that order, the most frequently sounded gong tones
within each mode. In other words,
Slendro Patet Nem: 2 5 6
Slendro Patet Sanga: 5 1 2
Slendro Patet Manjura: 6 2 3
Based upon an analysis of 1 72 compositions in slendro
( S ee Appendix I I ) , my data gives the following as the three
most important gong tones of each mode in sequence:
Slendro Patet Nem: 2 6 5
Slendro Patet Sanga: 5 1 2
Slendro Patet Manjura: 6 2 3
thus supporting the conclusions of Kunst with the minor excep
tion of the reversal of the second and third gong tones of
Patet N e m . 11
167
The Pelog gong tones, however, cannot be predicted
accurately with Kunst's theory. The following gives K u n s t ’s
theoretical hierarchy of tones within each patet in the pelog
tuning system.
Pelog Patet Lima: 5 1 2
Pelog Patet Nem: 2 5 6
Pelog Patet Barang: 6 2 3
According to my analysis of 1 24 compositions in pelog
(See Appendix II), in order of importance, the principal gong
tones are as follows:
Pelog Patet Lima: 5 1 3
Pelog Patet Nem: 5 6 2
Pelog Patet Barang: 6 2 5
Kunst was aware, however, that the fit between theory
and practice was less than perfect. His rationalizations of
this fact are transparently awkward.
T h i s , h o w e v e r , is n o t at a l l to s a y t h a t t h i s c e n
t r a l t o n e . . . s h o u l d b e t h e t o n e to b e m o s t f r e q u e n t l y
or m o s t c o n s p i c u o u s l y h e a r d . N o t a b i t o f it. . . .
The o t h e r tones derive their m e l o d i c an d tonal value
f r o m it, w h i c h is c l o s e l y c o n n e c t e d w i t h t h e i r g r e a t e r
or s m a l l e r d i s t a n c e f r o m the t o n i c ; the l a t t e r , t h e r e
f o r e , f u n c t i o n s , o n e m i g h t s a y , as a " b a s i s of m e l o d i c
tension," The d a s a r , too, f u l f i l l s a s i m i l a r f u n c t i o n ,
t h o 1 u n d e n i a b l y in a m u c h w e a k e r form; the d i f f e r e n t
t o n e s i n t he f i r s t p l a c e t h e g o n g - t o n e s , d e r i v e f r o m it
t h e i r " t e n s i o n v a l u e , " a l t h o u g h p r o b a b l y not a s i n g l e
ni.1 a g e [ J a v a n e s e m u s i c i a n ] is c o n s c i o u s of t h i s , h o w e v e r
s t r o n g l y t h e y a l l f e e l it u n c o n s c i o u s l y , [ i t a l i c s m i n e ] 12
further on:
. . . t h e t o n e s on w h i c h t h e m e l o d i c p h r a s e s f i n i s h -
w h i c h are, in o r c h e s t r a l c o m p o s i t i o n s , the tones w i t h
w h i c h a b e a t on the l a r g e g o n g c o i n c i d e s , h a v e a c e r
t a i n s i g n i f i c a n c e . . . r e l a t i v e to t h e t y p i c a l n a t u r e
of t h e p a t e t , at a n y r a t e in s l e n d r o . 13
168
An alternative description of the relative Importance
of each note within the v a r i o u s patet is offered by Ki
Sindoesawarno, a highly respected Javanese musical theorist.
The italics in this quote are in t he original passage.
D o n g - d & n g - d u n g - d a n g - d i n g are s t i l l the B a l i n e s e

n a m e s of t h e g a m e l a n - t o n e s f o r b o t h s l e n d r o a n d
pelog. T h e r e a r e m a n y e v i d e n c e s to b e f o u n d a s s u r i n g
that t h o s e nam es w e r e the o r i g i n a l n a m e s in all are as
of I n d o n e s i a . T h e s e a r e o n o m a t o p o e t i c a l , as a p p e a r s
f r o m t he d e n t a l d, w h i c h p o i n t s to s o m e s t r u c k i n s t r u
m e n t , a n d t h e n a s a l - ng , w h i c h p o i n t s to a b r i g h t ,
m e t a l l i c tone. The vowels, o - e - u - a - i represent
t h e s u c c e s s i o n o f t h e t o n e s i n t he s c a l e . This s u c
c e s s i o n l o o k s s o m e w h a t s t r a n g e to u s , b u t a p p a r e n t l y
c o n t a i n s t h e k e y of t h e t o n a l s t r u c t u r e of t h e g a m e l a n .
W h e n w e a r r a n g e t h e v o w e l s in g r a d a t i o n of q u a l i t y ,
t h e s u c c e s s i o n m u s t be: o - u - a - f e - i . This
q u a l i t y is d e s c r i p t i v e l y e x p l a i n e d i n t h e f o l l o w i n g
example. " S r " is a s t e m w o r d i m i t a t i n g a w a t e r - s t r e a m .
T h e r e f o r e , " s o r " is a b i g a n d v i o l e n t l y f a l l i n g s t r e a m ,
" s u r " a l e s s v i o l e n t o n e , " s a r " a s t r e a m in a n y d i r e c
tion, "s er" a m o d e r a t e h o r i z b n t a l s t r e a m and "sir" a
fine, small stream. T h i s w a y of d e s c r i b i n g a g r a d e of
q u a l i t y is c h a r a c t e r i s t i c i n o u r l a n g u a g e . So, d o n g -
d u n g - d a n g - d e n g - d i n g a r e d e c r e a s i n g g r a d e s of
q u a l i t y , a n d s t r i k i n g l y so. T h i s s u c c e s s i o n of d e
c r e a s i n g q u a l i t i e s is at t h e s a m e t i m e a s u c c e s s i o n of
f u n c t i o n a l s u b o r d i n a t i o n in m u s i c a l m e l o d y . The s u b
o r d e r o f f u n c t i o n s in e v e r y p a t e t l o o k s l i k e t h i s :
dong - tonic bakuswara (Javanese)

dung - subdominant
important tones - dajaswara ( Jv . )
dang - dominant
deng - p a s s i n g tone
supplying tones - wargaswara ( J v . ) 11+
ding - p a s s i n g tone
As originally applied to the Javanese tone system, the
theory according to K i Sindoesawarno would look like this:
(pitch level) 5 6 1 2 3 5 6 1 2 3 5
Slendro
Patet Manjura dong d£ng dung dang ding
Patet Nem dong d&ng dung dang ding

15
Patet Sanga dong d&ng dung dang ding
169
This description has the advantages of greater simpli
city, a ranking of all five scale tones, and of being a Javanese
viewpoint, an emic approach as seen from within the system.
Unfortunately, it fails in pelog in precisely the same way
as Kunst's theory. The theoretically important tones and
their rankings do not correspond with their actual frequency
of occurrence as gong tones. (See Figures XXII and XXIII.)
The apparent fifth relationship between the principal
tones of the slendro patet and b e t w e e n the three principal
tones within each patet is open to another interpretation.
Each of these "fifths" lies t he distance of two wilahan keys
from the principal tone within the patet, or between patet.
levels Q 0 B 0 0 Q E J v
S lendro Patet Nem GII GI D keys (wilahan)
kempjung kempjung
This interval, called kempjung in Java, is second in importance
in Jav a only to the octave. Kempjung, two tones separated
by two intervening keys, usually approximates a western fifth,
although the actual kempjung interval varies widely from
gamelan to gamelan. Perhaps more important than the "fifth"
relationship is the consonance of two keys separated by two
intervening keys. A Javanese musician familiar with Kunst's
theory will always describe th e interval as a fifth, quint,
while an untutored village musician will always call the
170
Slendro
Patet Nem Patet Sanga Patet M
Pitch level 1
T o t a l n u m b e r of gong phrases 1 18 4
e nding on pit c h level 1
Kunst's classification - GII -
Balinese/Sindosawarno
classification ding dung deng
Pitch level 2
e n d i n g on p i t c h level 2
Kunst's classification GI Dasafc GII

Balinese/Sindosawarno
classification dong dang dung
Pitch level 3
ending on pi t c h level 3
Kunst's classification - - Dasar

Balinese/Sindos awarno
classification deng ding dang
Pitch level 5

Kunst's classification GII GI -
Balinese/S indoesawarno
classification dung dong ding
Pitch level 6
ending on pit ch level 6
Kunst's classification Dasar - GI

B a 11n e s e / S i n d o e s a w a r n o
\
classification dang deng dong
Figure XXII
171
Pelog
Patet Lima Patet Nem Patet Barang
Pitch level 1 /7
e n d i n g on p i t c h l e v e l 1/7
Kunst's classification GII

Balinese/Sindoesawarno
classification dung ding deng
Pitch level 2
T o t a l n u m b e r of gong phr a s e s 5 27 24
Kunst's classification Dasar GI GII

classification dang dong dung
Pitch level 3
edding on pi t c h level 3
Kunst's classification Dasar
classification ding deng dang
Pitch level 5
Kunst's classification GI GII
classification dong dung ding
Pitch level 6
Kunst's classification Dasar GI
Balinese/Sindoesawarno \
classification deng dang dong
Figu e XXIII
172
interval kempjung and describe it in terms of two intervening
w i l a h a n , or keys. Key counting as a way of determining
musical relationships is not uncommon in Java. In discussing
th e history of the names of the patet, Ki Sindoesawarno says:
. . . W h e n s u c h an i m p o r t a n t t o n e o c c a s i o n a l l y was
the f i f t h k e y - p l a t e (from left) on his g e n d e r , the
p l a y e r e a s i l y c a l l e d the p a t e t "th e m o d e of the f i f t h
p l a t e " ; t h a t is to s a y : p a t e t L i m a . W h e n it w a s t h e
s i x t h , the p a t e t w a s c a l l e d p a t e t Nem, and me a n s , "the
m o d e of t h e s i x t h p l a t e or t o n e . " 16
The main difficulty with Kunst's analysis is that it is
based upon a scalar theory of music, that melodies are gen
erated from scale forms, rather than scale forms being de
rived from melodies. Scalar musical theories are common in
western scholarship, but in Java the focus seems wrong. The
most important aspect of patet is not the scale of a particu
lar patet but melodic pattern, or melodic formula. This is
nothing new. There are many words in Javanese which indicate
melodic formulas. Their difference in m e a n i n g l ie s in their
different positions relative to a continuum from formulas
at one end to loosely restricted formulaic melodies at t he
other. Included are such words as r u m u s , melodic formulas
for gender, pesinden, rebab, etc., tj e n g k o k , f o r m u l a i c melo
dies for saron, gender, bonang, gambang, etc., w i l e t , for
mulaic melodies more free than tj&ngkok for rebab, pesinden,
suling, etc. All these formulas or formulaic melodies have
patet or modal restrictions.
173
According to R. M. Sarwaka:
t h e d i f f e r e n c e b e t w e e n o n e p a t e t a n d a n o t h e r is
b a s e d u p o n a c e r t a i n d i f f e r e n c e in the f o r m u l a i c
m e l o d i e s [ t j & n k o k ] 17
or K i Sindoesawarno:
Actually, tjenkok have personal characteristics,

a c c o r d i n g to t h e i n d i v i d u a l a n d a l s o a c c o r d i n g to
their locality. T h e o r e t i c a l l y , t h e n u m b e r of t j e n g k o k
is u n l i m i t e d . B u t as e v e r y o n e k n o w s , t j e n g k o k a r e
r e s t r i c t e d b y t h e c h a r a c t e r i s t i c s of t h e i n s t r u m e n t ,
by th e l aws of the t u n i n g s y s t e m and by p a t e t , and
c e r t a i n l y b y e s t h e t i c s . 1®
Kunst himself had other thoughts about patet. With
disarming honesty and modesty he lists all of the unsolved
problems of his analysis as w e l l as those elements he feels
have been slighted.
As a m a t t e r of f a c t t h e r e a r e c e r t a i n i n d i c a t i o n s
t h a t t h e e s s e n t i a l b e i n g of t h e p a t e t s is n o t e x c l u
s i v e l y d e t e r m i n e d by the g o n g - t o n e s and the pitch,
but that o t h e r e l e m e n t s m ay possibly play some part.
T h u s it is n o t q u i t e i m p o s s i b l e t h a t . . . ii) t h e r e
is a d i f f e r e n c e in t h e t u r n of t h e m e l o d y , e s p e c i a l l y
i n t h e m a n n e r in w h i c h t h e k e r n [ k e r n a l ? ] m e l o d y
r e a c h e s t h e f i n i s h of t h e g o n g p h r a s e s . 19
It was this final question in K u n s t ' s mind that formed
a large part of the study by Mantle Hood, The Nuclear Therne
as a Determinant of Patet in J a v a n e s e Music. Mantle Hood
follows Kunst in his theoretical basis, that the patet system
is founded upon a series of fifths and also in t he strong
scalar emphasis of the study. Hood gives a detailed examina
tion of the role of each note within a given patet.
When it comes to the last fo u r saron t o n e s of a g o n g p h r a s e ,
Hood recognizes that melodic formulas are in o p e r a t i o n . 20
174
In fact, gamelan gending are formulaic from beginning to
end, from the buka o p a q - opaq (introduction) to the final
gong, and all the parts as well whether played by saron,
bonang, gender, rebab, suling, kendang or any other instru
ment .
The analysis presented in Appendix III was prompted
by a suspicion that patet recognition was based upon three
interlocking factors; 1) melodic pattern, formula or con
tour, 2) the pitch level of that pattern and 3) the position
of the pattern within the formal structure of the piece.
Realizing t he necessity for a vast amount of data to estab
lish the theory, it w a s necessary to use in t he analysis
only the saron line, as that is t he part found most exten
sively in notation. Had bonang or any other parts been
chosen for analysis it w o u l d have involved transcription.
This would have doubled t he already horrendous number of
hours involved without altering the resultant c o n c l u s i o n s . 21
No repetitions of gong sections are included in t he data.
The basic unit of the analysis is the four-note
saron unit called gatra.
T h e s m a l l e s t p a r t of a c o m p o s i t i o n w h i c h still
has m e a n i n g is c a l l e d g a t r a , o r u n i t . 22
The gatra, like all Javanese musical units, is weighted
at the end. Each successive note becomes more important as
the final note is approached. The fourth position note is
t he most important, the third next, the second next and the
175
first position note the l e a s t . 23 Thus in the analysis in
Appendix III the gatra are grouped first according to their
final note. Different tables separate different final notes.
Within one table, the gatra are grouped first according to
their last two notes, and second, according to their last
three notes.
The saron lines of the gending in the data were
divided into gatra in the following way:
If the piece is in Ladrang form:
Ladrang R e m e n g , Slendro Patet Nem
N N
. 66 . 66 5 6 1 6 4 3 2 2 3 2
gatra gatra gatra gatra
Or if the piece is in K e t a w a n g form:
Kewawang Martapuran, Slendro Patet Manjura
N G
.. 23 21 2 6 3 5 6 5 2 1 3 2
gatra gatra gatra gatra
Or if the piece is in G e n d i n g form:
Gending Tedjosari ketuk 2 k r . minggah Pelog Patet Lima
. 1 1 . 1 1 2 3 5 3 2 3 2 1 2 1
176
Within Javanese formal structures t he primary sub
dividers mark points of great structural importance, i.e.,
important points of convergence of various lines . The finer
the subdivision, the less important it is structurally. The
gatra in the corpus are ranked according to their structural
importance. The gatra whose last note falls on a gong is in
a very strong position, the gatra whose last note falls on a
kenong is in a strong position, and the gatra whose last note
falls on a kempul is in a position of lesser strength. For
t he sake of s im p l i c i t y the third ranked position of lesser
strength is called "weak" position. However, it is "weak"
only in relation to the two stronger positions, while
"strong" in relation to lesser subdivisions. In one gongan
(section whose end is m a r k e d by the large gong) of L a d r a n g
form there are one very strong position (gong), three strong
positions (kenong) and four weak positions (kempul).
Ladrang
Kempul keNong
. 6 6 . 6 6 5 6
4 weak gatra-^1 6 5 3 2 2 3 2 ■*- 3 s t r o n g gatra
. . 6 1 2 2 3 2
3 2 1 6 5 6 1 2 GongV •*- v e r y strong gatra
In one gong section of Ketawang form there are one very
very strong position, (gong position), one strong position,
(kenong p o s i t i o n ) , and two weak positions (kempul position).
177
Ketawang
Kempul keNong
..23 (2 1 2 6 > ■«-l s t r o n g gatra

