Preliminary
For the community, especially Java, gamelan is not something foreign to daily life. In other words, people knew exactly where the so-called gamelan or a set of gamelan.They already know the term 'gamelan', 'musical', or 'gangsa'. But perhaps there are still many who do not know how the historical development of the gamelan itself, since when gamelan began there in Java?.
A Dutch scholar named Dr.. J.L.A. Theoretically Brandes said that long before the arrival of the influence of Indian culture, the Javanese culture has rnemiliki skills or knowledge which includes 10 items (Brandes, 1889):puppet,gamelan,rhythm science poem,Batik,metalworking,system of its own currency,science and technology, shipping,astronomy,agricultural fields,regular government bureaucracy
Ten items of cultural skills not from giving Hindu nation of India. If the theory is true means the existence of gamelan and wayang has existed since prehistoric times.However, the exact year is difficult to know because in prehistoric times people are not familiar with the writing system. There is no written evidence that can be used to track and trace gamelan in prehistoric times.
Gamelan is a cultural product to meet the human need for art. Art is one element of culture that are universal. This means that each nation certainly has the art, but his form is different between one nation with another nation. If contact occurs between the nation's cultural arts it was also in contact so that it can happen one nation will absorb or mengaruh when the elements of art from other nations adapted to the conditions seternpat. Therefore, since the existence of gamelan until now there have been changes and developments, especially in the completeness ansambelnya.
The term "gamelan" is used to refer to the art of gamelan is widely used by the Java community. These terms of use and pemaknaannya progressing. Many people interpret the "musical" departing from the basic word "pepper" which means small, delicate or complex. That said, in the palace of Surakarta, musicians have also used the term as an umbrella from some branches of the arts such as carving decoration, carving, dance, until pedhalangan (Supanggah, 2002:5 ¬ 6).
In a narrow sense the term used to describe a musical type of sound art or music that contain one or both of the following elements (Supanggah, 2002:12):using gamelan instruments - either partially or completely barreled slendro or pelog - most or all of them.using a barrel (slendro scales) and / or pelog either instrumental or non-gamelan gamelan as well as vocals or a mixture of both.
Javanese Gamelan now not only known in Indonesia alone, has grown even abroad such as in the United States, Britain, Japan, Canada. Musicians have 'global'. By because it was quite ironic if the Javanese as a direct heir would not even care about art or the art of gamelan musicians in particular or Javanese culture in general. Other nations are so diligent studying Javanese gamelan, and even in some countries has a set of Javanese gamelan. It is appropriate Java community appreciate the great work of his own ancestors.
Sources of data about gamelan
Javanese culture after entering a new era of prehistory is a time when the culture from the outside-in this case the culture of India-ranging effect. Javanese culture began to enter the era of history characterized by a system of writing in public life. Viewed from a historical perspective during the period between the centuries until the XV century AD VIll Javanese culture, have enriched the Indian cultural elements. It seems that elements of Indian culture can also be seen in art like gamelan and dance. Cultural transformation of music into Java through the Hindu-Buddhist religion.
The data on the existence of gamelan found in verbal sources ie sources - sources written in the form of inscriptions and literary books that come from the Hindu-Buddhist and a source of pictorial reliefs carved on the temple either on the temples that come from the classical Central Java (the 7th century until the 10th century) and the temples that come from the East Javanese classical younger (until the 11th century century, ¬ 15) (Haryono, 1985). In written sources the East Javanese gamelan ensemble group said to be "tabeh - tabehan" (the new Java language 'percussion' or 'tetabuhan' which means everything is played or sounded with beaten). Zoetmulder explains the word "gamel" with a percussion instrument that is a musical instrument that is struck (1982). In the Javanese word "snot" which means 'bat'. In the Balinese language there is the term 'gambelan' which then might be the term 'gamelan'. The term 'gamelan' has been mentioned in connection with the music. Namur in the Kadiri (approximately ¬ 13 th century AD), a music expert Judith Becker even say that the word "gamelan" comes from the name of a Burmese priest and an expert named Gumlao iron. If Becker's opinion is true, of course, the term 'gamelan' also found in Burma or in some areas of mainland Southeast Asia, but it did not.
Picture of gamelan instruments in temple reliefs
In some parts of the walls of the Borobudur temple can be seen 17 other types of gamelan instruments, namely: strappy drums are worn around the neck, like a pot-shaped drum, zither and lute, cymbals, flutes, saron, xylophone. At the temple Lara Jonggrang (Prambanan) can be viewed images reliefs cylindrical drums, drum convex, drums form a pot, and cymbals (intelligence), and distilled.
Relief image of gamelan instruments in the temples of East Java can be found on the temple Jago (-13 th century AD) in the form of a stringed musical instrument: long-necked lute and zither. While in the temple Ngrimbi (century - 13 AD) there is relief reyong (two bonang pencon). While it's great relief found in the temple gong Kedaton (14th century AD), and the cylindrical drum in Tegawangi temple (14th century AD).Panataran In the main temple (14th century AD) there is relief gong, bendhe, kemanak, drum type drum, and xylophone in pandapa porch reliefs, reyong, and cymbals. Relief bendhe and trumpet on Sukuh temple (15th century AD).
Based on the data on the relief and literary books obtained evidence that at least there is the influence of India on the existence of several types of Javanese gamelan. The presence of music in India very closely with religious activities. Music is one important element in religious ceremonies (Koentjaraningrat, 1985:42-45). In the several books of literary India like a book of Natya Sastra art music and dance ritual serves to activity.religious (Vatsyayan, 1968). Overall music group in India called 'vaditra' which are grouped into five classes, namely:grammar (stringed musical instrument),begat (stringed musical instrument),sushira (brass instruments),Dhola (drums),Ghana (percussion instrument).
Another grouping is:Avanaddha vadya, the sound produced by vibration of the skin membrane from being hit.Ghana vadya, the sound produced by vibration of the instrument itself.Sushira vadya, the sound vibrations produced by the blown air.Tata vadya, the sound produced by vibration of the strings are plucked or swiped.
