Hidayatullah, et.
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Gamelan Reinvented: Cultural Sound Transformation in East Java's Membranophone Ensembles Panakajaya Hidayatullah1*.
Lono Lastoro Simatupang 2.
Aris Setiawan 3.
Kristen Angela Livera 4 Performing Arts and Visual Arts Studies.
Universitas Gadjah Mada Yogyakarta.
Indonesia
E-ISSN 2338-6770
Submitted date : January 10th, 2025 Revised date Accepted date : February 2nd, 2025 : February 4 , 2025 Department of Ethnomusicology.
Faculty of Performing Arts.
Institut Seni Indonesia Surakarta.
Indonesia Departments of Social and Cultural Anthropology.
Katolieke Universiteit Leuven and University of Liyge.
Belgium Correspondence Address:
Pengkajian Seni Pertunjukan dan Seni Abstract : This study explores the phenomenon of pyghy' in the musical traditions of Rupa.
Sekolah Pascasarjana, terbhyng ghendhing and kemplang in Probolinggo and Bondowoso, which emerged as Universitas Gadjah Mada.
Jl.
Teknika Utara.
Pogung.
Sleman.
Yogyakarta a response to past religious prohibitions on the use of metal gamelan instruments.
The research focuses on uncovering the adaptation of metal gamelan music into the E-mail: Roosmargo@ugm.
membranophone ensembles of terbhyng ghendhing and kemplang from a musicological perspective.
Using qualitative and ethnographic approaches, data were collected through participant observation, in-depth interviews, and literature review.
The Andings reveal that elements such as kejhungan, drumming patterns, bonang patterns, and ghendhing structures were preserved, although the shift from metal to membrane caused signiAcant changes.
These changes resulted in a playing style that is more repetitive, dynamic, and aligned with the membranophone's characteristics.
This study also challenges the conventional view of membranophones as purely rhythmic instruments, demonstrating their capability to perform complex melodic roles in terbhyng ghendhing and kemplang.
The process of pyghy' underscores traditional music as a dynamic entity that continues to evolve through local creativity, creating new musical identities while maintaining its cultural roots.
Keywords: gamelan, membranophone, terbhyng ghendhing, kemplang, madura A 2023 The Author.
This work is licensed under a Creative Common Attribution 4.
0 International License Page 357 Hidayatullah, et.
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Introduction Indonesian traditional music is a deAning cultural expression, shaped by the nation's historical, social, and religious currents.
Gamelan, a signiAcant musical art form, is integral to numerous traditional activities, religious ceremonies, and communal In regions such as Madura and the Tapal Kuda area of East JavaAiencompassing Probolinggo and BondowosoAimetallic gamelan has shaped local musical identity, resonating through the community's daily life.
However, historical records reveal a period when the use of metal instruments in gamelan faced considerable opposition, imposed by local Islamic religious authorities (Bouvier, 2002.
Departemen Pendidikan dan Kebudayaan, 1986, pp.
100Ae101, 204Ae205.
Hastanto, 2005, pp.
91 & 107.
Setiawan, 2.
This prohibition precipitated a notable divergence in the region's gamelan tradition, altering its course and reshaping its cultural development.
Rather than passively allowing the tradition to wane into obscurity.
Madurese communities in Bondowoso and Probolinggo have demonstrated resilience, undertaking creative efforts to sustain and adapt it.
They ingeniously transformed metal gamelan instruments into membranophones, giving rise to new forms such as terbhyng ghendhing and, thereby safeguarding their musical traditions.
At the time, both the community and local religious authorities contended that membranophones did not contravene Islamic lawAiand were therefore permissibleAifulAlling religious requirements.
This phenomenon not only highlights the resilience of tradition in the face of adversity but also underscores the transformative power of art as a medium of negotiation between local culture and governing power.
This adaptation process gave rise to the local term pyghy', which will be explored throughout this article.
The term pyghy' emerged from ethnographic Aeld research in Bondowoso and Probolinggo as a locally grounded concept.
Musicians of kemplang and terbhyng ghendhing ensembles use this term to describe the creative process of adapting gamelan gending into their unique musical expressions.
The term tokyng pyghy' refers to a musician skilled in transforming ghendhing gamelanAispeciAc compositions or melodies performed on gamelanAiinto a membranophone ensemble.
In Madurese, tokyng translates to 'expert,' while myghy'Aiderived from pyghy'Ailiterally means 'to catch'.
however, in this context, it is more accurately understood as 'to grasp.
' Consequently, tokyng myghy' or tokyng pyghy' signiAes an expert skilled in grasping and adapting gamelan traditions into innovative membranophone forms (Pawitra, 2009: .
In everyday Madurese life, the term pyghy' commonly refers to the act of catching nimble creatures such as crickets, birds.
Ash, frogs.
Cies, dragonCies, and similar animals.
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associated with various professions, such as tokyng pyghy'-na mano' .
ird-catching exper.
, tokyng pyghy'-na jhuko' (Ash-catching exper.
, and tokyng pyghy'-na olar .
nake-catching exper.
, reCecting its broader application in everyday life.
The term pyghy' converys a deeper meaning that transcends mere catching Aiit requires a mastery of precision, patience, speed, accuracy, and an acute sense of awareness.
the musical milieu of Probolinggo and Bondowoso, pyghy' embodies the artistry of musicians as they capture the "sound image" of gending gamelan music, skillfully reinterpreting it within the expressive forms of terbhyng ghendhing and kemplang The term pyghy' encompasses not only the substitution of instruments but also the ingenuity and adaptability required to preserve and reimagine the musical essence of gamelan.
It reCected the resilience of local communities, illustrating how they not only endure but actively shape their traditions through contextually grounded Madurese communities in the Tapal Kuda region have not only preserved the gamelan's role as a medium for expression and ritual but have also introduced distinct nuances to gending, traditionally structured for metallic gamelan, when performed with membranophone instruments.
The process of pyghy' is neither straightforward nor expeditious.
It necessitates a profound understanding of gamelan's musical structure, the attributes of membranophones, and mastery in adapting playing Conversely, this transformation process impacts not only the technical aspects of musical performance but also the symbolic and spiritual values embedded therein.
Metallic gamelan instruments, laden with traditional meaning, are reinterpreted through membrane instruments.
Despite their physical dissimilarity, membranophones continue to embody the essence of gamelan music, maintaining its cultural integrity through the reallocation of instruments.
This phenomenon demonstrates that music is not a static entity.
it is inherently dynamic, capable of adapting to social changes and prevailing norms.
The phenomena of pyghy' exempliAes the nuanced negotiation between art and religion in public domains.
The prohibition by religious authorities sets explicit restrictions on artistic endeavors.
On the one hand, the prohibitions deAned by religious authorities established clear boundaries for artistic practices.
At the same time, local Madurese communities have skillfully navigated these restrictions.
Anding ways to uphold their traditions while adhering to the dominant norms.
This positions pyghy' a symbol of ingenuity forged under constraint, evolving into a unique and esteemed heritage.
Moreover, membranophone instruments in the terbhyng ghendhing and kemplang ensembles are far more than functional substitutes for Page 359 Hidayatullah, et.
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metallic gamelan instruments.
With their unique tonal qualities and distinct playing techniques, they introduce a new timbre to gamelan gending compositions, expanding the musical palette.
