![]() For example, in Bali, slendro is felt to have a sad sound because it is used as the tuning of gamelan angklung, the traditional ensemble for cremation ceremonies. In Bali, the scale starts on the note named ding, and then continue going up the scale to dong, deng, dung and dang.įor experienced participants in gamelan music, the pelog and slendro scales each have a particular feeling, related to the rituals and circumstances in which the scale is used. The name barang is also sometimes used for 1 in slendro (it is the usual name for 7 in pelog) the octave is then designated as barang alit. There is no 4 possibly this is because it appears as an unusual tone in pelog and is not used when modulating between the systems. Notice that both systems have the same designations for 5 and 6. An older set uses names derived from parts of the body. In Java, the notes of the slendro scale can be designated in different ways one common way is the use of numbers often called by their names in Javanese, especially in a shortened form. These microtonal adjustments bear some similarity to Indian śruti. The Sundanese musicologist/teacher Raden Machjar Angga Koesoemadinata identified 17 vocal pitches used in slendro. ![]() ![]() In the religious ceremonies that contain gamelan, these interference beats are meant to give the listener a feeling of a god's presence or a stepping stone to a meditative state.įor the instruments that do not need fixed pitches (such as suling and rebab) and the voice, other pitches are sometimes inserted into the scale. It is thought that this contributes to the very "busy" and "shimmering" sound of gamelan ensembles. It is common in Balinese gamelan that instruments are played in pairs which are tuned slightly apart so as to produce interference beating which are ideally at a consistent speed for all pairs of notes in all registers. The five pitches of the Javanese version are roughly equally spaced within the octave.Īs in pelog, although the intervals vary from one gamelan to the next, the intervals between notes in a scale are very close to identical for different instruments within the same gamelan. For example, slendro in Central Java varies much less from gamelan to gamelan than it does in Bali, where ensembles from the same village may be tuned very differently. The amount of variation also varies from region to region. There is probably no way to document which region influenced the other, or if they both evolved together.įrom one region of Indonesia to another the slendro scale often varies widely. For example, scales used in Banyuwangi, at the eastern tip of Java, are very similar to scales used in Jembrana, a short distance away on Bali. This is very difficult if not impossible to determine.Įven within Indonesia, it is difficult to determine the evolution of scales. A salendro scale is also found in the neighboring musical ensemble of Kulintang. It is similar to scales used in Indian and Chinese music as well as other areas of Asia and they all may have a common origin. The slendro scale is thought to be brought to Srivijaya by Mahayana Buddhists from Gandhara of India, via Nalanda and Srivijaya from there to Java and Bali. However the name slendro is derived from Sailendra, the ancient dynasty of Medang Kingdom in Central Java and also Srivijaya. The origin of the slendro scale is unknown. ![]() It is derived either from " Sailendra", the name of the ruling family in the eighth and ninth centuries when Borobudur was built, or from its earlier being given by the god Sang Hyang Hendra. Terutama pada penyajian Angklung yang berkaitan dengan upacara padi, kesenian ini menjadi sebuah pertunjukan yang sifatnya arak-arakan atau helaran, bahkan di sebagian tempat menjadi iring-iringan Rengkong dan Dongdang serta Jampana (usungan pangan) dan sebagainya.Slendro is a Javanese term for one of the scales in gamelan. Demikian pula pada saat pesta panen dan seren taun dipersembahkan permainan angklung dan calung. Perkembangan selanjutnya dalam permainan Angklung tradisi disertai pula dengan unsur gerak dan ibing (tari) yang ritmis (ber-wirahma) dengan pola dan aturan=aturan tertentu sesuai dengan kebutuhan upacara penghormatan padi pada waktu mengarak padi ke lumbung (ngampih pare, nginebkeun), juga pada saat-saat mitembeyan, mengawali menanam padi yang di sebagian tempat di Jawa Barat disebut ngaseuk. Selanjutnya lagu-lagu persembahan terhadap Dewi Sri tersebut disertai dengan pengiring bunyi tabuh yang terbuat dari batang-batang bambu yang dikemas sederhana yang kemudian lahirlah struktur alat musik bambu yang kita kenal sekarang bernama angklung dan calung.
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