Classification can be likened to membranofon (Avanaddha vadya), ideofon (Ghana vadya), aerofon (sushira vadya), kordofon (grammar vadya). Rhythm of music in India called "laya" standardized by using the pattern of 'tuning' is done with drums. Rhythm is grouped into: druta (fast), madhya (medium), and vilambita (slow).
The following is a classification of gamelan instruments:
1. Membranofon group (Avanaddha vadya)
Membranofon group is garnelan instrument, which sounds Suber on the skin membrane or other materials. Within this group of Javanese gamelan is a kind of drum. In some inscriptions obtained evidence that the instrument membranofon group has been popular in Java since the mid-ninth century AD with the name: padahi, pataha (padaha), murawa or muraba, mrdangga, mrdala, muraja, panawa, Kahala, damaru, drums.
The term 'padahi' oldest cemetery inscriptions can be found on the temple that dates to 821 AD (Goris, 1930). The term continues to be used until the time of Majapahit as can be read on a book composed by MPU Prapanca Nagarakrtagama 1365 AD (Pigeaud, 1960). It is not impossible that the musical instrument type membranofon is a type of gamelan instruments that existed before the existence of cultural contacts with India, which is used in rituals. In this case can be compared to musical instruments owned by primitive tribes who are generally from the group membranofon. In this era of prehistoric cultures in Indonesia metal (bronze culture) has been known for a kind of moko, nekara.Nekara in his day serves as a sort of drum. The author does not agree that nekara dalarn development then becomes a gong.
In India the kind of percussion instrument called by various names such as: dundubhi, pataha, mridangga, panava, murawa, mrdala. and has been known since the Vedic period. Type 'dundubhi' is mentioned as 'the drums which if hit can defeat the enemy' (Vatsyayan, 1968:175). In India, drums play an important role in the ceremony and accompanying dance performances as to which is mentioned in the Natya Sastra.Mridangga including as a kind of drum major. Murawa (muraba), mrdala, Mrdangga, (mridangga) probably originated from the same root word of "MRD" which means 'land'.
In mythology states that 'mrdangga' or 'mrdala' created by Lord Brahma to accompany the dance of Lord Shiva when defeating giant Trusurapura (Popley, 1950:123; Haryono, 1986). In the book the term bheri Natya Sastra, bhambha, dindimas, which may also still include a group of percussion instruments. Then the term bheri in Java is now a group that aligned with bendhe ideofon. In some book of ancient Javanese literature mentions bheri adjacent to the word 'mrdangga, like in the book Wirataparwa: ".. prasamanggwal bheri mrdangga, Arok ajimur ikang prang penance-wor ..." (Meaning: "... both carry bheri mrdangga, mingled mingling with each other those who fight ...");" ... humung pliers bheri murawa ... "(meaning:" Huh bheri and murawa voice "). In the book of the Ramayana (the tenth century, AD) stated: "... tinabih ikang bahiri ring the park ..." ("bheri, played in the park"). Specification gives the impression that 'bahiri' or 'bheri' still in the group membranofon . Based on the data found in the books of literature, or murawa mrdala is a very important instrument in combination with other instruments such as sangkhakala, vina, baribit.
The mention of it by various names indicate the presence of various drum shapes and materials. In the art of small statues of drums that are held by the god is called 'damaru'.In the reliefs of Borobudur temple (the beginning of the 9th century AD) and the Shiva temple at Prambanan (mid-ninth century AD) described a variety ¬ - kinds of drums (Haryono, 1985; 1986). There is a slender cylindrical drum shape, asymmetrical barrel shape, a conical shape. On the balustrade of the temple of Shiva (Prambanan) drum is placed under the belly with a sort of rope. In the temples that are younger than about 14th-century reliefs of drums can be seen in the temples of the classical period of youth (the period of East Java) like: Tegawangi Temple, Temple Panataran. In temple reliefs Tegawangi also found a person carries a cylindrical drum with a rope draped on both shoulders. In the temple reliefs Panataran drums webbed described only one side and played using a round tipped beater. Jaap Kunst (1968:35-36) calls this musical instrument 'dogdog'. There is the same mention of drums dalarn Old Javanese written sources with source written in India proved that cultural contacts between the two covers also in the field of performing arts. But Java does not mean that the drum is the influence of Indian drums.
Based on the root of the word "MRD" then the word "mredangga" in the inscription may have been drums made of clay. In a later development in Java, the word "mredangga" to "Pradangga" in Javanese gamelan New meaning or musician. Such changes are also on the word 'Kansa' or 'kangsa' which means 'bronze' in Java and then changed to 'gangsa' which means 'gamelan'. Hence the suggestion that the word 'gangsa' comes from the word 'GASA' as an abbreviation (acronym) of the word 'three' + 'sedasa' or 'copper' + 'rejasa' is not based on valid research results (Haryono, 2002; 2004:48).Bronze metallurgical studies on the basis of the elemental composition of the material also does not prove the existence of the composition of the 'three' versus 'sedasa' (3:10). As an example can be shown from the research penults. The results of the elemental composition studies on artificial gamelan Papringan (Yogyakarta) = Cu 52.87%: Sn 34.82%: 12.55% Zn; as for the Bekonang (Surakarta) = Cu 48.80%: 39.88% Sn: Zn 10.86%; and from Kauman (Magetan) ajalah 51.00% Cu: Sn 40.26%: Zn 8.39%. Cu is copper, tin and Sn to Zn for zinc. It is clear that the composition does not show the comparison of 3 (three): 10 (sedasa) such opinion in general (Haryono, 2004:51-52).
The term 'gangsa' which means that gamelan is used in the 12th century AD as found in the book Smaradahana (Canto XXIX: 8): "ginding daityaddhipati ya ta tinabih drums, gongs, gangsa, gubar asahuran ..." means Gending of the King Giant sounded, drums, gongs, gangsa, and gubar bersahut-replication (Poerbatjaraka, 1951; Sedyawati, 1985:236). The gamelan is now called the 'xylophone gangsa' is a type of xylophone made of metal (bronze or brass).
