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Hastanto, S. (1985) The concept of pathet in Central Javanese gamelan music., Durham theses, Durham. University. .... Seni Karawitan. Indonesia .... Javanese gamelan music uses two kinds of scale called ...... Sunda (West Java),. Cen-.
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The concept of pathet in Central Javanese gamelan music. Hastanto, S.

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Hastanto, S. (1985)

The concept of pathet in Central Javanese gamelan music.,

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Abstract

THE CONCEPT OF PATHET IN CENTRAL JAVANESE GAMELAN MUSIC

Pathet, Javanese

of

one amelan

is

which

often

There

namely

pathet

in

nem in

slendro,

music

is

the

to

tuning

of

system:

lima,

and pathet

in

quality'

Western

music.

in

gamelan

operative

system

distinguish

The Javanese

sanga

pathet

manyura,

pathet

'musical

of mode

of

concept

three

and

pathet

barang

nem and pathet

pathet

Central

of

elements kind

a

and pelog.

slendro

each

most

kinds

two

important

making,

related

are

music,

the

in

pelog. Some by

made

attempts

both

each

pathet.

often

too

general

the

predict In

the

impressions

the

taking

the

as

The performed established

musical

being

strong

of

of

structure

melodic

impressions in

and in

analysis

of fact

the

impression

musicians'

and

however, are

the

pathet,

even

are to

unable

present are

which

in

invariable

them Javanese

and felt

agreed

by

terms

of

theory.

It

gamelan

music

based

and

figures,

context. when

of

study

a

into

phrases,

content, are

of

reliably.

sentences,

pathet an

for

their

characteristics

identified,

phenomena or

been

indeed

consequently

constructs

contour,

account

of

of

and

and

melody

concept

pathet

a method

into

specific

have

pathet and

some

thus

a given

materials

of

introduces

too

of

musicians

native

on

pathet

exploring

gathers

identifying

in

of

theorists

characteristics or

concept

Indonesian

and

succeeded The

the

explaining

Western

have

theories

at

a

melody

a particular

listeners'

minds

is

being

pathet by

three

is

interdependent melody

constituents

Through

the

establishment, thet scribed.

aspects:

in

the

-

interlocking

content

contours, melodic of

further

growth,

musicians'

minds

figures, these

three

consolidation and

their

and

of

contexts

the

phrases

and

sentences.

aspects

the

process

of

of

pa-

are

de-

and

change

performances

THE CONCEPT OF PATHET

IN CENTRAL JAVANESE GAMELAN MUSIC

The copyright of this thesis rests with the author. No quotation from it should be published without his prior written

consent and information

derived

from it should be acknowledged.

Submitted

for

the

degree

of

Ph. D.

at

University

of SRI

Durham

HASTANTO

September ýý

1; TR.1336

by

1985

In

memory

taught children generation.

me

of

my dearest aspect

every who

will

bring

Gendhon

guru, of

this the

Humardani,

life, music

for

and to

who

the

my next

ACKNOWLEDGEMENTS

I the

like

would

Department ways,

many

I

and

became

for

their I

Indonesia

great

help

to

thank

want me in

helped

graphs My

with from

sent

Council

Council

staff care

of

and

providing

all

for

kind

his

of

help

in

for

my supervisor, this

work,

his rough

until

to

the

rare

me and

gave

ASKI

Surakarta

who

my wife

Suhartini,

who

in

recordings

writings,

and

photo-

England.

United

Jakarta,

my thanks

offer

examples.

and

projects,

Kingdom

was

I

grateful

scholarship. in

I

Surakarta,

Akademi

in

karawitan

empu

my colleagues

survey

Java

all

in

materials:

in

study

British

took

Provine,

(ASKI)

in

various

me

provided

Chairman

personal.

supervising

Martopangrawit

Karawitan

Seni

in

patience

Taylor,

a thesis.

Bapak

To

and

Robert

Dr.

to

am grateful

encouragement ideas

linguistic

academic,

Eric

University,

Durham

Music,

of

Professor

thank

to

London, every

am

Edinburgh

necessary

made

to and

assistance.

by

possible the

a

British

Newcastle,

who

PREFACE

Of

the

been

have

only

in

as

one

Music

Patet

discussions

of

in

more

Kunst's Traditional Laras,

Before

background

to to

seems it

repeat

in

Another

gist, some

I

am not but

from

me quite this

present

reason a

necessary

words, a musical

historical,

for

trained

which this and

are

musician's

is

study

not

the

aspects

discusses point

of

view.

the

to

on pathet.

or

subject

avail-

necessary

here

of concept

is

anthropolo-

I prefer

practical to

made

information

Consequently

germane

present

anthropological

sociologist

about

(1980).

thus

it

Lagu,

above-mentioned

or

such

historian,

Becker's

Hatch's

concentrates

including

musician.

such

Music

Jaap

as

1973),

the

sec-

smaller

or

Martin

and

Other

(1975).

music,

that

which

study,

information

The

information so

adequate,

not

Music:

social

The

music.

