Music from Lombok
The music of Lombok encompasses the musical styles of the Indonesian island of Lombok , which are particularly influenced by the ancient Malay cultural influences of the western neighboring islands of Bali and Java and by Islamization from around the 16th century via Sumatra , Sulawesi and Sumbawa . According to the cultural religious rough classification of the Sasak -Bevölkerung into two groups prefer the followers of the syncretic Wetu Telu - Religion Gamelan instruments with idiophones from bronze . On the other hand, the Orthodox Muslims, called Waktu Lima in Lombok, reject this metal and use musical instruments that were brought to the Malay islands by Arab immigrants . Music is used for entertainment and is used ceremonially by both groups. There are special forms of music to accompany dances, theater performances and processions, which are complemented by the styles of the Balinese minority.
History and culture
From the 9th to the 15th centuries, Lombok was influenced by the Hindu and Buddhist cultures from Java. The 16th century saw the heyday of the East Balinese Empire of Gelgel , whose rule extended over the small principalities of Lombok, while in the following century the island came under the control of the Muslim sultanates of Sumbawa. At the end of the 17th century the Balinese were again dominant, from 1740 the Raja of Karangasem in East Bali extended his influence into the central plain and more Balinese than before settled in the west of Lombok. Sasak uprisings in the 19th century could not change that. In the 1890s, the Sasak aristocracy asked the Dutch government for support. The Balinese rule was then seamlessly replaced in 1894 by the violent occupation of the Dutch government, which captured Lombok for the Dutch East Indies colony with the final military victory in 1908 .
Islam , which came to Southeast Asia with Persian and Arab traders, spread from Sumatra to the east in the 15th century and within the next two centuries reached Lombok via Sulawesi and Sumbawa. For the Sasak aristocratic class, the Balinese were just as much a foreign rule as the Dutch; against both they formed an orthodox Islam as a separate culture. In the 20th century, the influence of religious leaders ( tuan guru ) even exceeded that of the traditional elite.
The Sasak society can be roughly classified into two religious-cultural traditions according to the external influence on the history of the island. The culture of the Waktu Telu ( Indonesian , “three times / periods of time”, Sasak language Wetu Telu ) comes from the ancient Malay heritage and contains a mixture of Islam with ancestor worship and elements from Hinduism and Buddhism. The number three refers to three compulsory ceremonies per year or the three daily prayer times reduced to three. Devout Waktu Lima ("five times") pray five times a day according to Islamic regulations. Their tuan guru endeavor to remove everything un-Islamic from the Sasak society, and much of the old music was lost in the past.
In the mid-1960s, the differences began to intensify when Waktu Lima supporters no longer regarded weddings of the Wetu Telu as valid and refused to eat meat that they had slaughtered. When President Suharto came to power in 1965 (at the time of the Orde Baru ), not only were Chinese accused of being communists in Lombok, but Waktu Telu were also accused of being communists and their mosques were burned down. 1965 is remembered as a dangerous year for the Waktu Telu.
Today hardly anyone calls themselves Wetu Telu (Waktu Telu) in public. The adherents of the traditional faith, who have declined to a few percent, live in remote villages, take less part in economic life and outwardly assimilate each other by going to the mosque on Fridays. They mostly live in the higher regions around the Rinjani and in some villages in the dry south. The Waktu Lima dominate practically the entire island, only in the west does a larger minority of Hindu Balinese live. These have limited their public ceremonies so as not to offend the Muslims. The Balinese music on Lombok is therefore simpler and poorer in styles than in its place of origin.
Another minority are the Boda living in western Lombok , who in 1967, when all Indonesians had to register one of the five main religions when President Suharto took office, called themselves mostly Buddhists . Previously, the Boda, estimated at around 12,000 in the early 1990s, were attached to a traditional Sasak belief with Buddhist and Hindu elements.
The laws introduced under Suharto as Orde Baru ("new order") aimed at extensive political and social changes. With other cultural expressions, music should set an example for national and cultural unity. As in most other provinces, a state program for the promotion and control of music creation was implemented in Lombok in the 1970s. First of all, the question of what should be considered the national music and dance styles of the Sasak had to be clarified. After very old forms were eliminated because they did not seem adequately “cultivable”, it was agreed that the music ensemble Gendang Beleq , the Gandrung dance style and the Rudat theater style should be given priority . These and other forms had to be taken out of their ritual context because they often did not correspond to Islamic ideas. With an aestheticization, the arts of Lombok should be raised to a national standard and their performance should be improved, also in view of the simultaneous expansion of tourism since the 1980s. Even if they have been partially changed, some art forms would probably have disappeared without the commitment of individual music teachers and choreographers.