Membranofon other types of instruments are 'drum' and 'trebang'. The term 'drum' found in the book of Song of the younger malate. In Kakawin Hariwangsa, Ghatotkacasraya, and Song Harsawijaya similar instrument called the "tipakan". In addition there is the term 'Tabang-Tabang' in the book and the book Sumanasantaka Ghatotkacasraya which may later develop into the term 'tribang'. Text like the following quote: "sri ginding damya saha-ing skewed hymns damyan anameni Tabang Tabang" (Gatotkacasraya 37:7); "Tabang-Tabang ramya karingwangsulan". If this really mean what we call 'trebang' or 'bedhug' rather than the emergence of musical instruments after the arrival of Islamic culture but has been around since the 12th century AD (Zoetmulder, 1983:317-395).
2. Ideofon Group (Ghana Vadhya)
Musical instruments of this group is the kind of musical instrument sound sources originating from the 'bodies' own instrument and music classified by experts as the oldest musical instrument when compared with other types (Ferdinandus, 1999). Some of these types of musical instruments which can be found in written sources (inscriptions and literary books) are: tuwung, kangsi, rigang, curing, rojeh, brikuk, stooped, kamanak, xylophone, calung, salunding, barung, ganding, gong .
Inscriptions of Central Javanese period (9th century AD) many rnenyebut term 'curing' 'tense,' tuwung ',' brikuk ', Curing and tuwung is a type of cymbal. Curing may be a kind of cymbals are made from metal. In the year 762 Saka Kuti inscription (840 AD) stated: "Mangkana pamuja mangungkunga curing yan ..." As for if the conduct of worship, so beating the curing. The word "mangungkunga" in the Java language is only now can still be found as an imitation sound of gamelan 'ngungkung'. This type of gamelan instruments 'curing' is very popular during the Old Javanese inscriptions proved much mentioned in the determination of Sima from the 9th century to 12th century AD. From the data above the inscription can be concluded that the equipment is sounded in the context of ritual gamelan (ceremonial worship).
According to Jaap Kunst (1968:52) 'curing' and 'tuwung' is a musical instrument that is equally the same kind of kicer. Name of gamelan instruments 'celuring' now exist in the gamelan in Yogyakarta palace and temple Pakualaman. Maybe 'celuring' comes from the word 'cured' gets inserts 'el' to indicate plural. If so then the picture of 'curing' in the Old Javanese might like 'celuring' now or 'celuring' now this is the development of 'curing' of the Old Javanese. While it is mentioned in several books of literary types of gamelan instruments 'rojeh' like in the book Hariwangsa, Kresnayana, Sumanasantaka, Siwaratrikalpa, and the Song Harsawijaya. This type of gamelan instruments interpreted cymbals. Similarly, the term 'baribit' called the name of the type of gamelan instruments in the book of the Ramayana.
The name 'brikuk' as the name of the gamelan instruments is found in inscriptions Panggumulan year 902 AD and 919 AD Lintakan inscriptions. While in the year 943 AD inscription Paradah the term 'bent'. In today's gamelan no name 'tap'. The term 'tap' has existed in the days of Kadiri as mentioned in the book by mpu Panuluh Hariwangsa. In the book narrated atmosphere of natural beauty when Rukmini and Krishna in a journey that is like a puppet show accompanied by gamelan: salunding, kituk, and talutak.
The description is at once an image of that puppet show accompanied the 12th century gamelan ensembles are still simple. Could 'brikuk' and 'bent' is the gamelan instruments 'pencon' like 'tap' and 'kenong' now? According to J. Kunst (1968:63) both brikuk nor is any mention of a similar bent to one type of instrument. Maybe once brikuk, stooped, and kituk is a form of gamelan instrument similar. Form of gamelan instruments pencu engraved on the temples of East Java around the 14th century AD and thereafter as Panataran Temple, Sukuh, and Temple Ngrimbi.
Relief berpencu gamelan instruments in the temple Ngrimbi Panataran and perhaps could be called 'reyong'. This instrument is sounded with a short stick held in his right arm and left. In the arrangement that many in a lively then becomes 'bonang'. If the order a little of each in a smart-called 'kenong'. In written sources the term 'reyong' Pararaton found in the book, a book written in the aftermath of the Majapahit kingdom. In the older written source that the inscriptions Polengan I in 870 AD called the term 'makajar' which means the player kajar. Kajar is a kind of musical instrument pencu.
Gong is a type of gamelan instruments are very important also. In the form of reliefs, the oldest source of the story can be seen in relief in Cave Selamangleng Arjunawiwaha, Tulungagung, which originated from the second century AD (Bernet Kernpers, 1959:87).Then the story depicted on the reliefs in the temple Kedaton Bhornantaka, and reliefs in the temple Panataran Ramayana (14th century AD). This does not mean that the gong has not been known before the 11th century. In the book of Old Javanese Ramayana from the 9th century AD has been called 'gong' (Poerbatjaraka, 1926:265-272). In news from the Chinese Tang dynasty (618-906 AD) stated that "if the king Poly out of town, he rode a train drawn by elephants and musical accompaniment of gongs, drums and trumpets" (Haryono, 2001). Gamelan instruments seems that until now remained bernarna 'gong' in the era of the 9th century AD as an important instrument of gamelan that at that time was probably limited its use in court so that by Kunst said to be a 'royal instrument' (Kunst, 1968:66). After all, in terms of manufacturing techniques, gongs require more complicated techniques and materials are more expensive so that not every community can rnemiliki.
The term 'gong' in this case is used to refer to large gong (gong gedhe), while for smaller sizes there may be other terms such as: gubar, bendhe, bheri. The term 'gong' is also used to represent the entire ensemble of gamelan. If the Java community say that if you have a celebration will be 'nggantung gong' means it will hold 'klenengan'.
In the book mentioned Bhāratayuddha gising, gongs, and gubar in one group. It is interesting that in the Song Wangbang Wideya (the kingdom of Kadiri) which contains the story of Panji-mentioned types of gongs with the term 'gong Bentar Kadatwan'.Together with other gamelan gong ie, curing and, rung to accompany the puppet show (Robson, 1977). As for the 'gubar' is interpreted as a kind of medium-size gong. In Bhāratayuddha gubar called together with sangkha and saragi, rung by a soldier in battle. In the context of 'gubar saragi', meaning the term 'saragi' can also mean a kind of gong. In Ternate, the word 'saragi' means 'gong' (Haryono, 2001:107).
