Definition and Philosophy of Java Gamelans
Ditulis pada: June 27, 2021
Javanese gamelan is a musical strain produced from a combination of several Javanese musical instruments, such as Gong, Kenong, Gambang, Gender, Celempung and other Javanese musical instruments.
Brings to an atmosphere of peace of mind a reflection of the harmony of life about the principles of life that are embraced by the Javanese people in general.
Gamelan comes from the word gamel which means to do, the first gamelan was made in 167, and is made of bamboo and the gamelan is the orchestra of the Javanese.
The gamelan contains a lot of philosophy, for example: It reads: nang ning nung neng nong. Nang (win), ning (wening, think) nung (ndhunung, pray), neng (meneng, silent), nong (God). His names are: G (gusti), A (alloh), M (maringi), E (emut-remember), L (lakonono), A (teaching), N (prophet).
Knowing the Java Gamelan Device
1. BONANG
In the form of a set of ten to fourteen small, horizontal gongs arranged in two rows, placed on a rope stretched on a wooden frame. The player sits in the middle on the side of a row of low-octave gongs, holding an elliptical percussion in each hand.
There are three kinds of bonang, differentiated according to size, octave region, and function in the ensemble.
Bonang Barung
Medium in size, has a middle to high octave, is one of the leading instruments in the ensemble, the resulting tone pattern serves as an anticipation of further tones, guiding other instruments, except for wasps for rewards, this type of bonang tends to acts to form patterns of intertwining songs with bonang panerus.
Bonang Successor
The smallest size and high octave. in the shelled wasp technique, bonang panerus has twice the speed of bonang barung. bonang panerus does not function as a guide song, because of the speed and height of the pitch.
Although in charge of anticipating the tones of the balungan, as for the technique of wasps in return, in collaboration with bonang barung, bonang panerus plays patterns of intertwining songs.
2. CELEMPUNG
Is a plucked wire instrument, framed on a kind of gerobogan (also functions as a resonator), has two pairs of legs, the front legs are higher than the hind legs, has thirteen pairs of wires that are tensioned between the nails to adjust (above) and small nails (below).
There is a metal chip on the top of the gerobogan that functions as a wire separating bridge, this musical instrument is in charge of stringing song patterns.
Gender Barung
Large, low to middle octave. One of the leading instruments, plays in a steady beat (cengkok) song pattern that can create a thick sonority texture and strengthen the sense of pathet gendhing.
Gender Successor
Small, middle to high octave. Although the noodle instrument is not necessarily in the ensemble, its presence adds to the richness of the gamelan's texture. This gender plays the song in a steady and fast beat pattern.
5. KEMPUL
A small gong that is hung. Kempul marks important accents in the sentence of the gendhing song. in conjunction with the gendhing song, the kempul can play the same note as the balungan tone; sometimes kempul precedes the next balungan tone; sometimes he plays a note that forms a kempyung interval with a balungan tone, to emphasize a sense of pathet.
An asymmetrical two-sided instrument with the leather side tensioned with ropes and the leather or rattan arranged in a 'Y' shape. functions to determine rhythm and tempo (maintaining a steady tempo, guiding the transition to a fast or slow tempo, and stopping the gendhing beat (suwuk)).
In addition, for gamelan dances and puppet shows, drums also accompany the movements of dancers or puppets. Based on the size and function, there are four kinds of drums, namely ageng drums, wayangan drums, ciblon drums, and ketipung drums.
8. GONG
The word gong specifically refers to a hanging gong that is vertically positioned, large or medium in size, beaten in the middle of the circle (pencu) with a round percussion lined with cloth. serves as a sign of the beginning and end of the gendhing.
In this term Gong can be classified into two namely:
Gong Suwukan
Medium-sized hanging gong, played to mark the ending of short-structured gendhing, such as fluent, srepegan, and sampak.
9. KETHUK KEMPYANG
Two instruments belonging to the type of gong in a horizontal position superimposed on a rope that is stretched on a wooden frame.
Kethuk - kempyang gives accents to the flow of the gendhing song into short sentences. in the smooth, sampak, srepegan, and sieve fast beat styles, the kethuk is beaten between balungan beats, producing fast intertwining patterns.
11. SARON
Shaped blade with six or seven blades (one octave or one octave and one note) superimposed on a wooden frame that also functions as a resonator. It is beaten with a percussion made of wood or horn (the latter is for Pekingese). Saron itself is divided into 3 types according to the size and function of each:
Saron Barung
Medium in size and high octave, also plays the balungan in a limited area. A gamelan device may have a nine-bladed saron puppet. This saron is played especially for the ensemble accompanying the puppet show.
Saron Peking (Successor)
The smallest size and the highest octave. play double or quadruple wasps of balungan songs. Pekingese also tried to decipher the balungan song in the context of the gendhing song.
12. SLENTHEM
Belongs to the gender family when we look at its construction, it is often called the panembung gender. But the slenthem has as many blades as the saron blade, the lowest octave in the saron instrument group. play a balungan song within its limited territory.