A Dutch scholar named Dr. J.L.A. Brandes said that theoretically long before the arrival of Indian cultural influence, the Javanese culture has rnemiliki skills or knowledge which includes 10 items (Brandes, 1889):
1. puppet,
2. gamelan,
3. rhythm science poem,
4. batik
5. metal working,
6. system of its own currency,
7. shipping technology, science,
8. astronomy,
9. agricultural fields,
10. regular government bureaucracy
Ten grains of these cultural skills rather than granting the 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 do not know about 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 human needs in the arts. Art is one of the cultural elements that are universal. This means that each nation has certainly artistic, but its form is different between one nation with another nation. If the cultural contacts between peoples happen then the art was also involved in contact that may occur one or Put the nations will be absorbed when the element of art from other nations according 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 widely used among Java community. Use of the term has been progressing well pemaknaannya. Many people interpret the "gamelan" departed from the word "pepper" which means small, delicate or complex. That said, in an environment of Surakarta palace, musicians have also used the term as an umbrella from some branches of art such as: tatah painting, sculpture, 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):
1. using gamelan instruments - either partially or completely barreled slendro or pelog - some or all of them.
2. use the barrel (slendro scales) and / or good pelog gamelan or non-instrumental and vocal gamelan or a mixture of both.
Javanese Gamelan now is not only popular in Indonesia alone, even in foreign countries has grown as the United States, England, Japan, Canada. Karawitan have 'global'. By because it was quite ironic if the people of Java as a direct heir would not even care about the arts or art of gamelan musicians in particular or Javanese culture in general. Other nations so tekunnya studied Javanese gamelan, and even in some countries has a set of Javanese gamelan. They should have respect for Javanese society masterpiece own ancestors.
Sources of data about gamelan
Java, after a period of prehistoric culture into a new era is a time when culture from the outside-in this case began to influence Indian culture. 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 VIll century AD until the fifteenth century Javanese culture, have enriched the Indian cultural elements. Apparently the Indian cultural elements can also be viewed on the arts such as gamelan and dance. Transformation of musical culture to Java through the Hindu-Buddhist religions. The data about the presence of gamelan found in the verbal sources ie sources - sources written in the form of inscriptions and literary books from a Hindu-Buddhist period and source of pictorial form of the carved reliefs on the temple at both temples from the age Central Javanese classical (7th century until 10th century) and temples from the classical period of the younger of East Java (11th century to century, ¬ 15) (Haryono, 1985). In written sources the East Javanese gamelan ensemble groups are said to be "tabeh - tabehan" (the new Java language 'percussion' or 'tetabuhan' which means that things are beaten or pounded with a hit). Zoetmulder explain the word "gamèl" with a percussion instrument that is a hit musical (1982). In the Javanese word "snot", which means 'bat'. In the language of Bali there is the term 'gambèlan' which then might be the term 'gamelan'. The term 'gamelan' has been mentioned in connection with music. Namur in the Kadiri (approximately ¬ 13 th century AD), a music expert Judith Becker even say that word 'gamelan' is derived from the name of a minister of Burma, and an expert named Gumlao iron. If Becker's opinion is correct, of course, the term 'gamelan' is found also in Burma or in some areas of the Southeast Asian mainland, but it did not.
Picture of gamelan instruments in the temple reliefs
In some parts of the walls of the Borobudur temple can be 17 seen the kinds of gamelan instruments, namely: the drum that is worn around the neck strap, drum shaped like a pot, siter and lute, cymbals, flutes, saron, xylophone. At the temple Jonggrang Lara (Prambanan) can be viewed images reliefs cylindrical drum, drum convex, drum shape pot, cymbals (intelligence), and flute.
Figure reliefs gamelan instruments in the temples of East Java can be found at the temple Jago (-13 century CE) in the form of stringed musical instruments: long-necked lute and zither. While at the temple Ngrimbi (century - 13 AD) there was relief reyong (bonang two pencon). Meanwhile, a large gong reliefs found in the temple Kedaton (14th century AD), and the cylindrical drum at the temple Tegawangi (14th century AD). In the main temple ruins (14th century AD) there was relief of gongs, bendhe, kemanak, drum type drum, and on the porch reliefs pandapa xylophone, reyong, and cymbals. Relief bendhe and horns on Sukuh (15th century AD).