Research history
The music of Lombok was seen as impoverished compared to Bali and therefore remained almost unnoticed by music-ethnological research in the first half of the 20th century. Nevertheless, compared to the musicologically unproductive, east bordering island of Sumbawa, Lombok is quite diverse as a collecting basin for external cultural influences and due to its small-scale political structures. In contrast to Java and Bali, Lombok has hardly any old manuscripts (Indonesian Lontar ) and Lombok is only mentioned in a few of the manuscripts there.
Exploration of Lombok began in the mid-19th century when the first Europeans set up trading posts on the island. In 1910/11 Johannes Elbert undertook an expedition to Lombok and other Lesser Sunda Islands , which included geographical observations as well as culture. Bernhard Rensch's “biological journey” in 1927 also made a contribution to music. In 1936 an article by Roelof Goris on East Lombok followed. In 1941 the two Dutchmen J. Van Baal and ACJ Riel published two brief articles on culture. The study of an exorcism ceremony ( pakon ), which R. Soedjono and C. Hooykaas observed in 1941, produced more. Jaap Kunst began to study music in Bali in 1921, his two volumes De Toonkunst van Bali (1924/25) can only be used for comparison. Until 1976 there was no work on Lombok music. That year the somewhat hastily drafted report by Tilman Seebass and three Indonesian colleagues ( The Music of Lombok. A First Survey ), based on a one-week tour in October 1972, appeared. In the Music Past and Present (1996) a section about Lombok is missing. Since 1983 the American ethnomusicologist David D. Harnish has been the first to devote himself intensively to the island's music. For 20 years he followed the performance practice at the annual Lingsar Temple Festival and wrote several articles on individual musical topics and in 2005 a comprehensive book on this most important festival in Lombok.
Style of play
The numerous orchestral ensembles ( seka or sekaha ) can be divided into the religious categories pre-Islamic or Islamic, regardless of their musical role. Most of the music groups are gamelans . Many orthodox Muslims melody leading into the Gamelans apply Idiophone from bronze as un-Islamic, as the voices of the ancestors are summoned with bronze instruments Waktu Telu-belief. Other materials, on the other hand, are ideologically neutral. Individual musical instruments are also assigned to one of the two categories, only a few appear in both. Instrumentalists are male according to social convention. Female singers can also be heard in Islamic songs and pop music, but women are only involved in a few forms of theater and dances.
The music of Lombok knows no music theory . The bars are even with 2, 4, 8 or rarely 16 beats as in the lederang. The 2-beat is called janggel (“to go”), the 8-beat is called rangsangan (“fast”). The scales are related to the Javanese five-level pelog ( selisir, saih lima or saih gong according to the Balinese gamelans) and less often the seven-level slendro .
Malay ceremonial music
Music has a ritual function at temple festivals, the most important of which is celebrated annually at the Lingsar Temple on the west coast north of Mataram . The orchestral line-up Gamelan Oncer plays predominantly in the numerous temples . Fertility rites are related to the sowing and transplanting of rice; Rainmaking rites used to be held in the arid regions in the south. The most sacred ensemble, the Gamelan Pusaka, was particularly helpful here. War dances used to be performed not only on the occasion of conflicts, but also to receive guests of honor. Orchestral family celebrations include weddings, circumcisions, and tooth filing .
Gamelan Gong Kuna
The old Gamelan Gong Gede orchestra from Bali is rarely used there and has been replaced by the modern Gamelan Gong Kebyar , which is internationally known for Balinese music. Until the 1920s, the Gamelan Gong Gede was the standard ensemble in Bali for war dances, temple dances and music without dance. Gong Kuna is a scaled down Lombok variant of Gong Gede , of which six playable instrument groups are still available, some more were destroyed in the course of the 20th century. On Lombok, the Gong Kuna orchestras were connected to the court ceremonies of the Balinese colonial rulers and played in the large Lingsar temple festival organized by the government. With the end of Balinese rule in 1894, all Balinese court ceremonies also disappeared. The Gamelan Gong Kuna probably passed into the possession of the subsequent residents of the palaces.