2 weak gatra-*-
3 5 6 5 ^2 1 3 2} Gong -<-1 v e r y strong
gatra
(The w e a k position is not always marked by a kempul, as in the
first gatra of a Ketawang form or in the first three gatra of
a gending form. Regardless, the position is weak and is
marked as K in the analysis.)
In gending form for every gongan there are one very strong
position, three strong positions and twelve weak positions.
Originally, the three weak gatra of each line in gending
form were separated into three categories. As no significant
grouping of patterns rasulted, all three were subsequently
grouped together.
Gending
keNong
f. 6 5 . 5-6 1 2 1 3 1 2 . 1 6 5
12 w ee a k ^ J 2
2 2 .. 2 2 . 3 5 6 5 3 2 1 2 6^ «-3 s t r o n g
ga tra \ [ gatra
.2 1 . 6 5 3 2 2 . 3 5 6 3 5 1 6
6 5 . 5 6 1 2 1 3 1 2 6 5>Gong «-l v e r y
strong
gatr a
In the analysis, the occurrence of given patterns is recorded
according to position as follows:
G=(gong-very strong) N * (kenong-strong)
K s(kempul-weak)
Each gatra is given a number indicating its contour.
The same number indicates the same contour regardless of what
178
pitch level the patterns begin o n. For example, No. 1 is
the same contour on the table of patterns ending on 1, the
table of patterns ending on 2, etc. Or,
2 3 2 1
3 5 3 2 —
Contour 1. — _
5 6 5 3 —
6 1 6 5
1 2 1 6
are all the same contour, No. 1, although the starting (and
ending) pitches differ.
Contour is the underlying formula. Its realization on
various pitch levels results in the pattern. The position of
the pattern within the m u s i c a l structure indicates patet.
Figure XXIV is a diagram of all the contours frequently found
in gamelan compositions. As they are generally played on a
one-octave saron, at some point every contour becomes distorted
by transposition to the adjoining octave. For example, on an
instrument whose keys are
contour No. 1,
0 00 0 0 0
- , ending on pitch levei 2 maintains
°
ctave)
itself
as four descending steps. Ending on pitch level 5, however,
S?
it becomes 2 1 6 5 or . The fact of disjunction through
«F -
transposition does not appear to b e a factor influencing the
frequency of u s e. Contour No. 16, , in the conjunct form
1 2 3 5 does not occur in the data. In the conjunct forms
2 3 5 6 and 3 5 6 1 it is common. It is also common in the
disjunct forms 5 6 1 2 and 6 1 2 3.
179
[Contour ~T
i no. , 1
|
—
1. 12. 23• —
_ 31
*. mm
—
i
. 1 i
I — — —
mm — — —
-
—
i — —
2. :13. Zh ► 35.
A —
— t — —
mm \ — •
— -
•-~3~ _
25« _ 36.
— <- *
------------
1 !
) • * • »
1 ' 1 | — •
| 1—
A.. mm —
;i5. | — _ — — 1
mm — | • ■ 2 6 , — 37. 1
j— ! — 1
j 1 1 J* I | |
— I
5. 1 ; • 1— | ] zr. — | '35. I
— j — I“
-4=- 1 I 1
------------------ *
• 1- i
i - • - ...J
h. i— i i17. ! ! 1 19.
-! !- S—
— ( 1 i 1 . ■ !- i — — — —
1
i t • •- I I- |l| ............................
1 i i - I
7. 1 I- 1 1“
t ;13. |—
- 1 — !_. -111
. • .
• t
— I — i -1
— 1
. S . . ..
| 10. ■3oL | — ---- ------------------
—1 { —
!— ~ 1
1 1 1
— —r
— i | --------------------1
' V.' — 2U« ■111 — I —
—j t — — . j _ _
■_ t I w1 *
I . 1 !
i 1 1
i
—
1 1
I i 1
|
.
— ...................... 1
) I I — \
10. ?1. 32-
— I— — 1— 1 i— i — —
1 — i i«• i
I
- 1- 1 j —
t -1
li; 1 22. 33> — I
— — 1— |- i
1 1— -1
--------- — ---
l
Figure XXIV
180
The contours are numbered for two reasons, first, to
indicate how restricted are the total number of contours used
and second, to facilitate the comparison of the use of a given
contour on different pitch levels. Given a four-note unit
with the final note fixed, there are 125 combinations possible,
or 125 possible contours. Only thirty-nine contours actually
occur with enough frequency to m a k e them statistically signi
f i c a n t . 24 Actually, fewer than thirty-nine contours are sig
nificant on any one pitch. In Slendro, either a total of
thirty-one or thirty-three contours occur regularly on any
given pitch, in pelog even fewer, averaging only a total of
twenty-six of the possible 125 contours. Contours Nos. 1
(- -_) and 2 ( ”- ) are the h i g h e s t frequency contours, occur
ring on every pitch level in nearly every position (G, N, K),
therefore giving no clues as to patet identification. Other
contours give strong patet clues such as contour No. 20 ( - -)
ending on pitch 6 (1 6 5 6) which is most likely to be a
Slendro Patet Sanga pattern in w e a k position ( K ) , (see chart 6,
Slendro), while the same contour ending on pitch 1 (2 1 6 1)
is rarely to be found at all. The preferred contours are
those which end in a descending step (nos. 1-15) ____ 1 6 ,
6 5, or ____ 3 2, etc., or those ending on an ascending
step (Nos. 15-30), ____ 5 6, ____ 3 5, or ____ 12, e t c. In
both cases a total of 15 o ut of a possible 25 occur regularly.
Thereafter the percentage of contours which occur compared to
the number of possibilities drops off sharply. Of the
181
remaining seventy-five possibilities (3 x 25) only nine occur
regularly.
In Javanese notation and practice a dot, j_, m e a n s the
previous note is sustained, is not damped and thus the pre
vious note continues sounding through the symbol . Thus
all patterns (and there are many) including the symbol
are recorded as though ^ were a repetition of the previous
tone. For example 5 5 . 6, or 5 . 5 6, or (last note of
previous gatra -05 . . 5 6 are all considered variants of
5 5 5 6 and are recorded under that contour. One of the
most common examples is the pattern in gong position, (last
note of previous gatra 2 . 1 6 5, which is classified
with the pattern 2 1 6 5. Another common use of the dot
symbol occurs in Contour No. 39, where 6 6 6 6, ( or the
same contour on any pitch level), may occur as 6 . 6 6, or
. 6 . ., or . . 6 6, or 6 6 . . , or . 6 6 . , etc. The
exceptions to this general practice in the analysis are
Contours Nos. 36, 37, and 38 which rarely occur with t he
sustained last note filled in. Therefore, they are left
in the data as they generally occur in a composition.
Spaced patterns such as . 2 . 3 . 2 . 1 with only
four saron strokes per kenong are treated the same as 2 3 2 1.
Formal expansion and compression are common in gamelan music
and need not affect characteristic contours of the saron.
182
Pitch level four occurs in Patet Pelog Lima and Patet
Pelog Nem where it is in free variation with pitch level
three. (Pitch level four occurs less frequently in Pelog
Patet Barang where it is in free variation with pitch level
five). Pitch level four is s o r o g a n , or alternative, to pitch
level three. For this reason, pitch level three and four
are superimposed on one table, Table 8, in t he analysis.
Likewise, pitch level one and seven are (with rare
exceptions) mutually exclusive, or in complementary distri
bution. This makes it possible for them to be treated as
variants of each other, structurally the same.^ Within
their respective scale systems, pitch levels two and seven
(Patet Barang) and pitch levels two and one (Patet Lima and
Nem) are adjacent tones. Thus the patterns 2 3 2 7 and
2 3 2 1 are both classified as Contour No. 1. Patterns
ending on pitch level one and pitch level seven are super
imposed upon one table, Table 6.
The Tables 1 - 10 of Appendix III record the frequency
of occurrence within the corpus of a given contour, on a
particular note or pitch level (pattern), in a specific
position (G, N, K). A glance at the tables is enough to
establish t he fact that melodic patterns do not appear with
random frequency within every patet or in every position.
The occurrences tend to cluster. It is that clustering of
occurrence of a particular melodic pattern in a specific
183
position which gives the profile of each patet.
No Javanese musician needs any table of occurrences.
The information is already catalogued in his brain, already
internalized. He need not wait for the final gong to iden
tify the patet. His clues begin with the very first gatra.
The Tables Nos. 11-16 of Appendix III give a profile
of pattern use for each patet. Each table focuses upon one
patet. The significant patterns of the patet are listed by
the order of the pitch level of their final digit. The pat
terns are ranked according to their frequency of occurrence
as follows:
* * important pattern = ten or mo re o c c u r r e n c e s

in that p o s i t i o n
x » frequent pattern = f i v e or m o r e o c c u r r e n c e s
in t h a t p o s i t i o n
The relative frequency of the same pattern in other patets
is also given on the same table. This is to allow the reader
to discriminate between frequent patterns which are patet/
position specific and those which are not. At the left of
each table, the information is summarized again according to
position (G, N, K).
Slendro Patet Nem
The profile of pattern use for Slendro Patet Nem is
given in Appendix III, Table 11. Of a total of 625 possible
patterns, (12 5 contours x five pitch levels), only 49 are
frequently used in Slendro Patet Nem. Of a total of 125
184
possible contours, only 25 frequently occur in Slendro Patet
Nem.
Slendro Patet Nem avoids patterns ending on pitch
level one in gong position a nd stresses patterns ending on
pitch level two and six in gong position.
The overall profile of pattern use in Slendro Patet
Nem is similar to the profile of pattern use of Slendro
Patet Manjura. Patterns ending in the configuration _ 1 3 2,
_ 1 2 3, and _ 5 2 3 are frequently heard in b o t h Slendro
Patet Nem and Slendro Patet Manjura, rarely in Slendro Patet
Sanga. Also, patterns ending on pitch level six in gong
position are shared between Slendro Patet Nem and Slendro
Patet Manjura.
The most significant difference between the tw o is
that contours ending on pitch level five in strong position
are frequent, in Slendro Patet Nem ( a nd Slendro Patet Sanga)
and rare in Slendro Patet Manjura. Also, patterns ending
in the configuration _ 6 5 6 are common in P a t e t Nem and
Patet Sanga in kenong and kempul position and are rarely
heared in Slendro Patet Manjura.
Slendro Patet Sanga
The profile of p a t t e r n use for Slendro Patet Sanga
is given in Appendix III, table 12. Of a total of 625 pos
sible patterns only 45 are frequently used in Slendro Patet
Sanga. Of a total of 125 possible contours, only 21 occur
frequently.
185
Slendro Patet Sanga avoids patterns ending on pitch
level three In strong posit*ons and stresses patterns ending
on pitch level five in gong position.
Patterns ending in the contour _ 6 1 5 are exclusive
to Patet Sanga, occuring in all Sanga positions. These pat
terns, plus the other three exclusive Sanga patterns, plus
the strong emphasis on p a t t e r n s ending on pitch level five
in k enong and gong position make Sanga the easiest of
Slendro patet to identify.
Slendro Patet Manjura
The profile of pattern use for Slendro Patet Manjura
is given in A p p e n d i x III, Table 13. Of a total of 625 pos
sible patterns only 40 occur frequently in Slendro Patet
Manjura. Of a total of 1 25 possible contours only 19 occur
regularly.
Patterns ending on pitch level five in strong posi
tions are avoided in Patet Manjura and patterns ending on
pitch level six in strong position are stressed. The only
important pattern ending on pitch level five frequently
found in Patet Manjura is 3 2 6 5 in w e a k position. Patterns
ending in the contour _ 2 5 3 are most likely to be Manjura
patterns. Also, the "hanging" (gantung) pattern 3 3 3 3 is
most likely to occur in M a n j u r a .
186
Pelog Patet Lima
The profile of pattern use for Pelog Patet Lima is
given in Appendix lily table 14. Of a total of 625 possible
patterns only 24 occur frequently. Of a total of 125 con
tours only 13 occur regularly.
Pelog Patet Lima stresses patterns ending on pitch
level one or five in strong position. Gatra which begin
with pitch level four strongly suggest Patet Lima and occur
only rarely in Patet Nem or Barang. Patterns including the
sorogan four are much more frequent in Lima than Nem. (See
Appendix I I I , p. 242, c o n t o u r 2 a n d p. 2 4 6 c o n t o u r 6.) Patterns
ending in the contour ____ 4 2 are exclusively Pelog Patet
Lima kempul patterns.
Pelog Patet Nem
The profile of pattern use for Pelog Patet Nem is
given in A p p e n d i x III, table 15. Of a total of 625 possible
patterns only 36 occur frequently. Of a total of 1 25 pos
sible contours only 14 occur regularly.
In P a t e t Nem patterns ending on pitch levels five and
six are stressed in strong position. Patterns ending in the
contours _ 1 2 6 o r ____ 3 6 are usually Pelog Nem. Pattern
2 3 2 1 also is usually Pelog Nem. Pelog Nem shares with
Pelog Lima the heavy use of pattern 2 1 6 5. Patterns
ending in the contour ____ 1 2 in gong or kenong position
are almost always Pelog Patet Nem.
187
Pelog Patet Barang
The profile of pattern use for Pelog Patet Barang is
given in Appendix III, table 16. Of a possible 625 patterns
only 32 occur frequently. Of a possible 125 contours only
14 occur frequently.
Patterns ending on p i t c h level two and six are stressed
in strong position in Pelog B a r a n g . 26 Because of the use
of pitch level seven, Pelog Patet Barang is the easiest of
all patet to identify visually and aurally. In addition,
some patterns not involving pitch level seven are indications
of Pelog Barang such as those ending on the contour _ 6 3 2.
To summarize, a patet is the profile of the use of
characteristic contours on particular pitch levels (patterns)
in particular positions within a composition. Having rede
fined the concept of patet, one would do well to repeat the
concluding words of Kunst in the article "Around von
H o r n b o s t e l ’s T h e o r y of the Cycle of Blown Fifths," bringing
home as it does the realization of the transitory and im
permanent nature of all theoretical constructs.
F a r b e it f r o m m e to c o n t e n d t h a t a l l t h e m y s t e r i e s
s u r r o u n d i n g t h e s c a l e s at i s s u e a n d t h e i r i n t e r r e l a
t i o n a r e to m y m i n d s w e p t a w a y b y V o n H o r n b o s t e l ’s
t h e o r y , n a y , it i s , i n d e e d , n o t e n t i r e l y to b e e x c l u d e d
t h a t r e a l l y t h i s t h e o r y is f o u n d e d on a n e r r o r , b e it
a b r i l l i a n t and f a s c i n a t i n g one. But this, h o w e v e r ,
w i l l t h e n n e e d to be d e m o n s t r a t e d w i t h o t h e r and
s t r o n g e r a r g u m e n t s than t h o s e s t a t e d above.
An d fu rth e r , this ca n n o t be g a i n s a i d : if^ V o n
H o r n b o s t e l ' s t h e o r y o n e d a y s h o u l d t u r n o u t to b e
u n t e n a b l e , it w i l l n e v e r t h e l e s s h a v e t h e g r e a t m e r i t
188
of h a v i n g c l a r i f i e d c e r t a i n v e r y t h o r n y p r o b l e m s
r e l a t i v e t o t h e s t r u c t u r e a n d t h e c o r r e l a t i o n of
t h e i n s t r u m e n t a l s c a l e s of v a r i o u s p e o p l e s l i v i n g
f a r a p a r t in t i m e a n d s p a c e . T h e f a t e of t h i s
t h e o r y w i l l t h e n b e s i m i l a r t o t h a t of t h e f a m o u s
e p i c y c l e - t h e o r y of P t o l e m y , w h i c h g a v e a n a d e
q u a t e e x p l a n a t i o n o f t h e a p p a r e n t m o v e m e n t s of
the h e a v e n l y b o d i e s , and w h i c h was n e v e r t h e l e s s
s h o w n l a t e r o n to b e c o m p l e t e l y f a l s e . 27
It is now possible to return to the original problem
posed at the beginning of this chapter. Are the m o d e r n com
posers Ki Wasitodipuro and Ki Nartosabdho, as their critics
charge, destroying patet? The quest for a reasoned answer
to the question will begin by examining the attitudes of the
composers themselves and then by looking at their works.
First of all, both men would most certainly bristle
at t he accusation. They a re first and foremost traditional
musicians, closely tied to traditional forms of artistic
expression. Ki Wasitodipuro as the leader of one of t he
finest court gamelans, the Pakualaman gamelan, and the
descendent of a long line of court musicians would be among
the first to p r o t e s t if he felt honored traditions were being
violated. Ki Nartosabdho is best known as a dalang, shadow
puppeteer, and thereby immersed in the m o s t traditional, the
most philosophic of forms, wajang kulit. The years of h i s
early manhood were spent as the drummer for the wajang orang
company Ngesti Pandawa, t h us absorbing for years on end the
traditional epics, the H i n d u philosophy, t he ethical codes
and behavior patterns as seen in t he wajang orang a nd wajang
kulit stories. There is nothing in t he b a c k g r o u n d of either
189
man to lead one to expect to find an avant-garde composer.
The majority of the new compositions by Ki Wasitodipuro
and Ki Nartosabdho are traditional in style, do not violate
the rules of p a t e t structure and, in time, will blend into
the traditional repertoire. The basic musical conservatism
of both men must be understood in order to appreciate the
full import and impact of their innovations. One of the
most common kinds of m u s i c a l creation of both composers is
the w r i t i n g of a new vocal part for a traditional composition.
These modern-style vocal parts for traditional pieces abandon
traditional poetic forms, are written in m o d e r n Javanese and
are m u s i c a l l y less formulaic than traditional gerong parts.
(S ee Figures XXV and XXVI.) This is the kind of gradual
updating, making contemporary, process which goes on in all
oral traditions. It is not the kind of change which alters
attitudes about music, or threatens the basic structural
relationships of the music.
A different type of change can be seen in th e compo
sition Kagok Pan g r a w i t , discussed in Chapter VI (see p. 156)
which presents some problems of patet identification.
According to the composer, the piece is in Pelog Patet Lima.
The gong patterns (very strong position) are the fourth and
eighth gatra of each line and are as follows:
Reproduced
with permission
Ladrang Ajun-Ajun, Pelog Nem (Ir.III)
Traditional
Vocal part by Ki W a s i t o d i p u r o
nDawah:
of the copyright owner.
K N
saron: 5
9
6* . . 2 3 2 1 2 1 . . 3 5 3 2
1 2 . . 2 3 2 1 2 1 . . 3 5 3 2
v o i ce 2 3 .235566 .56 2 3 2 1 2 621 211 2 i 6 5 3 5 . 6 2 1 § 3 132
Mdh rahina semu agang ing wetan pernahd d mratandani wiwit bangun esuk
1 2 . . 2 3 5 6 2 3 2 1 6 5 4 5
Further reproduction
32.12 35 .62 . 2 3 5 6 5i6 56.516 2 3 2 i 3 2 6 5 4 2 465