Xylophone book mentioned in written sources malate, and according to news from China during the Song Dynasty (966-1279 AD) said that in the reign of King Jayabhaya of Kadiri Java community has been able to play the flute, drums and xylophones (xylophone) of wood (Groeneveldt, 1960:17). In written sources such as books Sumanasantaka, inscriptions Buwahan the 11th century AD, inscriptions Pura his will (the 12th century AD) called the term 'calung' and the term 'galunggang' and 'garantung' in other sources. The term 'gender' began to be called at the time that is in the Song Wangbang Kadiri Wideya used to accompany the puppet show along with ridip and gongs. Gamelan instruments consisting of the blades (wilahan) which have been assembled there at the time of the Borobudur Temple (9th century AD). Reliefs such as these can also be seen on the temple that is younger Panataran Temple. If appropriate type of xylophone known saron also already known.
Perhaps the carved reliefs on the temple of Borobudur described the saron not xylophone. The term 'saron' newfound dalarn written sources after the 15th century AD (book Arjunapralabda) In any written source term 'barung' which is interpreted as 'saron' (Juynboll, 1923:401). In the book Bhāratayuddha, Gahtotkacasraya, and Hariwangsa as well as some of the inscriptions of ancient Bali 12th century AD the term 'salunding'.Gamelan 'salunding' till now still can be found in Bali.
The next gamelan instruments are quite old existence is 'kemanak'. In kakawin Bhāratayuddha, Charcoal Candidate book, mentioned 'kamanak' together with 'kangsi'.Even in the book it is said that charcoal Candidates kangsi kamanak and used to accompany sacred dance done by Candidate Charcoal and his disciples.
3. Aerofon group (Sushira vadya)
Types of instruments belonging to this group is the gamelan sound source is air that is blown. In Javanese gamelan ensembles present a flute or completeness of the gamelan klenengan cirebonan-cirebonan. In the book of Natya Sastra flute (flute) referred to as 'vamsa' which means 'bamboo' and sounded together with the 'vino' (Vienna). Pictorial evidence of the existence at the time of the ancient Javanese flute can be seen in the reliefs at Borobudur on Karmawibhangga reliefs, reliefs of Jataka, and Lalitawistara. In addition there is also the reliefs in the temple of Candi Jago and Panataran.
Based on data from these reliefs can be distinguished two kinds of flute transverse flute (oblique flute) and longitudinal flutes (vertical). In written sources in the book of flute called Old Javanese Ramayana by the term 'bangsi' and sounded together with the instrument rawandsta. The word 'bangsi', 'wangsi' is probably derived from the same word Sanskrta 'vamsa'. In the book The younger the MPU Tanakung Writtasancaya works referred to as 'flute'. The Book of Old Javanese Ramayana also have mentioned the term 'flute'. Similarly, in Bali, the Pura Batur inscription Abang A year AD 1011 is called 'distilled'. This means that since the 11th century has been distilled into the completeness of the gamelan.
In addition to the flute in written sources as well as relief any wind instrument is the trumpet called 'sangkha'. Sangkha are sea shells and the wind instruments have long been used in India. In Hindu iconography, sangkha is an attribute of Vishnu, Krishna. In the Ramayana reliefs in the temple of Brahma (Prambanan) sangkha Kumbakarna blown to awaken the sleeping. In Nagarakrtagama (Majapahit period) mentioned "Ian thought gumang Kahala padaha Ganjuran ...." means" thundering voice and the drums would have thought Kahala, Ganjuran ... "(Canto 65:1). In the book of the Ramayana called 'kalasangkha' and in the book Wirataparwa called 'sangkhakahala' (Kunst, 1968).The term 'Kahala thought' and 'sangkha Kahala' now a 'trumpet; while' Ganjuran 'as perhaps a kind of gamelan instruments in a drum (?). The term gamelan Kala Ganjur today comes from the word 'Kahala' and 'Ganjur', a term that has existed since the time of Majapahit. Another type of horn is 'pereret' as referred to in the Song Ranggalawe.
4. Kordofon group (Tata vadya)
Gamelan instruments are included in this group in Javanese gamelan is now referred to as a zither, zither, and fiddle. The term zither was first found in written sources Cekelwanengpati Tale. On the reliefs on the temple Jago pictures depicted a person who was playing the zither. In the Song of gamelan instruments Wangbang Wideya called 'samepa' and the gamelan was interpreted as a 'fiddle' (Kunst, 1968). In the meantime 'kachapi' mentioned in the Song of Hausa Wijaya together with other gamelan namely: gong, ridip, and ginding.
Old Javanese inscriptions mention the term 'Vienna,' rawanahasta 'and' panday rawanahasta '. The word 'rawanahasta' means 'hand rawana' and 'panday rawanahasta' means 'artisan makes rawanahasta'. Rawanahasta interpreted as a kind of lute berdawal gamelan instruments are shaped like hands (Kunst, 1968; Sarkar, 1972). The Book of Old Javanese Ramayana mentions: 'makinara' and 'malawuwina'. Vienna Lawuwina means shaped like a pumpkin. Harp seems to have been used in the past as seen in the reliefs at Borobudur and in baths Jalatunda (East Java). Similarly, there are some metal statues found in Nganjuk and Suracala (Yogyakarta) to describe the goddess holding a stringed musical instrument.
Similarly, a glimpse of the History and Development of the Javanese Gamelan
* Article from Prof. Dr. Haryono arise, M.Sc. (KRA. Haryono Sultanate)Cultural Java, Professor of Archaeology in the Science Faculty of Humanities at the University of Gadjah Mada. Members of the Board of Institute for the Study of Java Specialists 'Sekar Jagad' - was born in Klaten, October 5, 1945. Living in Prambanan Klaten
* Writing KRA Haryono Sultanate (Prof. Dr. Timbul Haryono, MSc) archaeologist, living in Prambanan, Yogyakarta. Sasmita been published in the magazine edition of 2007.