The instruments of the Gong Kuna consist of two large gongs hanging on a wooden frame , gong ageng , of which the larger, lower-pitched, "female" gong is called wadon and the smaller, higher and "male" gong is called lanang . A smaller hanging gong is called kempul , corresponding to the Balinese kempur. A horizontally suspended kettle gong with a diameter of about 30 centimeters and a height of 20 centimeters is called a kempli . Two large double-headed barrel drums kendang are also divided into lanang and wadon . The eight metallophones gangsa jongkok each have five records, including two gangsa jonkok gede , two gangsa jonkok cenik and four gangsa jonkok pemade . Two large jegogan have horizontally suspended metal plates, the trompong consists of a single row of ten bronze kettles in an ornate wooden frame. Barangan is the name of a series of twelve humpback gongs; added more, along beaten with hands come basin ceng-ceng (different individual names) and occasionally even a hanging gong Bende.
Gamelan Gendang Beleq
Gendang Beleq , also called Oncer , is the classic old Sasak orchestra for the Wetu Telu rituals. Oncer means "slowly, drawn out" in Javanese , a special long scarf in Balinese and the smallest hand-held gong in Sasak. In 1927 Bernhard Rensch experienced Oncer music with dancing drummers in his honor in the eastern mountain village of Sembalun; In 1936 Roelof Goris described all of the five ensembles then existing in the same area, and Soedjono / Hooykaas described the ritual function of the orchestra at an exorcism ceremony in Selong village in 1941. David Harnish, who has been observing the Lingsar Temple Festival since 1983, first found a Gendang Beleq there in 2001 . The main instruments are two large cylinder drums ( beleq , a "male" - lanang or mama - and a "female" - wadon or nini ), two bronze kettles ( réong ) each with two kettles in a wooden frame, four to eight cymbals ( ceng-ceng ), a hanging gong, one or two smaller gongs, one of which is the eponymous oncer , one or more bamboo flutes ( suling ) and occasionally the double reed instrument preret . The individual kettle gong petuk is used for time control .
The ensemble was traditionally in demand at weddings, circumcision celebrations and rainmaker ceremonies, but the old performance practice only occurs in some areas of the island. Through the national funding programs from the 1970s to the 1990s, Gendang Beleq has become the most popular art music style in a modified form with more instruments and a faster playing style, which is considered the national music style of Lombok. In the mid-1980s, 12 Gendang Beleq ensembles were known in Lombok, 29 in 1991, over 500 ensembles were estimated for 2001 and over 2000 for 2017.
Gendang Beleq is especially used to accompany the traditional Kayaq theater . Kayaq is a folk theater with masks or half masks. Until the 1970s or 1980s, the drums were played by dancers who played interlocking, fast rhythms while moving on a collision course, only to move away until the next attempt. In addition, six dancers performed with ceng-ceng and, if available, another dancer with the metallophone kemong . Since then, the drummers have remained in their position and the ceng-ceng players form the dynamically moving center. The Gamelan Beleq has the same instruments as the Gamelan Gendang Beleq. but dispenses with the wind instruments. It is considered sacred and is rarely played in the mountains to accompany ritual dances.
Gamelan Wayang Sasak
This orchestra, along with the Gendang Beleq, offers the most mature music in Lombok. Seebass puts it in its special dramatic quality above the Javanese orchestras and even above the comparable Balinese gamelans Gender Wayang, Gender Wayang Ramayana and Wayang Gambuh . It is used to accompany the shadow play Wayang Sasak , with which the cycle of sagas Serat Menak Sasak is mainly performed on Lombok . The musical repertoire includes six to seven standard compositions, special melodic-rhythmic structures to dramatize the battles and extra introductory pieces. In terms of content, the stories of the heroes, which were introduced in the 17th century and became popular in the 18th century, are educationally effective about the entertaining spread of Islam in Indonesia . Nevertheless, there was criticism from the orthodox side of the pictorial representations of people , of the proportion of pre-Islamic stories and the alcohol consumption of the audience.
The wild rhythm is set by the Dalang (puppeteer, speaker of all characters and director of the performance) with the wooden knocker keketak (Indonesian cempala ), which he holds between the toes of his right foot and hits the floor with it. With the keketak , the Dalang also uses paragraphs in his speech and creates the chattering of teeth in human figures who are afraid when demons appear. The musical instruments have certain similarities with those of the aforementioned Balinese orchestras. The only melody instrument is the one meter long bamboo flute suling pewayangan with six finger holes, to which a hanging gong ( kajar ), two slightly conical, double-headed cylinder drums (the larger kendang wadon and the smaller kendang lanang ), the pair of cymbals rincik , the metallophones kemong and trompong to be added. The free rhythmic style of the flute is similar to the recitative singing of the Dalang.