These innovations not only uphold traditional musical repertoires but also broaden and diversify the musical landscape within the local cultures of Probolinggo and Bondowoso.
However, this phenomenon raises critical questions regarding what is retained and what is altered in this transformation.
Does the musical structure of the gamelan remain intact? In what ways do rhythmic patterns and playing styles adjust to align with the distinctive characteristics of membrane instruments? What aspects of gamelan music are 'grasped' .
yghy') and which are relinquished in the process? What are the artistic and musical repercussions that arise from such adaptations? These inquiries serve as essential entry points for comprehending the intricacies of the pyghy' phenomenon and its implications for the conservation of traditional music.
This research explores the process of adaptation, identifying the musical elements retained and examining how local musicians skillfully navigate these shifts to ensure that the tradition thrives amidst challenges.
Grounded in a qualitative approach and ethnographic methodology centered on Participant Observation, this study aims to enrich ethnomusicology by offering new insights into the intersections of tradition, religion, and creativity within Indonesian traditional music.
The phenomenon of pyghy' encompasses not only the modiAcation of musical instruments, but also how cultures handle and AugraspAy change, adapting to shifting contexts with creativity and resilience.
This research presents traditional music not as a static relic of the past but as a dynamic, living forceAione that persists and Courishes amid evolving historical currents.
Literature Review The transformation of membrane music, as exempliAed by terbhyng ghendhing and kemplang, demonstrates the process of adaptation, where the metallic resonance of gamelan is reallocated to the distinct timbres of membranophone ensembles.
The concept of adaptation has long been a focal point in disciplines such as art, literature, and media studies, frequently associated with intermediality and translationAiprocesses that describe the movement from one medium or form to DeAned in the dictionary as the act of adjusting, changing, or modifying to suit speciAc contexts.
AuadaptationAy encompasses a variety of methods and interpretations (Hutcheon, 2006, p.
Greenberg .
8, p.
further expands on this, describing adaptation as.
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AuAdaptation is repetition, but repetition without replication.
And there are manifestly many different possible intention behind the act of adaptation: the urge to consume and erase the memory of the adapted text or call it into question is as likely as the desire to pay tribute by copying.
Ay Adaptation extends beyond mere replication or transfer of texts.
it is a deliberate and reCective process that demands careful consideration.
Hutcheon acknowledges that the concept of adaptation is Cuid and can expand in scope over time.
It is not limited to Alm and stage productions but extends to various creative practices, including musical arrangements, cover songs, visual art reinterpretations, video games, and beyond, demonstrating its broad applicability across artistic and media In musicology, the concept of adaptation seldom takes center stage in discussions about the phenomenon of musical instrument substitution.
Within the context of Western music, terms such as transcription, arrangement, and instrumentation are more commonly used to describe this process.
Among these, transcription often garners greater attention from musicologists and ethnomusicologists, serving as a key framework to explain the practice of instrument substitution or reallocation.
Jones offers a detailed exploration of the concepts of arrangement and transcription, deAning them as follows:
AuArrangements.
I would call a playing of the notes in another medium.
recreation or making-over with regard to their imaginative and creative content.
The Arst is as though one should play the Bach Flute Sonatas on the Violin or the Grieg Violin Sonatas on the Viola, making the necessary adjustments for the change in medium.
second is exempliAed by the Liszt Tristan Liebestod, a deAnite re-making of the orchestral and vocal material into a new piece (Jones, 1935, p.
Ay The term transcription is rooted in the Western European tradition of documenting music through written notation.
In an era when music was primarily preserved in this form, transcription became an essential tool for capturing and transmitting musical Even with the emergence of sound recording technologies such as the phonograph, it remained a crucial method for documenting and analyzing music (List.
An illustrative example of this practice is found in the work of Byla Bartyk, a composer and musicologist renowned for his dedication to European folk traditions.
Bartyk's Aeld research involved recording Hungarian folk music with a phonograph and meticulously transcribing these recordings into detailed notations.
These transcriptions were not merely documentation.
they preserved the character of the folk melodies and provided the foundation for his compositions, where he reimagined traditional motifs within the framework of modern music (Tari, 2006, p.
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The term transcription is frequently employed in Western music to describe the creative process of adapting compositions for different instruments or formats.
Notable examples include the reinterpretation of an Asturias piece, initially written for piano, into an arrangement for guitar, or the reallocation of an orchestral composition into a piano score (Bates, 2016.
Cellier & Rothwell, 1925.
Jones, 1.
This emphasis on transcription highlights the pivotal role of written notation in Western musical traditions, where the process of .
composition is typically conducted through written media, facilitating such adaptations.
By contrast, the processes of composition and re-composition in non-Western traditions, such as those in Indonesia, follow a fundamentally different approach, transmitted through oral practices.
Rather than relying on transcription.
Indonesian traditional music is preserved through collective memory, which forms the basis for both adaptation and continuity.
The music of terbhyng ghendhing and kemplang exempliAes this practice, shaped by the communal memory of the Madurese community in the Horseshoe region (Tapal Kud.
of East Java.
These works are not preserved through written notation but are instead passed down, and embodied through melody, harmonic interplay, and auditory textures, reCecting a living, communal tradition that evolves with its practitioners.
The fundamental difference between the practice of instrument transposition in Western music and the traditions of terbhyng ghendhing and kemplang lies in their approaches to adaptation.
In Western music, instrument reallocation focuses on meticulously preserving the detailed structure of music as dictated by existing Conversely, in terbhyng ghendhing and kemplang, the process of interpretation and re-composition is shaped by memory, consensus, cultural interpretation, and the characteristics of the instruments employed.
Both approaches accommodate changes arising from instrument translation, as the unique timbre, sound qualities, and techniques of each instrument inevitably shape the resulting musical outcome.
In Western music, instrument transference is also referred to as instrumentation, which typically pertains to the manipulation of timbre and other sound components within music composition.
During the early stages of Western music, particularly in the Baroque period, timbre was regarded as secondary to core elements such as pitch and rhythm (Charronat et al.
, 2004, p.
The primary focus during this era centered on the interplay of pitch, duration, and loudness, while timbre remained largely However, by the Classical and Romantic periods, the role of instrumentation underwent rapid development, as evidenced by the publication of numerous foundational textbooks on the subject, which subsequently formalized the Page 362 Hidayatullah, et.
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study of orchestration and timbre.
(Berlioz, 1843.
Gevaert, 1885.
Guiraud & Busser.
Kastner, 1837.
Koechlin, 1944.
Rimsky-Korsakov, 1.
Building on Charronat's perspective on instrumentation, the transference of instruments within the traditional Madurese communities of the Tapal Kuda region offers a compelling avenue for further academic exploration.
In Western musical tradition, transference is typically conducted by an individual composer, while in the Madurese tradition, it evolves through a communal process shaped by collective consensus and shared knowledge.
Unlike contemporary music, which emphasizes innovation, or Western tonal traditions focused on expanding tonal aesthetics, instrument transference in the context of traditional Madurese music serves a functional purpose: it is driven by the cultural and practical imperatives of the society in which it occurs.
Other signiAcant studies on the phenomenon of musical instrument transference or reallocation within Indonesian culture offer valuable comparative insights.
Ako Mashino .
explored rebana music in the Sasak community of East Bali, investigating how musical acculturation emerges through cultural interaction.