For the community, especially Java, gamelan is not something foreign to daily life. In other words, people knew exactly where the so-called gamelan or a set of gamelan.They already know the term 'gamelan', 'musical', or 'gangsa'. But perhaps there are still many who do not know how the historical development of the gamelan itself, since when gamelan began there in Java?.
A Dutch scholar named Dr.. J.L.A. Theoretically Brandes said that long before the arrival of the influence of Indian culture, the Javanese culture has rnemiliki skills or knowledge which includes 10 items (Brandes, 1889):puppet,gamelan,rhythm science poem,Batik,metalworking,system of its own currency,science and technology, shipping,astronomy,agricultural fields,regular government bureaucracy
Ten items of cultural skills not from giving Hindu nation of India. If the theory is true means the existence of gamelan and wayang has existed since prehistoric times.However, the exact year is difficult to know because in prehistoric times people are not familiar with the writing system. There is no written evidence that can be used to track and trace gamelan in prehistoric times.
Gamelan is a cultural product to meet the human need for art. Art is one element of culture that are universal. This means that each nation certainly has the art, but his form is different between one nation with another nation. If contact occurs between the nation's cultural arts it was also in contact so that it can happen one nation will absorb or mengaruh when the elements of art from other nations adapted to the conditions seternpat. Therefore, since the existence of gamelan until now there have been changes and developments, especially in the completeness ansambelnya.
The term "gamelan" is used to refer to the art of gamelan is widely used by the Java community. These terms of use and pemaknaannya progressing. Many people interpret the "musical" departing from the basic word "pepper" which means small, delicate or complex. That said, in the palace of Surakarta, musicians have also used the term as an umbrella from some branches of the arts such as carving decoration, carving, dance, until pedhalangan (Supanggah, 2002:5 ¬ 6).
In a narrow sense the term used to describe a musical type of sound art or music that contain one or both of the following elements (Supanggah, 2002:12):using gamelan instruments - either partially or completely barreled slendro or pelog - most or all of them.using a barrel (slendro scales) and / or pelog either instrumental or non-gamelan gamelan as well as vocals or a mixture of both.
Javanese Gamelan now not only known in Indonesia alone, has grown even abroad such as in the United States, Britain, Japan, Canada. Musicians have 'global'. By because it was quite ironic if the Javanese as a direct heir would not even care about art or the art of gamelan musicians in particular or Javanese culture in general. Other nations are so diligent studying Javanese gamelan, and even in some countries has a set of Javanese gamelan. It is appropriate Java community appreciate the great work of his own ancestors.
Sources of data about gamelan
Javanese culture after entering a new era of prehistory is a time when the culture from the outside-in this case the culture of India-ranging effect. Javanese culture began to enter the era of history characterized by a system of writing in public life. Viewed from a historical perspective during the period between the centuries until the XV century AD VIll Javanese culture, have enriched the Indian cultural elements. It seems that elements of Indian culture can also be seen in art like gamelan and dance. Cultural transformation of music into Java through the Hindu-Buddhist religion.
The data on the existence of gamelan found in verbal sources ie sources - sources written in the form of inscriptions and literary books that come from the Hindu-Buddhist and a source of pictorial reliefs carved on the temple either on the temples that come from the classical Central Java (the 7th century until the 10th century) and the temples that come from the East Javanese classical younger (until the 11th century century, ¬ 15) (Haryono, 1985). In written sources the East Javanese gamelan ensemble group said to be "tabeh - tabehan" (the new Java language 'percussion' or 'tetabuhan' which means everything is played or sounded with beaten). Zoetmulder explains the word "gamel" with a percussion instrument that is a musical instrument that is struck (1982). In the Javanese word "snot" which means 'bat'. In the Balinese language there is the term 'gambelan' which then might be the term 'gamelan'. The term 'gamelan' has been mentioned in connection with the music. Namur in the Kadiri (approximately ¬ 13 th century AD), a music expert Judith Becker even say that the word "gamelan" comes from the name of a Burmese priest and an expert named Gumlao iron. If Becker's opinion is true, of course, the term 'gamelan' also found in Burma or in some areas of mainland Southeast Asia, but it did not.
Picture of gamelan instruments in temple reliefs
In some parts of the walls of the Borobudur temple can be seen 17 other types of gamelan instruments, namely: strappy drums are worn around the neck, like a pot-shaped drum, zither and lute, cymbals, flutes, saron, xylophone. At the temple Lara Jonggrang (Prambanan) can be viewed images reliefs cylindrical drums, drum convex, drums form a pot, and cymbals (intelligence), and distilled.
Relief image of gamelan instruments in the temples of East Java can be found on the temple Jago (-13 th century AD) in the form of a stringed musical instrument: long-necked lute and zither. While in the temple Ngrimbi (century - 13 AD) there is relief reyong (two bonang pencon). While it's great relief found in the temple gong Kedaton (14th century AD), and the cylindrical drum in Tegawangi temple (14th century AD).Panataran In the main temple (14th century AD) there is relief gong, bendhe, kemanak, drum type drum, and xylophone in pandapa porch reliefs, reyong, and cymbals. Relief bendhe and trumpet on Sukuh temple (15th century AD).
Based on the data on the relief and literary books obtained evidence that at least there is the influence of India on the existence of several types of Javanese gamelan. The presence of music in India very closely with religious activities. Music is one important element in religious ceremonies (Koentjaraningrat, 1985:42-45). In the several books of literary India like a book of Natya Sastra art music and dance ritual serves to activity.religious (Vatsyayan, 1968). Overall music group in India called 'vaditra' which are grouped into five classes, namely:grammar (stringed musical instrument),begat (stringed musical instrument),sushira (brass instruments),Dhola (drums),Ghana (percussion instrument).
Another grouping is:Avanaddha vadya, the sound produced by vibration of the skin membrane from being hit.Ghana vadya, the sound produced by vibration of the instrument itself.Sushira vadya, the sound vibrations produced by the blown air.Tata vadya, the sound produced by vibration of the strings are plucked or swiped.