The beginning of the performance is marked by the three times repeated piece Rangsang ("provocative", "exciting"), before the Dalang lights the oil lamp (or the electric light bulb) to illuminate the screen. The play figure that is first placed in the middle is the gunungan , which he then lets dance to symbolically create the world. To this end, he gives philosophical explanations that are only accompanied by the flute. Even later, the two sometimes form a duo, while the other instruments keep quiet.
There are hardly any shadow games held on Lombok, as most of the old Dalangs have no successors. The usual family celebrations offer occasions for the performance. On the one hand, the few remaining dalangs have to withstand the criticism of devout Muslims and, at the same time, are faced with an audience that sees the performing arts primarily as entertainment and amusement.
Gandrung Sasak
Gandrung and Joget (Joged) are entertainment dances that are also known from Bali. Originally, these un-Islamic and erotic dance styles were part of fertility rituals in the annual rice-growing cycle. The young dancer with a fan sings and asks men from the audience to dance along temporarily against payment of a sum of money. The men give a bank note if they want to be selected, but the girl chooses the men herself and not necessarily according to the money. The music style of Gandrung Sasak is not related to the xylophone music of Bali, but rather resembles the Gandrung Banyuwangi of the city of Banyuwangi on the east coast of Java. The accompanying orchestra will also Preret after leading melody instrument preret called that produces a piercing sound. Other melodic instruments are the flute suling and the string rebab . Percussion instruments are a gong ( kempul ), a metallophone ( kemong ), a kettle gong ( petuk ), two gangsa jongkok (metallophones with five plates over a trough-shaped resonator), two gangsa gantung (metallophones with five plates hanging over bamboo resonators), a tingklik (bamboo xylophone with 18 plates), a rincik ( kecék , small basin) and a kendang (barrel drum). In Bali the girl is actually a disguised boy for the Gandrung dance, an unmarried girl for jogging , in Lombok it is a dancer for Gandrung and a girl disguised as a boy for jogging . The orchestra is the same in the last two cases. For the duration of the performance, the girl embodies the local female fertility goddess.
More gamelans
The Gamelan Tawa-Tawa or Gamelan Tawak-Tawak can occur at all ceremonies of the life cycle, celebrations of the village community or on national holidays and is suitable for processions. It is named after the small kettle gong tawa-tawa that sets the pace and is held in your lap and struck with a soft mallet. The interwoven rhythmic structure is created by eight pairs of cymbals ( ceng-ceng ), which correspond in their function to the oncer . If the ceng-ceng are played in processions, the players march with a lance and the upper basin in their right hand and strike against it from below with the other basin in their left hand. Tassels hanging down from the tips of the lances are moved violently. A large gong, six kettle gongs ( réong ) and two different barrel drums kendang (the shape of which corresponds to the medium-sized Javanese kendang ciblon ) are also involved. The kendang agogically control the pace and bring in syncopation . The Gamelan Tawa-Tawa is musical about midway between the Gamelan Oncer and belonging to the Islamic music Rebana. In the past, the ensemble also accompanied the Gandrung dance.
The Gamelan Gong Sasak was developed under Balinese influence at the beginning of the 20th century. It is similar to the old Balinese Gamelan Gong Gede , in particular the ceremonial music Lelambatan and, in addition to the instruments of the Gamelan Tawa-Tawa, contains several metallophones and kettle gong pairs ( réong ). The orchestra also performs at the Lingsar Temple Festival, although it is not part of ritual music, and plays newer compositions by the Gamelan Gong Kebyar . This means that it has adapted its fast tempo and the interlocking rhythmic structures to the new listening habits.
Gamelan Baris is derived from the East Javanese court music, Baris is a well-known war dance on Bali, with which the war dance on Lombok only has the name in common. The latter is considered to be the invention of the Sasak and indispensable at the Lingsar temple festival, where it could only be seen until the 1980s. Since then it has also been performed in front of tourists and on national holidays. Closely related is another dance called Telek or Batek . The baris dance is accompanied by the gamelan tambur , a two-man orchestra consisting of the large double-headed barrel drum tambour and a middle gong ( boqboq ). The Telek dance is an extension of the Baris , whose male warriors are complemented by three to five young women dressed as heroines. The gamelan baris takes over the drum and gong of the gamelan tambour and is supplemented by two further drums ( kendang ), the two-stringed spiked tideledeb (also rebab ), a bamboo flute ( suling ), two kettle gongs, cymbals or the pair of cymbals rincik .
