Indian Art and Letters

Author(s): India Society
Publisher: India Society

Page 81

The Music of Java. gendings ageng and tengahan, and in some of the gending alit-the first part is generally repeated two, three, or more times. When we wish to pass on to the second part, the munggah, the orchestra-leader announces this transition on the kendang or on the rebab) before the penultimate beat of the kenong. The time is accelerated lightly, becomes more lively, and after a beat on the gong ageng the munggah commences.
Before the end of the piece-and this also happens in case of the one part-compositions-the time is accelerated, starting from the penultimate beat of the kenong (sesekan-i.e., stringendo), whereas the last few bars are played more slowly (suwuk, ritardando). The last beat on the gong seems to die away into the depths of eternity.
Apart from these groups of compositions, there are some melodies, partly vocal, partly orchestral, used with the wayang, of which I will mention the group of the ådå-ådå, a species of introductory melodies, which symbolizes certain sentiments of the wayang-figures; and the pure instrumental pieces, called srepegan, ajak-ajakan, sampak, etc., mostly fighting-music, with a special colotomy, which contains a great many beats of the ketuk and of the kempul. The following Columbia record gives an idea of an ådå-ådå. Being a Solonese one, it is partly recited, partly sung.
Javanese music also distinguish several movements (wiråmå), as, for instance, lomba (andante), rangkep (adagio), and toyȧmili (allegro, lit. running water).
These are, in very broad outlines, the principal details concerning the gamelan of the Principalities and its compositions.
The Javanese loves his music passionately. Although to the untrained Western ear it sometimes sounds just a little monotonous, it means everything to him. Nor is it to be wondered at that we should now and then come across admirable verses on music in Javanese poetry. The encyclopædic poem Tjenţini, for instance, which dates from the beginning of the nineteenth century, has in a masterly way interpreted the music of the principal instruments. I cannot deny myself the joy of letting you hear-in a translation, of coursewhat Tjențini says, for instance, about the music of the "rebab," which is, as said above, the native violin, played like a 'cello.
It
'Djajèngrågå with an elegant gesture took the rebab in his hands. was well-shaped. Its neck was pontang,' the bow decorated with carvings, and gilded; the resonance-chamber was provided with an embroidered 1I.e., partly made of bone, partly of ivory.
"
143