Title: MUSIC OF INDONESIA
1MUSIC OF INDONESIA
- COURSE STRUCTURE
- INTRODUCTION
- January 18 Introduction
- January 20 Indonesia An overview
- January 25 Java Bali Sumatra
2MUSIC OF INDONESIA
- COURSE STRUCTURE
- JAVA
- January 27 Gamelan An introduction
- February 1 Musical instruments
- February 3 Gamelan Basic principles
- February 8 Repertoires and formal structures
- February 10 Gamelan aesthetics
- February 15 Music dance theater
- February 17 Wayang purwa
- February 22 Gamelan in practice
- February 24 mock exam
- March 1 exam
3MUSIC OF INDONESIA
- COURSE STRUCTURE
- BALI
- March 3 Video The three worlds of Bali
- March 8 Basic principles
- March 10 Wayang
- March 11 Wayang Bali. Performance by Larry Reed
- March 22 Gong kebyar
- March 24 Topeng and Legong
- March 29 Video Bali beyond the postcard
- March 31 exam
4MUSIC OF INDONESIA
- COURSE STRUCTURE
- SUMATRA
- April 5 Minangkbau culture
- April 7 Talempong
- April 12 Saluang jo dendang
- April 14 Randai
- April 19 Islamic music
- April 21 Batak Toba culture and music
- April 26 no class
- April 28 Melayu culture and music
- May 3 Mock exam
- May 5 Discussion of exam
- May 13 Final exam
5SUMATRA18. Minangkabau culture
6SUMATRA18. Minangkabau culture
- Key aspects
- Adat (tradition) and Islam
- Matrilinearity/matrifocality
- Islam and modernity
7SUMATRA18. Minangkabau culture
- Key elements of adat
- Nagari (village)
- Suku (Clan)
- Key elements of Islam
- Universalism
- Individual
Rumah gendang
8SUMATRA18. Minangkabau culture
- Adat (tradition) and Islam
- The image on the top right is of a mosque near
Padangpanjang the one below of the mosque in
Koto Baru. What does the architectural style of
these two mosques suggest about the place of
Islam in Minang
9SUMATRA18. Minangkabau culture
- Matrilinearity/matrifocality
10SUMATRA18. Minangkabau culture
- Islam and modernity
- Western-style education
- Rantau (migration)
11SUMATRA18. Minangkabau culture
- What is the relationship between Islam and adat
Has it always been the same What are the social
forces that have shaped this relationship over
time - Does the strong matrifocal character of
Minangkabau society mean that women are in
charge
- How do Islam and modernity relate to each other
12Assignment for Next Class
- Hanefi Traditional Minangkabau Music
- Sumatra
13SUMATRA19. Minangkabau music talempong
- Hanefi Traditional Minangkabau Music
- Music and adat
- Orality (kaba)
- Morality (how a young man or woman should
behave)
- Locality (nagari)
- Islam ()
- Musical instruments
- Regions
- Heartland (darek)
- Coast (pasisir)
14SUMATRA19. Minangkabau music talempong
- Talempong duduak
- Talempong pacik
15SUMATRA19. Minangkabau music talempong
- Talempong duduak
- 29. Talempoang Payakumbuah
16SUMATRA19. Minangkabau music talempong
17SUMATRA19. Minangkabau music talempong
- Instruments
- Talempong
- Gandang
- Pupuik batang padi (or pupuik tanduak)
- (Agueng)
18SUMATRA19. Minangkabau music talempong
- Structure
- Labuan
- O O O
- O O O
- anak induek paningkah
19SUMATRA19. Minangkabau music talempong
- Local variations
- Nagari Pariangan (Kbp. Tanah Datar)
After B.Arifin Adam Talempong. Musik tradisi
Minangkabau
20SUMATRA19. Minangkabau music talempong
- Local variations
- Nagari Padang Magek (Kbp. Tanah Datar)
After B.Arifin Adam Talempong. Musik tradisi
Minangkabau
21SUMATRA19. Minangkabau music talempong
- Interlocking
- Bakacimang (harmony agreement)
- Uneconomic
22SUMATRA19. Minangkabau music talempong
- Adat
- Talempong is played for adat ceremonies (e.g. at
inauguration of village elder)
- Women
- Talempong was traditionally played by women
- Rice
- Talempong is said to imitate the sound of
rice-pounding
23SUMATRA19. Minangkabau music talempong
24SUMATRA19. Minangkabau music talempong
- What does the photograph on the previous
suggest
- How is the notion of nagari expressed in
talempong music
- What view does Islam take of talempong music
25SUMATRA20. Saluang jo dendang
- Saluang (flute)
- Dendang (Song)
26SUMATRA20. Saluang jo dendang
- Saluang (end-blown/rim-blown oblique flute)
- Pentatonic (four holes)
- Circular breathing
- Vibrato
- Embouchure
- 30. Abdul-Rahman Canduang Basamarajo (top left)
- Indang Toboh (The Drum at Toboh)
27SUMATRA20. Saluang jo dendang
- Song types
- Ratok (Lament)
- Gembirah (Happy)
- Setengah gembira (Semi-happy)
- porno (Bawdy)
- Lagu asal (Song of place/origin)
28SUMATRA20. Saluang jo dendang
- Bagurau (amusement)
- Competition
- Individualism/nagari
Suborang Botuang
29SUMATRA20. Saluang jo dendang
- Pantun
- Stanza of two segments consisting of equal
numbers of lines (e.g. 2 2)
- 8 or 9 syllables per line
- End-rhyme in corresponding lines
- First segment alludes to nagari
- Second segment about human experience or life of
singer
- Tinggi nagari Koto Tuo
- Di mudiak kampuang rang Pambatan
- Nan lah acok hati taibo
- Tagak dek iman bataguahkan
30SUMATRA20. Saluang jo dendang
Tinggi nagari Koto Tuo Koto Tuo is up in the hill
s Di mudiak kampuang rang Pambatan Higher up tha
n Pambatan Nan lah acok hati taibo Often my hear
t is sad Tagak dek iman bataguahkan But my faith
is strenghtened
31SUMATRA20. Saluang jo dendang
- Pantun
- 31. Ratok Koto Tuo
Kok indak diujak ribuik It takes a typhoon Alun
pandan den kabadarak To destroy a pandanus tree
Nan kok indak dek bansaik induik
It takes poverty Alun badan den kamarasai To mak
e life so miserable
32SUMATRA20. Saluang jo dendang
- Pantun (sound or meaning)
- The relation in meaning between the two halves
is often obscure and in many cases it seems that
the connection is less one of sense than of
sound with the first half foreshadowing the
second in rhyme. - (Hanefi and Philip Yampolsky Night Music of West
Sumatra)
Kok indak diujak ribuik It takes a typhoon Alun
pandan den kabadarak To destroy a pandanus tree
Nan kok indak dek bansaik induik
It takes poverty Alun badan den kamarasai To mak
e life so miserable
33SUMATRA20. Saluang jo dendang
- How important is meaning in pantun
- What role do alliteration and rhyme play in the
lyrics of saluang jo dendang songs
- How is saluang jo dendang interconnected with the
idea of nagari