P a r a tani ama k a r j a a n g g a r a p saw a h d m a n g g u l p a t j u l garu luku s i n a m b i nggerak
---------------------------------------------------------------------------------------- kebone
190
3 5 6 3 5 3 2 5 3 1 6 1 2 1 0
. 2 35566 3 6 5 3 2 312 1 2 132 3 5 6 2 1 6• 2 231 3 2 3 1 2 1 6•
Anggalijak tansah ramd ing gawd Paedahd wantji ngunduh tikel
ing p a m e t u n d
prohibited without permission.
(Taken from the bo o k Gerong compiled by Ki Wasitodipuro for

teaching purposes.)
Figure XXV
191
Ketawang S u b a kastawa. Pelog Patet Nem
Traditional
Vocal part by Ki Nartosabdho
Ngelik:
N
saron: . 2 . 1 . 6 . # 5
voice: . . . 5 5 6 i 2 i 2 1 6i.2i.1655
Angripta reng ganing gunung Im-
2 . 1 . 6 . ) g)
42.456. 6 5 421 . . . . 6i.2i.2l65
bange djuange jen kadulu saking tebih
2 . 1» * *. # # 6 .* * 5
94
5 5 .61 2 1 2 1 6 1 2 1 1 6 5 5
W a r n a biru maja m a j a wa-
2 . 1 . 6 . ®
42.456 6 5 421 . . 6
•
1 2 1 2 1 6• 5•
tund alasd kang djenar sinawul wiwilis
2 . 1 . 2 . 6
1 1 . 4565421 2 1 2 1 5 .16
E E gawd l a m l a m ing paningal
2 . 1 . 6 . ®
2 2 . 2 4 .21 . 21 .21 6• 1 2 1 2 1 6* 5
9
Lho lho s u w e s u w e nandoki rasa ngrespati
(Taken from G e n d i n g D jawi saha Dola n a n

g a g r a k e n g g a l b y K i N a r t o s a b d h o , p. 18)
Figure XXVI
192
contour gong
n o. patterns
16 4 5 6 1 ( v a r i a n t of 3 5 6 1) - possible in
Pelog Lima
? 4 5 6 2 - not in data
17 3 2 3 5 - possible in P e l o g L im a
31 3 2 3 1 - possible in P e l o g L i m a a l t h o u g h
v a r i a n t 4 2 4 1 is m o r e c o m m o n
20 3 2 1 2 - s t r o n g in P e l o g L i m a
? 1 1 6 5 - not in data
The first subdivision, or the strong patterns (N) in
this piece are the second and sixth gatra of each line and
are as follows:
contour
no. gatra
39 1 1 1 1 - frequent in P e l o g L i m a
6 1 2 3 2 - possible in P e l o g L i m a
2 6 5 3 2 - frequent in Pelog Lima
31 1 6 1 *5 - not f o u n d in the data in

Pelog Lima
The next subdivision of the gong unit, yielding a
position of lesser strength ( K ) , is comprised of the first,
third, fifth, and 7 th gatra of each line and are as follows:
contour
no. gatra

? 6 6 5 4 - not in data
2 2 3 2 - not in data
36 3 2 3 3 - not found in data in Pelog Lima
36 6 5 6 6 - not found in data in Pelog Lima
193
? 1 1 3 3 - not in d a t a
36 1 6 1 1 - not in d a t a on that pitch level
? 5 1 6 6 - not in d a t a
The overall profile of Kagok Pangrawit reveals a piece
inclining toward Pelog Lima with a number of non-traditional
contours introduced, particularly in the kempul position,
although the final gong is also a non-traditional contour.
A piece like Kagok Pangrawit cannot be said to "destroy" the
patet concept yet it seems to be pushing rather hard at the
delimitations of Patet Lima.
A similar phenomenon can be found in many of the com
positions of Ki Nartosabdho. They represent not so m u c h an
annihilation of patet structures as a slight deviation away
from them.
The composition Ketawang Meh Rahina is offered as an
illustration.
Ketawang Meh R a h i n a , Pelog Patet Nem
Buka: 6 6 6 5 3 . 6 . 5 . 2 . 1
N G
. . 1 . 6 5 6 1 2 4 5 4 2 4 2 1
. . 1 . 6 5 6 1 2 4 5 4 2 4 2 1
2 4 6 5 6 1 2 1 . 6 5 3 6 5 4 5
2 4 6 5 6 1 2 1 . 6 5 3 6 5 2 1
. 1 1 1 6 5 2 3 . 6 5 4 2 4 5 6
. 2 6 5 6 1 3 1 . 6 5 3 6 5 2 l 28
The gong patterns of Ketawang Meh Rahina are as follows:
contour patterns
no.
1 2 4 2 1 - p o s s i b l e in P e l o g Nem, u s u a l l y
in variant form 2 3 2 1
194
20 6 5 4 5 - p o s s i b l e in P e l o g Nem, but
u s u a l l y f o u n d in v a r i a n t f o r m
6 5 3 5
8 6 5 2 1 - p o s s i b l e , b u t r a r e in all p a t e t
16 2 4 5 6 - possible, but much m o r e comm o n
in v a r i a n t f o r m 2 3 5 6
The kenong patterns of Ketawang Meh Rahina are as follows:
contour
no. patterns
17 6 5 6 1 - n o t f o u n d in d a t a e x c e p t in
v a r i a n t for m 6 5 6 7 (Pelog
Barang)
6 6 1 2 1 - n o t f o u n d i n d a t a f o r "Pelog N e m ,
f r e q u e n t in P a t e t L i m a
28 6 5 2 3 - s t r o n g p a t t e r n in P e l o g N e m a l
tho u g h m o r e f r e q u e n t in P e l o g
Baran g
? 6 1 3 1 - n o t in d a t a
The kempul patterns are as follows:
contour
no. patterns
39 1 1 1 1 - f r e q u e n t in P e l o g N e m
6 2 4 5 4 - specific Pelog Nem kempul
pattern
14 2 4 6 5 - possible Pelog Nem, m o r e us u a l
in P e l o g L i m a . Variant 2 3 6 5
m o r e c o m m o n in P e l o g N e m
2 1 6 5 3 - p o s s i b l e in P e l o g N e m
? 3 6 5 4 - n o t in d a t a
10 6 2 6 5 - n o t in d a t a o n that pitch level
Ketawang Meh Rahina inclines toward the patet of its
designation but again stretches the patet limits somewhat. Not
one of the gong gatra is strongly indicative of Pelog Nem. Had
the digit four been replaced by digit three in the gong gatras,
it w o u l d have given a stronger feeling of Pelog Nem. One
kempul and one kenong gatra represent contours not commonly
found in traditional pieces.
195
It may well be that this type of change, like re
arranging an old composition, is also traditional. Perhaps
the patet boundaries have expanded and even blurred from
what they were one hundred or two h u n d r e d years ago. Over
time, new patet patterns and configurations may become
fashionable and form the nucleus around which patet practices
cluster. In fifty or one hundred years a given patet name
may stand for a different set of m e l o d i c patterns and related
positions than it does today. This is t he kind of change
which doesn't really change anything. It represents an
artistic stasis, or steady state. While a traditional music
system may not be static or immutable, t he changing of i ts
surface features does not demand a readjustment of one's
musical values and orientation.
I do not believe it is the kinds of change described
above which disturb a certain segment of the Javanese musical
public. Rather, it is the introduction of phrases based upon
diatonic scales, and the writing of pieces composed mostly
of non-traditional contours that seem to pose a threat to the
patet system.
In t he pelog patet system, pitch level four is always
used as an alternative to pitch level three (Patet Lima and
Nem) or pitch level fi vxe (Patet Barang). The scale system
for Pelog Lima and Pelog Nem is 1 2 3/5 6 or 1 2/4 5 6.
Pitch level four changes th e contour of t he scale by changing
196
the position of the large interval but doesn't ever add
another tone. Pitch level four is strictly sorogan, or
substitute, tone. Occasionally, modern composers will
treat the seven pitch levels of the pelog system as though
they comprised a diatonic scale. By using pitch level three
and four together within a single gatra, a single saron unit,
t he scale becomes 1 2 3 4 5 6. The song Suara Suling is
among the most popular tunes in Java and illustrates the
use of pitch levels 6 5 4 3 2 in sequence, as if they were
a scale. See the encircled passages below:
Suara S u l i n g . Pelog Patet Nem
Ki N a r t o sabdho
N N N N
Buka kendang: . . . 2 . . .1 . . . 2 . . . 1
Saron: . . . . 5 6 51 .. 5 £6 5 4 3 2)
. . . ._ 1 3 1 2 . . 5 6 5 3 2 1
._. . . 6 5 ^ 5 61 ^ ■ 3 2 . 1 6 5
424 . . 4 5 (£6~5__54jj) . . 3 5 3 2
2lTZ . . 4 5 6 5 . . 1 6 5 3 2 1
Ompak: . 1 . 1 . 1 . 5 . 5 . 5 . 5 . 2
. 2 . 2 . 4 . 4 . . 1 6 5 3 2 1
Even more objectionable to conservative musicians is
th e vocal use of the pelog system as if it were a diatonic
scale. The pesinden, female singer, often uses tones outside
of the regular patet structures, but only for special effect,
to give color and feeling to the regular pitch levels, and
never in strong final positions or in syllabic singing, one
note, one s y l l a b l e . 28 The song Aku N g i m p i » discussed in
Chapter VI (see Figure XIX), illustrates the v e r y western
197
and un-Javanese use of the pelog system. (See the last
line in particular.) One actually is given the impression
that the piece is written in E minor. The pelog pitch
levels used in the vocal part are 1 2 3 4 5 and 6. Only
7 is omitted.
A song which makes use of all seven pelog pitch
levels is Adja Ngono by Ki Wasitodipuro (see Figure XXVII).
The resulting tonality is n c . really diatonic as the inter
vals do not correspond to the diatonic scale yet the gatra
of the piece are not in any pelog patet either. All the
underlined gatra in Figure XXVII do not occur in the data in
those positions and some do not occur at al l . The harmonic
structure of the three vocal parts of this piece are also an
example of the influence of w e s t e r n vocal techniques on
modern composers. (Se e Chapter VI.) Because the tonality
and th e three-part singing style of Adj a N g o n o are foreign
to m o s t Javanese, this piece could be learned only w ith
great difficulty within a pure oral tradition. Notation
has made it possible for such deviations from tradition to
appear. The English translation of the words is as follows:
The h o r s e runs b a c k and forth m a k i n g fu n n y fac es and

teas i n g ,
The p o n y trots b a c k and forth,
I n s p i t e of t h a t , t h e h o r s e t e a s e s w i t h f u n n y m o v e m e n t s .
M u c h later, c o m p e t i t i o n .
T h e h o r s e is c o r n e r e d ,
The pony becomes courageous.
It m a y be that the introduction of all seven pitch levels in
this piece is a deliberate musical reflection of the teasing,
198
Adla Ngono
KI Wasitodipuro
P SI
Djaran tedji tjikrak t ikrak Hgiwllwl Dlaran kore’ng^lentre komper

1
=fc
3=5$fiS^S?S£ £ y ^ }-7 -x=±^:

E e -supran dene si tedji nrei.je 5tê___suwe sur
e’saja banget pangekullle'
t? W =&
_r. I C±..
P si tedji wus kecetet si kere metu wanine'
£
I
6 5 6 1 1 1 2 m 2 q
656 2 1 2 3
.4 4
JS3-2-X
7 7 7 6 6 4 ggl 2 $
• • 2_6_ZJ, 1 3 1 24? 2 T
1 1 5 6 13 5 6 5 553 23
Figure XXVII
199
uncomely horse, a musical portrait of unseemly behavior.
Another composition by Ki Wasitodipuro which illus
trates the instrumental use of m e l o d i c patterns which never
appear within traditional pieces is Lagu G e r i 1j a .
Lagu Geril.j a
Ki Wasitodipuro
• • • • 6 1 6 4 1 . 1 1 6 1 1
1 . 1 • 6 1 6 4 . 4 4 4 5 6 4 5
• • 3 3 32 1 1 1 32 1 1 1 32 1 32
3 3 • • 32 1 1 1 32 1 1 1 32 1 2 I
• • 4 4 65 4 4 4 65 4 4 4 65 4 65 I
4 4 • • 65 4 4 4 65 4 4 4 65 4 2 1
42 74 r. 42 74 1 4 5 46.4 5 46 74 2 4
U T l r. U 74 1 4 5 3173 1 5 5$54 32
<8
None of the gatra below from Lagu Gerilja have a contour
number, in other words they are non-traditional and have no
place in t he patet system.
6 1 6 4 - Is t line, 2nd gatra

1 6 1 4 - 1st line, 4 th gatra
321 1 1 - 3rd line, 2nd gatra
3 2 1 3 21 - 3rd line, 4th gatra
3 2 1 2 4' - 4t h line, 4th gatra
654 4 4 - 5 th line, 2 nd gatra
654 654 - 5 th line, 4th gatra
4 2 74 1 . 4 2 - 7 th line, Is t gatra
.41 4 5 - 7th line, 2nd gatra
317 3 1 5 — 7th line, 3rd gatra
could ac c u s e Ki Wasitodipuro of
standing patet. The unusual contours and scale found in
Lagu Geril.ja are deliberately introduced. This is an example
of conscious introduction of alien elements into the music
structure.
200
Another exception to the patet structure in Lagu
Gerilja occurs in the prominant use of pitch level four in
strong position. Referring to the chart for pitch level
four, Appendix III, Table 8, it can be seen that relatively
few patterns end on pitch level four and fewer still in any
strong position. In Lagu Gerilja pitch level four occurs
often in strong kenong position and three times in gong posi
tion. The liberal and strong use of pitch level four in this
composition gives it a different mood or feeling from any of
the traditional modes. Surely this was the intent of t he
composer and illustrates again the new Javanese concept of

♦
manipulating the sound of the instruments and the structure
of the music to create special effects.
It is difficult to evaluate the overall impact on
gamelan music of innovations in the use of a diatonic scale
structure and in the introduction of m e l o d i c patterns outside
of the traditional modes. The examples cited above form only
a small fraction of the musical output of these composers,
and only the tiniest particle of the total quantity of
gamelan music heard on the island. Still, these men are
musical leaders, trend-setters. Conversely, it is they who
reflect in their m u s i c the changing moods and m u s i c a l tastes
of Java. The pieces which most blatantly violate patet
grammar seem to b e in a category apart from the usual kinds
of compositions by Ki Wasitodipuro and Ki Nartosabdho. They
201
always occur in pelog and almost always reveal influence
from w e s t e r n musical styles. (Aku N g i m p i . F i g u r e XIX, p.
149, Adj a N g o n o , F i g u r e XXVII, p. 1 9 8 ) It m u s t be very
awkward for their composers to try andassign them to a tra
ditional patet, and equally awkward for the listener to
accept them as belonging to a traditional patet. Through
years of playing or listening, the gamelan audience in Java
has come to associate certain melodic patterns, certain
sequences of sound with particular patets. The fulfillment
of those expectations is part of the pleasure of listening
to the music. A slight deviation from expectations may
actually enhance the pleasure, but a radical departure from
the norms of patet will be l i k e l y to annoy the listener and
interfere with his enjoyment.
Perhaps the problem would be solved if a new pelog
patet were added to separate these six and seven-toned
scales, western vocal technique and non-traditional melodic
patterns from the traditional repertoire. But it is pre
sumptuous of a western musicologist to offer suggestions
to a people so keenly aware of their own artistic traditions
and so concerned with the problems those traditions are
facing today. Some of the new compositions d_o l ie outside
of the traditional patet structure and only time will reveal
the answers to the problems posed by that fact.
202
Notes
* N o t w i s h i n g to m a k e t h e a n a l y s i s p r e s e n t e d i n t h i s
c h a p t e r a n y m o r e c o m p l i c a t e d t h a n n e c e s s a r y , P e l o g P a t e t Bern
and P e l o g P at e t M a n j u r a are not inclu de d . P e l o g P a t e t Bern
is t h e J o g j a n e s e t e z m f o r t h o s e p e l o g m o d e s u s i n g t h e s c a l e
tones 1 2 3 5 6, i . e . P a t e t L i m a a n d P a t e t N e m as o p p o s e d t o
P a t e t B a r a n g w h i c h u s e s t h e s c a l e t o n e s 5 6 7 2 3. Patet
M a n j u r a is s a i d t o b e l i k e P a t e t B a r a n g e x c e p t t h a t t o n e 1
is s u b s t i t u t e d f o r t o n e 7. P e l o g M a n j u r a is a r a r i t y . The
th r ee g e n d i n g in the a u t h o r ' s p o s s e s s i o n w r i t t e n in P e l o g
M a n j u r a w i l l f o r m t h e b a s i s of a b r i e f s t u d y i n the f u t u r e .
2 "R.T. D j o j o d i p u r o a l m a r h u m m e n g a t a k a n b a h w a p a t e t
itu ialah tem p a t n j a suatu gending", and " T u a n 2 Djakub dan
W i g n j o r u m e k s o m e n g a t a k a n bahwa patet itu dipakai untuk memberi
tempat kepada gending". Q u o t e d f r o m " G a m e l a n " in t h e m a g a z i n e
S a n a - B u d a j a b y P r o f . Ir. P u r b o d i n i n g r a t , P u b l i s h e d b y t h e
m u s e u m S a n a - B u d a j a i n J o g j a k a r t a , V o l . I, No. 4, D e c e m b e r
1 9 5 6 , p. 200.
3"Tuan S a s t r o s u w i g n j o m e n g a t a k a n b a h w a patet itu ialah

nj a n j i a n dalang (pemain wajang) dengan pengan t a r a n rebab,
gender, g a m bang, suling, k e n d a n g dan ( k a d a n g 2 ) gong". Quoted
fro m t he a r t i c l e " G a m e l a n " by Pr of. I r . P u r b o d i n i n g r a t , i b i d . ,
p. 2 00 .
^Sulaiman Gitosaprodjo, Ichtisar Theori Karawitan dan