In Gamelan Barong Tengkok play réong the leading role, which are installed in a rack, the front side of the mask of Bali demons Barong exists. The musician-dancers swing the barong figure, which represents a helpful mythical lion creature, in front of them. Dancers masked as barong can also wear the réong . The performance is less intense than its role model, the Balinese Gamelan Barong . The ensemble is ordered in central ombok for wedding processions in which the bride and groom are carried around on wooden horse dummies. The other instruments include two kendang , cymbals, the kempul and petuk gongs , as well as suling or preret leading the melody .
Gamelan Jerujeng occurs only in the villages of the Boda . The word is made up of juru (“person”, “group”) and jeng , a syllable that imitates the sound of gamelan . Gamelan Jerujeng is considered sacred, the musical instruments may only be used in the village for certain rituals and the sight of them is intended to revive the old culture for those present. The gamelan consists of a gong lanang and a gong wadon , a kendang lanang and a kendang wadon , which are struck with a stick in the right hand, a kemong and a double-reed instrument made of wood, serune , with six finger holes on top and a thumb hole (the preret accordingly).
Islamic music
This includes musical styles that are widespread throughout Indonesia and that originated on the island, which despite their classification are not necessarily approved by all Muslims.
Instrumental
Gamelan Rebana , also called Terbang, Terbana , was the first Islamic orchestra to be developed around 1900. The name givers are rebanas , which are frame and kettle drums that come from the Arab-Islamic culture. In around 20 different sizes and pitches, they imitate the bronze gamelan instruments frowned upon in Islam. The orchestra is better known from Sumatra and Java, on Lombok it is played by the Waktu Lima. In 1972 there was only one Gamelan Rebana in Bali within the Sasak minority in the eastern Karangasem region. The Javanese Rebana Orchestra consists of four hand-struck tambourines, a drum struck with sticks, a rattle and a large choir. In contrast, the orchestra on Lombok is purely instrumental. The wooden frame drums are all beaten here with small, light sticks. The drums are called "gong", "kempul" or "petuk" depending on the bronze instruments they are supposed to imitate. There is also a rincik .
Another possibility to bypass the unpopular bronze instruments is the rare gamelan klentang , which is little appreciated by orthodox Muslims and uses exclusively iron metallophones and gongs. The iron gamelan, which consists of four tones per octave, is just as rare in Bali, where it is used in cremation ceremonies.
Vocal music
Tembang Sasak , "Sasak songs", is the best known form of singing. Some of the songs are based on Javanese and Balinese influences in language and meter; their lyrics were previously written in Lontar . The tembang macapat chant is the sung recitation of Indian-influenced Malay poetry. This style is quite simple, a lead singer reads the text in Indonesian, which he then repeats in Sasak with two other singers. The melodies are often slow, sliding and sound wistful.
At least six male singers are involved in the cepung . The vocal entertainment developed by Sasak and Balinese on Lombok begins with a free rhythmic solo lecture from Monyeh , the "monkey manuscript" of a romantic poem from the end of the 19th century, which is about the Javanese prince Panji. The manuscript is written in the old Javanese standard language Kawi, in Balinese and Sasak. This is followed by a metric choir, the onomatopoeic and lively becoming mimicking a gamelan. The spiked bell redeb and the flute suling run alongside the vocal melody in tempo rubato . By consuming tuak ( palm wine ) the dancers get in the mood and the event can become un-Islamic.
All over the Malay island world, pantuns are known to contain legends in precisely defined stanzas that developed from the 16th century onwards. In Lombok, Pantun verses in Sasak are particularly recited at the annual Bau Nyale festival near the village of Kuta in the south of the island. According to old tradition, the festival is held on the beach when swarms of the Samoa-Palolo sea worm have gathered . At the beginning of the event, thousands of boys and girls enter a competition in which a boy sings pantuns to which his female counterpart has to respond. It is a socially accepted and ritualized form of flirtation, which often ends with an engagement later in the village. At midnight, a gamelan accompanies the drama about Putri Mandalika, the princess of a mythical empire, before a priest ( dukun ) gives the starting signal at the climax of the event and the crowd plunges into the water to catch the worms that are later eaten as a delicacy .
