Gamelan

Goes to The World

everybody can play

Gamelan
Javanese Traditional Music

United Nations Dian Nuswantoro University

Educational, Scientific and Indonesia
Cultural Organization

United Nations Dian Nuswantoro University

Educational, Scientific and Indonesia
Cultural Organization

www.dinus.ac.id
 Gamelan is the traditional-musical ensemble music of Java and Bali in
Indonesia. The most common instruments used are metallophones,
xylophones, drums and gongs, bamboo flutes, a bowed instruments called
a rebab, and even vocalist called as “sinden” or “waranggana”.

The term refers more to the set of instruments than the players of those
instruments. A gamelan as a set of instruments is a distinct entity, built and
tuned to stay together—instruments from different gamelan are not
interchangeable.

HISTORY

Gamelan seems to have developed early in the history of what is now

Indonesia. It predates the Hindu-Buddhist culture that dominated
United Nations Dian Nuswantoro University Indonesia in its earliest records and thus represents an indigenous art form.
Educational, Scientific and Indonesia Gamelan seems to have been a feature of court life during the 8th to 11th
Cultural Organization
centuries, among the Hindu and Buddhist kingdoms of Java, Sumatra, and
Bali. The instruments developed into their current form during the
Majapahit Empire.
 ninth centuries or from its earlier being given by the god Sang Hyang
Hendra.[2] for slendro, the bars are 6-1-2-3-5-6-1; this can vary from
gamelan to gamelan. Slendro instruments commonly have only six keys.
It provides the core melody (balungan) in the gamelan orchestra. Pelog,
in Javanese the meaning of the term is "fine" or "beautiful".[2] Although
the full pelog scale has seven tones, usually only a five-tone subset is
used In a pelog scale, the bars often read 1-2-3-4-5-6-7 across.

slendro approximated in Western notation

In Javanese mythology, the gamelan was created by Sang Hyang Guru in

Saka era 167 (c. AD 230), the god who ruled as king of all Java from a
palace on the Maendra mountain in Medang Kamulan (now Mount Lawu).
He needed a signal to summon the gods and thus invented the gong. For
more complex messages, he invented two other gongs, thus forming the
original gamelan set. pelog approximated in Western notation

VARIETIES OF GAMELAN ENSEMBLES

There is a wide variety of gamelan ensembles, distinguished by their

collection of instruments and use of voice, tunings, repertoire, style, and
cultural context. The varieties are generally grouped geographically, with
the principal division between the styles favored by the Balinese, Javanese,
and Sundanese peoples. Balinese gamelan is often associated with the
virtuosity and rapid changes of tempo and dynamics. Meanwhile, Javanese
gamelan is known for a slower, more meditative style than that of Bali.
There are two tuning systems (laras) in Javanese gamelan, slendro and pelog.
The older one, slendro, is a pentatonic scale, in Javanese the term is said to
derive either from "Sailendra", the name of the ruling family in the eighth and
INSTRUMENTS AND CHARACTERISTIC
A gamelan is a multi-timbre ensemble consisting of metallophones,
xylophones, flutes, gongs, voices, as well as bowed and plucked strings.
The hand-played drum called kendhang controls the tempo and rhythm
of pieces as well as transitions from one section to another, while one
instrument gives melodic cues to indicate treatment or sections of a piece.
Some of the instruments that make up a gamelan in present-day Central
Java are shown below.
Metallophones
A metallophone is musical instrument, including saron, gender, and gansa,
consisting of tuned metal bars which are struck to make sound, usually with
a mallet. These instruments have a single row of bars, tuned to the distinctive
pelog or slendro scales
Craddled Gong
Cradled Gong is a collection of small gongs (sometimes called "kettles" or
"pots") placed horizontally onto strings in a wooden frame (rancak), either
one or two rows wide. They are typically hit with padded sticks (tabuh).
The instruments are bonang, kethuk, kempyang, and kenong, made of
forged bronze, welded and cold-hammered iron, or a combination of metals.

Saron
The saron typically consists of
seven bronze bars placed on top Bonang
of resonating frame (rancak).
It is played on the floor by a In central Javanese gamelan there are three types of bonang used:
seated performer. It provides
the core melody (balungan) in
the gamelan orchestra and
typically come in a number of
sizes, including peking, saron
and demung from smallest to
largest.

Each one of those is pitched an octave below the previous. The sarons 1. Bonang panerus is the highest of them, and uses the smallest kettles. It
are struck with a mallet (tabuh) in the right hand. Typically, the striking generally covers two octaves, covering approximately the same range as
mallet is angled to the right to produce a fuller sound. Demung and Saron the saron and peking combined. It plays the fastest rhythms of the bonang,
generally use a wooden mallet, while the peking mallet is made of a water wither interlocking with or playing at twice the speed of the bonang barung
buffalo horn, which gives it a shriller sound. The left hand, meanwhile, is
used to dampen the previous note by grasping the key, in order to prevent
a muddy sound. On repeated notes, the note is usually dampened half a
beat before it is struck again.