Javanese

discussion,

main

an

Javanese

a Javanese

music-making other

include

always

writers

their

reaching

and

Javanese

in

such

(1977),

edition

(1972)

of

Pathet"

chapters

recent

Melody

Rethinking

Layang:

on

Javanese

the

to

articles,

Barung"

as

and

Determinant

a

short

about

appear

Java

Modern

in

Music

devoted

are

Gender

(most

Java

in

wholly

"Central

the

works

general

Music

Some

Sumarsam's

matter

Indonesian

as

which

music

both

Theme

Thoughts

and

this

book

(1954).

Slendro

Laras

of

tions

and

of

scholars,

Nuclear

The

"Some

McDermott

of

full-length

a

Javanese Becker's

Vincent

that

is Hood's

Judith

able

a number

Mantle

subject: Patet

by

made

Western,

studies

several

Javanese

in

pathet

include

to of

Javanese In

pathet. of

pathet

-

As

a Javanese

feel

can

it.

But

cated

aspect

of

intentions

my

own

music,

habits ders cultural I

want

about

of

to the

think

I

believe

patterns to

do

traditional

it. in

show -

is

which music.

the

of

rapid which

may

help

most

difficult

very

to

and

feel

One

from

things preserve

their

about

different

cultural what

of

I

compli-

task.

changing some

it

play

the

different

the in

is

Javanese

what

somewhat

Indonesia

Javanese

a

I

music:

which

because

During

something

my

remains to

-

know

pathet,

music, is

background about

analyse

here which

and

I

musician,

outsi-

social may

be

and lost,

knowledge

NOTES TO THE READER

Spelling (1)

With

spelled

to

chart

the

shows

Javanese

and

Indonesian

the

differences

the

government

in

old

spelling

between

are

words

Indonesian

for

new orthography

by the

adopted

following

Indonesian

exceptions,

according

language

old

some

1972.

the

The

new and

the

spellings. new spelling

equivalent

c

tj

chalk

i

di

iuice

y

j

Javanese

(2)

English

you ,

consonants

and

are

d as in

dados

as

spelled

follows: n

sounding

like

th

RM

sounding

like

d in

AM

sounding

like

t

R('7

no equivalent Titles

(3)

of names

personal Terminology ly

spelled

in

are

in

is

articles

appear

is

as they from the

t as in

spelled

tambang

publications, in

appear

earlier

gendhing

as in

th

spelled

and other

in

dh as in

spelled

English

quotations

as they

is

in teacher

spelled

within

spelled

domestic

sound

books,

is

thus

and also

the

writings

kethuk

originals. are similar-

originals.

Terminology There technical

is terms

have attempted 'mode'

no precise

often used to

in

translate

and kempyung

Javanese them

becoming

English

in

equivalent

the

Some scholars

gamelan

music.

( apthet,

for

example,

but

this

'f if th'),

for

can

becoming lead

to

vii

-

confusion

and

misunderstanding.

terms

left

untranslated

are

unfamiliar to

the

with index

the

which

Javanese is

located

-

For in

the

terms at

present used

the

this

end.

study. are

difficult

reason,

Those

encouraged

who are to

refer

TABLE OF CONTENTS ACKNONLEDGEMMS NOTES TO THE READER PREFACE CHAPTER I OUTLINES AND DEFINITIONS

JAVANESE GAMSI., AN MUSIC: Voices,

Instruments, Scale

Functions

Systems

(Laras)

Gendhing

and their

Contexts

their

and

Groups

Gendhing

Irama NOTES TO CHAPTER I CHAPTER II ANALYTICAL TOOLS Javanese

Notation

Balungan

gendhing

Gendhing

Form

Systems

Balungan Gendhing as Basic the Study of Pathet NOTES TO CHAPTER II CHAPTER III EARLIER

THEORIES

From

Kunst

OF PATHET to

Walton

NOTES TO CHAPTER III CHAPTER IV PATHET IN LARAS SLENDRO Thinthingan Senggrengan Pathetan Srepegan