Kecimol and Cilokaq are similar line-ups that do without the typical percussion instruments of gamelan. Both styles of music only developed on Lombok after 1945; they do not belong to a form of theater, but are performed for entertainment and family celebrations.
The simple and mostly somewhat sad melodies of the Cilokaq (formerly Giciloka ) are borrowed from the Javanese Kroncong , a musical style whose roots lie in Portuguese colonial history in the 16th century. Other influences probably came from the gambus song tradition of Sulawesi and from Chinese music . Despite the international musical borrowings, the Cilokaq is today interpreted as a symbol of resistance against globalization and as an identity-creating strategy of the local Islamic communities.
One or two singers are accompanied by two of the plucked gambus that occur throughout Islamic Indonesia , which provide a simple harmonic background, as well as by a suling and a preret , both of which follow the singing as main melody instruments and fill the pauses in the singing two biolas ( violins ) and three rebanas. Like the rincik, the drums create a straight beat and replace the gong. Cilokaq is performed in full with nine musicians, up to four singers and two to four dancers. The lyrics are mostly written in pantoon stanzas. According to oral tradition, the tradition of Cilokaq music goes back to Muslim preachers who came from Sumbawa in the 16th century. Topics are the social situation and agriculture of the coastal population.
Kecimol is a lively processional music in East Lombok for weddings with melodies derived from Arabic music . The drums ( kendang jidur ), metallophones, keyboards and flutes (also gambus ) of these often simple street music bands are part of the accompaniment of a singer who is often equipped with a megaphone and intones sappy love songs.
Theater and dance are usually not associated with Orthodox Muslims. One exception is the dance drama Kemidi Rudat , in which the stories from the Arabian Nights are portrayed with colorfully costumed heroes who perform martial dances and sing in Arabic. They are accompanied by the plucked manolin .
The style of singing Rebana Qasidah is strictly Islamic . Conservatively veiled women sing texts issued by Islamic schools for the purpose of Koran education and accompany each other with frame drums ( rebana ). The Malay-Islamic tradition of Hadra also belongs in this context . Imported from Sumbawa song form of one of the Sufi brotherhoods ( Sufi brotherhoods practiced) Hadra - recitations, to religious ecstasy can cause. Burda ( Qaṣīda al-Burda ) is the name of a hymn chant by several men who have usually completed the pilgrimage ( Hajj ) in praise of the Prophet . The singing style is widespread in Sunni Islam and is also known in Lombok.
Other styles of music
New developments in Indonesian light music, of which variants have developed on Lombok, are Dangdut Sasak from the hit music Dangdut and the orkes Melayu . In the local Qasida Sasak , Islamic texts are packed in rhythms and melodies that come from Indian films and are played on mostly Western instruments, in line with Indonesian Qasida .
Little is known about ancient Malay initiation dances or warrior dances. The Peresean is a fight dance performed with sticks and shields, which is accompanied by barrel drums ( gendang ) and a flute ( suling ).
While traditional music is generally disappearing, tourists are being entertained with newly formed xylophone ensembles, as in Bali. At other tourist performances, the jew's harps , which are otherwise only used individually or in pairs, play genggong or selober with the flute suling , the single-string bamboo zither guntang and the pair basin kecék .
Some musical instruments
- Bedug is an Indonesian news drum, usually in the form of a large double-headed barrel drum that is beaten with wooden mallets. As a ceremonial instrument, it stands as a symbol in front of mosques. Loudspeakers in the minarets have taken on their signaling and calling functions .
- Ceng-ceng are a pair of hand -clenched pelvis
- The plucked gambus , which is widespread in Indonesia and Malaysia , was probably first introduced to the coast by Bugis and Mandar fishermen from Sulawesi and the Butonese . The lute is the best-known accompaniment instrument for Islamic songs and comes in different forms on Lombok, which are often brightly painted.
- Gendola is a six centimeter long rice straw. The primitive single-reed instrument requires a very strong flow of air to generate sound, so that the player has to interrupt after about half a minute and needs a longer break after six minutes. Half of the tube is placed in the mouth. The pitch and sound change through the lips and hands, which form a funnel. There are no finger holes. The sound is softer and more gliding than that of a preret . The instrument is unlikely to be used anymore.