T e h n i k M e n a b u h G a m e l a n , a m a n u s c r i p t in st en ci l form, p u b l i s h e d
in M a l a n g , E a s t J a v a , 1 9 7 1 , p. 6.
5P u r b o d i n i n g r a t , P r o f . Ir., "Gamelan," ££. c i t . , p. 201.
6 T h e t h e o r y w a s t h e c r e a t i o n of E r i c h M a r i a v o n H o r n -
b o s t e l , a n d w a s f i r s t p r e s e n t e d to t h e s c h o l a r l y w o r l d t h r o u g h
the j o u r n a l A n t h r o p o s , 191 9/2 0. The b e s t d i s c u s s i o n and d e f e n s e
of t h e t h e o r y i n E n g l i s h is a n a r t i c l e b y J a a p K u n s t , " A r o u n d
v o n H o r n b o s t e l ' s T h e o r y of t h e C y c l e o f B l o w n F i f t h s , "
K o n i n k l i j k e V e r e e n i g i n g I n d i s c h I n s t i t u u t ( J o u r n a l of t h e
R o y a l I n s t i t u t e f o r t h e I n d i e s ) , A m s t e r d a m , V o l . N o . 27, N o.
L X X V I , 1 9 4 8 , p. 378. I n .his a r t i c l e K u n s t n e a t l y s u m m a r i z e s
the t h e o r y .
" T h e b r o a d o u t l i n e of t h i s t h e o r y of b l o w n f i f t h s m a y
b e s t a t e d as f o l l o w s :
F r o m s o m e w h e r e i n C e n t r a l A s i a - p r o b a b l y f rom the
t e r r i t o r y c a l l e d t o day C h i n e s e T u r k e s t a n - the l e g e n d a r y
C h i n e s e m u s i c i a n L i n g L u n , b y t h e o r d e r of t h e m y t h i c a l
e m p e r o r H u a n g T i, i m p o r t e d a t o n e - s e q u e n c e w h i c h m a y b e
203
o b t a i n e d - s t a r t i n g f r o m a f u n d a m e n t a l t o n e of 3 6 6 v . d .
(the s o - c a l l e d h u a n g c h o n g , y e l l o w b e l l ) , p r o d u c e d on
a b a m b o o t u b e c l o s e d at t h e b o t t o m e n d b y a n o d e , a b o u t
230 m m lo ng and 8 . 1 2 m m in d i a m e t e r - by t a k i n g the
t w e l f t h of t h i s f u n d a m e n t a l t o n e ( p r o d u c e d b y o v e r
b l o w i n g ) , t r a n s p o s e d a n o c t a v e l o w e r , as t h e s e c o n d
t o n e i n t h e s e q u e n c e ; t h e t w e l f t h of t h i s s e c o n d t o n e ,
a g a i n t r a n s p o s e d a n o c t a v e l o w e r , as t h i r d t o n e , e t c . ,
etc. . . . G r a n t i n g that v o n H o r n b o s t e l c o r r e c t l y
i n t e r p r e t e d the a b o v e m e n t i o n e d legend, the c o n c l u s i o n
m u s t b e that , b e f o r e a n c i e n t C hin a b e g a n to b a s e its
s c a l e s - as is s t i l l t h e c u s t o m t o d a y - o n " P y t h a g o r i a n "
to n al s eq u e n c e s o b t a i n e d f r o m s t r i n g - m e a s u r e m e n t and
c o n s t r u c t e d o n t h e p r i n c i p l e of p u r e f i f t h s , it m u s t
h a v e k n o w n a n o t h e r t y p e of s c a l e s , d e r i v e d f r o m t h e
c y c l e of b l o w n f i f t h s d e s c r i b e d a b o v e . . . . v o n
H o r n b o s t e l d i s c o v e r e d a l a r g e n u m b e r of e x o t i c s c a l e s
f o u n d in u s e a m o n g p e o p l e s w i d e l y s e p a r a t e d bo th h i s
t o r i c a l l y a n d g e o g r a p h i c a l l y , as w e l l as f i t h n o l o g i c a l l y ,
m a y b e d e r i v e d jLn s o m e r e g u l a r m a n n e r ( K u n s t fs i t a l i c s )
f r o m t h a t c y c l e of b l o w n f i f t h s . As i n v e s t i g a t i o n s b y
v o n H o r n b o s t e l and a few other m u s i c o - e t h n o l o g i s t s h a v e
s h o w n , t h i s is t h e c a s e , f o r e x a m p l e , w i t h t he t u n i n g s
of p a n - p i p e s o r i g i n a t i n g f r o m O c e a n i a , p r e - C o l o m b i a n
Peru, m o d e r n E c u a d o r , C o l u m b i a and N.W. B r a z i l , and
w i t h x y l o p h o n e t u n in gs from Siam, Burma, Java, Bali
and C e n t r a l Africa. N o w i t is a m a t t e r of g e n e r a l
a g r e e m e n t a m o n g m u s i c o l o g i s t s that s cales w i t h d e f i n
i t e l y f i x e d , as i t w e r e " o b j e c t i v a t e d , " i n t e r v a l s m u s t
( K u n s t ' s i t a l i c s ) b e p r o d u c t s of a h i g h c u l t u r e l e v e l ;
t h e r e a r e v a r i o u s i n d i c a t i o n s p o i n t i n g to t h e p r o b a
b i l i t y t h a t t h e c u l t u r e i n f l u e n c e m a n i f e s t e d in t h e
t u n i n g s h e r e r e f e r r e d to o r i g i n a l l y e m a n a t e d f r o m C h i n a . "
7
T h e c e n t r a l t o n e i n K u n s t ' s t h e o r y is G I , n o t D a s a r
a l t h o u g h d a s a r m e a n s f o u n d a t i o n or b a s e . The J a v a n e s e t h e o
retic al m u s i c o l o g i s t , K i S i n d o e s a w a r n o has these comments.
" T h e r e was some c o n f u s i o n b e t w e e n Jaap K u n s t and Ki
H a d j a r D e w a n t a r a , t h e j u d g m e n t of w h i c h was from M a n t l e
H o o d in h i s P a t e t i n J a v a n e s e M u s i c , 1954: ' an e r r o n e o u s
i n f e r e n c e o n t h e p a r t of K u n s t . ' T h e d a s a r of K u n s t
m e a n s : d a n g , or d o m i n a n t . T h e d a s a r of K i H a d j a r D e w a n t a r a
m e a n s : d o n g , or t o n i c . Both dasars were newly invented
m u s i c a l t erm s, and n o t e s p e c i a l l y S u n d a n e s e , nor J c g j a -
nese, as s u p p o s e d b y K u n s t a n d o t h e r s . W h e r e a s t he
d i s c u s s i o n b e t w e e n K u n s t and Ki Ha d j a r D e w a n t a r a st a r t e d
f r o m t w o d i f f e r e n t s t a n d p o i n t s , it m u s t e n d i n a n u n p r o
d u c t i v e 'hanging in the air.' Kunst's explanation itself,
as s t a r t i n g f r o m a n o n t o n i c f u n c t i o n , s o m e t i m e s l e d to
u n - u n d e r s t a n d a b l e c o n c l u s i o n s to o u r m u s i c i a n s . "
204
( Q u o t e d f r o m T h e G a m e l a n M u s i c of J a v a a n d B a l i b y D o n a l d
L e n t z , U n i v e r s i t y of N e b r a s k a P r e s s , L i n c o l n , N e b r a s k a , p. 45).
®Adapted from the chart in K u n s t , Music in J a v a , The

Hague, 1 9 4 9 , p. 84.
9A d a p t e d from the chart in Kunst, i b i d . , p. 84.
^ A d a p t e d f r o m the chart in H o o d , TheN u c l e a r T h e m e as a_

D e t e r m i n a n t of P a t e t i n J a v a n e s e M u s i c , p. 14 5. There is n o
substantial difference between Kunst's theoretical framework
of J a v a n e s e p a t e t a n d t h a t of H o o d .
^ T h i s d i s c r e p a n c y w a s n o t i c e d b y K u n s t as h e s a y s on
p. 99 of M u s i c i n J a v a .
" . . . g e n d i n g B o n d e t . . . f i n i s h e s i ts p h r a s e s e x
c l u s i v e l y o n t h e t o n e l i m a [5] ( i . e . , as m a y b e g a t h e r e d
f r o m w h a t is s t a t e d a b o v e , t h e o r e t i c a l l y t h e s e c o n d
and p r a c t i c a l l y the t h i r d gong t o n e of P a t e t N e m ) . "
12K u n s t , Music i n J a v a , p. 73.
13K u n s t , Music in J a v a , p. 78.
llfQ u o t e d f r o m T h e G a m e l a n Music of Java and Bali by

Donald L e n t z , pp. 35 a n d 37.
1 5 Q u o t a t i o n f o u n d in Lentz, The Gamelan Music of Java

and B a l i , o p . c i t ., p. 37.
16Lentz, i b i d . , p. 37.
17"R.M. Sarwoko m e n g a t a k a n b a h w a p e r b e d a a n antara satu

p a t e t d e n g a n l a i n n j a b e r d a s a r atas s u a t u p e r b e d a a n t j & n g k o k . "
F r o m t h e a r t i c l e " G a m e l a n , " o j j . c i t . , p. 200.
18"Pada h a k e k a t n j a tj&ngkok itu bersifat individual,

djadi d e n g a n s e n d i r i n j a dj u g a lokal. Oleh k a r e n a n j a maka
b a n j a k n j a tjfengkok i t u t h e o r e t i s t i d a k t e r b a t a s . Tapi orang
m u d a h m e n g e r t i , b a h w a tjfengkok i t u t e r i k a t o l e h w a t a k 2 i n s t r u -
m e n , o l e h h u k u m 2 m e n g e n a i l ae a s , m e n g e n a i p a t e t , d a n s u d a h
barang tentu mengenai keindahan."
19K u n s t , Music in J a v a , o p . c i t . , p. 90.
2 0For a c o m p a r i s o n of t h e data as presented by Hood and

that of t h e a u t h o r see A p p e n d i x IV.
2 1 I b e l i e v e a s t u d y of an e q u a l n u m b e r of b o n a n g or
gender patterns w o u l d discl o s e s i m i l a r r e s u l t s , < i.e. m e l o d i c
205
p a t t e r n s , t h e i r p i t c h l e vel a n d t h e i r p o s i t i o n w i t h i n the
f o r m a l s t r u c t u r e o f t h e c o m p o s i t i o n a l l r e l a t e to t h e p a t e t
of t h e p i e c e i n q u e s t i o n .
I d o n o t a c c e p t t h e c o m m o n u s a g e of t h e t e r m " n u c l e a r
t h e m e " f o r t h e s a r o n p a r t , a n d it w a s f o r q u i t e o t h e r r e a s o n s
t h a t t h e s a r o n p a r t w a s c h o s e n for a n a l y s i s . S o m e t i m e s the
s a r o n is v e r y p r o m i n e n t a n d d o m i n a t i n g , o t h e r t i m e s i t is v e r y
much in the b a c k g r o u n d . Some instruments sometimes focus
t h e i r m e l o d i c p a t t e r n s to c o i n c i d e w i t h t h e s a r o n p a r t , o t h e r s
n e v e r do. T h e d i v i s i o n of t h e g a m e l a n i n t o t h r e e p a r t s ,
" n u c l e a r t h e m e , " " c o l o t o m i c " a n d " e l a b o r a t i n g " p a r t s is a
theory i nv e n t e d by K unst (never used by Javanese) w h i c h h el ped
h i m a n d m a n y s i n c e to m e n t a l l y o r g a n i z e a n d l i s t e n t o g a m e l a n
music. B u t i n t h e s e n s e t h a t it is a l i m i t i n g w a y of l i s t e n
i n g to g a m e l a n , p l a c i n g u n d o e m p h a s i s o n t h e s a r o n p a r t w h i c h
m a y o r m a y n o t b e p r o m i n e n t in a g i v e n g e n d i n g , a n d e s p e c i a l l y
as t h e t r i - p a r t d i v i s i o n of t h e g a m e l a n i n s t r u m e n t s is f o r e i g n
to t h e n a t i v e s e n s i b i l i t i e s of t h e J a v a n e s e , t h e " n u c l e a r
theme," " c o l o t o m i c , " and "elaborating p art " theory should be
v i e w e d o n l y as a t o o l , n o t as a d o g m a , to b e d i s c a r d e d w h e n
t h e l i s t e n e r c a n c o m p r e h e n d t h e m e l o d i c i m p o r t a n c e of a l l t h e
p a rts of the g a m e l a n .
K u n s t h i m s e l f r e c o g n i z e d a l t e r n a t e w a y s of v i e w i n g
gamelan structure: Q uotin g a J a vanes e he says:
"The g o n g , the k e n o n g , the k e t u k and the k e m p u l he
c o u n t s , in this s u b d i v i s i o n , a m o n g s t the k a l o w o n g a n
( o u t l i n e s ) as w e l l as t h e d e m u n g (a n u c l e a r - t h e m e
i n s t r u m e n t ) , f r o m w h i c h it is c l e a r t h a t h e d o e s n o t
f ee l any e s s e n t i a l diff e re nc e - q uite a d e f e n s i b l e view,
t o o - b e t w e e n c o l o t o m y a n d t h e n u c l e a r t h e m e . " (M u s i c
i n J a v a , p. 2 4 8 ) .
2 2 Ki S i n d o e s a w a r n o , " F a c t o r P e n t i n g d a l a m G a m e l a n , "
op. c i t . , p. 1 3 8 .
B a g i a n 2 lagu jang terketjil jang sudah m e ngandung
m a k s u d di s e b u t gatra, a t a u s a t u s a n (unit).
2 3 A c t u a l l y , two d i f f e r e n t h i e r a r c h i c a l p r i n c i p l e s
o p e r a t e o n t h e g a t r a (a nd a l l o t h e r ) s t r u c t u r a l l e v e l . The
o v e r w h e l m i n g l y f a v o r e d a p p r o a c h to t h e f i n a l p i t c h of t he
g a t r a is s t e p w i s e , a s c e n d i n g o r d e s c e n d i n g . This fact marks
t he p e n u l t i m a t e p i t c h as a n i m p o r t a n t s t r u c t u r a l p o i n t . On
t h e o t h e r h a n d , t h e p r i n c i p l e o f s u b d i v i s i o n of a l l u n i t s
m a r k s t h e s e c o n d p i t c h l e v e l o f t h e g a t r a as i m p o r t a n t . For
e x a m p l e , t h e g a t r a 6 5 3 5 w h e n s u b d i v i d e d p r o d u c e s t wo e n d
s t r e s s e s , 6 5 / 3 5. Both these hierarchies are reflected
in t he J a v a n e s e t e r m i n o l o g y for the f o u r u n it s of the gat ra:
6 5 3 5
small ding small dong large ding large dong.
206
2 ^ S t a t i s t i c a l l y s i g n i f i c a n t in te r m s of thi s s t u d y
m e a n s t h a t a n y g i v e n c o n t o u r m u s t r e g i s t e r at l e a s t f i v e
o c c u r r e n c e s o n at l e a s t o n e p i t c h l e v e l . Many contours which
r e c o r d e d o n l y two or t h r e e o c c u r r e n c e s f o r the w h o l e c o r p u s
a r e n o t i n c l u d e d i n t h e s t u d y , b u t t h e y i n d i c a t e t h a t i t is
p o s s i b l e for j u s t ab o u t any c o n t o u r to o c c u r o c c a s i o n a l l y .
2 5 A c l o s e e x a m i n a t i o n of t h e c h a r t s w i l l r e v e a l t h a t
p i t c h l e v e l 7 w i l l , on r a r e o c c a s i o n s , o c c u r in P e l o g P a t e t
N e m and P e l o g P a t e t Lima. F o r a d i s c u s s i o n of t h i s p h e n o m e n o n
s e e H o o d , T h e N u c l e a r T h e m e as a D e t e r m i n a n t of P a t e t i n
J a v a n e s e M u s i c , p p . 1 6 7 a n d 1 93 .
2 5 L i k e a l l t h e p e l o g p a t e t , it is p o s s i b l e t o f i n d a n y
pitch level in gong p o s i t i o n in P e l o g Barang. However, cer
t a i n p i t c h l e v e l s a r e m u c h m o r e f r e q u e n t i n g o n g p o s i t i o n in
s p e c i f i c p a t e t than are others.
2 7 K u n s t , J a a p , " A r o u n d v o n H o r n b o s t e l ' s T h e o r y of t h e
Cy c l e of B l o w n F i f t h s , " J o u r n a l of the R o y a l I n s t i t u te fo r
t h e I n d i e s , o p . c i t ., p. 390.
2 8 A g o o d e x a m p l e of t h e s e a d d e d t o n e s c a n b e s e e n i n
Mantle H o o d ' s Book, The E t h n o m u s i c o l o g i s t . published by
M c G r a w - H i l l B o o k C o m p a n y , 1 9 7 1 , t h e i l l u s t r a t i o n s N o . 2,
2 - 7 , p p . 6 0, 6 2 , a n d 63. A l s o s e e t h e a u r a l p r e s e n t a t i o n on
t h e a c c o m p a n y i n g r e c o r d S i d e I, B a n d 2.
CHAPTER VIII
CONCLUSION
The focus of this study has been upon musical innova
tion and change. Musical change, like any other, is not all
of one kind. All music systems are in process and only the
most detailed notation can momentarily hold time still. In
a stable society with an oral tradition, change involves
only the surface features of a music system.
Old Java was an agrarian-based society headed by a
god-king who was the link between heaven and earth. Although
there was much surface turmoil, Old Java apparently had a
relatively stable, integrated social structure. All of t he
arts of that society presented subliminal but substantive
support for the world view, the philosophies of the ruler
and the ruled. Wajang kulit, wajant orang, gamelan, tembang
(singing and p o e t r y ) , all combined to enhance and reflect
the traditional values of Old Java. The hierarchical
structure of society with the king at the top, the mirroring
of th<; c o s m o s in the microcosmos of the kingdom, the high
value placed upon the search for inner harmony and perfec
tion, the striving for emotional detachment from the events
of the world (iklas), the inevitability of one's destiny
fixed by birth, all are reiterated time and time again, in
a thousand covert and overt ways by the traditional arts.
2 07
208
How deep is the time depth of this social structure and
associative art complex? It is surely at least ten cen
turies o ld .
The system was maintained, albeit somewhat crippled,
by the Dutch occupation well into the twentieth century.
There is ample evidence of musical change during those cen
turies. New instruments were added, others fell into dis
use. Ensembles became larger and incorporated different
styles of music into one ensemble. The names of some of
the modes changed. Perhaps, modal configurations changed
also. But what remained constant is t he one essential ele
ment for m u s i c a l survival: the "fit," the congruence, the
harmony, the consonance between the values of the society
and the implicit values of the music system. To borrow a
term from linguistics, the "deep structure" remained.
Gamelan deep structure includes musical forms built by a
process of subdivision and expansion, the primary subdivi
sions marked by a convergence or coincidence of a number of
musical lines, repetitive musical units which in themselves
are neither beginnings, middles, nor ends.
The introduction of notation at the end of the nine
teenth century did not at first affect the internal relation
ships of an oral tradition or the external relationships of
the music system to its society. What notation did was to
make possible a re-ordering of those relationships when
pressures arose to do so. Now that musical notation is
209
widespread and imperatives for change are felt by many
musicians, musical notation is a prominant factor in the
reallignment of musical values.
By itself, notation would not have made any difference
to the Javanese oral tradition. However, beginning in the
twentieth century and reaching a climax with independence
in 1949, Java underwent a vast emotional upheaval in trying
to restructure a feudal society in order to b e c o m e a modern
state. One of the pursuits of the na t i o n a l i s t s was rapid,
innovative economic development, an activity which rated
very low on the traditional scale of v a l u e s . Public educa
tion for all mea nt an elimination of the monopoly of knowl
edge by an elite. The use of the Indonesian language in
official life lessened the status reinforcing aspect of the
Javanese language with its carefully controlled and m a n i p u
lated levels of speech. The new spirit of dynamism and
change, and the growing importance of the individual also
contributed to undermining the ethos of the traditional arts.
These changes came too suddenly and were too cata
clysmic for the traditional arts to adjust, to evolve slowly
in accordance with oral traditions. The result is a complex
of traditional arts which continue and remain popular. But
in a curious way, the arts are out of phase with the thrust
of the culture as a whole. All these changes have occurred
within the lifetimes of m a t u r e Javanese, and among the in
tellectuals they have created a painful ambivalence.
210
In an address given on a college campus In the United
States In 1968, the former ambassador from Indonesia, the
Honorable Soedjatmoko, said the following:
A r t i s a n e x p r e s s i o n of t h e t o t a l i t y of a c u l t u r e .
It m i r r o r s n o t o n l y t h e c o n c e p t o f b e a u t y a n d a r t i s
t i c f o r m , b u t it a l s o r e f l e c t s , t h o u g h l e s s d i r e c t l y ,
t h r o u g h t h e p e r c e p t i o n a n d f e e l i n g s it v i s i b l y e x
p r e s s e s a n d t h r o u g h i t s f u n c t i o n i n a s o c i e t y , the
value s y s t e m that infuses that culture. . . . Apart
f r o m t h e e n j o y m e n t w e f i n d i n it, it is on e o f t h e
r o o t s t h a t f e e d s o u r m o d e r n s e n s e of n a t i o n a l i d e n
t i t y a n d , as s u c h , it is a s o u r c e of o ur n a t i o n a l
p r i d e a n d s t r e n g t h , as w e l l as a n e x p r e s s i o n of t h e
c o n t i n u i t y of o u r h i s t o r y as a n a t i o n . At t h e s a m e
t i m e , a p a r t f r o m a s o u r c e of p r i d e a n d s t r e n g t h ,
t h i s m u s i c a n d d a n c e a l s o r e f l e c t s a p r o b l e m , o n e of
ou r c e n t r a l p r o b l e m s . . . . W h y d o I s p e a k a b o u t
m u s i c , d a n c e and t r a d i t i o n a l c u l t u r e in c o n n e c t i o n
w i t h th e s e p r o b l e m s of m o d e r n i z a t i o n ? In o r d e r to
m a k e c l e a r t h a t it is a l m o s t i m p o s s i b l e f o r a m o d e r n
I n d o n e s i a n j u s t to l o s e h i m s e l f c o m p l e t e l y , as h e
w o u l d o f t e n w i s h to, i n t h e e n j o y m e n t of t h e t r a d i
tional a r t s . 1
His Excellency Soedjatmoko, a prijaji as well as a
modern Indonesian with a western education, is able to state
eloquently the problem which besets and depresses the tradi
tional musician. The modern composer is able to do more
than state the problem. He can try to alter traditional
gamelan music in such a way that it more closely reflects
"the value system that infuses the culture." He can try to
make the Javanese see their own beliefs, hopes, interests,
and even their anxieties rendered symbolically, wholly, and
thereby made meaningful, understandable, perhaps even re
solvable. It is this role as a kind of psychic physician
that is one of the crucial functions of the artist in society.
211
In a country like Java that Is experiencing fundamental
alterations of its basic structure, t he role of the creative
artist is not only very important but also inevitably painful.
Clifford Geertz, building upon the categories of
Redfield, Toynbee and Childe, makes the distinction between
t wo types of intellectuals, or those who consciously consider
the problems of their society. These are the "literati,"
those whose concern is to preserve old values and traditions
and the "intelligentsia," who try to bridge t he gap between
old symbolic forms and new thought patterns, new societal
c o n s t r u c t s .2
As Geertz points out, in Java the literati and intel
ligentsia aspects are likely to be combined in one man. This
is certainly true of Ki Wasitodipuro and Ki Nartosabdho who
are both preservers of old gamelan traditions as well as
innovators. They are deeply involved in traditional media
and for the most part compose within traditional gamelan
structures and modes.
But certain aspects of their compositions indicate
transition and change of a major order, not a slow, natural
evolution, but a deliberate, quick turn toward a particular