Based on data on relief and the books of literature 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 is closely related to religious activities. Music is one important element in religious ceremonies (Koentjaraningrat, 1985:42-45). In some books of literary India like a book of Natya Sastra of dance music and art works to the activities of the ceremony. religious (Vatsyayan, 1968). Overall music group in India called 'vaditra' which are grouped into five classes, namely:
1. grammar (stringed instruments),
2. begat (stringed musical instrument),
3. sushira (wind musical instruments),
4. dhola (drums),
5. Ghana (musical instrument o'clock).
Another grouping is:
1. Avanaddha vadya, the sound produced by vibration of the skin because the membrane is struck.
2. Vadya Ghana, the sound produced by vibration of the instrument itself.
3. Sushira vadya, the sound vibrations produced by the blown air.
4. Tata vadya, the sound produced by vibration of the strings are plucked or swiped.
Classification can be equated with membranophone (Avanaddha vadya), ideofon (Ghana vadya), aerofon (sushira vadya), kordofon (grammar vadya). The rhythm of music in India is called "laya" standardized by using the pattern 'tuning' to do with drums. The rhythm was grouped into: druta (fast), Madhya (medium), and vilambita (slow).
The following is the classification of gamelan instruments:
1. Membranophone Group (Avanaddha vadya)
Membranophone group is garnelan instrument, which sounds suber exist in the membranes of the skin or other materials. Within this group of Javanese gamelan is a kind of drum. In some inscriptions obtained evidence that the instruments have been popular membranophone groups 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 at Temple who's down in 821 AD (Goris, 1930). These terms continue to be used until the Majapahit era, as can be read on the book of the spin-mpu Nagarakrtagama Prapanca year 1365 AD (Pigeaud, 1960). It is not impossible that the musical instrument type membranophone is a type of gamelan instruments that already exist before the existence of cultural contacts with India, which is used on ritual occasions. In this case can be compared to musical instruments owned by the primitive tribes in general from membranophone group. In the days of prehistoric cultures in Indonesia metal (bronze culture) has been known for the type of moko, nekara. Nekara of his time working as a kind of drum. The author does not agree that nekara conducts its development and then became the gong.
In India the instruments kind of drum 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 'drum which if hit can defeat the enemy' (Vatsyayan, 1968:175). Indian drums play an important role in the ceremony and the accompanying dance performance as they 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 it is mentioned that 'mrdangga' or 'mrdala' created by the god Brahma to accompany the dance of Shiva, when defeated 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 drum instruments. Then the term bheri in Java is now a group which was paralleled by bendhe ideofon. In some book of ancient Javanese literature bheri adjacent to mention the word 'mrdangga, like in the book Wirataparwa: ".. prasamanggwal bheri mrdangga, Arok ajimur ikang stamps penance-wor ..." (Meaning: "... both carry bheri mrdangga, mingled mingling with each other those who fight ...");" ... humung pliers bheri murawa ... "(meaning:" Huh bheri voice and murawa "). In the book of the Ramayana (X century, AD) stated: "... tinabih ikang bahiri ring the park ..." ("bheri, beaten in the park.") description gives the impression that 'bahiri' or 'bheri' still in the group membranophone . Based on these data found in the books of literature, or murawa mrdala is a very important instrument in combination with other instruments such as sangkhakala, Davina, baribit.
Reference to by various names indicate the existence of various forms of drum and material. In a small drum art statues that are held by a god called 'damaru'. In the reliefs of Borobudur temple (early 9th century AD) and the Shiva temple at Prambanan (mid-ninth century AD) described a variety ¬ - various forms of drums (Haryono, 1985, 1986). There are slender cylindrical drum shape, asymmetrical barrel shape, a cone shape. At the Shiva temple balustrade (Prambanan) drum is placed under the belly with a sort of rope. In the temples which is younger than about 14th-century reliefs drum can be seen in the temples of young classical period (the period of East Java), such as: Temple Tegawangi, ruins. In temple reliefs Tegawangi also found someone to bring drum cylindrical shape with a rope that is worn around the shoulders. In the ruins were described only webbed relief drum one hand and beaten with bat tipped round. Jaap Kunst (1968:35-36) calls this musical instrument 'Dogdog'. There is the same written sources mention conducts drum with Old Javanese written sources in India proved that cultural contacts between the two covers also in the field of performing arts. But it does not mean that Java is the influence of drum drum India.