Nugraha .
examined the adaptation of metal gamelan into a wooden ghylundhyng ensemble in Bondowoso, focusing on the complex interlocking patterns and the spiritual dimensions embedded in this music form.
Similarly.
Pratjichno .
studied the art of jemblung in Banyumas, which reinterprets metal gamelan as an AuoralAy gamelan, where vocalized onomatopoeic sounds replicate the musical elements of gamelan.
Each of these studies showcases how music has evolved to suit new mediums while maintaining their cultural signiAcance.
This research seeks to deepen theoretical discourse on instrument transference or reallocation by investigating the membranophone ensembles terbhyng ghendhing and kemplang, regarded as reinterpretations of metal gamelan music.
By examining the creative strategies of migrant Madurese communities, it uncovers how music becomes a medium for cultural negotiation and adaptation.
At the same time, this study Alls a critical gap in understanding the translation of metal instruments into Instrument transference goes beyond musical innovation.
serves as a powerful reCection of the ingenuity and resilience of migrant Madurese communities, who adapt their traditions to preserve relevance and vitality in new cultural settings.
Methods This research employs a qualitative approach with ethnographic methodologies to examine the phenomenon of musical adaptation, focusing on the transference of Page 363 Hidayatullah, et.
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metal gamelan instruments into membranophones within two speciAc ensembles:
terbhyng ghendhing and kemplang.
The research corpus is grounded in two speciAc locations in the Horseshoe region of East Java: Bondowoso and Probolinggo.
Bondowoso, the study focuses on kemplang music performed by the Sumber Batu Lawang rombongan, in Banyuputih village.
Wringin sub-district.
Bondowoso.
Meanwhile, in Probolinggo, the research examines terbhyng ghendhing music performed by the Sumber Jaya rombongan in the Sumberpoh village.
Maron subdistrict.
Rombongan is a local term used by the Madurese communityAeparticularly the Tapal Kuda region of East JavaAi to refer to traditional music and arts ensembles.
This article will consistently use the term rombongan throughout when mentioning speciAc ensembles or troupes.
Data were collected through the combination of Participant Observation, where researchers immersed themselves in diverse musical activities at the research sites, indepth interviews with musicians and local cultural ambassadors, and comprehensive recordings of musical performances.
Participant observation and interviews have provided valuable insights into the musical, social, and cultural dimensions of these practices, while the recordings served as the foundation for in-depth analysis, explored in detail in the Analysis section of this article.
The recorded data was subsequently transcribed into kepatihan notation, a widely accepted system for gamelan music analysis, enabling a thorough examination of the musical structures and their It is important to note that the musicians of terbhyng ghendhing and kemplang do not employ a notation system in their musical practices, nor do they adhere to the conventional rules and structures typical of Javanese gamelan music.
Rather, the transmission and performance of this music are grounded in oral traditions, where musicians rely on intuition, memory, and a shared understanding to both perform and preserve their repertoire.
However, it was a deliberate choice for this article to primarily focus on the translation of metallic gamelan music into membranophones through the lens of music notation.
While this approach offers valuable insights, it also limits the scope of the research by focusing on the speciAc phenomenon at hand.
As a result, a notated transcription can never fully AugraspAy or AucaptureAy the essence of the pyghy' phenomenon, offering only a partial representation.
Nevertheless, when examining the reallocation of gamelan instruments into terbhyng ghendhing and kemplang, the use of notation remains relevant.
It serves a strategic role in facilitating musical analysis, offering a framework for interpreting the structural and adaptive elements of these traditions.
Several factors informed the decision to use kepatihan notation instead of Western staff notation in this research.
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with the primary consideration being the musical structure of terbhyng ghendhing and kemplang, which align more closely with the characteristics of gamelan music.
Morever, this choice considered the cultural aspects of the music, aiming to avoid biases that could arise from disparities in musical perceptions and concepts between Western music culture and gamelan traditions.
The transcribed music was then subjected to musicological analysis, enabling the identiAcation of patterns, structures, and other elements that reveal the underlying processes of the pyghy' phenomenon and its nuanced mechanisms within the adaptation process.
Results The Role of Terbhyng Ghendhing and Kemplang in the Islamic-Madura Cultural Constellation Terbhyng ghendhing and kemplang are distinct forms of musical expression developed by Madurese communities in Bondowoso and Probolinggo.
These ensembles adapt traditional Madurese gamelan into a pitched membranophone format, reCecting a signiAcant shift in instrumental practice.
This transformation arose in response to a historical ban on the use of metal gamelan instruments during a speciAc period, which encouraged innovation through the use of alternative materials, such as leather The terbhyng ghendhing ensemble is composed of eight terbhyng instrumentsAitraditional frame drums known as rebana that vary in shape and sizeAiaccompanied by a large jidur or bedug drum and a kencyr, a small brass cymbal akin to a tambourine.
Each terbhyng is calibrated to notes that closely approximate the Madurese slendro scale, enabling the ensemble to produce harmonies evocative of metal gamelan when played collectively.
The terbhyng are arranged by size, from largest to smallest, with each instrument designated using local terminology:
terbhyng pettyt budi, terbhyng tenggo', terbhyng dhu' tenga/sanga', terbhyng dhu' ady'/lyma', terbhyng panerros/enem, terbhyng kacyran, and terbhyng laky'an.
Additionally, the terbhyng kendhyngan instrument adds a layer of rhythmic complexity to the ensemble.
Terms such as pettyt, tenggo', enem, lyma', and panerros, which are also included in the lexicon of Madurese gamelan, further highlight the cultural and linguistic continuity between these musical forms.
As Darus, a Madurese gamelan master in Sumenep.
Madura .
nterview on June 23, 2024, in Rubaru Sumenep Madur.
AuPak Sunarwi once explained that, unlike in Java.
Madura does not use gamelan notation terms.
Instead, terms like rajy .
, pettyt .
, tenggu' .
, bhyryng .
, enem .
are used to refer to the notes in the Madurese gamelan.
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Bouvier .
2, p.
draws on data from the East Java Department of Education and Culture (Depdikbu.
6, pp.
100Ae101, 204Ae.
, which provides documentation on the terbhyng ghendhing ensemble.
Within this source, the term ngremo terbhyng ghendhing is cited as follows:
AuA regional dance from Probolinggo, ngremo terbhyng ghendhing features an orchestra of at least nine dances of various sizes organised according to the pentatonic Javanese slendro base-tone .
ence the name of the notatio.
The number of terbhyng players thus forms a kind of metallophone gamelan due to the tonal base used and the roles assigned to each terbhyng.
Ghendhing is of Central and East Javanese origin .
Sampak and Walangkeke.
singing remains Arabic in style.
'When the Islamic boarding schools denied the inclusion of Hindu Indonesian gamelan in the arts education of the boarding schools, people devised this terbhyng' .
6: .
Ay Figure 1.
Terbhyng ghendhing.
Sumber Jaya rombongan.
Maron.
Probolinggo Source: Panakajaya .
This observation supports Setiawan's analysis .
, which argues that the art of terbhyng ghendhing arose in response to cultural tensions within the Madurese community in Java, particularly inCuenced by Islamic authorities' perspectives on music, speciAcally gamelan.
Probolinggo Regency serves as a vital repository of the region's cultural heritage, with terbhyng ghendhing representing a tradition passed down through generations, since the spread of Islam in the area (Interview with Mr.