3
direction. Writing compositions in meter is a basic change
from the age-old structures divisable by two or four. The
use of w e s t e r n contrapuntal vocal techniques , particularly
thematic development, are a substantive change. The emergence
212
of the composer who orchestrates, conducts and controls the
total performance of a composition is a change which veers
dramatically away from an oral tradition. Gamelan composi
tions which cannot be categorized within the traditional
modal structures indicate an attempt to expand the expressive
possibilities of the gamelan. At the same time, these pieces
place greater emphasis on the composer as a unique person
ality, as an individual with a personal statement to make.
The use of kempul and sijem in Pan American dance rhythms
obliterates their old function as principal subdividers of
the musical unit. All of these are not surface changes,
not superficial additions. They are deep and meaningful
attempts to change gamelan structure. They demonstrate the
ways in w h i c h modern gamelan composers are trying to make
the old traditions relevant today, and to b r i n g the gamelan
traditions into phase with the society around them.
It is an interesting irony that these innovations
which in essence are an attempt to prevent gamelan tradi
tions from becoming museum traditions, or fossilized, are
those attacked most bitterly by the literati. One sometimes
hears the contemptuous remark that modern composers are
"only writing for the tourists." In th e deepest possible
sense, the modern composers are writing for the Javanese
living today.
The question of aesthetics has been deliberately
213
avoided in this study for many reasons. The problem of
aesthetics is difficult to h a n d l e within one's own culture,
cross-culturally it becomes well-nigh impossible as too
many factors enter that are largely inaccessible to the
outsider. Nonetheless, the aesthetic criterion is the one
most frequently used against new-style compositions and
one which the author finds to be at least partially valid.
In this respect several points need to be stressed. First,
one does not expect a stylistic innovator to b e the same
person who perfects that style, particularly when the com
poser is moving from a long-established and sophisticated
oral tradition into a fledgling written tradition. Secondly,
modern composers are trying to reach an all-Java if not an
all-Indonesia audience who do not share the feeling for and
knowledge of the accumulative meanings and ethos of the tra
ditional music. These accumulative meanings are what makes
subtlety possible. Finally, the aesthetic criterion itself
is an innovation and to some extent, western.
In a traditional society in w h i c h music is closely
linked to religion and ritual, in w h i c h the music system
supports the entire belief edifice, the question of b e a u t y
is always subordinate to the question of efficacy. Mean
ingfulness, relevance and simple usefulness (does the music
produce the desired r e s u l t ? ) , are infinitely more important
than the creation of sensually delightful sound patterns.
In the best of all possible music systems they coincide.
214
But pure beauty of sound can never be more Important than
the meaningfulness of sound. The emphasis upon the aesthetic
criterion which one finds in J a v a today is only a further
indication of the movement away from a music system which
is integrated into, and integral to, Javanese society as
a whole. In this curious way, both the innovators and the
anti-innovators, the intelligentsia and the literati, are
proclaiming the fact that Javanese gamelan music is no
longer ritualistic, and no longer part of a total harmony
encompassing the w o r l d , the king, and the cosmos.
More and more, a rt in Java is becoming a product.
One buys tickets to go see a wajang orang performance. The
person one sits next to is not necessarily one's neighbor.
The audience is not necessarily the community whose presence

i
at an artistic event strengthens their communality and their
shared belief system. With the decline in the use of m u s i c
as ritual, as old meanings decline, aesthetic meaning tends
to s u b s u m e all others.
Where will it all lead? Are the innovations of Ki
Wasitodipuro and Ki ârtosabdho the necessary sorts of
innovations? Are they drastic enough or too drastic? Can
these men and others like them prevent Javanese gamelan
traditions from becoming objects of interest to the tourist,
the musicologist and the antiquarian? That already has
happened with some Southeast Asian musical traditions.
Musicologists make bad prophets. As an outsider, I can
215
only view musical developments In J a v a with compassion and
a silent hope.
Notes
1S o e d j a t m o k o , " A r t a n d M o d e r n i z a t i o n , " a n a d d r e s s
g i v e n at t h e S o u t h e a s t A s i a n I n s t i t u t e , S a i n t J o s e p h C o l l e g e ,
E m m i t s b u r g , M a r y l a n d , N o v e m b e r , 1968. D i s t r i b u t e d b y t he
I n f o r m a t i o n S e c t i o n , E m b a s s y of I n d o n e s i a , W a s h i n g t o n , D . C .
2 G e e r t z , C l i f f o r d , T h e R e l i g i o n of J a v a , A F r e e P r e s s
P a p e r b a c k , T h e M a c m i l l a n C o m p a n y , N e w Y o r k , 1 9 6 0 , p. 235.
A P P E N D IX I
BIOGRAPHICAL SKETCHES OF KI WASITODIPURO AND
KI NARTOSABDHO AND NEW COMPOSITIONS BY
KI WASITODIPURO AND KI NARTOSABDHO
USED AS THE BASIS OF THIS DISSERTATION
KI Wasitodipuro*
Ki W a s i t o d i p u r o , formerly known as Ki Tjokrowasito,
was born in the Pakualaman Palace in Jogjakarta in 1909.
His father held the position of director of the palace
musical activities and Ki Wasitodipuro succeeded his father
in that position.
In addition to h i s palace gamelan duties, in 1934 he
became the musical director of the radio station in Jogja
karta, MAVRO. He continued on in that position during the
Japanese occupation when the station was called Jogj a
Hosokjoku. Since the proclamation of independence in 1945 ,
the s t a t i o n has been known as Radio Republic Indonesia, RRI,
Jogjakarta. In 1951 Ki Wasitodipuro was officially ap
pointed as th e RRI musical director.
In 1961, Ki Wasitodipuro became associated with the
newly evolved dance-drama form sendratari. He has written
the music for various Sendratari Ramajana held at the temple
*Ki is a t i t l e b e s t o w e d upon men of outstanding distinction

and achievement.
216
217
Prambanan, and for the sendratari performances choreographed
by P.L.T. Bagong Kussudiardjo of Jogjakarta.
He currently holds three positions: 1) director of
the Pakualaman gamelan, 2) director of musical activities
at RRI Jogjakarta, and 3) musical director for the sendratari
company of P.L.T. Bagong Kussudiardjo.
Ki Nartosabdho
Ki Nartosabdho, one of eight children, was born in
Wedi, a small village between Surakarta and Jogjakarta, in
1 9 2 ’5. His earliest education took place in W e d i where he
first attended a Muhammadijah (Islamic) school and later a
school run by a Roman Catholic mission.
In August, 1945, w h e n he was twenty years o ld , he
joined the N g e s ti Pandawa wajang orang company. N g e s ti
Pandawa is a resident company with its home base in the
northern port city of Semarang. They give performances
every night in Semarang except when they go on tour to other
parts of Java. Ki Nartosabdho remained with N g e s ti P a n d a w a
as their musical director and drummer for twenty-five years.
Simultaneously, he developed a reputation as a dalang, a
puppeteer of the shadow puppet play.
In 1970, he left his position with Ngesti Pandawa
and formed his own recording and performing company,
Tj o n d o n g Raos , composed of musicians from Semarang and
218
Surakarta. He remains in great demand as a dalang while
continuing to m a k e recordings and give concert performances.
Reproduced
with permission
A Partial Listing of Compositions by Ki Wasitodipuro
Title Patet Recording Notation
Djaja Manggala Cita

Makakawin Tape furnished by Manuscript through

Pudj ian Pelog Barang RRI Jogdjakarta courtesy of the
Lagu Mars: Djepang Pelog Ben composer
Gending Sakura Slendro Sanga
Lagu Dolanan Published in the

Paman Tanl Sagung Pelog Nem - magazine JMekar. .
Sari, May, 1970
Lantjaran Keluarga Mekar Sari,

Berentj ana Pelog Barang - June, 1970
Lantjaran Penghidjauan Slendro Ne m - Mekar Sari,
219
June, 1970
Sendratari Ardjuna Wiwaha — Tape through the

courtesy of Bagong
Kussudiardjo
- II -
Sendratari Allelujah
- It -
Sendratari Njai Ratu Kidul
Sendratari Diponegoro II
Manuscript through
Gending Pangeran Pelog N em the courtsey of the
Diponegoro composer
Lagu Gerilja Pelog Nem
Lantjaran Rudita Pelog Nem
Lantjaran Mindana Pelog N em
Ketawang Sambangdalu Pelog Nem
Lantjaran Umban Pelog Nem
Reproduced
with permission
Lantjaran Adja Ngono Pelog Nem Tape of "Konser Manuscript through

Ketawang Gamelan," g iven in the courtesy of the
Wedyasmara Pelog Nem Jogdjakarta, 1968 composer
Orde Baru Pelog Barang

Kawiwitan Meditasi/Konsentrasi Pelog Nem
Kagok Pangrawit Pelog Lima
Bedajan Sundari Pelog Nem
Liwung Bajangkara Pelog Nem
Lantjaran Tjatrik Pelog Nem
Ginada Slendro Manjura
Sunda Nirmala Slendro Manjura
Ladrang Sri Duhita Pelog Barang
Lantjaran Gugur Gunung Pelog Barang

Gerong Kanon Pelog Barang
Lantjaran Pawaka Pelog Barang
Lantjaran Dahana Pelog Barang
220
Nara karja Slendro Manjura Lelagon: Dolanan
Usdek Pelog Nem Populer, Soeranto
Ajo njang Ganefo Slendro Manjura Kediri, 1965
Holopis kontul baris Slendro Sanga

Montor tjilik Slendro Sanga
Tjampur Sari Slendro Sanga
Kantja Tani Slendro Sanga
Gotong Rojong Slendro Sanga
Ganefo Slendro Sanga
Nekolim Slendro Sanga
| Bemo Slendro Sanga
s , Banting Stir Pelog Patet Liwung (Sunda)
Sendratari Pangeran Mangkubumi Manuscript through

Gending Djahnawi Pelog Nem the courtesy of the
Lantjaran Graksa Pelog Nem composer
Welasan Tandasih Pelog Lima
Ladrang Dwi Rotjana Pelog Barang
Reproduced
with permission
Lagu kelahiran Kristus From a radio broad

Tri Narpati Pelog N em cast b y RRI Jogdjakarta
Ketawang Sasmi tengrat Pelog Barang on Christmas eve,
Kartika Pelog Nem Manuscript through

Wus Mijos Pelog N em the courtesy of the
Ing Ratri Pelog Nem composer
A j a k 2 Sarodja Pelog Lima Videotape Book of gerong parts

Ketawang Danawara Pelog Bern Sendratari Kelahiran compiled b y the composer
Dolanan Ok Ok Pelog Barang Kristus for teaching at RRI
Ladrang Djatlasih Pelog Lima Jogdjakarta
Lantjaran Gembala Pelog Lima
Ketawang K a m u Dawuk Pelog Barang

Lela ledung Pelog Nem
Ketawang Maskumambang Pelog Lima
Ladrang Ajun2 (gerong) Pelog Nem
221
Asmarandana Banjumasan Slendro Sanga
Gending Djanger Pelog Barang
Djineman Midjil Widawaten Pelog Nem
Djineman blibar Pelog Nem
Djondjang Banjuwangen Slendro Manjura (from Sendratari Gadjahmada)

Ladrang Glejong Pelog Nem
Grantes Slendro Manjura (Sendratari Lutung-kasarung)
Ketawang Gambuh Slendro Manjura (Sendratari Sri Tandjung)
Dolanan Gemdiraloka Slendro Sanga
Lantjaran Ilogondang Slendro Sanga
Ketawang Kumudasmara Pelog Ne m (Sendratari Ramajana-Prambanan)
Kembang Lepang Slendro Sanga
Ketawang Kasatrijan Slendro Sanga
Ngimpi njopir Slendro Sanga
Ladrang Pandjang-ilang Slendro Sanga (Sendratari Ramayana) Buku Gerong
Ketawang Prihatin Pelog Lima (Sendratari Hamlet) K i Wasitodipuro
Lagu Bantjak Dojok Pelog N e m (Sendratari Bandung bandowaso)
Lagu Pulo Bali Pelog Barang
Lagu Repelita Pelog N em
Reproduced
with permission
Ketawang Santi Pelog Nem

Sesadji Pelog N em (Sendratari Gadjahmada)
Sirepan Ajak Midjil Slendro Manjura
Sensus Slendro Sanga

Ladrang Srenggara Pelog Lima (Sendratari Sri Tandjung)
Ketawang Sumekar Pelog N em (Sendratari Ramayana)
Ketawang Sri lulut Pelog Barang
Gerong Subakastawa Winangun Slendro Sanga (Sendratari Ramayana)
Gerong Ladrang Sri Widada Pelog Barang
Ladrang Sukabagja Pelog Barang
Ketawang Sundari Pelog Barang
Lantjaran Tahu-tempe Pelog N em
Tainansari Pelog Bern (Sendratari Damarwulan)