Based on the root word "MRD" then the word "mredangga" in the inscription is likely to drum made of clay. In a later development in Java, the word "mredangga" to "Pradangga" in Javanese gamelan New meaning or musicians. Such changes were also found in the word 'Kamsa' or 'Kangsa' which means 'bronze' in Java and then turned into 'gangsa' which means 'gamelan'. Therefore, the opinion which says that the word 'gangsa' is derived from the word 'gasa' as the word abbreviation (acronym) of the word 'three' + 'sedasa' or 'copper' + 'rejasa' is not based on valid research results (Haryono, 2002; 2004:48). Bronze metallurgical research on the basis of the composition of the material elements of the composition also does not prove the existence of 'three' proportionate 'sedasa' (3:10). For example it can be shown from the research penults. Results of research on the elemental composition of artificial Papringan gamelan (Yogyakarta) = Cu 52.87%: Sn 34.82%: Zn 12.55%; as for the Bekonang (Surakarta) = Cu 48.80%: 39.88% Sn: Zn 10.86%, and from Kauman (Magetan) aJalah Cu 51.00%: Sn 40.26%: 8.39% Zn. Cu is copper, Sn for tin and zinc to zinc. It is clear that the composition does not reflect a 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 (stanza XXIX: 8): "ginding daityaddhipati tinabih ya ta drums, gongs, gangsa, gubar asahuran ..." means Gending of the King Giant sound, drums, gongs, gangsa, and gubar bersahut-replication (Poerbatjaraka, 1951; Sedyawati, 1985:236). In gamelan now called the 'xylophone gangsa' is the kind of xylophone made of metal (bronze or brass).
Membranophone other types of instruments are 'drum' and 'trebang'. The term 'drum' found in the book of the Song of younger malate. In Kakawin Hariwangsa, Ghatotkacasraya, and Song Harsawijaya similar instrument is called the "tipakan". In addition there is the term 'Tabang-Tabang' in the book and the book Sumanasantaka Ghatotkacasraya that may later develop into the term 'tribang'. Text like the following quote: "sri ginding damya saha-sloping damyan anameni chant ing 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 advent of Islamic culture but has existed since the 12th century AD (Zoetmulder, 1983:317-395).
2. Group Ideofon (Ghana Vadhya)
This group of musical instruments is a kind of musical instrument sound source comes from the 'agency' means the music itself and by music experts who are classified as the oldest musical instruments when compared with other type (Ferdinandus, 1999). Some of these types of musical instruments that 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' 'stretching,' tuwung ',' brikuk ', Curing and tuwung is a type of cymbal. Curing may be a kind of cymbals are made from metal. In the inscription Kuti year 762 Saka (840 AD) stated: "Mangkana pamuja mangungkunga curing yan ..." But as if entered into worship, so beating the curing process. The word "mangungkunga" in the Java language is only now still can be found as the artificial sound of gamelan 'ngungkung'. Type of gamelan instruments 'curing' is very popular at the time proved to be a lot of Old Javanese inscriptions 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 was rung in the context of ritual gamelan (ritual worship).
According to Jaap Kunst (1968:52) 'curing' and 'tuwung' is the same instrument that is equally kicer types. Name gamelan instruments 'celuring' now exist in the gamelan in Yogyakarta palace and temple Pakualaman. Maybe 'celuring' is derived from the word 'cured' a parenthesis 'el' to indicate plural. If this were so then the description of 'curing' in the Old Javanese might like 'celuring' now or 'celuring' now this is the development of 'curing' of the Old Javanese. Meanwhile, in several books of literary mentioned types of gamelan instruments 'rojeh' as in the book Hariwangsa, Kresnayana, Sumanasantaka, Siwaratrikalpa, and Song of Harsawijaya. Interpreted as a kind of gamelan instruments cymbals. Similarly, the term 'baribit' referred to as a type of gamelan instruments in the book of the Ramayana.