Wantah

Material

for

ix

Summary

and

Analytical

First

Example

Methods

Pathet

Manyura

Pathet

Sanga

Pathet

Nem

Exceptions

Conclusion CHAPTER V PATIIh1

IN LARAS PE[.IOG

Pelog

Pathet

in

Practice

Cengkok

in

Laras

The Traditional in of Pathet

the

Actual

Slendro Pelog

Pathet

Classification Laras Pelog versus

Practice

Gendhing

Pathet

Pelog

of

the

in Laras

Music Pelog

Barang Analysis

Pathet

Pelog Pajhet

Pelog

in

Pelog

Barang

lima

and Pelog

Pathet of

the

Three

Pathet

in

NOTES TO CHAPTER V CHAPTER VI CONCLUSION I

APPENDIX II III

SELECTED BIBLIOGRAPHY

Works Consulted

INDEX

Nem

Manyura

Conclusion

Sources

Pathet

Analysis

Mixtures

APPENDIX

Theories

Bem

Pelog

APPENDIX

and

of Gendhing

Notation

Consulted

Pelog

Bem

CHAPTER I

OUTLINES AND DEFINITIONS

JAVANESE GAMELAN MUSIC:

I

By gamelan life,

musical linguistic of

of

distinction

this

in

the

'gamelan

practical

is

Java and Bali.

has

However,

it

insist

on

are

music',

The

pedan-

Javanese

usage

such

ensemble

indis-

be merely

strict

music

be aware

'gamelan'

would

are

Javanese

to

seem

available,

of

karawitan.

or

word

which

of

a traditional

Most instruments Besides

metal.

a set

the

use

sense

collection

play.

always

the

'gamelan

as

unambiguous

and

meet

needs.

A gamelan

made of

to

expressions

and

ensemble'

thesis

a

a

either

has

krawitan

do not

often

senses.

present

anglicized

when

all

both

they

which

West

the they

as

in

criminately tic

in

studies

music

from

to

refers

Javanese

current

Gamelan

latter:

the

in

meaning

view.

it

music

for

term

separate

Popular

the

to

not

of

Java:

in

thing

instruments,

point

term

its

argue

not

will

the

of

use

a historical

or

a

I

and

a physical

have

the

mean

drums,

the

of the

or

are

four

ensemble

instruments,

metal

two

in

three

the are

islands percussion,

a large

gamelan

instruments

string

of

and some

flutes. Basically Balinese

nesia: style, belongs style

there

found

in

to

Central

which

Surabaya,

is

found

style, West

found

Malang,

Java,

styles

of

in

island

Javanese

and

most

of

in

some

parts

Jombang

the

and

gamelan

style

East of

a few

ý'

Java, the other

of itself

Bali;

Indo-

Sundanese

which

and

East

province

of

places.

in

music

in

fact

Javanese East

Java:

The Javanese

2

style

Javanese

almost

in

basically

music

both

A set called

seprangkat

two

of

consists

Instruments,

both

instruments

produce

which

loud

instruments

is

of

They

music.

those are

which also

group, a

group

rhythmic

of

but

this

together

sets

indivi-

so that

the

A more

de-

chapter.

are

is

Each pangkon

gamelan

called

a gamelan

words,

notes

instruments

gamelan

a gamelan

seprangkat

consists

seprangkat

of

about of

consists

can

be

concentrate

more

instruments

and melodic

with which

elements.

those

(these

melody but

in

rhythm

equally

the

categorising

of

a piece

performing

firstly,

groups:

of

contrast melody; concerned

course is

function

melodic

than

produce

may

instruments

their

which,

are

which

in

three

those

categories:

system

into

divided

rhythm

two

function

their

those

concerned

and

Another

upon with

into

sound,

to

according

Functions

and their

divided

sounds.

secondly, are

be

a soft

concerned

dominant);

in

at

notes

seven

time,

at

later

pelog

Voices, can

only

and

soft

has

called

instruments.

thirty-eight

The

five

pentatonic.

In other

thus

of

five

only

(pangkon).

sets

instruments,

nineteen about

1).

(see plate

consists

intervals,

or

both

sepangkon;

gamelan

thesis

scale

and small

found

is

slendro

either

of

This

of

scale

essentially

scales

of

trans-

kinds

The pelog

use

is

systems

discussion

tailed

scale

large

both

compositions

the

of

nowadays.

two

uses

music

intervals.

including

as a result

in Indonesia

The slendro

equidistant

available,

Papua),

Kalimantan

Sumatra,

of

style.

gamelan

and pelog.

slendro

many parts

(West

occurring

to Javanese

limited

dual

Jaya is

which

migration

to

spread

and Irian

(Borneo)

is

to

has begun

to

the

and

first

finally, with

both

3

The More

detailed

accounts

and "The Javanese Saron

barung

This

rattan

cushions

laid

are

below

it

in

Java

in

slendro,

1973),

(Kunst

is

from

inches

each

as both

also

acts holes

through

and rests

end,

The dynamic

hole,

each

which

by two nails

secured

keys

and seven

above a wooden case

can be categorised

instrument

instrument.