Lantjaran Tari Pajung Slendro and Pelog (Sendratari Gadjahmada)
Ladrang Tjluntang Slendro Sanga
Welasan Rudatin Pelog Barang (Sendratari Ramayana)
222
Welasan Lantjar Pelog Barang
Welasan Ruwida Pelog Ne m (Sendratari Ramayana)
Gending Mbangun Kuta Pelog Ne m Manuscript courtesy

of the composer
Modernisasi Desa Pelog Nem Concert "Tjiptaan Buku Gerong

Baru," tape courtesy K i Wasitodipuro
of Bagong Kussudiardjo
Dolanan Kuwi Apa Kuwi Pelog Barang RRI Jogdjakarta Tuntunan Nabuh
Dolanan Tari Bali Pelog Barang Lokananta ARD-001A Gamelan,
Dolanan Sepur Trutuk Pelog Lima Sastrodarsono,
Dolanan Kae Lo Kae Slendro Sanga Surakarta, 1960
Dolanan Dong Dong Dung Slendro Manjura
Dolanan Ronda Malam Slendro Sanga
Tatanj a Pelog Barang
Sopir Betjak Pelog Nem Lelagon Dolanan
Populer, Soeranto
Reproduced
with permission
Title Patet Recording Notat ion
Mbangun Desa Pelog Barang - Lelagon) Djawi

Klasik /and Modern,
Tarnowidodo,
Wonogiri,
A Partial Listing of N ew Compositions of Ki Nartosabdho
Dolanan Sapa Ngira Slendro Sanga Lokananta Dolanan

Dolanan Lumbung Desa Slendro Sanga Gara2 BRD-014 Ngesti Pandawa,
Dolanan Ajo Praon Pelog Nem Semarang, 1969
Dolanan Marikangen Pelog Nem

Dolanan Djula-Djuli Sunba Slendro Sanga
Dolanan Saputanganmu Pelog Barang
Dolanan Tjaping Pelog Barang
223
I
I
Ketawang Ibu Pretiwi Pelog Lima Lokananta
Ketawang Subakastawa Pelog Nem Ki Nartosabdho
Ketawang Meh Rahina Pelog Nem BRD-017
Ketawang Sukaasih Pelog Barang
If
Kembang Glepang Slendro Sanga Lokananta
Ladrang Santi Mulja Pelog Lima Kembang Glepang
Ladrang Tjluntang Rinengga Slendro Sanga BRD-023
Ketawang Pangkur Pegatsih Pelog Lima
Wandali Pelog Nem Lokananta II

Dolanan Lesung Djumengglung Slendro Sanga K i Nartosabdho
Lagu Suara Suling Pelog Lima ARD-037
Lantjaran m B o k J a Mesem Slendro Sanga
Reproduced
with permission
Lagu Adja Lamis Pelog Nem Lokananta Tj ondong Raos

Ki Nartosabdho A book of compositions
ARD-039 in manuscript form.
Given to the author

through the courtesy
of the composer.
Glopa-Glape Slendro Sanga Dolanan Ngesti
Pandawa
Dolanan Djago Kluruk Pelog Barang
Aku Ngimpi Pelog N e m Tj ondong Raos
Dolanan Kerdja Bakti Pelog Nem Indah 12011/12 Tjondong Raos

Wajang Orang
Ketawang Petls Manis Slendro Sanga Kresno Kembang
Pambuka Tjondong Raos Tape of a concert of

new compositions by
224
Ladrang Balabak Pelog Lima
Ladrang Nuswantara Pelog Nem Ki Nartosabdho, given
Lantjaran M ikat manuk Slendro Manjura in Djakarta, June
Gending Logondang Pelog Lima 1971. Through the
Ladrang Logondang Pelog Lima courtesy of the

Ketawang Logondang Pelog Lima composer.
Eling2 Banjumas
Arum Manis Tjondong Raos

Gending Bandllori Pelog Barang
Ladrang Serang Pelog Barang
Lagu Djakarta Endah Pelog Nem
Gending Glondong Pring Pelog Nem
Ladrang Goda-sih Pelog Nem
Lagu Ajo ngguju Pelog Nem
Ladrang Pandjang H a n g Slendro Sanga
Ladrang Panglipur Pelog Nem
Ladrang Ronda Ngangsu Pelog Barang
Reproduced
with permission
Ladrang Sarajuda Pelog Nem Tj ondong Raos

Ladrang Sum!jar Pelog Barang
Ketawang Sri Ratih Slendro Nem
Lantjaran Wira-wiri Pelog Lima
Ladrang Wulangan Pelog Nem
Ket awang Gambuh-Kajungj un Pelog Lima Dolanan Ngesti

Ketawang Midjil Panglilih Pelog Lima Pandawa
Lagu Desaku Pelog Nem
Ketawang Dumadi Slendro Sanga
Singa-singa
(new arrangement)
Gudeg Djogja Pelog Lima
Tjep Menenga Pelog Nem
Suwe Ora Djamu Pelog Nem Lelagon Djawi

Klasik and M o d e r n ,
225
Tarnowidodo,
Wonogiri
A P P E N D I X II
THE TRADITIONAL GENDING USED IN THE
ANALYSIS OF P A T E T , CHAPTER VII
Slendro Patet
1, Ladrang and Ketawang with 8 balungan / kenong

Gending Patet Source
Ladrang Asmaradana Kenja Sanga Pak Sumardjo, a

Tinembe drummer from Jog
Ladrang Pangkur Sanga j a k a r t a l i vi ng and
Ladrang Tjangklek Manjura t e a c h i n g in M a l a n g ,
Ladrang Tjluntang Sanga East Java
Ladrang Sumingin Sanga
Ketawang Radjaswala Sanga
Ladrang Kidjing Miring Manjura
Ladrang Djangkrik Ginggong Sanga
Ladrang Kagok Sumingin Nem
Ladrang Dirata meta Nem
Ladrang Kentjhng2 Manjura
Ladrang Wirangrong Sanga
Ladrang Prabu Mataram Sanga
Ladrang Temanten Manjura
Ladrang Singramangsah Manjura
Ladrang Awun2 Sanga
Ladrang Midjil Wedarlngtjas Manjura
Ladrang Eling2 Kasmaran Sanga
Ladrang Asmaradana Manjura
Ladrang Ajun2 Manjura
Ketawang Madumurti Manjura
Ketawang Langengita Sanga
L a d r a n g Sri K a r o n g r o n Sanga
Ladrang Sumirat Manjura
Ladrang Tebu sak ujon Manjura
Ladrang Prabu Anom Manjura
Ladrang Lengkir Manjura
Ladrang Girisa Mengkreng Sanga
Ladrang Geger Sakuta Nem
Ladrang Girang2 Nem
Ladrang Ojaq2 Manjura
Ladrang Grompol Mataram Sanga
Ladrang Sarajuda Manjura
Ladrang Wiludjeng Manjura
L a d r a n g Sri K a t j a r j a Sanga
226
227

Ladrang Lungkeh Nem Mantle Hood, The
Ladrang Rojo Hanggolo Nem N u c l e a r T h e m e as a
Ladrang Gondo Yonni Sanga D e t e r m i n a n t of P a t e t
Ladrang Udan Sejati Sanga in J a v a n e s e M u s i c
Ladrang Cheleng Mogok Manjura
Ladrang Tlosor Manj ura
Ladrang Sriwibawa Sanga Noot G e n d i n g lan

Ladrang Srisudana Sanga T e m b a n g , Toko Buku
Ladrang Srikasusra Manjura Sadubudi - Solo
Ladrang Sridajinta-minulja Manjura
Ladrang Sri r i n e n g g a Manj ura
Ladrang Sri B i w a d d h a - m u l j a Manjura
Ladrang Pangkur Manj ura Sulaiman G i t o s a p r o d j o ,

(A l s o a v e r s i o n in Sanga) teacher from Su r a k a r t a
Ladrang Remeng Nem r e s i d i n g in M a l a n g ,
East Java
Ladrang Srijatna Manjura G e n d i n g D j a w i , V o l . II

Ladrang Sri H u t a m a Manjura P r o b o h a r j o n o , Toko
Ladrang Perkumpulan Sanga Buku Budhi Ladsana
Ladrang Montjer Manjura Solo
Ketawang Sukmailang Manjura Sekarsari, Gending

K e t a w a n g P a w u k i r (Ngelik) Manjura Dj a w i , D a r m o r e d j o n o
Ladrang Mugirahaju Manjura W o n o g i r i , 19o8
Ladrang Kaki Tunggu Djagung Nem Gending2 Nabuhi

Ladrang Bedat Nem Wajangan Purwa,
Ladrang Sobrang Nem Proboharjono, Jogja
karta, first prin t i n g
1957
Ladrang Bindri Sanga Ud a n Mas, M a d j a l a h

Ladrang Eling2 Manjui K e s e n i a n , T h .1, n o . 6
Ladrang Bolang2 Nem + no. 3, S o l o
Ladrang Sri Minulja Sanga Gending Djawi Vol. I

P r o b o h a r d j o n o , Solo
Ladrang Kongas Nem Titiswara (huruf Djawi)

Ladrang Tentrem Sanga K a n g d j e n g Ra d e n Mas
Ladrang Prasadja Sanga Tumenggung Sumonagoro
Ladrang Sukawati Sanga Surakarta, 1936
Ladrang Kumenjar Sanga
Ketawang Pangengita Sanga M a n u s c r i p t of g e n d i n g 2

Ladrang Pamikat Sanga for S e n d r a t a r i Ra m a j a n a ,
Ketawang Umbak Sanga Martopangrawit
Ladrang Kembangdadap Manjura
228

Ketawang Martapura Manj ura Manuscript Gending2
Ladrang Lagu Dempel Sanga W a j a n g a n , Sumijanto
Ladrang Uga2 Sanga
Ladrang Kagok Maduro Sanga Perakit Kebudajaan
Ladrang Babar Lajar Sanga K.D.3.K. Klaten
Ladrang Embat2 Pendjalin Sanga
Ketawang Putjung Manjura
Ladrang and Ketawang with 4 balungan/kenong 9(. 2 . 3 . 2 . ?)
Ladrang Gudasih Nem Sulaiman Gitosapradja

Ladrang Krawitan Nem teacher from Surakarta,
Ketawang Subakastawa Sanga r e s i d i n g in M a l a n g ,
Ladrang Tjluntang Sanga East Java
Ladrang Utama Sanga
Ladrang Utama Minuljo Sanga
( t j e n g k o k A)
Ladrang Eling2 Kasmaran Sanga
( t j e n g k o k B)
Ladrang Gondjang-gandjing Sanga
Ketawang Midjil Paseban Sanga
Ladrang Kembang Tandjung Sanga
Ladrang Puspawarna Manjura
L adrang Sri K a t o n Manjura
( In S e k a r s a r i , G e n d i n g D j a w i ,
l i s t e d as P e l o g N e m )
L a d r a n g Gi n o n d j ing Manj u r a
L a d r a n g Sri K a l o k a Manj ura
Ladrang Babat Kencheng Nem T h e N u c l e a r T h e m e as

Ladrang U l u k 2 Sanga a D e t e r m i n a n t of P
Ladrang Bronto Asmoro Sanga Mantle Hood
Ketawang Barang Ganjur Sanga
( t j e n g k o k A)
L a d r a n g Lfengkfer Manj u r a
( g o n g a n VII)
Ladrang Liwung Manjura
Ladrang Sri Utama Manj u r a N o o t G e n d i n g lan

Ladrang Sri Hastjarja Sanga Tembang, Toko Buku
Ladrang Sri Radja Putri Manjura Sadubudi - Solo
Ladrang Sobah Nem Gending2 Nabuhi

Ladrang Peksi Kuwung Nem Wajangan Purwa
Ladrang Mangu Nem P r o b o h a r j ono
Ladrang Erang2 Nem
Ladrang Sembung Gilang Sanga
Ladrang Djangkrik Ginggong Sanga
Ladrang Lomporig-kele Sanga
Ladrang Uluk2 Sanga
Gending P atet Source
Ladrang Gondosuli Sanga

Ladrang Gondjang Manj ura
Ladrang Randat Manjura
Ladrang Kanda Manjura Manj ura
Ladrang Manis Manj ura
Ladrang K e m b a n g pe'pef Manjura
Ketawang Langenglta Sanga G e n d i n g Dj a w i , V o l .

( t j e n g k o k A) II, P r o b o h a r d j o n o
Ketawang Padang Rembulan Manjura Peladjaran Bawa

Gerong, Kebudajaan
D j a w a Ti mur , 1967
Ketawang Subakastawa Sanga Manuscript Gending

S e n d r a t a r i R a m a 1 ana
Martopangrawit
Ladrang Kembang Gadung Nem Manuscript Gending

Ladrang Plupuh Nem Wajangan - Sumijanto
Ladrang Ela2 Sanga
Ladrang Gljak Sanga
Ketawang Dolo2 Sanga
Gending Ageng
Talimurda Nem Titilaras Gending

Babat Nem A g e n g » Vol. I
Sedet Nem Larassumbogo
Rendet Nem Murtedjo
Padang bulan Nem Adisoendjojo
Nenes Nem D j a k a r t a , 1953
Pondoh Nem
Gandes Nem
Tjluring Nem
Klumpuk Nem
Gondes Nem
Patjul Petot Nem
K e d a s ih Nem
Glondongpring Nem
Prihatin Nem
Madusarl Sanga
Tj o n d r a Sanga
Talakbodin Sanga
Mentjep Sanga
Sumirih Sanga
M a d u k o t j ak Sanga
Mardikengrat S anga
Madukengrat Sanga
Ngeksilaras Sanga
230
Sumbagengrat Sanga
Madukumala Sanga
Sardjuningtijas Sanga
Ngeksiminulja Sanga
Susila Sanga
Lungit Sanga
N g e k s i n g e s tuti Sanga
Ngeksibronta Sanga
Merak Kesimpir Manj ura
Mendes Manjura
Hamong* Manj ura
Tjeti Manj ura
Larehangon Manjura
Sekar gebang Manjura
Giwang Kusuma Manjura
Kembang Pelem Manj ura
Pendulpete Manj ura
Kembang pete Manj ura
Tjaranggantung Manj ura
Randukentir Manj ura
Gidro Gidro Manjura
Laler Mengeng Manjura
Dj a k a w u r u Manj ura
Lobong Manj ura
Glebag Manj ura
Tj e n t i n i Manj ura
Pelog Patet
Ladrang Retnaningsih Lima Sulaiman G i t o s a p r o d j o ,
Ketawang Wigaringtjas Lima Malang, Java
Ladrang Bajemtur Lima
Ladrang E l ing2 Lima
Ketawang Putjung Wujung Lima
Ketawang Pangkur Ngremas Lima
Ladrang Sembawa Lima
Ketawang Langengita Nem
Ketawang S'walagita Nem
Ketawang Gondomastuti Nem
K e t a w a n g U d a n Mas Nem
( v a r i o u s l y .l i s t e d as K e t a w a n g >
Bibaran, Lantjaran)
Ketawang Puspandjala Nem
L a d r a n g Sri R e d j e k i Nem
Ladrang Surung dajung Nem
Ladrang Wirangrong Nem
Ladrang Kopjah H a n g Nem
Ladrang Men t o k 2 Nem
Ladrang Djambe Tukul Nem
Ketawang Manggungsord Nem
Ladrang Sri Sinuba Nem

Ladrang T i r t o k e n t j ono Nem
Ladrang Magelang Nem
Ladrang Sri K r e t a r t a Nem
Ladrang Kembang Kates Nem
Ketawang Kinanti Sandung Barang
Ketawang Megatruh Barang
Ketawang Djali Barang
Ketawang Puspagiwang Barang
Ladrang M o n t j er Barang
Ladrang Glej ong Nem
Ladrang Sampang Barang
Ladrang Sawunggaling Barang
Ketawang Sitamardawa Barang G e n d i n g D j a w i , Vol.

L a d r a n g Ajuri1 Nem II , P r o b o h a r d j o n o
Ketawang Bojong Barang
Ladrang Penghidj auan Nem S e k a r s a r i , Gending

Ladrang Amongtani Nem D j a w i , Darmoredjono
Ladrang Suwignj a Barang
Ladrang Slamet Barang G en di ng D j a w i , Vol. I

Ladrang G ino ndj ing Barang Probohardjono
Ladrang Sedyalaras Barang
Ketawang Paridjoto Nem Peladjaran Bawa Gerong

Ketawang; Langengita Srinarendra Barang Direktorat Djenderal
Ketawang, Sumedang Nem Djatim Kebudajaan
Ladrang Langen Asmoro Nem The N u c l e a r T h e m e as a

Ladrang Langen Bronto Nem D eterminant of P a t e t
Ladrang R ij e m 2 Lima in J a v a n e s e Music,
Ladrang Rangu2 Barang Mantle Hood
Ladrang Megarsi Nem
Ladrang Horang Haring Lima
Ladrang Pacharchina Lima
Ladrang Sri ku n t j a r a Nem Noot G e n d i n g lan

Ladrang Megar Semu Barang T e m b a n g , Solo
Ladrang Sri N a s s a o Barang
Ladrang Sridaj ita Barang
Ladrang Sridaj i n t a -linuhur Nem
Ladrang Sri d i r g a j u s w a Barang
Ladrang Sri d a j u n t a - w i b a w a Barang
Ladrang Sri l i n u h u n g Barang
Ladrang Sri b i w a d d h a Barang
232
Ladrang Plajon Lima Karawitan Wajang Gedog

Ladrang Blabak Lima Kraton Surakarta
Ladrang Satata Lima T i t i s w a r a (huruf Djawi)

Ladrang Nawunggita Lima Kan d j e n g Rad e n Mas
Ladrang Tetep Lima Tumenggung Sumonogoro
Ladrang Lipurwujung Barang
Ketawang Melatsih Barang Manuscript Sendratari

Ramajana, Martopangrawi
Ketawang Denda Ageng Nem Naskah Gending2

Wa.ia n g a n S u m i j a n t o
Ladrang Tjrina Barang Tuntunan Nabuh Gamelan

Sukanto Sastrodarsono
S u r a k a r t a , 1960
Ladrang and Ketawang with 4 balungan/kenong
Ladrang Wani2 Nem Sulaiman Gitosapradjo,

Ladrang Kembang-pepe Nem Malang
Ladrang Ginondjing Barang
Ladrang Tjluntang Barang
Ladrang Retnamulja Barang N o o t G e n d i n g lan

Landrang Sri Nindita Nem Tembang, Solo
L a d rang Sri R a h a r d j a Barang
Lantjaran Tropongan Nem Gending2 Nabuhi

W a.iangan P u r w a
P r o b o h a r d j ono
Ketawang Walagita Nem Tuntunan Karawitan

Gending Djawi Kodiron
Solo, 1964
Ketawang Sitamardawa Barang G e n d i n g -.Dj a w i , V o l .