- Genggong : the Balinese jaw harp made of bamboo is played in pairs or in small ensembles. A string hangs from the idioglotten tongue (made of the same material) and is pulled.
- Gula gending: Street vendors attract their customers by producing around five tones with their fingers on old sugar bowls ( gula , "sugar"), similar to a steel drum
- Kempul: a hanging bronze kettle gong like in Balinese music
- Guntang is a Balinese single-string bamboo tubular zither that is used percussive.
- Kendang , also called gendang , is a double-headed barrel or cylinder drum in gamelan. The higher drum is called lanang and the lower one is called wadon . Both mark the beginning, the tempo and the end of the melodic units in the gamelan.
- Klentang is a metallophone made from a single iron plate on a small wooden box. It is carried along with other instruments during processions. Klentang of different sizes together produce the five-tone gamelan ( Pélog ) Klentang or Kelentang
- Jejogan: deeply tuned metallophone with large, horizontally hanging bronze plates, play the bass lines in Gamelan Kuna on Lombok
- Manolin is a horizontally played plucked lute in Bali and Lombok, of which there are two forms with a different number of strings. The name is derived from the mandolin . She accompanies the Kemidi Rudat Theater in the ensemble .
- Oncer: small bronze gong in the gamelan of the same name
- Preret is a double reed instrument that is unique to Lombok. It is occasionally played in some Malay gamelan orchestras and in Islamic music.
- Rantok is a wooden trough for pounding rice flour, on which four women beat intertwined rhythms with wooden sticks
- Rebana , also rabana, terbang, terbana , is a mixture of tambourine and kettle drum in Islamic music, covered on one side with goat skin. A rebana with a bell ring is called tar , a large barrel drum similar to the rebana is called jidur.
- Redep , also rebab : the two-stringed spiked fiddle serves as vocal accompaniment in the men's dance Cepung and was probably also part of the Gamelan Wayang Sasak in the past
- Réong: a series of horizontal kettle gongs in a wooden frame
- Rincik , also called kecék , is a small pair of cymbals that act as a clock, mostly made of iron
- Selober is a rare native variant of the bamboo jaw harp genggong , the tongue of which is plucked directly.
- The blown bamboo flute suling is played as a melody-leading instrument in gamelan and in Islamic music. They are available in different sizes up to one meter in length ( suling pewayangan ).
Discography
- Be Not Afraid to Strike the Gong: The Music of Lombok. Produced by Christopher Basile. Indonesian Arts Society, IAS 6, 1998 (CD 61.29 min),
- Lombok, Kalimantan, Banyumas: little known forms of gamelan and wayang. Music of Indonesia, 14. Produced by Philip Yampolsky. Smithsonian Folkways, 1997 ( accompanying text (PDF; 6.0 MB); contains Gamelan Wayang Sasak)
literature
- David D. Harnish: Nusa Tenggara Barat. In: Terry E. Miller, Sean Williams (Eds.): The Garland Encyclopedia of World Music. Volume 4: Southeast Asia. Garland, New York / London 1998, pp. 762-785.
- David D. Harnish: The Preret of the Lombok Balinese: Transformation and continuity within a sacred tradition. In: SC De Vale (Ed.): Selected reports in ethnomusicology. Issues in Organology, Vol. 8, University of California, Los Angeles 1990, pp. 201-220.
- David D. Harnish: The Performance, Context, and Meaning of Balinese Music in Lombok. In: Danker Schaareman (Ed.): Balinese Music in Context: A Sixty-fifth Birthday Tribute to Hans Oesch. Forum Ethnomusicologicum. Amadeus, Winterthur 1992, pp. 29-58.
- David D. Harnish: Music, Myth, and Liturgy at the Lingsar Temple Festival in Lombok, Indonesia. In: Yearbook for Traditional Music. 29, 1997, pp. 28-106.
- David D. Harnish: Bridges to the Ancestors: Music, Myth, and Cultural Politics at an Indonesian Festival. University of Hawaii Press, Honolulu 2005, ISBN 0-8248-2914-X .
- Tilman Seebass, I. Gusti Bagus Nyoman Panji, I. Nyoman Rembang, I. Poedijono: The Music of Lombok. A first survey . (= Forum Ethnomusicologicum. Basler Studies on Ethnomusicology 2). ed. by Hans Oesch. Francke, Bern 1976.