Tris, artist and leader of the Terbhyng Ghendhingan Sumber Jaya rombongan, conducted on December 28, 2022, in Sumberpoh.
Maron.
Probolingg.
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profoundly disrupted during the Covid-19 pandemic, which led to the loss of many terbhyng ghendhing artists.
Today, the Sumber Jaya rombongan, which was established in the 1980s, remains the sole ensemble in the Maron region preserving this tradition.
Renowned for its contributions.
Sumber Jaya has represented Probolinggo Regency at both provincial and national cultural events, including performances at Taman Mini Indonesia Indah.
This rombongan ensemble performs terbhyng ghendhing across diverse contexts, including parlo wedding ceremonies, arysan and kompolan gatherings, village festivals.
Islamic holidays, and other special Furthermore, terbhyng ghendhing frequently provides the musical accompaniment for traditional performing arts, such as jhyran kynca', penca'an, and loddrok, demonstrating its adaptability and enduring cultural signiAcance.
The cultural forces at play in Probolinggo's creative landscape deserve closer Linguistic and social traits of this region closely mirror those of Pamekasan and Sampang on Madura Island, particularly through the Byry' dialect.
From a sociolinguistic perspective, the Madurese language is categorized into two main dialects: .
Madhury Byry' (Western Madures.
Madhury Tymor (Eastern Madures.
The Western Madurese dialect is primarily spoken in the regencies of Bangkalan.
Sampang.
Pamekasan, and several districts in Sumenep Regency bordering Pamekasan, such as Parenduan .
n the southern regio.
Gulukguluk .
entral regio.
, and Pasongsongan .
orthern regio.
Outside of Madura Island, this dialect is also prevalent in Gresik.
Surabaya.
Pasuruan.
Probolinggo.
Jember, and Bondowoso.
contrast, the Eastern Madurese dialect is mainly spoken in Sumenep Regency and, outside of Madura, in Situbondo and parts of Banyuwangi Regency (Sofyan, 2009, p.
Historically, the Madurese population in Probolinggo traces its roots to migrants from these two regions in Madura (Husson, 1997, p.
Over time, close interaction with the Javanese community has fostered a unique cultural synthesis.
This distinctiveness is evident in their language, where speakers alternate between Madurese and Javanese, often blending the two within a single conversation.
The inCuence of this cultural and linguistic intermingling is further expressed in terbhyng ghendhing, where Javanese terms are incorporated into the sung kyjhungan verses, as well as in the performance of Jula-Juli, a typical East Javanese gending.
Kyjhungan is a unique form of singing from Madura, characterized by high-pitched vocal techniques.
The term comes from kyjhung, meaning song.
In the context of Javanese gamelan, the aesthetics of kyjhungan are comparable to bowo, where vocal improvisation exists but remains tied to Javanese musical principles, such as sensitivity to pathet (Suyoto.
Haryono, & Hastanto, 2015, p.
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sense of heritage as a traditional form of singing orally passed down by the Madurese community, marked by its distinctive cengok .
that resonate with collective ethos (Mistortoify, 2014, pp.
2Ae.
This illustrates not only the cultural synthesis between Madurese and Javanese traditions but also the Madurese adaptability in maintaining and reshaping their musical and linguistic practices.
We now turn our attention to kemplang another distinct membranophone ensemble, recognized by various regional nomenclatures: dhung-dhungan and glundengan in Jember.
terbhyng, katypongan, tympong, and kemplang in Bondowoso.
kemplang in Probolinggo.
The Bondowoso District Culture and Tourism OfAce ofAcially refers to it as 'ketipung art.
' .
eni ketipun.
However, this term appears contrived, lacking resonance with the community, and failing to gain widespread acceptance.
Despite its formal use by the government and occasional adoption by rombongan on signboards or performance backdrops, it remains largely unpopular.
For this study, the term kemplang was chosen due to its widespread use and recognition, reCecting the cultural realities of the rombongan ensembles and their authentic identity as deAned and practiced by the participants.
Kemplang is a membranophone ensemble composed of six to eight drums resembling kendang, each varying in shape and size.
Each drum is Atted with two leather membranes, tuned to the slendro scale to produce notes that evoke the sounds of a metallic gamelan.
While both terbhyng ghendhing and kemplang adapt metallic gamelan music, they differ in terms of the range of notes.
In terbhyng ghendhing, each player is conAned to a single note due to the instrument's one-sided membrane, whereas the double-headed kemplang allows musicians to produce two tones per This feature facilitates more complex sound structures, expanding the ensemble's tonal palette and versatility.
The kemplang instruments are assigned names in local Madurese terms, which vary across different communities, reCecting the distinct cultural nuances of each For example, the Sumber Batu Lawang rombongan in Banyuputih refers to their instruments as pangotyran, pettyt, gendong, pananggul, and panengngah, whereas the Curah Dami rombongan identiAes them as panyacca, panerros, panembhung, and Despite these variations in nomenclature, the instrumental functions and performance techniques remain consistent.
Henceforth, this discussion adopts the terminology from the Sumber Batu Lawang rombongan to describe the kemplang ensemble's instruments, which also perform gamelan gendingsAitraditional compositions from the gamelan repertoire.
However, despite sharing the same repertoire, kemplang ensembles exhibit distinct tonal qualities and playing patterns that differentiate them from metallic gamelan ensembles.
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Sri Hastanto .
3, pp.
describes the instruments and tuning system of the kemplang ensemble in Probolinggo.
East Java.
His account of the Probolinggo gamelan kemplang follows.
AuKemplang is an ensemble of percussion instruments, consisting of several tuned drums.
Each drum has two membranes, with each membrane tuned to a speciAc pitch.
Typically, at least Ave drums are used, creating a melody with interlocking timbres, enhanced by additional rhythmic patterns to produce a distinct and complex musical texture.
The tuning system of the ensemble follows the slendro tuwa scale.
Ay Hastanto elaborates on the socio-religious setting and cultural context in which kemplang music developed and prospered, as follows:
AuThis art form .
was historically practiced in the communities around surau .
mall islamic prayer house.
and mosques in the Probolinggo area, becoming part of the activities of young people attending religious study sessions.
The development of kemplang is believed to have been inCuenced by a prohibition from local Islamic religious leaders against the use of gamelan.
Consequently, gamelan instruments were replaced with kendhyng, which did not fall under these restrictions.
Ay Accounts from terbhyng ghendhing performers in Probolinggo suggest that kemplang emerged during the Islamization of Java, a period when the performance of metal gamelan was deemed haram under Islamic law (Interview with Mr.
Mahfud, musician and leader of the Kemplang Sumber Batu Lawang rombongan, on January 5, 2023, in Banyuputih.
Wringin.
Bondowos.
In response, the Madurese community created an ensemble of leather instruments, allowing them to continue performing gamelan gendings while avoiding religious disapproval.
This adaptation preserved their musical traditions within the boundaries set by Islamic authorities.
Hastanto .
3, p.
also notes that the rise of kemplang in Probolinggo was directly inCuenced by local Islamic leaders' ban on metal gamelan, illustrating the complex interplay between religious authority and cultural resilience.
Kemplang is prominently found in the Bondowoso Regency, though analogous traditions exist throughout the Tapal Kuda (Horsesho.
Field observations reveal distinct differences in its musical execution and performance practices.
Among the notable rombongan, the Sumber Batu Lawang rombongan from Banyuputih village.