The name 'brikuk' as the name of the gamelan instruments are found in inscriptions Panggumulan year 902 AD and 919 AD Lintakan inscriptions. Whereas in the year 943 AD inscription found Paradah term 'bent'. In gamelan now have a 'tap'. The term 'tap' existing at the time of Kadiri as those mentioned in the book by mpu Panuluh Hariwangsa. In the book diceriterakan atmosphere and natural beauty when Rukmini Krishna is likened to a journey as a puppet show accompanied by gamelan: salunding, kituk, and talutak.
Description as well as a description that puppet show accompanied the 12th century that are still simple gamelan ensembles. 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 similar forms of gamelan instruments. Pencu forms of gamelan instruments carved in the temples of East Java around the 14th century AD and thereafter as ruins, Temple Sukuh, and Temple Ngrimbi.
Relief berpencu gamelan instruments in Ngrimbi temple ruins and perhaps might be called 'reyong'. This instrument was rung with a short stick held in his right arm and left. In the arrangement that many in one dynamic then becomes 'bonang'. If the order a little of each in a dynamic called 'kenong'. In terms of written sources 'reyong' found Pararaton book, a book which was written in the aftermath of the Majapahit kingdom. In the older written source that the inscriptions Polengan I in 870 AD is called the term 'makajar' which means players Kajar. Kajar is a kind of musical instrument pencu.
Gong is a type of gamelan instruments are very important too. In the form of reliefs, the oldest source of the story can be seen in the reliefs in the cave Selamangleng Arjunawiwaha, Tulungagung, which originated from the second century AD (Bernet Kernpers, 1959:87). Then the story depicted in the reliefs on the temple Bhornantaka Kedaton, and the reliefs of Ramayana in ruins (the 14th century AD). This does not mean that the gong had not known before the 11th century. In the book of Old Javanese Ramayana from ninth century BC have been mentioned 'gong' (Poerbatjaraka, 1926:265-272). In Chinese news from the Tang dynasty (618-906 AD) stated that "if the king Poly out of town, he rode a train pulled by elephants and accompanied by music composed of gongs, drums, and trumpets" (Haryono, 2001). Apparently gamelan instruments which remains bernarna 'gong' at the time of the 9th century AD as an important instrument of the gamelan which at that time was probably limited its use in the palace so that by Kunst said to be a 'royal instrument' (Kunst, 1968:66). Besides, in terms of manufacturing techniques, gongs require more complicated techniques and materials are more expensive so that not every group of people can rnemiliki.
The term 'gong' in this case is used to refer to large gong (gong gedhe), whereas 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 he had the celebration will be 'nggantung gong' means will hold a 'klenengan'.
In the book mentioned gending Bhāratayuddha, gongs, and gubar in one group. It is interesting that in the Song Wangbang Wideya (from the Kediri), which contains the Panji stories mentioned types of gongs with the term 'gong Bentar Kadatwan'. Together with other gamelan and gong ie, curing, was rung to accompany the puppet show (Robson, 1977). The 'gubar' is interpreted as a kind of medium-size gong. In Bhāratayuddha gubar called together with sangkha and saragi, was 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 books mentioned in written sources malate, and according to Chinese news from the Song Dynasty (966-1279 AD) said that during the reign of King Jayabhaya Kadiri Java community has been able to play flute, drum, and xylophone (xylophone) from the timber (Groeneveldt, 1960:17). In the written sources such as books Sumanasantaka, inscriptions Buwahan 11th century AD, inscriptions Pura his will (12th century AD) called the term 'calung' and the term 'galunggang' and 'garantung' in other sources. The term 'gender' started 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 in the temple that the ruins were younger. If xylophone known saron should also have known type.
