Presentation on theme: "1 MUSIC OF INDONESIA COURSE STRUCTURE INTRODUCTION January 18 Introduction January 20 Indonesia – An overview January 25 Java, Bali, Sumatra."— Presentation transcript:
1 MUSIC OF INDONESIA COURSE STRUCTURE INTRODUCTION January 18 Introduction January 20 Indonesia – An overview January 25 Java, Bali, Sumatra
2 MUSIC 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 24mock exam March 1exam
3 MUSIC OF INDONESIA COURSE STRUCTURE BALI March 3Video: “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 29Video: “Bali beyond the postcard” March 31exam e
4 MUSIC OF INDONESIA COURSE STRUCTURE SUMATRA April 5Minangkbau culture April 7Talempong April 12Saluang jo dendang April 14Randai April 19Islamic music April 21Batak Toba culture and music April 26no class April 28Melayu culture and music May 3 Mock exam May 5Discussion of exam May 13 Final exam
6 Key aspects: Adat (tradition) and Islam Matrilinearity/matrifocality Islam and modernity
7 SUMATRA 18. Minangkabau culture Key elements of adat Nagari (village) Suku (Clan) Key elements of Islam Universalism Individual Rumah gendang
8 SUMATRA 18. 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?
9 SUMATRA 18. Minangkabau culture Matrilinearity/matrifocality
10 SUMATRA 18. Minangkabau culture Islam and modernity Western-style education Rantau (migration)
11 SUMATRA 18. 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?
12 Assignment for Next Class Hanefi: Traditional Minangkabau Music “Sumatra”
13 SUMATRA 19. 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)
22 SUMATRA 19. 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
23 SUMATRA 19. Minangkabau music: talempong Talempong Three worlds?
24 SUMATRA 19. Minangkabau music: talempong What does the photograph on the previous slide suggest? How is the notion of nagari expressed in talempong music? What view does Islam take of talempong music?
25 SUMATRA 20. Saluang jo dendang Saluang (flute) Dendang (Song)
26 SUMATRA 20. 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)
27 SUMATRA 20. Saluang jo dendang Song types Ratok (Lament) Gembirah (Happy) Setengah gembira (Semi-happy) porno (Bawdy) Lagu asal (Song of place/origin)
28 SUMATRA 20. Saluang jo dendang Bagurau (amusement) Competition Individualism/nagari Suborang Botuang
29 SUMATRA 20. 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
30 SUMATRA 20. Saluang jo dendang Pantun “Ratok Koto Tuo” Tinggi nagari Koto Tuo Koto Tuo is up in the hills Di mudiak kampuang rang Pambatan Higher up than Pambatan Nan lah acok hati taibo Often my heart is sad Tagak dek iman bataguahkan But my faith is strenghtened
31 SUMATRA 20. 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 make life so miserable
32 SUMATRA 20. 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 make life so miserable
33 SUMATRA 20. 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?