Wringin sub-district, stands out not only for its mastery, but and its commitment to mentoring emerging musicians, thereby ensuring the ongoing relevance and development of kemplang as a living tradition.
Similar to terbhyng ghendhing in Probolinggo, kemplang in Bondowoso is performed at a range of events, including parlo wedding ceremonies, arysan and kompolan gatherings, village celebrations, and Islamic holidays.
Among these, parlo and kompolan are most salient.
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Kompolan refers to gatherings of individuals committed to preserving and advancing traditional arts, where participants actively engage in sustaining the tradition.
These gatherings play a pivotal role as both custodians of heritage and catalysts for innovation, ensuring the continued vitality of kemplang within its cultural context.
The cultural characteristics of the Madurese in Bondowoso exhibit distinct differences when compared to those in Probolinggo, particularly in terms of linguistic nuances and artistic expressions.
Historically, the Madurese population in Bondowoso traces its roots to migrants from Sumenep and Pamekasan (Husson, 1.
Most Madurese in Bondowoso communicate in the Madurese byry' dialect, with few individuals Cuent in Javanese.
In the realm of performing arts, particularly in kemplang, inCuences from the Madurese ketoprak .
traditions of Sumenep and Situbondo are evident: the incorporation of rhythmic patterns.
opening acts.
other stylistic idioms inherent to the ketoprak performance style.
Figure 2.
Kemplang: The Sumber Batu Lawang Ensemble in Banyuputih.
Bondowoso Source: Panakajaya .
Both terbhyng ghendhing and kemplang membranophone traditions emerged within Madurese-Javanese communities, particularly among speakers of the Byry' dialect in the Horseshoe region.
These traditions are not merely musical expressions.
they are deeply integrated into the cultural and religious life of the community.
This connection is especially evident in their association with the langghyryn religious tradition, a unique Madurese system of Islamic education that takes place in small prayer and teaching spaces, known as langgar, surau, or mushalla.
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heritage of terbhyng ghendhing and kemplang are transmitted by the kiyai langghyr, local Islamic educators who play a critical role in rural communities.
Unlike more prominent kiyai who oversee Islamic boarding schools .
and hold broader inCuence, the kiyai langghyr specialize in teaching Islam within the conAnes of a single village, while also providing music lessons in the langgar.
Such music is traditionally performed following Qur'an recitations and frequently accompanies pencak silat, a traditional martial arts practice integral to the religious and cultural milieu of the region (Interview with Mr.
Mahfud, artist and leader of the Kemplang Sumber Batu Lawang rombongan, on January 5, 2023, in Banyuputih.
Wringin.
Bondowos.
In Madurese society, the kiai is a deeply venerated Agure, ranking just below parents in the hierarchy of respect, as articulated in the philosophy Aubhuppa', bhybu', ghuru, ratoAy .
ather, mother, teacher, leade.
Beyond merely serving as a religious instructor, the kiai stands as a cornerstone of community life, providing guidance across social, cultural, and political spheres (Wiyata, 2.
Within the realm of music, the kiai remains instrumental in the development, dissemination, and teaching of terbhyng ghendhing and kemplang within the educational and communal framework of the langgar.
However, over time, these musical expressions have likewise transcended their original religious context, adapting to serve secular and commercial This transformation underscores their evolving functions and enduring relevance, reCecting the dynamic interplay between tradition and modernity in Madurese culture.
The terbhyng ghendhing instruments found in the Maron region of Probolinggo are believed to be creations of kiai, whose role has been integral to their inception.
Passed down through generations, this music has been nurtured within the langgar, remaining in tune with the rhythms of community life and religious education.
Similarly, the art of kemplang in Bondowoso owes its growth and dissemination to the efforts of kiai, who employed it as a medium for cultural and religious engagement.
One prominent Agure in the spread of kemplang is Kiai Abdullah, an early settler and Islamic teacher from Banyuputih Village.
Wringin Subdistrict.
Bondowoso.
His innovative use of kemplang for Islamic propagation reCects the seamless integration of cultural expression and religious teachings in the area.
Today, the tradition continues to prevail, with several kiai actively preserving kemplang through activities in village mosques and langgar.
Kiai play a dual role as educators and spiritual leaders, linking the artistic and sacred dimensions of kemplang music.
Their inCuence goes beyond teaching, as artists often seek their guidance and blessings .
galap berka.
, reinforcing the deep connection between tradition and spirituality, with the kiai ensuring the continued vitality of both.
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Ultimately, the music of terbhyng ghendhing and kemplang is intrinsically linked to the spread of Islam in Probolinggo and Bondowoso, emerging in response to the prohibition of metal gamelan by Islamic religious authorities, who deemed it incompatible with religious principles.
In overcoming this challenge, the kiai langghyr acted as key agents of transformation, introducing a membranophone ensemble that complied with Islamic teachings while preserving the essence of the metal gamelan This innovation highlights the synthesis of local traditions and religious values, shaped by the creativity and leadership of the kiai.
As a result, the preservation and adaptation of terbhyng ghendhing and kemplang demonstrate how such practices have evolved within the particular framework of religious and communal guidance that deAnes this cultural context.
The Adaptation of Gamelan Ghendhing in Terbhyng Ghendhing and Kemplang The Madurese-Javanese community in the Tapal Kuda (Horsesho.
region has demonstrated remarkable versatility in evolving its artistic traditions, stemming from their integration with external inCuences in their new environment.
Illustrative examples of this adaptation include the emergence of hybrid art forms such as Al Badar .
traditional Islamic performance ar.
Madurese dangdut.
Madurese sinetron .
oap opera.
, strykan .
atirical performance.
, gending dangdut, and glundhyngan .
ooden xylophon.
(Hidayatullah, 2016, 2017a, 2017b, 2017c, 2019a, 2019.
Such artistic forms reCect how the Madurese community has not only preserved but also creatively reinterpreted its traditions in response to broader cultural and societal shifts.
The musical evolution of terbhyng ghendhing and kemplang presents a compelling case of reinvention within artistic traditions.
The following section examines the means by which these ensembles developed, highlighting the key elements of gamelan music retained for their cultural signiAcance.
It also explores the challenges encountered in adapting to new instrumental forms and the strategies employed to overcome them.
By analyzing these changes, we can gain deeper insight into the factors that inCuenced the emergence of these new forms and the cultural and artistic motivations behind their development.
Analysis of Terbhyng Ghendhing The transcription for the instruments pettyt budi, tenggo', dhu' tengnga, dhu' ady', paneros, kacyran, and laky'an utilizes balungan notation, a component of the broader kepatihan system commonly employed in Javanese gamelan music.
This notation system focuses speciAcally on capturing .
yghy') the main melody and key rhythmic patterns, which is crucial for analyzing the core musical structure.
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this analysis, the system ensures clarity and consistency, particularly as the instruments correspong with speciAc pitch regions .
, 2, 3, 5, 6, !, @), which remain consistent with the solfyge system .
o, re, mi, so, la, do, r.
In analyzing the kendhyng and panembhung instruments, symbols typically used in kendang notation, which represent speciAc rhythmic patterns and techniques, are applied.
Similarly, the transcription for the jidur instrument uses symbols commonly associated with gong notation in Javanese gamelan.
To fully examine the form and structure of gending walangkeke' in the terbhyng ghendhing ensemble, the following analysis employs kepatihan notation to provide a comprehensive understanding of its musical structure.