- Tilmann Seebass: Indonesia, § II, 2: Lombok. In: Stanley Sadie (Ed.): The New Grove Dictionary of Music and Musicians . Vol. 12. Macmillan Publishers, London 2001, pp. 308-310.
Web links
- David D. Harnish: Sasak Music in Lombok. In: Balungan. A Publication of the American Gamelan Institute. (PDF; 7.6 MB) Volume 2, No. 3, 1986, pp. 17-22.
- Gendang Beleq. Youtube video (procession with Gamelan Gendang Beleq )
- Wayang Sasak performers Sekarsari. Youtube video (shadow play with Gamelan Wayang Sasak. )
Individual evidence
- ^ Karin G. Telle: Feeding the dead. Reformulating Sasak mortuary practices. In: Bijdragen tot de Taal-, Land- en Volkenkunde 156, No. 4, Leiden 2000, pp. 771–805; here p. 775 f.
- ↑ Harnish, Garland , pp. 763-765.
- ^ David Harnish: "Digging" and "Upgrading": Government Efforts to "Develop" Music and Dance in Lombok, Indonesia. In: Asian Music , Volume 38, No. 1, Winter - Spring 2007, pp. 61–87, here pp. 70, 78
- ^ Johannes Elbert: The Sunda Expedition of the Association for Geography and Statistics to Frankfurt am Main. 2 vols., Hermann Minjon, Frankfurt 1912.
- ^ Bernhard Rensch (with contributions from G. Heberer, W. Lehmann): A biological journey to the small Sunda Islands. Berlin 1930.
- ↑ Seebass, pp. 9–11.
- ↑ Seebass, p. 12.
- ↑ Gong Lanang and Gong Wadon. kacau-balau.de
- ↑ Andrew C. McGraw: Kempli. In: Grove Music Online , May 28, 2015
- ↑ Harnish, 2005, p. 128.
- ↑ Seebass, p. 29.
- ↑ David Harnish: Gendang beleq. The negotiation of a music / dance form in Lombok, Indonesia. In: Mohd Anis Md Nor, Kendra Stepputat (Ed.): Sounding the Dance, Moving the Music. Choreomusicology in Maritime Southeast Asia. Routledge, New York 2017, pp. 148–161, here p. 150
- ↑ English: interlocking , also "to fall in between"
- ↑ Harnish, 2005, p. 156f; Seebass, p. 35.
- ↑ Harnish, Garland , p. 772.
- ^ Günter Spitzing : The Indonesian shadow play. Bali - Java - Lombok. DuMont, Cologne 1981, pp. 179f.
- ^ David Harnish: Worlds of Wayang Sasak: Music, Performance, and Negotiations of Religion and Modernity . In: Asian Music , Volume 34, No. 2 (An Indonesia Issue) Spring – Summer 2003, pp. 91–120
- ↑ Seebass, pp. 36-38.
- ↑ Seebass, p. 16 f.
- ↑ Seebass, pp. 26–28.
- ↑ Harnish, 2005, p. 153.
- ↑ Harnish, 2005, p. 142.
- ↑ Harnish, Garland , p. 772.
- ^ David Harnish: The Future Meets the Past in the Present: Music and Buddhism in Lombok. In: Asian Music, Vol. 25, No. 1/2, 25th Anniversary Double Issue. 1993-1994, pp. 29-50, here p. 37.
- ↑ Penting means “significant, important” in Indonesian. According to Nengah Duija ( Ciloqak in Oral Tradition of Nusantara . ( Memento from January 1, 2011 in the Internet Archive )), gambus in the village of Songkak in East Lombok (near Selong) should be called penting
- ↑ Seebass, p. 24 f.
- ↑ Seebass, p. 49 f.
- ↑ Siti Zainab: construction Nyale ... Lombok's Unique Festival. ( Memento of the original from May 23, 2012 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Bali Advertiser, 2009.
- ↑ Nengah Duija: Ciloqak in Oral Tradition of Nusantara. ( Memento from January 1, 2011 in the Internet Archive ); Seebass, p. 46 f.
- ↑ SASAK QASIDAH NIKMAT TUHAN. Youtube video from Qasida Sasak
- ^ Seebass 2001 in The New Grove Dictionary , p. 310.
- ^ Pierre d'Hérouville: Gambus Lute - A Portfolio. Part 6a: Traditional Lutes in Lombok. (PDF) The Gambus Project
- ↑ Seebass, p. 42.