Classification can be likened to membranofon (Avanaddha vadya), ideofon (Ghana vadya), aerofon (sushira vadya), kordofon (grammar vadya). Rhythm of music in India called "laya" standardized by using the pattern of 'tuning' is done with drums. Rhythm is grouped into: druta (fast), madhya (medium), and vilambita (slow).
The following is a classification of gamelan instruments:
1. Membranofon group (Avanaddha vadya)
Membranofon group is garnelan instrument, which sounds Suber on the skin membrane or other materials. Within this group of Javanese gamelan is a kind of drum. In some inscriptions obtained evidence that the instrument membranofon group has been popular in Java since the mid-ninth century AD with the name: padahi, pataha (padaha), murawa or muraba, mrdangga, mrdala, muraja, panawa, Kahala, damaru, drums.
The term 'padahi' oldest cemetery inscriptions can be found on the temple that dates to 821 AD (Goris, 1930). The term continues to be used until the time of Majapahit as can be read on a book composed by MPU Prapanca Nagarakrtagama 1365 AD (Pigeaud, 1960). It is not impossible that the musical instrument type membranofon is a type of gamelan instruments that existed before the existence of cultural contacts with India, which is used in rituals. In this case can be compared to musical instruments owned by primitive tribes who are generally from the group membranofon. In this era of prehistoric cultures in Indonesia metal (bronze culture) has been known for a kind of moko, nekara.Nekara in his day serves as a sort of drum. The author does not agree that nekara dalarn development then becomes a gong.
In India the kind of percussion instrument called by various names such as: dundubhi, pataha, mridangga, panava, murawa, mrdala. and has been known since the Vedic period. Type 'dundubhi' is mentioned as 'the drums which if hit can defeat the enemy' (Vatsyayan, 1968:175). In India, drums play an important role in the ceremony and accompanying dance performances as to which is mentioned in the Natya Sastra.Mridangga including as a kind of drum major. Murawa (muraba), mrdala, Mrdangga, (mridangga) probably originated from the same root word of "MRD" which means 'land'.
In mythology states that 'mrdangga' or 'mrdala' created by Lord Brahma to accompany the dance of Lord Shiva when defeating giant Trusurapura (Popley, 1950:123; Haryono, 1986). In the book the term bheri Natya Sastra, bhambha, dindimas, which may also still include a group of percussion instruments. Then the term bheri in Java is now a group that aligned with bendhe ideofon. In some book of ancient Javanese literature mentions bheri adjacent to the word 'mrdangga, like in the book Wirataparwa: ".. prasamanggwal bheri mrdangga, Arok ajimur ikang prang penance-wor ..." (Meaning: "... both carry bheri mrdangga, mingled mingling with each other those who fight ...");" ... humung pliers bheri murawa ... "(meaning:" Huh bheri and murawa voice "). In the book of the Ramayana (the tenth century, AD) stated: "... tinabih ikang bahiri ring the park ..." ("bheri, played in the park"). Specification gives the impression that 'bahiri' or 'bheri' still in the group membranofon . Based on the data found in the books of literature, or murawa mrdala is a very important instrument in combination with other instruments such as sangkhakala, vina, baribit.
The mention of it by various names indicate the presence of various drum shapes and materials. In the art of small statues of drums that are held by the god is called 'damaru'.In the reliefs of Borobudur temple (the beginning of the 9th century AD) and the Shiva temple at Prambanan (mid-ninth century AD) described a variety ¬ - kinds of drums (Haryono, 1985; 1986). There is a slender cylindrical drum shape, asymmetrical barrel shape, a conical shape. On the balustrade of the temple of Shiva (Prambanan) drum is placed under the belly with a sort of rope. In the temples that are younger than about 14th-century reliefs of drums can be seen in the temples of the classical period of youth (the period of East Java) like: Tegawangi Temple, Temple Panataran. In temple reliefs Tegawangi also found a person carries a cylindrical drum with a rope draped on both shoulders. In the temple reliefs Panataran drums webbed described only one side and played using a round tipped beater. Jaap Kunst (1968:35-36) calls this musical instrument 'dogdog'. There is the same mention of drums dalarn Old Javanese written sources with source written in India proved that cultural contacts between the two covers also in the field of performing arts. But Java does not mean that the drum is the influence of Indian drums.
Based on the root of the word "MRD" then the word "mredangga" in the inscription may have been drums made of clay. In a later development in Java, the word "mredangga" to "Pradangga" in Javanese gamelan New meaning or musician. Such changes are also on the word 'Kansa' or 'kangsa' which means 'bronze' in Java and then changed to 'gangsa' which means 'gamelan'. Hence the suggestion that the word 'gangsa' comes from the word 'GASA' as an abbreviation (acronym) of the word 'three' + 'sedasa' or 'copper' + 'rejasa' is not based on valid research results (Haryono, 2002; 2004:48).Bronze metallurgical studies on the basis of the elemental composition of the material also does not prove the existence of the composition of the 'three' versus 'sedasa' (3:10). As an example can be shown from the research penults. The results of the elemental composition studies on artificial gamelan Papringan (Yogyakarta) = Cu 52.87%: Sn 34.82%: 12.55% Zn; as for the Bekonang (Surakarta) = Cu 48.80%: 39.88% Sn: Zn 10.86%; and from Kauman (Magetan) ajalah 51.00% Cu: Sn 40.26%: Zn 8.39%. Cu is copper, tin and Sn to Zn for zinc. It is clear that the composition does not show the comparison of 3 (three): 10 (sedasa) such opinion in general (Haryono, 2004:51-52).
The term 'gangsa' which means that gamelan is used in the 12th century AD as found in the book Smaradahana (Canto XXIX: 8): "ginding daityaddhipati ya ta tinabih drums, gongs, gangsa, gubar asahuran ..." means Gending of the King Giant sounded, drums, gongs, gangsa, and gubar bersahut-replication (Poerbatjaraka, 1951; Sedyawati, 1985:236). The gamelan is now called the 'xylophone gangsa' is a type of xylophone made of metal (bronze or brass).