Figure 3.
Transcription of Gending Walangkeke' (Terbhyng Ghendhin.
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This musical adaptation becomes particularly evident when analyzing the notation The structure of this gending aligns with the overarching framework of Javanese gamelan music, with its opening marked by a kendhyng pattern reminiscent of the walangkeke' style found in Madurese-East Javanese Moreover, the kendhyng pattern closely mirrors the segments that lead into the gong or seleh, distinguished by the characteristic resonance of the jidur Figure 4.
Transcription of Kendhang Source: Personal Documentation Page 375 Hidayatullah, et.
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Notice the highlighted portion in the Agure above, where the kendangan pattern mirrors that of the East-Javanese kendangan.
This particular pattern is consistently played in conjunction with the gong or seleh.
In East Javanese music, this is referred to as sabetan and is commonly employed in alit-tengahan gendings.
It functions as a kendhyng pattern that cues the gong's entry, fulAlling the role as an ater-ater .
to the gong seleh.
Furthermore, the kendhyng transition into the rangkep rhythm includes a cue that closely parallels the kendangan pattern in Jawatimuran karawitan.
This pattern, known as ngembat, introduces a brief tempo reduction, serving as a prelude to the rhythmic shift.
Figure 5.
Transcription of Kendhyng Irama Rangkep Source: Personal Documentation The most striking form of gamelan adaptation in terbhyng ghendhing is seen in the performance of the four tuned terbhyng instruments: pettyt budi, tenggo', dhu' tengnga, and dhu' ady'.
These instruments replicate the role of balungan melody in metal gamelan ensembles.
In traditional metal gamelan, the balungan instruments form the skeleton of the music, serving as the structural foundation.
In terbhyng ghendhing, this same role is fulAlled by the four terbhyng instruments.
However, unlike the continuous sound of metal gamelan, the melody in terbhyng ghendhing is played alternately, as each terbhyng can produce only a single note at a time.
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Figure 6.
Transcription of Terbhyng Pettyt Budi.
Tenggo'.
Dhu' Tengnga, and Dhu' Ady' Source: Personal Documentation Examining the highlighted section in the Agure above, it becomes evident that in cadence one, the four terbhyng instruments alternately play the balungan melody, thus forming the skeleton of the music .
alf cycle/four-measure gatr.
To fully grasp the structural framework of gending walangkeke', a detailed description of its notation Figure 7.
Framework of Gending Walangkeke' (Terbhyng Ghendhin.
Source: Personal Documentation However, in the double rhythms .
, the four terbhyng instruments play each tone twice, employing a double stroke.
This stroke begins at the transitional part of the rhythmAias seen in the fourth gatra in the AgureAiand is consistently applied throughout the rangkep rhythm, reinforcing the polyrhythmic structure.
Figure 8.
Transcription of Irama Rangkep Source: Personal Documentation Page 377 Hidayatullah, et.
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The rangkep double stroke emerged as a result of the transition from metal to membranophone instruments.
In metallic gamelan, an instrument can sustain a single tone, whereas in membranophones such as terbhyng ghendhing, the tone is brief, lacking the capacity for sustained resonance.
As a result, musicians employ a denser playing techniqueAithe rangkep double strokeAito prolong the sound, compensating for the limited duration of the tone.
Concerning the paneros, kacyran, and laky'an instruments, parallels can be drawn with gamelan traditions, fulAlling a similar role to that of the bonang babok and bonang penerus in gamelan, thereby preserving the rhythmic structure.
In gamelan, the bonang's playing pattern is characterized by an interlocking arrangement between the bonang babok and its successor, a structure that Ands resonance in the gending Here, the three instruments assume distinct musical roles.
In the Arst rhythm .
, the paneros and kacyran instruments adopt the bonang's role, while the laky'an instrument remains inactive until its designated entry in the performance.
Figure 9.
Transcription of Paneros and Kacyran Instruments Source: Personal This rhythmic structure bears a strong resemblance to the kobyo'an technique in East Javanese gamelan, where the bonang pattern is faithfully mirrored in the terbhyng ghendhing.
Within this framework, the paneros assumes the role of the bonang babok, while the kacyran takes on the function of the bonang penerus.
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Figure 10.
Transcription of Kacyran and Laky'an Instruments Source: Personal Documentation When the bonang playing pattern is executed by the paneros and kacyran instruments in the Arst lamba rhythm, it is then assumed by the laky'an and kacyran instruments in the rangkep rhythm.
This shift in instrumentation reCects the change in the rangkep rhythm, which involves a doubling of the previous rhythm's beat and thus a faster tempo.
This requires a consistently played interlocking pattern that serves as a clear tempo keeper.
To ensure the pattern is distinctly discerned, the sound of instruments with a higher pitch frequency is necessary, as it allows the interlocking structure to be clearly audible and maintain rhythmic clarity.
Furthermore, the jidur instrument, which appears in the Arst lamba rhythm and transitions into the rangkep rhythm, serves a role akin to that of the gong in metal In both instances, the instrument is played at the beginning and end of the musical cycle, marking the commencement and conclusion of the performance.
Notably, there is no alteration in the beat when transitioning between rhythms, reinforcing the jidur's function in the terbhyng ghendhing ensemble as a stabilizing element within the rhythmic structure.
As discussed earlier, the adaptation of gamelan to terbhyng ghendhing has brought about a range of musical transformations, driven by the reallocation of instruments, though certain elements have been preserved and remain fundamental to the music.
Among the retained elements from metal gamelan are the kendang patterns, the balungan framework, and the bonang and gong patterns.
Additionally, the kyjhungan vocals, a deAning characteristic of the music, are preserved in the rendition of gending walangkeke', executed in a manner consistent with their treatment in metal gamelan.
Analysis of Kemplang The following analysis of the kemplang ensemble examines the performance of gending walangkeke', focusing on the rendition by the Sumber Batu Lawang kemplang group in Banyuputih.
Wringin.
Bondowoso, on June 13, 2024.
It is important to note that each kemplang musician typically produces two tonesAiderived from two separate membranes on each instrument.
During the performance by Sumber Batu Lawang, each musician takes on the challenge of playing four instruments simultaneously, demonstrating a high level of skill and coordination.
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are arranged to generate six distinct notes from the slendro scale, addressing the challenge of limited musicians by allowing one performer to assume multiple roles.
The following documentation of the kemplang ensemble highlights this innovative Figure 11.
Ensemble Format of Kemplang Sumber Batu Lawang Source: Personal Documentation The photo above depicts the arrangement of the Sumber Batu Lawang kemplang ensemble: on the front right, a musician plays the pangotyran.
in the center, another musician plays four instruments simultaneouslyAigendong, panengah, penanggul, and pettyt.
on the front left, a set of kendhyng drums is played.
and at the back, musicians play the jidur and tambourine.
In the analysis section below, the notations for the gendong, panengah, penanggul, and pettyt instruments will be consolidated into a single instrument called kemplang to streamline the reading process.
The notation for the kemplang and pangoteran instruments have been transcribed using the gender notation system, characterized by a top and bottom The upper notation represents the part played by the right hand, while the lower notation corresponds to the part played by the left hand.
For this analysis, the basic tonality of kemplang has been aligned with tone 1 .
r d.
, corresponding to the pitch range .