each

Music

keys

six

one and a half

about

tionally

or

Each key

placed

in

given

of

(Hood 1961).

has five

as a resonator.

description

2)

(plate

The keys

in pelog.

are

Rebab"

instrument

this

a brief

is

following

on of

characteristic and loud;

soft

func-

upon melody.

concentrates

Demung The

its

Saron The

The

notes

are

one

or

p eking

penerus the

shape,

number

of

the

saron

barung

its

notes

are

Bonang The

bonang

arranged

in held

cords ten

barung

or

a range

in

twelve of

of

the

those

the

demung

the

function,

is

bigger,

are

saron

the

again is

penerus

and

the

as those

same

in

smaller

of and

size

3) is

equal

an rows

a wooden gongs,

two

as

the

higher.

octave

barung two

the

same

and

lower.

instrument

but

(plate

that

characteristic,

this

one

the

are are

octave

dynamic

keys

of

instrument

differences

function,

the

characteristic,

this

of

barung.

saron and

keys

of

number

dynamic

the

shape,

octaves.

instrument and

consisting

resting

frame.

In

in

pelog

while

The

dynamic

of

horizontally

there

on stretched

this

slendro are

gongs

small

fourteen.

characteristic

has

instrument

is

It

has

loud

and

4

it

functionally

soft; Bonang

penerus

This

has

instrument

being

smaller

made of

a two-stringed

either

wood or

than

more

and it

concentrates

Gender

barung

This

bonang

as the

dynamic

gongs,

of

barung.

It

by

differs

higher.

the

coconut-shell;

two

buffalo

horn it

octaves,

The resonator long

neck

or hard

produces

box is

and tuning It

wood.

has a

a soft

only

sound,

upon melody. 5)

has fourteen The keys

octaves.

individual

fiddle.

spike

ivory,

(plate

instrument

a half

number

one octave

is

of

shape,

4)

may be made of

range

same

and pitched

Rebab (plate The rebab

the

and function

characteristic

pegs

upon melody.

concentrates

bamboo

are

tin

or

keys

and covers

a range

together

strung

and suspended

It

resonators.

two

of

is

a soft,

and over

melodic

instrument. Gender

penerus

The

shape,

are

all

dynamic the

same

penerus

is

gamelan

seprangkat

gender tems, barang differ

pelog have in

the

for

as

smaller

penerus,

function

characteristic, the its

and there tuned

in

and

pelog

bem only notes

five they

three

are

slendro

is

one

Both notes

from

of

two

and

the

number but

to

gender

different pelog the

complete

of

the

In

barung pelog

bem octave pelog

keys

gender

higher.

octave

types

barang.

principal take

barung,

gender

pitch

and

and but scale.

a

and syspelog they '

5

The

shape,

are

again

dynamic the

instrument lowest

have

keys

plus

i. e.

the

two

or

notes)

while

notes

seven

complete

the

usually

slenthem

one

this to

corresponding

Slendro

octave

four

there

to

types

of

being 2

another.

classified It

slight

In

of

has a range in

of

more

range

from

there

seprangkat

slendro,

in-

as a soft

variation

a gamelan in

tuned

garnbang,

also

function.

in

melodic

octaves,

one instrument

is

instrument

and is

strument

three

barung.

But

barung.

gender

octave,

slenthem

7)

wooden-keyed

than

one

the

of

scale.

Garnbang (plate This

only

(one

seven

the

of

gender

keys

seven

slenthem pelog

the

of

or

has

function

and

those

as

basically

six

pelog

characteristic

same

octave

have

the

6)

(plate

Slenthem

are

bem and pelog

pelog

barang. Suling This

instrument

is

soft

instrument

with

in

a gamelan pelog

suling

and

pelog

barang.

The

is

individual

frames

holding

functions.

produce

of

gongs:

gongs

and

loud

can

a set

larger

both

function.

a melodic one

flute,

in

tuned the

classified

There slendro

main

are

and

notes

one

both

of

as

two

suling

in

pelog.

pelog

a

bem

9)

(plate

A kenong

bamboo

end-blown

seprangkat,

The

Kenong

an

gong

each

and

from soft

4 or those

resemble is one

sounds;

mounted to it

5 in

three also

slendro the

of

on

and

bonang

6 in but

diagonally-crossed gongs.

has

both

The

they

are

cords

kenong

rhythmic

pelog.

and

produces melodic

in

6

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