Membranofon other types of instruments are 'drum' and 'trebang'. The term 'drum' found in the book of Song of the younger malate. In Kakawin Hariwangsa, Ghatotkacasraya, and Song Harsawijaya similar instrument called the "tipakan". In addition there is the term 'Tabang-Tabang' in the book and the book Sumanasantaka Ghatotkacasraya which may later develop into the term 'tribang'. Text like the following quote: "sri ginding damya saha-ing skewed hymns damyan anameni Tabang Tabang" (Gatotkacasraya 37:7); "Tabang-Tabang ramya karingwangsulan". If this really mean what we call 'trebang' or 'bedhug' rather than the emergence of musical instruments after the arrival of Islamic culture but has been around since the 12th century AD (Zoetmulder, 1983:317-395).
2. Ideofon Group (Ghana Vadhya)
Musical instruments of this group is the kind of musical instrument sound sources originating from the 'bodies' own instrument and music classified by experts as the oldest musical instrument when compared with other types (Ferdinandus, 1999). Some of these types of musical instruments which can be found in written sources (inscriptions and literary books) are: tuwung, kangsi, rigang, curing, rojeh, brikuk, stooped, kamanak, xylophone, calung, salunding, barung, ganding, gong .
Inscriptions of Central Javanese period (9th century AD) many rnenyebut term 'curing' 'tense,' tuwung ',' brikuk ', Curing and tuwung is a type of cymbal. Curing may be a kind of cymbals are made from metal. In the year 762 Saka Kuti inscription (840 AD) stated: "Mangkana pamuja mangungkunga curing yan ..." As for if the conduct of worship, so beating the curing. The word "mangungkunga" in the Java language is only now can still be found as an imitation sound of gamelan 'ngungkung'. This type of gamelan instruments 'curing' is very popular during the Old Javanese inscriptions proved much mentioned in the determination of Sima from the 9th century to 12th century AD. From the data above the inscription can be concluded that the equipment is sounded in the context of ritual gamelan (ceremonial worship).
According to Jaap Kunst (1968:52) 'curing' and 'tuwung' is a musical instrument that is equally the same kind of kicer. Name of gamelan instruments 'celuring' now exist in the gamelan in Yogyakarta palace and temple Pakualaman. Maybe 'celuring' comes from the word 'cured' gets inserts 'el' to indicate plural. If so then the picture of 'curing' in the Old Javanese might like 'celuring' now or 'celuring' now this is the development of 'curing' of the Old Javanese. While it is mentioned in several books of literary types of gamelan instruments 'rojeh' like in the book Hariwangsa, Kresnayana, Sumanasantaka, Siwaratrikalpa, and the Song Harsawijaya. This type of gamelan instruments interpreted cymbals. Similarly, the term 'baribit' called the name of the type of gamelan instruments in the book of the Ramayana.
The name 'brikuk' as the name of the gamelan instruments is found in inscriptions Panggumulan year 902 AD and 919 AD Lintakan inscriptions. While in the year 943 AD inscription Paradah the term 'bent'. In today's gamelan no name 'tap'. The term 'tap' has existed in the days of Kadiri as mentioned in the book by mpu Panuluh Hariwangsa. In the book narrated atmosphere of natural beauty when Rukmini and Krishna in a journey that is like a puppet show accompanied by gamelan: salunding, kituk, and talutak.
The description is at once an image of that puppet show accompanied the 12th century gamelan ensembles are still simple. Could 'brikuk' and 'bent' is the gamelan instruments 'pencon' like 'tap' and 'kenong' now? According to J. Kunst (1968:63) both brikuk nor is any mention of a similar bent to one type of instrument. Maybe once brikuk, stooped, and kituk is a form of gamelan instrument similar. Form of gamelan instruments pencu engraved on the temples of East Java around the 14th century AD and thereafter as Panataran Temple, Sukuh, and Temple Ngrimbi.
Relief berpencu gamelan instruments in the temple Ngrimbi Panataran and perhaps could be called 'reyong'. This instrument is sounded with a short stick held in his right arm and left. In the arrangement that many in a lively then becomes 'bonang'. If the order a little of each in a smart-called 'kenong'. In written sources the term 'reyong' Pararaton found in the book, a book written in the aftermath of the Majapahit kingdom. In the older written source that the inscriptions Polengan I in 870 AD called the term 'makajar' which means the player kajar. Kajar is a kind of musical instrument pencu.
Gong is a type of gamelan instruments are very important also. In the form of reliefs, the oldest source of the story can be seen in relief in Cave Selamangleng Arjunawiwaha, Tulungagung, which originated from the second century AD (Bernet Kernpers, 1959:87).Then the story depicted on the reliefs in the temple Kedaton Bhornantaka, and reliefs in the temple Panataran Ramayana (14th century AD). This does not mean that the gong has not been known before the 11th century. In the book of Old Javanese Ramayana from the 9th century AD has been called 'gong' (Poerbatjaraka, 1926:265-272). In news from the Chinese Tang dynasty (618-906 AD) stated that "if the king Poly out of town, he rode a train drawn by elephants and musical accompaniment of gongs, drums and trumpets" (Haryono, 2001). Gamelan instruments seems that until now remained bernarna 'gong' in the era of the 9th century AD as an important instrument of gamelan that at that time was probably limited its use in court so that by Kunst said to be a 'royal instrument' (Kunst, 1968:66). After all, in terms of manufacturing techniques, gongs require more complicated techniques and materials are more expensive so that not every community can rnemiliki.
The term 'gong' in this case is used to refer to large gong (gong gedhe), while for smaller sizes there may be other terms such as: gubar, bendhe, bheri. The term 'gong' is also used to represent the entire ensemble of gamelan. If the Java community say that if you have a celebration will be 'nggantung gong' means it will hold 'klenengan'.
In the book mentioned Bhāratayuddha gising, gongs, and gubar in one group. It is interesting that in the Song Wangbang Wideya (the kingdom of Kadiri) which contains the story of Panji-mentioned types of gongs with the term 'gong Bentar Kadatwan'.Together with other gamelan gong ie, curing and, rung to accompany the puppet show (Robson, 1977). As for the 'gubar' is interpreted as a kind of medium-size gong. In Bhāratayuddha gubar called together with sangkha and saragi, rung by a soldier in battle. In the context of 'gubar saragi', meaning the term 'saragi' can also mean a kind of gong. In Ternate, the word 'saragi' means 'gong' (Haryono, 2001:107).