, 2, 3, 5, 6, .
o, re, mi, so, la, d.
In the transcription of the kendhyng instrument, standard symbols for kendang notation in Javanese gamelan are The notation for the jidur instrument follows the symbols typically used for gong marks in Javanese gamelan notation.
Gending walangkeke' in the kemplang ensemble is performed using only a single rhythm, a distinct approach compared to the terbhyng ghendhing ensemble, where two types of rhythmAiArst rhythm and rangkepAiare employed.
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walangkeke' in kemplang, the following provides a detailed description of its presentation using kepatihan notation.
Figure 12.
Transcription of Gending Walangkeke' (Kemplan.
Source: Personal Documentation Based on the transcription above, such musical adaptation becomes increasingly In the opening section, walangkeke' music typically begins with the kendhyng drum, as is customary in both gamelan and terbhyng ghendhing ensembles.
However, in the kemplang ensemble, the opening of the gending is carried out by the kemplang In this kemplang ensemble, gending walangkeke' is performed using a Page 381 Hidayatullah, et.
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single irama .
hythmic patter.
, unlike the terbhyng ghendhing ensemble, which employs two distinct irama types: irama one and rangkep.
The kemplang instrument, as the sole pitched instrument in the ensemble, does not adhere to the traditional musical framework found in a terbhyng ghendhing Rather than performing the balungan patterns that serve as the structural foundation in gamelan, the kemplang instrument explores a broad array of melodic patterns, which are derived from the vocal melody of the kyjhung.
When analyzed in relation to the Anal note in each gatra, the melodic patterns of the kemplang instrument effectively form the framework of the music.
From a broader compositional standpoint, notable differences in pitch can indeed be distinguished between those used in gamelan and those in terbhyng ghendhing.
The following is a comparative Figure 13.
Comparison of Gending Frameworks Source: Personal Documentation Based on the Agure above, it is evident that the framework of gending walangkeke' in both gamelan and terbhyng ghendhing ensembles resemble each other, despite differences in notation.
The form and pattern .
rrangement of note.
remain consistent across both.
In contrast, the kemplang ensemble introduces a shift in tone However, when considering the overall form of the music, the two can still be regarded as fundamentally the same.
This difference derives from several factors, primarily as a consequence of the translation process itself.
As Amjari, musician and tokang pyghy' ghendhing of the Kemplang Sumber Batu Lawang rombongan (Interview on January 5, 2023, in Banyuputih.
Wringin.
Bondowos.
explains, he reinterpreted the performance of pyghy' music through the use of gamelan cassette recordings as his reference.
This process is inherently subjective, as each tokang pyghy' .
e-interprete.
may perceive and transform the "sound image" from the same gamelan gending reference, inCuenced by varying interpretative perspectives and adaptation techniques.
Thus, it is not surprising that variations occur throughout the translation process.
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factor pertains to performance techniques.
In the kemplang ensemble, the arrangement of gending walangkeke' emphasizes variations in vocal melodies, which are subsequently applied to the playing of the kemplang instruments.
In contrast to the terbhyng ghendhing ensemble, kemplang does not prioritize the formation of a gending framework.
Upon closer inspection, the drum technique frequently used on kemplang instruments involves a repetitive beat pattern, where a single tone is produced through multiple strikes.
This approach mirrors that of the terbhyng ghendhing ensemble, which compensates for the limitations of the membrane mediumAiincapable of sustaining long tonesAiby using repetitive strikes.
Similarly, the kemplang ensemble adopts this technique to overcome the limitations resulting from the reallocation of metallic instruments to drums, whereas traditional gamelan instruments, being metallic, produce longer resonant tones due to their ability to sustain sound.
The similarities between the gending walangkeke' in the kemplang and gamelan ensembles are evident in the kyjhungan lyrics sung by the tokang kyjhung, which both conArm that the gending being performed is walangkeke'.
Additionally, when examining the melodic structure of the kyjhungan in both ensembles, it is clear that they share the same foundational pitch set.
Below is a comparison of the kyjhung in both the kemplang and gamelan ensembles (Transcription of the gamelan performance at Avalokitesvara Vihara.
Pamekasan, on June 25, 2.
Figure 14.
Comparison of Kyjhung in Gamelan and Kemplang Source: Personal Documentation Page 383 Hidayatullah, et.
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It is evident that every two gatra or half-units of kyjhungan consistently contain tone one .
, and the same applies to the Anal note of each unit.
Another important aspect to consider is the melodic structure of kyjhungan.
Kyjhungan walangkeke' in kemplang is characterized by a repetitive and uniform pattern, while kyjhungan in Madurese gamelan displays greater melodic variation.
Another key aspect to examine is the melodic structure of kyjhungan.
In kemplang, the kyjhungan walangkeke' follows a repetitive and consistent pattern, whereas in Madurese gamelan, kyjhungan tends to stretch or deviate from the expected rhythm, recognized as gandul characteristics.
Additionally, the delivery method differs, with kyjhungan in kemplang adhering to a more metric structure in line with the music's tempo, while in gamelan, it often exhibits a more Cexible, elastic phrasing.
It is evident that every two gatra or half-phrases of kyjhungan consistently contain tone one .
, and the same applies to the Anal note of each unit.
Another important aspect to consider is the melodic structure of kyjhungan.
In kemplang, the kyjhungan is delivered metrically, aligning with the tempo of the music, whereas in Madurese gamelan, it often exhibits elasticity, stretching or delaying the expected rhythm, a characteristic known as 'gandul.
'Ay Additionally, the pangotyran in the kemplang ensemble plays a pattern identical to that of the paneros and kacyran in the terbhyng ghendhing ensemble.
As a crucial tempo keeper, the pangotyran fulAlls a function similar to that of the bonang babok and bonang penerus in gamelan.
However, a key distinction lies in the distribution of these roles: in the terbhyng ghendhing ensemble, the tempo-keeping responsibility is split between two instruments, each played by a different musician, whereas in the Page 384 Hidayatullah, et.
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kemplang ensemble, the pangotyran assumes both roles, played by a single musician.
In this capacity, the pangotyran performs repetitive segments, as detailed below.
Figure 15.
Transcription of Pangotyran Instruments Source: Personal Documentation The jidur instrument, placed at the end of each musical phrase .
very four gatr.
, complements the rhythmic pattern set by the kendhyng.
At the conclusion of each musical unit, the kendhyng provides a purposeful pause, creating space for the jidur to punctuate and complete the rhythmic cycle.
Additionally, the jidur functions in a manner akin to the gong in metal gamelan, signaling both the beginning and end of the musical cycle.
As such, the role and performance pattern of the jidur in the kemplang ensemble differ from those in the terbhyng ghendhing ensemble.
Discussion Based on the analysis, which uncovers a range of musicological insights, we gain a deeper understanding of the pyghy' process and its execution by the musicians of both the terbhyng ghendhing and kemplang ensembles.
This examination illuminates both what is AugraspedAy .
yghy'), or rather, what is retained as central to the adaptation Furthermore, the Andings highlight the changes resulting from the reallocation of instruments, transitioning from metal to membrane.
The following summary outlines the roles and functions of each membranophone in the adaptation of gamelan music, particularly in the performance of gending walangkeke' by the Sumber Jaya rombongan of the terbhyng ghendhing ensemble.
Table 1.