Gendér
A Gendér or Gangsa is a metallophone
consisting of 10 to 14 tuned metal bars
suspended over a tuned resonator of
bamboo or metal, which are tapped
with a mallet made of a padded wooden
disk. In some types of gamelan, two
Gendérs are used, one (called the Gendér
panerus) an octave higher than the other.
The Gendér Panerus plays a single line of
melodic pattern, following a pattern similar to the siter. The Gendér barung
plays a slower, but more complex melodic pattern that includes more
separate right and left hand melodic lines. The melodies of the two hands
sometimes move in parallel motion, but often play contrapuntally.
2. Bonang barung is pitched one octave below the bonang panerus, and also
generally covers two octaves, approximately the same range as the demung
and saron combined. This is one of the most important instruments in the
ensemble, as it gives many of the cues to other players in the gamelan.
3. Bonang panembung is pitched the lowest. It is covering approximately the
same range as the slenthem and demung combine. It is reserved for the most
austere repertoire, typically playing a paraphrase of the balungan. The parts
played by the bonang barung and bonang panerus are more complex than
many instruments in the gamelan; thus, it is generally considered an
elaborating instrument.
Kenong
The kenong is a cradled gong placed on its side and is roughly as tall
as it is wide. Kenongs are generally much larger than the bonang,
kempyang and ketuk. Its pitch is rather high considering its size; its
sound stands out because of its unique timbre. Kenongs are usually
played with similar padded sticks to the bonang, except larger.

The kenong is sometimes played by the same player as the kempyang

and ketuk. A full gamelan would include sets for slendro and pelog.
The boxes (rancak) for the kenong are usually for one or two; these
are then put in a line or curve surrounding the player.

Gong Ageng

Kempul
The other smaller hanging gongs
are basically called Kempul (about
45cm in diameter). The number
of Kempul is varied from gamelan
Hanging Gong to gamelan. Kempul produces a high
pitch than Gong Ageng. Different
Hanging gongs are hanging on large wooden stands which are
sizes of Kempul produce different
constructed by two side posts supporting a cross bar. Hanging gong
pitches, the smaller size produces
has a flat surface. At the center, there is a protruding knob, and the
the higher pitch. The mallet used to
surface become slightly concave near the edge. The gong player
struck on the knob is the same as the
need to sway the mallet sideways so that the head of the mallet can
one used on the Gong Ageng, except,
struck on the central knob. There are many sizes of hanging gong.
it is smaller in size.
It can be very big and heavy.
Drums (Kendang)
Gong Ageng Kendang is the primary drum used
It is the largest hanging gong in Javanese gamelan. It is also the lowest in the Gamelan ensembles of Java.
-pitched gong in the gamelan. There will be at least one Gong Ageng, They usually are placed on stands
and it is usually hang at the back of the gamelan. Normally, it is horizontally and hit with the hands
approximately 85cm in diameter. It is certainly the heaviest and the one either side while seated on the
most expensive item in the gamelan. The mallet used to struck it has floor. One side is generally larger
a bigger spherical heads then other mallets, and is covered with heavy than the other, with the larger,
padding. The player has to play very gentle on Gong Ageng. lower-pitched side usually placed
to the right. The skin is typically
It is to believe that Gong Ageng is the spirit of the gamelan, hence, it is made of goat or buffalo, stretched on y-shaped leather or rattan strings,
the most respected item in a gamelan. Like most of the gongs, except which can be tightened to change the pitch of the heads.
Bonang, the function of Gong Ageng is more for punctuation.
 Dian Nuswantoro University Concerns to the Gamelan

As an important part of higher education in Indonesia,

Dian Nuswantoro University (UDINUS) takes the responsibility for
conducting the preservation one of this priceless traditional heritage.
Among of those efforts, UDINUS purchased the complete set of
gamelan, established gamelan communities among students and lecturers,
and collaborated with traditional artists in order to carry out cultural
coaching in a wider scale as well.

A noteworthy breakthrough also has been conducted through

elaborating the gamelan using information and communication
technology in form of software application called as
electronic gamelan (E-Gamelan). It has successfully made
the transition from being a traditional music only accessible to
the court elite, to one of the great software application of classical
music traditions of Indonesia.

Cultural Context
Dance, Wayang Puppet, Poetry
Gamelan usually accompanies dance, wayang puppet performances,
or rituals and ceremonies. Typically, players in the gamelan will be
familiar with dance moves and poetry, while dancers are able to play
in the ensemble. In wayang, the dalang (puppeteer) must have a through
knowledge of gamelan, as he gives the cues for the music. Gamelan can
be performed by itself - in "klenengan" style, or for radio broadcasts.