Xylophone book mentioned in written sources malate, and according to news from China during the Song Dynasty (966-1279 AD) said that in the reign of King Jayabhaya of Kadiri Java community has been able to play the flute, drums and xylophones (xylophone) of wood (Groeneveldt, 1960:17). In written sources such as books Sumanasantaka, inscriptions Buwahan the 11th century AD, inscriptions Pura his will (the 12th century AD) called the term 'calung' and the term 'galunggang' and 'garantung' in other sources. The term 'gender' began to be called at the time that is in the Song Wangbang Kadiri Wideya used to accompany the puppet show along with ridip and gongs. Gamelan instruments consisting of the blades (wilahan) which have been assembled there at the time of the Borobudur Temple (9th century AD). Reliefs such as these can also be seen on the temple that is younger Panataran Temple. If appropriate type of xylophone known saron also already known.
Perhaps the carved reliefs on the temple of Borobudur described the saron not xylophone. The term 'saron' newfound dalarn written sources after the 15th century AD (book Arjunapralabda) In any written source term 'barung' which is interpreted as 'saron' (Juynboll, 1923:401). In the book Bhāratayuddha, Gahtotkacasraya, and Hariwangsa as well as some of the inscriptions of ancient Bali 12th century AD the term 'salunding'.Gamelan 'salunding' till now still can be found in Bali.
The next gamelan instruments are quite old existence is 'kemanak'. In kakawin Bhāratayuddha, Charcoal Candidate book, mentioned 'kamanak' together with 'kangsi'.Even in the book it is said that charcoal Candidates kangsi kamanak and used to accompany sacred dance done by Candidate Charcoal and his disciples.
3. Aerofon group (Sushira vadya)
Types of instruments belonging to this group is the gamelan sound source is air that is blown. In Javanese gamelan ensembles present a flute or completeness of the gamelan klenengan cirebonan-cirebonan. In the book of Natya Sastra flute (flute) referred to as 'vamsa' which means 'bamboo' and sounded together with the 'vino' (Vienna). Pictorial evidence of the existence at the time of the ancient Javanese flute can be seen in the reliefs at Borobudur on Karmawibhangga reliefs, reliefs of Jataka, and Lalitawistara. In addition there is also the reliefs in the temple of Candi Jago and Panataran.
Based on data from these reliefs can be distinguished two kinds of flute transverse flute (oblique flute) and longitudinal flutes (vertical). In written sources in the book of flute called Old Javanese Ramayana by the term 'bangsi' and sounded together with the instrument rawandsta. The word 'bangsi', 'wangsi' is probably derived from the same word Sanskrta 'vamsa'. In the book The younger the MPU Tanakung Writtasancaya works referred to as 'flute'. The Book of Old Javanese Ramayana also have mentioned the term 'flute'. Similarly, in Bali, the Pura Batur inscription Abang A year AD 1011 is called 'distilled'. This means that since the 11th century has been distilled into the completeness of the gamelan.
In addition to the flute in written sources as well as relief any wind instrument is the trumpet called 'sangkha'. Sangkha are sea shells and the wind instruments have long been used in India. In Hindu iconography, sangkha is an attribute of Vishnu, Krishna. In the Ramayana reliefs in the temple of Brahma (Prambanan) sangkha Kumbakarna blown to awaken the sleeping. In Nagarakrtagama (Majapahit period) mentioned "Ian thought gumang Kahala padaha Ganjuran ...." means" thundering voice and the drums would have thought Kahala, Ganjuran ... "(Canto 65:1). In the book of the Ramayana called 'kalasangkha' and in the book Wirataparwa called 'sangkhakahala' (Kunst, 1968).The term 'Kahala thought' and 'sangkha Kahala' now a 'trumpet; while' Ganjuran 'as perhaps a kind of gamelan instruments in a drum (?). The term gamelan Kala Ganjur today comes from the word 'Kahala' and 'Ganjur', a term that has existed since the time of Majapahit. Another type of horn is 'pereret' as referred to in the Song Ranggalawe.
4. Kordofon group (Tata vadya)
Gamelan instruments are included in this group in Javanese gamelan is now referred to as a zither, zither, and fiddle. The term zither was first found in written sources Cekelwanengpati Tale. On the reliefs on the temple Jago pictures depicted a person who was playing the zither. In the Song of gamelan instruments Wangbang Wideya called 'samepa' and the gamelan was interpreted as a 'fiddle' (Kunst, 1968). In the meantime 'kachapi' mentioned in the Song of Hausa Wijaya together with other gamelan namely: gong, ridip, and ginding.
Old Javanese inscriptions mention the term 'Vienna,' rawanahasta 'and' panday rawanahasta '. The word 'rawanahasta' means 'hand rawana' and 'panday rawanahasta' means 'artisan makes rawanahasta'. Rawanahasta interpreted as a kind of lute berdawal gamelan instruments are shaped like hands (Kunst, 1968; Sarkar, 1972). The Book of Old Javanese Ramayana mentions: 'makinara' and 'malawuwina'. Vienna Lawuwina means shaped like a pumpkin. Harp seems to have been used in the past as seen in the reliefs at Borobudur and in baths Jalatunda (East Java). Similarly, there are some metal statues found in Nganjuk and Suracala (Yogyakarta) to describe the goddess holding a stringed musical instrument.
Similarly, a glimpse of the History and Development of the Javanese Gamelan
* Article from Prof. Dr. Haryono arise, M.Sc. (KRA. Haryono Sultanate)Cultural Java, Professor of Archaeology in the Science Faculty of Humanities at the University of Gadjah Mada. Members of the Board of Institute for the Study of Java Specialists 'Sekar Jagad' - was born in Klaten, October 5, 1945. Living in Prambanan Klaten
* Writing KRA Haryono Sultanate (Prof. Dr. Timbul Haryono, MSc) archaeologist, living in Prambanan, Yogyakarta. Sasmita been published in the magazine edition of 2007.