Adaptation of Terbhyng Ghendhing Source: Personal Documentation Instrument Name Kendhyng Panembhung Pettyt Budi TenggoAo DhuAo Tengnga DhuAo AdyAo Paneros Kacyran LakyAoan Jidur Kyjhung Instrument Role/Reallocation from Gamelan Instrumen Rhythm One Rhythm Rangkep - Opening the ghendhing - Reallocation of pukulan - Reallocation of pukulan kendhyng kendhyng - Executing the - Executing the framework framework of of ghendhing with double ghendhing balungan .
/balungan - Executing the - Executing variation of the interlocking bonang ghendhing melody - Executing the interlocking bonang pattern - .
ot use.
- Indicating the beginning and end of the ghendhing - Executing melodic patterns close to the kyjhung singing style in gamelan Page 385 Hidayatullah, et.
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In the terbhyng ghendhing ensemble, the reallocation process is closely aligned with the formation of the balungan musical framework, characterized by the cyclical melodic patterns performed by the pettyt budi, tenggo', dhu' tengnga, and dhu' addy' These instruments closely mimic the structure of the balungan framework found in metal gamelan.
The ghendhing structure is further reinforced by the jidur instrument, which functions similarly to the gong in gamelan, marking both the beginning and end of the musical cycle.
In the terbhyng ghendhing ensemble, the kendhyng and panembhung instruments replicate drumming patterns from East Javanese gamelan, particularly concerning the opening sections and rhythmic The paneros and kacyran instruments emulate the bonang pattern of gamelan during the Arst cadence, while the kacyran and laky'an instruments perform this function in the double rangkep rhythm.
The kyjhung performed in this ensemble is drawn from the Madurese gamelan tradition, speciAcally reCecting the sung vocal practices of Pamekasan and Sumenep.
While similar to the terbhyng ghendhing ensemble, the kemplang ensemble presents its own distinct characteristics in terms of adaptation.
The following chart outlines the role and function of each membrane instrument in the performance of gending walangkeke' by the Sumber Batu Lawang kemplang ensemble.
Table 2.
Adaptation of Kemplang Source: Personal Documentation Instrument Name Kendhyng Gendong Panengah Penanggul Pettyt Pengotyran Jidur Kyjhung Instrument Role/Reallocation from Gamelan Instrumen - Reallocation of the pukulan kendhyng - Execution of opening the ghendhing - Execution of a variation of melodies developed from the ghendhing/kyjhung vocals - Execution of repetitive beat techniques to overcome the limitation of the membrane instrument which cannot sustain long duration - Execution of the interlocking bonang patterns - Marking the beginning and end of the ghendhing/gong - Completing the rhytmic pattern of the kendhyng - Kyjhung is metrical .
ccording to temp.
The following chart presents a comparison of the musical styles of terbhyng ghendhing and kemplangAiboth adaptations of metal gamelan musicAithrough a musicological analysis of the presentation of gending walangkyky'.
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Table 3.
Comparison of Terbhyng Ghendhing and Kemplang Adaptations Source: Personal Documentation Overall, the analysis of these charts and notations summarizes the key aspects of the kemplang ensemble's adaptation process, highlighting the development and integration of kyjhung vocal melodies into the performance of instruments such as the gendong, panengah, penanggul, and petyt.
While the terbhyng ghendhing ensemble centers on the formation of a balungan framework, the kemplang ensemble prioritizes the vocal melody as its primary focus.
Despite these differences in structural approach, the core form and organization of the music remain consistent between the two A notable feature of the kemplang ensemble is its dense execution of melodies, often characterized by the repetition of notes, which stems from the shift to membranophonesAiunlike metal instruments, these cannot sustain long tones.
addition, the kemplang ensemble replicates drumming patterns found in gamelan, with the pangotyran emulating the bonang pattern.
The jidur instrument fulAlls a dual role, similar to the gong in metal gamelan, marking both the beginning and end of the musical cycle.
Lastly, the kyjhung vocals in the kemplang follow a metrical structure, supporting the ensemble's rhythmic precision.
Pyghy' thus serves as a testament to the interplay between tradition and Through the musicians' sensitivity, skill, and imagination, this process fosters the creation of new musical forms while maintaining a strong connection to gamelan heritage.
These adaptations not only demonstrate the musicians' ability to breathe new life into tradition but also underscore how local creativity drives musical evolution, shaping a tradition that remains both enduring and adaptive.
Conclusion The phenomenon of pyghy' within the traditions of terbhyng ghendhing and kemplang reCects a creative innovation grounded in the effort to preserve gamelan music amidst the discourse surrounding the prohibition of metallic instruments.
Through this adaptation, local musicians have skillfully preserved key elements of gamelan, such as the kyjhung, kendangan patterns, bonang patterns, musical structure, and melodic Page 387 Hidayatullah, et.
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Nevertheless, the shift from metal to membrane instruments has brought about signiAcant transformations in playing techniques, timbre, and musical The resulting playing style is marked by increased repetition, an energetic rancak tempo, and heightened dynamism, adapting to the inherent limitations of membranophones, which cannot sustain long tones.
The musical structure of gamelan, including the balungan framework and core rhythmic patterns, has been preserved throughout the reallocation process.
However, certain elements, such as pitch duration and playing style, were signiAcantly altered due to the limitations of membranophone instruments.
Where the sustained tones of the metallic gamelan once prevailed, denser and more repetitive melodic patterns have emerged.
Although the rhythmic structures in terbhyng ghendhing and kemplang continue to follow the interlocking principle of the bonang, they are now performed with more intense and repetitive percussive techniques.
This seeks to mitigate the loss of tonal sustain in the membranophones, resulting in a unique and dynamic sound proAle.
Pyghy' is a cultural-musical concept that AucapturesAy the essence of gamelan sounds, encompassing the aesthetic qualities of melody, instrumental harmony, and the rhythmic dynamics.
This process reCects the perceptive acuity of musicians as they reinterpret gamelan elements through the medium of reallocated instruments.
Through this adaptation, new artistic and musical identities emerge, while still rooted in the foundational principles of gamelan tradition.
This transformation gives rise to aesthetic distinctions between the 'original' gamelan reference and its adaptation, reshaping the perception and values associated with gending.
This research challenges the traditional view of membranophones, which are often conAned to the role of purely rhythmic instruments.
In the context of terbhyng ghendhing and kemplang, membranophone instruments serve as a conduit for intricate and harmonious melodies, complementing the musical structures traditionally fulAlled by metal instruments.
This suggests that the functionalities of musical instruments should not be rigidly deAned, but rather considered in relation to the speciAc cultural and practical contexts in which they are employed.
Pyghy' processes demonstrate how traditional music is not a static form, but a dynamic entity that can evolve in response to social and cultural shifts.
This phenomenon reveals that adaptation is not merely a reaction to external pressures, but also a means of fostering new avenues for innovation and preserving traditions.
This study offers valuable insights into how musical traditions can endure and Courish, sustained through transformations that honor and uphold cultural heritage.
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Acknowledgments This article constitutes an integral part of the Andings from my doctoral dissertation research in Performing Arts and Fine Arts Studies at Gadjah Mada University.
Yogyakarta.
Indonesia.
Gratitude is extended to BPI (Indonesian Education Scholarshi.
and BPPT (Higher Education Financing Agenc.
for their generous Anancial support throughout my studies and research trajectory.
References