Indian Art and Letters

Author(s): India Society
Publisher: India Society

Page 82

The Music of Java covering (djamangan). The nem-string was touched; when struck, its tone proved to be entirely in unison with the nem of gender and gambang. The nem of the soeling was likewise completely in tune. Djajèngrågå drew himself up; his attitude was modest, in accordance with his nature. He took a few strokes up and down, in order to try the instrument. The bridge was cut out of djati-wood; the tension of the skin was firm ; in short, all details were equally excellent. Then he struck patet sångå. His fingers quivered, while now and then touching the strings, like the tail of a scorpion ready with its sting. The strings were pressed down correctly; the finger-tips pressed down the Alexible string, finding a melody with swift tone figures. The up and down movements of the hand made the strings bend. There were repeated slight swervings from the right pitch, with a view to enhancing the effect. The middle-finger was conspicuous in its movements; the forefinger resembled the fresh shoot of a fern; little finger and ring-finger looked very much like spiders' legs. Deftly the fingers were put in turn on the strings. The bow was artlessly used in its full length. Whenever the tempo accelerated, his stroke adapted itself without the slightest hesitation, in accordance with gender, gambang and suling. The fascination was perfect. The tone garlands twined themselves about the heart. The music of the strings was in tune with the notes of the principal melody : clear, regular, correct. In studying Djajèngrågå's music carefully, one has to admit that it was full of devotion and scrupulous care, and that it was clever. He sometimes just moved his thighs. That was his custom, and it did not trouble anyone. This time was not like other times: the music of that day surpassed everything else. The other players were wrapt in ecstasy (literally, had lost their hearts); not one niyågå made a single remark; they all sat speechless, watching Djajèngrågå. They gazed at him in mute admiration. The sendon had come to an end ; såråjoedå followed attacca, and was wound up with a drum-beat bem, and the soul-pleasing sound of the gong. After the pațetan Djajèngrågå critically examined the rebab. The host, Kidang Wiråtjåpå, laughed heartily and said : Good heavens, how wonderful! That would make a sick man well again!""
So much for the Tjenţini.
After this bird's-eye view of Javanese music, I shall give you some more gamelan-records of a different character. (Here follow four records of pélog. and sléndro-compositions.)
With that I will end my lecture. Lastly, I wish to thank the Council of the India Society for having invited me to deliver it. I hope that I may have succeeded in arousing your interest in this particular form of Oriental music, which for so long and so unjustly-has been neglected by us Westerners.