Gamelan's role in rituals is so important, some performances are

associated with royalty, such as visits by the sultan of Yogyakarta, in
celebration of Mawlid an-Nabi (Muhammad's birthday), in the
ceremonies of the Catholic church in Indonesia. Certain pieces are also
believed to possess magic powers, and can be used to ward off evil
spirits.
E-GamelanKu is an electronic gamelan created by UDINUS by recording
the sound of each gamelan instruments, so it is ready to be played at any
time through computer application. This work of innovation, funded
under the Competitive Grant Research of Directorate General of Higher
Education in 2009-2010, can now be played through iPad, Android, and
other platforms. E-GamelanKu have been featured on various
performances of kerawitan and dance, both at home and abroad.
E-GamelanKu is in no way intended to replace the central role of
conventional gamelan instruments in a cultural arts performance, but it
can be utilized optimally in acknowledgment, education, and training
sessions as a gamelan simulator. As a simulator, it can be reached
inexpensively by anyone who does not have adequate access to gamelan
instruments. In addition to this, E-GamelanKu can be played flexibly in
the dimensions of space and time. With this application one can easily
learn how to play the entire instrument gamelan, infinitely. E-GamelanKu
is a breakthrough so more people can learn the gamelan without having
to think about the availability of the device
People can easily use E-GamelanKu to train the gamelan skills and
sense of playing, before applying these skills to a real gamelan show.
Through this simulator, UDINUS wants to promote the gamelan
as world music, everyone can play gamelan.
Traditional Javanese Dance
Bedhaya Nuswantoro
Bedhaya is a classical dance performed by seven (7) unmarried girl
dancers in wedding dress. This palace dance is sacred, because it used to
be played only to accompany the palace (jumenengan) graduation
ceremony, or the commemoration of the ascension of the throne.
Various references mention the original Bedhaya Dance performed in a
duration of about 1.5 hours.
Bedhaya Dance has a meditative graceful character as an expression of
love stimulation of Nyi Roro Kidul, the ruler of the southern sea to the
ruling kings in the land of Java. The Goddess of the Sea is a
representation of nature. The King marries the Goddess of the Sea
containing the meaning of united, nurturing and preserving nature. The
message to be conveyed is that anyone who wants to rule in a lasting
way, he must be united with nature because nature is a source of life for
mankind in a sustainable manner.

The message to be conveyed is that anyone who wants to rule in a lasting
way, he must be united with nature because nature is a source of life for
mankind in a sustainable manner. In Giyanti 1775 agreement, there was
division of budhaya heirs between Ngayogyakarta Hadiningrat Sultanate
in the era of the leadership of Hamengku Buwono I (HB I) and Kasunanan
Surakarta in the era of Paku Buwono III (PB III). Both kings of one
descendant have agreed, Bedhaya Dance is the wealth of Kasunanan
Surakarta.
Today, Bedhaya Dance is performed by many artists, beyond of
the palace at various events. Bedhaya Nuswantoro is a Bedhaya Dance
modified by the arts team of Dian Nuswantoro University of Semarang
and is often featured on graduation ceremony.
Dance with the accompaniment Ketawang Langen Gito Laras
Slendro Pathet 9 is played in a duration of less than 10 minutes with
a very high level of solemnity. This dance conveys the message to
academics to gently, patiently and consistently integrate with
the physical as well as environment of life, both present and future.
Jurit Nuswantoro
Jurit Nuswantoro is a new creations dance that explores the
dynamics of elements of soldier's movement in the royal era.
Generally, Jurit Dance is sigrak and rancak with the accompaniment
of fast rhythmic gamelan. Various regions have typical Jurit Dance
according to the history of each battle such as Jurit Panji in
Kediri, Jurit Serang in Banten, Jurit Pinilih in Wonogiri, and Jurit
Ampil Kridha WarastraDance in Salatiga.
In Central Java, the creation of Jurit Nuswantoro was mostly
inspired by the story of the struggle of Raden Mas Said when
waging resistance against the Dutch colonial government and
the fight for power in the collapse phase of the Sultanate of
Mataram. On March 17, 1757, in Salatiga, a conflict resolution
was established among the various parties. Hamengku Buwono I
(Sultanate of Yogyakarta Hadiningrat) and Paku Buwono III
(Kasunanan Surakarta) agreed to surrender some of its territory
to Raden Mas Said who later became the first king as
Mangkunegara I.
Jurit Nuswantoro is performed by female dancers, to describe
the participation of these people in the battle to defend
the country. This dance portrays the circumstances of women
practicing war with a strategy that is still known until today.
They practice using a weapon called “cundric”, used by invader
in one-to-one combat situations. They are also adept at riding
horses as cavalry warriors who have the main task of attacking
rapidly. The soldiers also sharpen the skill of archery by using
bows and arrows as artillery soldiers who contribute strength
from a distance.