II, P r o b o h a r d j o n o
Lantjaran Udan Mas Barang Udan Mas, N o. 3, T h .1
Ladrang Sri Kastawa Barang Karawitan Wajang

Gedog, Surakarta
Ladrang Purwoko Nem Naskah G e n d i n g 2

Wajangan, Sumijanto
Kebogiro Barang Tuntunan Nabuh Gamelan

Slnganebah Barang Sastrodarsono
Tedjosari Lima Sulaiman Gitosapradja,

Logondang Lima Malang
Tjondronoto Lima
Kumbangmara Lima
Larandjala Lima
Randukintir Nem
Gambirsawit Pantjerana Nem
Manik maninten Nem
Kembang Gajam Nem
Sumedang Nem
Rudjak Sentul Nem
Perkutut Manggung Barang
Kuwung2 Barang
Bandelori Barang
Widosari Barang
Djangkung kuning Barang
Prawan Pupur Barang
Tunggul Kawung Barang
Wigati Lima Titiswara, Sumonagoro

Sewara Lima
Karepmantep Lima
Mangukadung Nem
Surjasumirat Nem
Pamiwalkung Barang
Mandedmangu Barang
K e t ungkul Laii Barang
Lebda Djiwa Barang
Bangunsin Barang
Untung Barang
Dlongeh Barang
Mandeg Barang
Onang2 Nem Tuntunan Karawitan

Kodiron
Penghidjauan Nem Gending Djawi Sekarsari

D a r m o r e d j ono
Gendijeng Nem Waj ang Ged og

Tedjonoto Lima Kraton, Surakarta
Gendjong Nem
Andong2 Nem
Gandrung Nem
Ranumanggala Nem
Montro Barang Naskah Gending2

Waj a n g a n S u m i j a n t o
APPENDIX III
TABLES ILLUSTRATING THE DISTRIBUTION OF MELODIC PATTERNS
WITHIN EACH PATET
234
235
Fre quency of Occurrence and Dis tri bu ti on of

Patterns Ending on Slendro Pitch Level 1
Fatet Patet Patet
Manjura
12
3i 3 2
11
12 10
6j€ 2
18i
// //// // // // /
rY // /I/ // // // // ///
rY p W/aj Ye// // // // //j// // /

Ktf <Yc//aiYe// // // // //'// // //'/
// Ye// // // // //:// '/ // // /
V / / // '//I // // // // /
r // //' // r / / / // /
|r.Y <Yc//a:Ye// / / / / / ■■/ , 7 // // /
Table 1
236
Frequency of Occurrence and D i s t r i b ut io n of

Patet Patet Patet

-x ■■
IJ
-JM Trtrr
raxxam. ■
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1G
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ai —
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i
. K
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j K " V r ti K
1. 3|
53 2 f
t 10 16 1 3 3f t 7 12 23
2. 6j
532 12 16 10 ;
ft 5 10 13 23 1f
t
•» 1
I: 5532 3 1
5. 3232 15 1
.3 3 2 1 23
<5
. 1 232 2 1 1 1 2 .
..3
7. 2 232 f
t" 1 2 ?
8. 1 67 2 2 8 2 .1
.
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--
?' - 5 6 3 2 2 1
io, 3632 2 1 1 1 1 2
li. 33 3 2 1'•
12. 3 132 3 1 - 1 f
t
13. 1 13 2 3 1 2
1ft, 6 132 3 5 2 2 f
t
15. 21 32 1 7 2 1 1
16. 5 6 12 1 f
t 6 10 21
17. 1 6 12 2
ft 2
-
18. 2 6 12
.K
19"
. 6 6 i 2 2 3 1
20. 3(2 1 2 1 f
t 3 ;
6 1 1 ;
! !
21. 2;21 2 3 f
t 2
22. 1[2 1 2 r>f/ot fuffr s
*V // '/ 7 / // // //'// // /7 //
23. 61212 if f: offat fe// !// /f // v !// // // 77 ////
2f
t. 1|
112 i , 1 2 1
25. 2312 i 1 e
3
26. 3 3 12 if ft offar ie// ,'//_■7 //
1/6 7 // // // /7 //
27. 13i2 9
J. 1 2 f
t
28. 5 312 1 5 9 ft
29. 6 3 i2 Tif/Ot fuffr if /, L // // / //
'' / / / / / / / 7/ /
30. 512 1 if ft offar *7/ .'//.7 //
\// / i y .// / / / / / / •
31. 5|
352 ft 6 \ 1 1 2 6 3
32. 35 2
2| 1 ft i
1
33. *3 52 1 'l
3ft
. 6 16 2 if it e i V a r e e / / | ! / / / J r / / 7 / / ! / / / / i / / / / / /
35. 6362 1 s j I1 1 1 2 1 1
36. 2 12. 2 1
37. 6 12. 1
38. 2 3 2. 5 7 i
39. 22 2 2 1 2 I 6 1 11
Table 2
237
Fr equency of Occurrence and D i s t ri bu ti on of

Patter ns Ending on Slendro Pitch Level 3
Fatet Patet
^Contour Sanea Wan.jura
////
6.6 LLl LLL

66 64c66n
CLl U L
?p . ? ?
Table 3
238
Frequency of Occurrence and D i s t r i b u t i o n of

Pa tterns Ending on Slendro Pitch Level 5
Contour Patet Patet Patet

Pattern Hem____________Sanga_________Kanjura
, G I» K !
| . r. K G I. K
1. 616 5 1 1 3 2 8 3 1 3
15
2. 2 165 1 13 35 42 5 2 6
9
3. 3:1 6 5 1
4. 1 165 1 : ;
l
5. 615 6 5 2
6. 315 '
65 1 1 5 8 3 1 5 6
7. 5!5 6 5 j 2 2 2
8. 326 5 I 4 4 7 9 1 10
9. 1 265 1 1 3 2
10. 6 265 1
11. 6 665 ! 2
5
12. 613 6 5 2 7 3
.4 i
l 6 3 1 1
13. 3 36 5 7 - 3
14. 2365 1 8 1 2 6
15. 53 6 5 1 1 1 1
16. 1 2.
35 if fi'cffat ie// j f/ // // // A '// >/ //
17. 312 3 5 4 7 1 7 5 1 2 3
IB. 5!2 3 5 1 4 ;2 ! 2
19. 212 3 5 if ii'cffat ie// | // // // /t // // A // ,///
20. 6J5 3 ’
5 .3 .3 19 I 21 16 j7 !
|! 1 2
i!i 1
21. 553 5
22. 3535 f/cifai ie// 1 // / // // / / \ '///, // .’
M ///
23. 2535 it ficifai ie// j // /t // f / w !///, // ,/ //
24, 3 3 3 51 l
!i ?!■ 3 : 6
25. 56 35 3 1 4 !2 12 3 I
?8. 616 3 5 2 1 .
1
27. 363 5 5 4 2 3 3
28. 16 35 1 9 22 19 4
29. 2635 13 1
30. 2135 if fi ~ffai ie// // /' // V // " // ./ // //'/
31. 1 6 15 1 16 23 •
4
32. 5)6 1 5 1
l! i
3 i
{ -
j
33. 2'6 1 5 1 1 3
34. 232 5 *1 !
1 4 1
35. 2625 j: 1 1 : |
36. 535 . liif fi cifaiie// i ! t* * f // '(/ // j / / // // J/ //
37. 235 . if ft cifaife// I!// /' / / V/ // !///, / / /'/ / /
I.
38. 5:6 5 . if fieffat ie// 1! / / A '/Y/\ / / A / / /7 / /
r /f 2
39. 5555 I; 3|\ i 18 :
4 Suon
fafhrtmh
Table 4
239
Frequency of Occurrence and Distr ib ut io n of

Patet Patet Patet

rST^Contour I.'em Sanâ Van’lira
Ao>
1 G f
i K ( 0 l
i K G K K
a. 1216 2 it 9 5 20 8 It 11
2. 216
3; 5 it 10 2 it 31 21 35 4
?. 5l2 1 6 3 1
- 2216 2 1 ! 1
5. 1616 1 1 1 4
6. 56 1 6 7 8 12 2 4 10 It .7
?. 66 16 1 2
5j3 1 6 .1 . 3 . ..
. - .3 9 .1
9._ .6
2|3 1 2
10. 1316 niS/oi û7r 7 7 ff f ' ff 7 7 7 ✓/ 7 7 f
11. 1 116 //o/) 77 ft / 'ff 7 6f ff ff f
12. 1516 .1 2 2 6 It
13. 5516 5 2 7
lit. 3516 .3 2 1
15. 6516 1 1 2 1 1 1
16. 213 5 6 2 3 it 6 9 j 1 .5 it
17. 5356 1 i
* 5 1 1 2 2 .7
18. 6356 7 2 u 2 2 2
1?. ?J J 6 3 1 1 3 7 8
2C. 16 5 6 1 1 > 4 28 1
21. 665 6 .3 1 1 2
22. 5« 56 i
* 2
23- 36 s6 1
21*
. 5 556 11 7 2 \ 2 l
i*
25. 61 5 6 .5 1 .2 3 1
26. 11 56 1
27. 51 56 2 .3 2 1
28. 21 56 1 1 1 1 5
29. 31 56 7/01 iuHi 7 7 ft / '//.'/// 7.7 7 / ///
30. 32 56 2
20 10 0
31. 2(1 26 i 1 21 9 i 1 27 35 l
i*
32. 61 ?6 7/ M 'e#a/7 7 | M A '//. 7 // 7 / /7 7 /
33* 31 26 11 3 ! 5 1 1
3U. 3.5 3 6 !ilnrf/orfiurarlrfV //■' 17 r 7 7 7 i!7 7 7 - / ff
1
3f« 3l3t '‘W/c&urtriaV 7 i / A / / / / J 7 / / / / /- 7 \/ 7
7 c>7ar 1 7 // i 7
ê //2 liH / / / jf 77
36. 6;
56 • // 7 ///
356 ■ *
*
37.
38. 616 ,
.
I n7oe efu7> 7 t li ;7 /' / / , 7 7 : 7 ft 7 tf ff
39. 666 1 n i1 i * _> 7
1/ ‘
1 0
* S ju irn
»* Jmh
Table 5
240
Frequency of Occurrence and D i st ri bu ti on of

Patterns Ending on Pelog Pitch Level 1/7
Contour Patet
Pattern Barang.
■|mm" p N oi■■
20 21
12
'///
10 r/ //
/// ( / // // // //
6 16 2 1
// // // Y/ // // // // // /
20
# / // // // // 1// //// // ////
// /k // y/ / / \ \ / / // // // /,
Table 6
241
26.
—
2 2 6 1 44 14c4/z 44e/ // / ' / / ' / // //// /// / / /
_27. 6 2 <5 1 3
28. 3 2 6 1 nj/of '4n/4r 4 4 / //'/ t / / ' / // ///> /// / / /
29. 5 2 6 1 44 4> cjf/ar4 * // //' / / / / ' / // //// /// / / /
30. 5 3 6 1 44 4\ 44/axWe// /// ' / / '/ / / // /l/ / / / //
_31. 3 2 3 7 1 l i
4 24 1 ’4 '6 .3 i —
..
3 2 3 1 2 i 3
.32. 1 2 .3 1 i 1
i1
33. 5 231 44 )(4c4/ 44e/ / / / /// //'// 1// /. v / ’// / /
3^. 5 6 5 7 i•
j 3
35. 5!2 5 1 44 i(4c44 44a/ i // / f / / Y//1 / / /, ’ f f i / / /
.36. 1 6 1 • n4/ot 4u/4: 4e// | / / / t / / Vj// !// /, / / // / /
37. - 5 6 7 . i
1 I ... 1
5 6 1 . 1 i i
38. 1 2 1 . | : 2 i
7 7 7 7 i 1
1
??• I 1! 16
1 111 i 1 16 i i 11
------- ------- ----- . • ..... ...— -------
— ------- -------
--- --- ... --- ... ------
-
*■•"®~'*“
----- — -----
- _ ... _ -_._..... - ..„____
_»•. •...— .... ..- --— ...

---.---
__ ___... _„_ „ _____ _ ____
--- - -- ------- --- - -- --------- ------- -J-----
.. - ••• ■
----- --- —
_ . - __
tltheIlKh
Table 6, continued
242
Freq uen cy of Occurrence and D i s t r i b u t i o n of

P att ern s Ending on Pelog Pitch Level 2
Contour Patet Patet Patet

Pattern Iir.
a .'
•em I
:arang
| N K 3 K * a 'K K
1. 532 1 3 1 8 18 8 9 15 11
2. 5i
t2 9
532 2 e 5 16 7 9 28 21
3. 5 32 e^fra'r44
/ffo/t’ // /f // // // ///,’///'
///
4. i5 4 2 4
532 2
5. 232 1 1 1
6. 232 1 3
2 32 3 1 2 3 1
7. 2 32 1 3
8. 632 I 5 1
:6 32 1
9. i6 3 2 //o/l >
ci4
/r;Vefi/ />'/' // // "j ///, //.-j’
///
10. 632 i 2 3
11. ]332 2 i ! 3 ! it
12. 1132 1 1 i
t 2 1
13. 132 i
t 2
l«t
. 732 2 1 .
6
-
132 1 1 i
732 1 •I 2
15.
16. 5f 72 1 j 2
■ f. 1 2
' I
t 2c i 5 !
j
17. ] 6 72 ‘ 1 7
612 1 7 •
!
1!
612 //.o/l ‘
c/fin w / : .
s
- / //
■ | ''' //
19. e’7 2
€12 i ! 1 ii'!
20. 272 ■
i 1 1 1
;
l
212 i I
1
i
;
212 2 7 ii 6 12 i
|
21. 212 1 i ii 1 I
22. 1 2 1 2 /Ko /VceW' rtee/ j !/J // // // // ;-// // // // //
23. 212 /Yo/dcAfr; Vfce/ 1 n r/' // //■// ;!!// // // , '
///
2j
t. 772 ! - 2
l!!l ■
3 12 i i 2 '1i
i
i
<31 1 ^ i i 2 3
2.5• 2 i.
26. 3 1 2 i /Kq/iciVr; rfc// i /) '// // // //
"1 1
27. .7 2 i
3
i
t1 2 i i ! !i
Table 7
243
// ! • // IL L UL
>/ // UM
IL L UL
tUL UL
w iW l»<n
Table 7, continued
244
Fre quency of Occurrence and D is tr ib ut io n of

Patter ns Ending on Pelog Pitch level 3/4
,
Contour Patet Patet
Pattern 'êm ■ larang
Ha.
20
/.£ / 'cffi) Ve// // ft// 7 //

f.j iltcvfai7e// OJl // ft // 7 //
y# ^W/ai7e// // / / / / V 1/ / 7 // // /
20
22
// // //
»<• ttl* In* It
Table 8
245
IL L
//;// // L // IL L
//'// // f // UJJUL
// / / / / // A //A
J L l L L l ULL IL L
/f // II IL L
Table 8, continued
246
Freq ue nc y of Occurrence and Distri but ion of

Patterns Ending on Pelog Pitch Level 5
Patet Patet
■wrt* Contour Pattem lima Nem
•i&T r HA’T
23
iwtii i i /
10 // // //*'///
12
/ge/i c^jifraKc// ///' // // // // // //
20
21
22 /K // '/{// // // // // //
// // V / / // // // // //
316 3
Table 9
247
ILL
UJl //////
ILL
UJL LLL
'///
! • Ih r la ril
Table 9, continued
248
Frequ ency of Occurrence and Di s t r ib ut io n of

Patter ns Ending on Pelog Pitch Level 6
Patet Patet Patet

»
'**iContour
* Pattern Lima Nem Baranc;
. A •
I’X K ’! K k G *
1 K
i ':
!i c N l 1
1. 7 6 1
i 1
1: 6 j 1 l11 6 4 9
2. 32 6 | 11 12 12
32 6 | l 1 6 7 9 i'' 1
3. 52 6 1
4. 22 6 1 1 1 1
5. 76 6 j 1 2 1
16 6 1 1
6._ 56 6 1 1 2 1 2 2
I ...
56 6 •
j 1
7. 66 6 1 2 1
8. 53 6 i I 1 2 1
53 6 1 1 i 1
9. 2 6 I I 2
i
2; 6 , l 1’
23 6 j 2 1
10. 13 5 1 /rfo/fceVr;'/oif/ I // /// // /A ///,'// V // J
11. 11 7 : /j
rfo/
l r*V/ii;l! // //// ?/ //I // / ’// // //
U
12. 75 6 I
II! ! 2 13 I 3
< * I c
«
/ 1
1; I .
I
ll\ ■ -- - *
13. e 'I iii ▲
55 6 i 1II| 2 i
l<t
. 35 6 i . II I | 1
*;r 35 6 ; I 1
1
A e, x 1 1 2
15. 1
*1! 1
1*. 24 A l 1 1
23 6 4 1 2 2!1 5 7 2 2 5
17. 6 i 31
5'
it
53 6 1 1 ij 2 1
C 1 2 1
18. 3 6 11 4 2
19. 4|4 6 3II
33 6 i
t 51111 3 7 2 1 1
20. 76 6 1 3i 8
16
£<
6 :
£
1 '1 !
1
i 3
1
t
21. ' 3
22. 56 6 ■ 1 i
i!
i
23. 3:6 6 cjf/a:£e// • ] // /t // V|//| // / ’// /
7 //
24. 55 6 2 5 ui! I 17 i 1
25. 6|7 6 i .
. ..in.u 10 3
1 1
Table 10
249
20
777
10 ]
// /''/ // // //// / /
77777/ 'Tv // // // // //
3.0
4
i “ il>» irv h
Table 10, continued
250
Profile of Pattern Use in Slendro Patet Nem
Con-
T a M a tniir .Fattem Snngfl Nan<nra
r ..o, :: k !G 1; K
1 1. 2321 1x x *i* ! .* *
2. 5 321 .* * «; •! • •
Cong • 16. 3561 t
6532 17. 6 5_6_1 I
“3 2 3 ^ ie. l‘5 6 1
2 | 26 26. 2| 2' 6 1
Keftong 1111
32* • *
5321 2. 6 5 3 2
6532 5. 3;2 32
1. 32 1• •
J. li! 3 2 ’x'
li. 6!1 3.2 X
15. 21.1.3.2 X
-K ea m u l li* 5 :6 1 2
31 5.3 5 2
5321 35. 6 ;3 6 2
3 56 1
15 6 1 2'T 2 .x
6J32 5653 ix*
3 5 32 16 5 3 ;x *
6. 2.3 5.3
16. 6123
17. 2; 1 2 3
20. 5'3 2 3
24. 2 2 23
3 2 16 3.5 2.3
5 6 16 C 5 2 j
6 6 6 6 6 ;,1 6 .5 x;
2 16 5 *x * *ix
3'5 6 5 X X ix
11. 6 6 6 5
12. O 6_5
13. 3^3 6 5
14. 2;3 6 5 !
x
17. 3;2 3'5 X X
20. 6.5 3.5
24. 3 3 35
27. 3.6 3.5 .x
26. 1.6.35 X
17 il 2 1
2. 3if x,
3. 516 X X
13. 515
16. 2.3
17. 15 3
•Keyi 19. i6.3 ,X .
ifrnquent i 24. !5:5 X
25. 16 II jx'
important; 1
31. 2H • v «*
t•1
39. 6i6 *I • xl
Table 11
251
Profile of P at ter n Use in Slendro Patet Sanga
Slendro Patet Sanâ Table Con- Fattem Nem Sanâ Vaniura