Perhaps the carved reliefs on the temple of Borobudur described saron not xylophone. The term 'sawn' newfound conducts written sources after the 15th century AD (the Book Arjunapralabda) In the written sources are the terms 'barung' which is interpreted as a 'sawn' (Juynboll, 1923:401). In the book Bhāratayuddha, Gahtotkacasraya, and Hariwangsa Bali and several ancient inscriptions to the 12th century AD the term 'salunding'. Gamelan 'salunding' till now still can be found in Bali.
Next gamelan instruments being old enough is 'kemanak'. In kakawin Bhāratayuddha, books Candidates Charcoal, mentioned 'kamanak' together with 'kangsi'. Even in the book said that the candidate Charcoal kangsi kamanak and used to accompany sacred dance which is done by the candidate and his disciples Charcoal.
3. Aerofon Group (Sushira Vadya)
Type of instruments including the gamelan group are the source of the sound is the air that is blown. In Javanese gamelan ensemble flute is now klenengan or completeness of the gamelan-uyon uyon. In the book of Natya Sastra flute (flute), referred to by the term 'vamsa' which means 'bamboo' and sounded together with the 'vino' (Vienna). Pictorial evidence on the existence of ancient Javanese flute can be seen on reliefs at Borobudur Temple in relief Karmawibhangga, relief Jataka, and Lalitawistara. In addition there is also the reliefs on Candi Jago and ruins.
Based on data from these reliefs can be distinguished two kinds of flute transverse flute (oblique flute) and flute longitudinal (vertical). In written sources in the book of flute called Old Javanese Ramayana with the term 'bangsi' and sounded together with rawandsta instruments. The word 'bangsi', 'wangsi' is probably derived from the same word Sanskrta 'vamsa'. In the book of the younger Writtasancaya Tanakung mpu works called by the term 'flute'. The Book of Old Javanese Ramayana also mentions the term 'flute'. Similarly, in Bali, Pura Batur in inscriptions Abang A year AD 1011 is called 'flute'. This means that since 11th century has been distilled into the completeness of the gamelan.
Apart from written sources as well as the flute in existing reliefs horn wind instrument that is called 'sangkha'. Sangkha is a sea shell and a wind instrument has long been used in India. In Hindu iconography, is an attribute of the god Vishnu sangkha, Krishna. In the Ramayana reliefs on the temple of Brahma (Prambanan) sangkha Kumbhakarna blown to awaken the sleeping. In Nagarakrtagama (Majapahit) referred to "think Ian padaha kahala gumang Ganjuran ...." means:" rumble kahala suspect and drums, Ganjuran ... "(stanza 65:1). In the book of the Ramayana called 'kalasangkha' Wirataparwa and in the book called 'sangkhakahala' (Kunst, 1968). The term 'kahala suspect' and 'sangkha kahala' now becomes' the trumpet, while 'Ganjuran' as perhaps a kind of gamelan instruments drums (?). Kala Ganjur current term gamelan is derived from the word 'kahala' and 'Ganjur', a term that has existed since the era of Majapahit. Another type of horn that is 'pereret' as mentioned in the Song Ranggalawe.
4. Kordofon Group (Tata Vadya)
Gamelan instruments are included in this group of Javanese gamelan is now termed siter, zither, and fiddle. The term zither was first found in written sources Hikayat Cekelwanengpati. On the reliefs on Candi Jago painted a picture someone playing the zither. In the Song of Wangbang Wideya called gamelan instruments 'samepa' and the gamelan was interpreted as a 'fiddle' (Kunst, 1968). In the meantime 'kachapi' mentioned in the Song Hausa Wijaya, together with other gamelan: the gong, ridip, and ginding.
Old Javanese inscriptions mentioning the term 'Vienna,' rawanahasta 'and' panday rawanahasta '. The word 'rawanahasta' means 'hand Ravana' and 'panday rawanahasta' means 'the builders make rawanahasta'. Rawanahasta interpreted as a kind of gamelan instruments berdawal Lute 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 the bathhouse Jalatunda (East Java). Similarly, there are some metal statues found in Nganjuk and Suracala (Yogyakarta), which describes the goddess holding a stringed musical instrument.