Ia o o r ta r it F a tte m 3
Son?
Kcnong
Kempul
5 2
ExoIl!21Y2_E251“rOS
i°ns
5 311 2
*
3 216 5
Cong/Kenong
2 6 .1 5
0 ong/Kwnonr/Kenmil
Kenone
2 .6 2 .1
Kenonrr/Kenoul
5 6,
15
x = frequent
• - important
) ^luim
lo %hm I ruR
Table 12
252
Pro fil e of Pa tt er n Use in Slendro Patet M a nj ur a
-SlendrQ_Pa.tetKan.1ura ,,Tabl S.ontpur. .Pattern, Kent. Sanga an.:ura

..o. . K, « ' f K t: K
• •
Important Fatterr.s 1. 2:3 2 1 X X X *i*
2 . 5321
1,12 1
*•
I
*1 * • •
x
7. iX
•3!2 1 i
_2U_2_f_ 1C. 3 .5. .
61
Kenong • 2fc. 6 , 6 61
321 aa I'T 1 1 | .X 1
1. I* «
3 2 1 15 3 2 # '# * j
X *
5 32
2. 5 3 2 x' X *
.Ie-
532
.3!2 3 2
,
20 . 3 ' 2 ~3 2
3 2 1 2
516 5 3 31. 5i3 5 2
•6(5-2’3
•3J21-6 23, 2 V 2-2
-2 1-2-6- 1. TJ. 5 3 x*
?. _X
Kencul—
■2l3 2 1
12
16.
. 5:2 5 3
6 (1 2 3
•5 3'2-r 17. 2.1 2 3
•3‘5 6 1 19. 11 2 3
3-5 3 2
-&IS..3 2- 25. 315-2-3
2,2 2 2 23. 6,5 2 3
516 5 3' 29. 15 2 3
116 5 3 6!5 6 3
-6 *1-2 3 31.
211 .2.3 .-i 39. 3333
.ali-2 3. 2.1,6..51
J 6. 13,5 6 51 x !|| x;
12 6 < a- • 3265 ,X X1 i
■• 1
i'2 1 7
2*1 2 6 ii*. 13-1 1 5! ii }. i
Exclusive Fatterr.s
1.
2 . 3 2 16 H x!:i
.on? X X
X
Kenon 12 . X
12*
16.
'5'2 5 3' X X
—r‘5 T~6- 17. 5.3 5 6 X
3*3 5 6 19. 3356 X X
Ketioul 29. 2:1 56 X
ill 2 31. 21 2 6 • «
33. 31 2 6
12*. 6 6 6 6
Table 13
253
P r o fi le of Pattern Use in Pelog Patet Lima
' Pelog Patet lima Table Contour Pattern lima Nem Barang
:.6T l.O.
Gi Ii K 0.N G. K. K
ImDortant Fatte i 6 *. 3 3 21 X ,K
5. 2 12 1 * x X
____ Gong
6. 6: 1 2 1 x
2 1 2 1 1X
9..1 t, C 7. 1 1 2 1
i 1 31. * j 2. *. 1 Ix...
-------- Kenowr • - j •
39. l i 1 1 1,
l7f 7 7 71 I - * *
f 5 ; f ; 39. 1
......... KSEEl i l . . 7 2. 6; 5 * 2
, !.:*
i i i i ‘ 2. 61 5 3 2 ! X X * X x * *
... 56 1 2 . - j - 16. 5. 6 1 . 2
3 3 S 3 . . . ...1 .. 20. 3i 2 1 2 ix-; X •
5 5 5 5. . ; . e - *. 6i 6. 5 3
------E x e l u s i v e P a t t e r n s - 20. 5i3.2.3
•
______ X
#
39. 3 3 3 3 i *
.... Ken o r e 2. i: 6 5 * i -X X
39. 4 i* u it ! .x
---------6 i e i • • ) • *!* x «' * *
.. . fc 2 b i . . !
9 2. 2165
2. [ 2- 7 6 5 ) i ' X
. . 5.
6. !3' 5 6 5^ 1
1 ■ X
6. * 1 5 6 51 ; x.
---------6 5 * 2 ’ '
- - it 4- it I* 13. 3:3 6.5;
2; 2 4 5l ! x
- - 33 6 5 19. - -
... . 2 Z -¥. 5 .......... 28. l ! 6. * 5l ■x . * ‘
. I 28. 1;6 3.51 'X
I - ............... _ _ -3a~ c ^ < fi • • ■« X
10 2. 2 1 f : • ; * X X *
I *'« •
. . . 2. !3.2 7 6)
■
_ _ _ _ _ - -
15. 3!3 5 '6| 1 .X :;!*
2*. 5' 5 5 6 [ X X
i - 3S- £ X
. . . . .
t - - -
1
1
...
. . i .
. - - . .
. .... . { - ■ 1 • —
.......... - I -
i i •
i . 1
. . . . . ji 1
■ 1 - -
i
1 ■ • i
i
..... . 11. . . 1 . iI
1
-. . . i : : it ■ i
■ *-
1 i
t
i ' 1
fNquim
»«*thelarh
Table 14
254
Prof ile of Pattern Use in Pelog Patet Nem
Pelog Patet Mem Tatle Contour Fattem lima Nem 3arang;

77571
Important Patterns 2 3 2
H
. gong; 1 .!
2.
2 1 6 5 Cf
X
1_2 -1-6-
2.1 2 6
- 16. 3.5 X.
16. 3;5
K
Kenqn
enong 39. 11
2321 3 . 5 3 2; X * .X jX * *
3 5 3 6 5 3 2! X # X X • •
T ~ rrr 16. 5:6.1 2 X
2 16 5 17. 1; 6 l 2 :X
•21 f 6 17. 7 6 7 2
'KemPul 20 . 3:2 1 2 X xj*
"2 3 i i 31. 5 !3 5'2 x!
■1 1 1 1 2 2 2 2:
321 1. 5,6 5 4 i
3
2 165
in 1.
2 .
5 6 5 '31
1 6 5V x!
5535 16 . 6 12 3 1L x!
17. ,2.1 2
17.
19.
{2 7 2
1 1 2 3 ill
3il|
n
ft11 ._ : x |
-
2':. 2.2 2 3 ;!!
39. . 3 . 3 3 3_ j j
i. i i 0 5; I i \9
>. rj
Exclusive Fatte m s 6 .i <2 7
‘3 -5
6 5, J • l;i
X
6 6 5\ , x ..
Oorir• 20
|2l•|
:\f\ 3 5!
1 2 16 3 *!,
j2U. j
3 12 6
3 13 6 39. !
!3 3
'LJL 5 M
10 1.
2 . 1 2
3,2.
! ! ill
i:l*J
2.
16 .
.2
2.3
17. 5;3
19. 3.3
24. 55
31. 2 .1 2 6
. 33. 3 1 2 6
i35* 3.136
{ <: A
>Squ«m
«tw In .h
Table 15
255
Profile of Pattern Use in Pelog Patet Barang
Pelog Patet Parang1 'able Contour Pattern lima Nem Barang

n r; k K
Important Patterns
1. 2! 3 2 7
Gong 1. 2 3 2 1
3 27 6 2 . 5 3 2
Kerong— 5.3.2
if; 356
23 7 16. 315
-3-5(6 7 17. 6;5 X X
3 513 2
6 5 3 2 39. 7.7
6 SI2 t 12 1 1
3 217 6 1. 3 5 3 2 x • 'X X * *
6 7(5.6; 2. 6|532 X * |x X • *
Kemoul 8. 7 6 J 2
lfc. 6) 7 3 2
2-312 7•
3—S-16-? .
7 7 7
12
1 7.
. UJL2
1;6 12
3 5 3
6513
30. p p ? ?
1.
6 7 :3
5 6.5
2 . 5.6 5 3
7 6 5 3
2 . 7 .2 15. V2 5 1
.3.3.3 3 17. 2 7 2 3
3 2 7 6 17. 2:i 2 3
6 6:6 6
i 20
25.
. 5 J 2'3 ! X
r •
Exelu3lve Fattema 3 ;5 2 . 3
- f2
t3. 'L5_2_l
— Song—
31. u 3 ° 3
’6 < '6 •? 39- 3’
333
2 7 5 <
Kenong T7 2'7 6 5
_£_5_<i-2_ 2. 2 il_6_5
7 6 3 2 20 . 6 5 3 5' x x
3 3 3 5 2*». 3 3 3 5' X
6 7 5 6
5 7 ;5 6 27. 3 > 3 5
31. 7.6 7 5
Kempul
30 5-5-
6 5 6 7 10 2 . 3 2 7
6 7:3 2 2 . 32 1 6)1
16. 2 :3 5 6
6 7 :5 6
20 . 7 6 5 6
25. 6-.7_.5_6_
27. 5 ;7 5 6
39. 6^66
Table 16
A P P E N D IX IV
COMPARISON OF THE DATA OF
MANTLE HOOD AND OF JUDITH BECKER
The comparison given below is based upon th e data
of Mantle Hood as presented in The Nuclear Theme as a
Determinant of Patet in Javanese Music and the data of the
author given in Appendix III, Tables 1-10. While Hood's
analysis makes clear the role of the formula in Javanese
cadences, many of h i s specific conclusions are not supported
by my data.
For Slendro Patet Ne m he lists four strong cadence
patterns as follows:
(Hood's categories)
T1 6 5 3 2 or i ts retrograde
2 3 5 6
T3 2 1 6
T 14 6 1 2
Ou t of a total of 115 gong patterns for Slendro Patet Nem,
my data gives the following results:
T1 6 5 3 2 12 occurrences
(retrograd^lT1 2 3 5 6 2 occurrences
T3 _ 2 1 6 7 occurrences (either 1 2 1 6 or
T 1* _ 6 1 2 1 occurrence 32 16)
(5 6 1 2 )
More important than any of the above are the following gong
patterns:
256
257
3 2 3 2 15 o c c u r r e n c e s
2 1 2 6 21 o c c u r r e n c e s
The failure to recognize the importance of position within
the pattern leads Hood to classify 2 1 6 5 ( T 3+) as a variant
of _ 2 1 6 ( T 3) b e c a u s e of the similarity of three digits.
Actually the distribution of the digits within the pattern
makes them unrelated patterns.
For Slendro Patet Sanga, Hood gives the following
important gong patterns:
T3 2 1 6 5
T1 5 3 2 1
T2 1 2 3 5
Out of a total of 145 gong patterns for Slendro Patet Sanga,
my data gives the following results:
T3 2 1 6 5 35 o c c u r r e n c e s
T1 5 3 2 1 1 occurrence
T2 1 2 3 5 no o c c u r r e n c e
Important cadence patterns of Slendro Patet Sanga not given
by Hood are the following:
6 5 3 5 21 o c c u r r e n c e s
1 6 3 5 22 o c c u r r e n c e s
For Slendro Patet Manjura, Hood gives the following
as strong cadence patterns:
T3 3 2 1 6
T1 6 5 3 2
T2 2 3 5 6
An examination of a total of 131 gong patterns in Slendro
Patet Manjura gives the following results:
T3 3 2 1 6 21 o c c u r r e n c e s
T1 6 5 3 2 8 occurrences
258
According to m y data the m o s t important cadence pattern of
Slendro Patet Manjura is:
2 1 2 6 27 occurrences
On page 1 67 of The Nuclear Theme as a^ D e t e r m i n a n t
of P a t e t in Javanese Mus i c , H o o d states "bem (1) is t he
final note of patet lima gending more than half the time."
My data gives the following breakdown:
Pelog Patet Lima

Final gong tone No. of occurrences
1 20
2 5
3 7
5 25
6 5
Hood gives the following as important cadence pat
terns in Pelog Patet Lima:
T1 5 4 2 1 (Hood's "old scale")

T1 5 3 2 1 (Hood's "new scale")
T2 1 2 3 5
An examination of a total of 62 gong phrases in
Pelog Patet Lima reveals the following:
T1 5 3 2 1 no occurrence
T2 1 2 3 5 no o c c u r r e n c e
Important Pelog Patet Lima cadence patterns not discussed
by Hood are :
Hood gives as the m o s t important cadence pattern of
Pelog Patet Nem: T3 2 1 6 5, supported in my data where
259
2 1 6 5 occurs 26 times out of a total of 128 gong patterns
in Pelog Patet Nem. Another important cadence pattern of
Pelog Patet Nem is 2 1 2 6, not discussed by Hood and occur
ring 13 times in my data.
For Pelog Patet Barang, Hood gives as t he typical
cadence formula T3 3 2 7 6. Out of a total of 103 gong
patterns of Pelog Patet Barang, I found 11 occurrences of
the cadence pattern 3 2 7 6. More important in my data is
the pattern 2 7 5 6 with 18 occurrences.
These rather significant differences in data can be
explained by the fact that Hood was working from a corpus
limited in size and restricted in scope. Hood's corpus
consists of the following:
Source
Slendro Patet Nem 13 gending M a n u s c r i p t f r o m the

Slendro Patet Sanga 22 gending Jogjakarta court
Slendro Patet Kanjura 20 gending c o p i e d f r o m an o r i
g i n a l m a d e ca. 1 8 9 5
Pelog Patet Lima 17 gending Solonese manuscript
dating from 1924-25
Pelog Patet Nem 22 gending Jogjanese manuscript
Pelog Patet Barang 11 gending ( s a m e as a b o v e )
Total 105 gending
My data includes the following •
Slendro Patet Nem 36 gending

Slendro Patet Sanga 72 gending
Slendro Patet Manjura 65 gending
Pelog Patet Lima 24 gending
Pelog Patet Nem 49 gending
Pelog Patet Barang 49 gending
Total 295 gending
The many sources of the corpus are listed in Appendix Hi.
Reproduced with permission of the copyright owner. Further reproduction prohibited w ithout permission.
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Becker (1972) Traditional Music in Modern Java (Doctoral Dissertation)

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BECKER, Judith Margaret Chians, 1932-

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This dissertation is the result of two years research

in Java studying gamelan music and trying to understand the

role of gamelan music in the total society. The traditional

arts in Java would appear to be in good health. A wajang

kulit performance can be found nearly every night in the

larger towns. Wajang orang companies in Surakarta and

Semarang play every evening of t he week. Gamelan clubs

seem to b e born overnight, like mushrooms. Cheap comic

books of th e favorite wajang stories are sold by hawkers

who set up makeshift stalls by t he roadside at night. Large

outdoor theaters have been built which hold thousands who

come to see modernized versions of the old w a j a n g stories.

Government culture bureaus report that there are more dalangs

per population today than ever before. The overall effect

is one of a great deal, an almost overwhelming amount of

However, if one spends any time at all with those in­

volved in these activities, they communicate an unmistakable

depression or m a l a i s e . The source of the depression is often

difficult to pinpoint for b o t h artist and investigator. A

direct question elicits only a vague reply. " I t ’s not like

it used to b e , " or "Nowadays, nobody works hard at (playing

found than those today," or "Young people are not interested

in gamelan any more," or "The new gamelan pieces are all

only children's songs." Most of the statements above may

be more conventional than sincere, but that is not important.

What is important is that Java's musicians are troubled by

A certain amount oi the unhappiness of Java's musi­

cians can be attributed to simple economic need. Along with

many other segments of the population, the musician does not

receive enough money to live. Even with t he acknowledgment

of that fact, however, the a rt s in Java are in a troubled

state for other reasons. The imprecise complaints of the

village musician become the articulate and self-searching

appraisals of the intellectuals among the artists who often

appear on lecture platforms or w r i t e articles for popular

The problem is that there has come to be a gulf be­

tween the projected aims of th e modern nation Indonesia hopes

to b e c o m e and the ethos and rationale that are e m b o d i e d in the

music of the gamelan. The government and many of the people

are eager for Indonesia to b e c o m e a twentieth century nation,

to obliterate the last traces of feudalism, to overcome the

deep-seated animism mixed with Hinduism which is still the

religious cast of many nominal Moslems in Java. The

non-rational. Inner reality is hidden, outward appear­

ances can never be trusted and unseen forces operate on all

aspects of one's life. Many government leaders and most

intellectuals would change this orientation to a rational

approach in w h i c h things are what they seem to b e, in w h i c h

unseen forces are either ignored or disbelieved, and the

However, if one spends any time at all with those in

A certain amount oi the unhappiness of Java's musi

The problem is that there has come to be a gulf be

non-rational. Inner reality is hidden, outward appear

can be demonstrated in some of the modern gamelan composi

words, the Indonesian romanization and the Javanese romani

come to a decision. I was unable to do t hi s , however, be

to spend more than two yeors in Java. His tireless col