Gamelan is a musical instrument collection of Sunda.
there is also a Javanese gamelan, and that we discuss this time Sundanese gamelan
There are two senses of the term gamelan:
• the name of the gamelan gamelan
• gamelan as part of the barrel barreled name salendro (based on the theory of Raden Machjar Koesoemadinata Anga).
Gamelan gamelan and gamelan as a unit as the barrel is quite another. In theory, the barrel consists of gamelan gamelan dwiswara (Mashed: (mi) 2 - (la) 5) and gamelan triswara: 1 (da), 3 (na), and 4 (ti).
There are several gamelan that was, and continues to grow in West Java, including Gamelan Salendro, Pelog and gamelan. Gamelan salendro used to accompany the puppet show, dance, kliningan, jaipongan and others. Gamelan pelog function is similar to the gamelan salendro, only less developed and less familiar in masyaraka and rarely owned by the arts groups in the community. This indicates quite a representation of a set of gamelan in the presence of salendro gamelan, gamelan gamelan perceived as fairly representing the uniqueness of the people of West Java. Another Gamelan Gamelan barreled salendro Maya who still are in Bogor district, and the gamelan joint in several places, one in Batu chaotic, Cikalong Bandung regency. Looking at the form and intervals of gamelan jointly and severally, be argued that the most likely to later gamelan gamelan, gamelan-oriented joint.
There is a long-forgotten gamelan is KOROMONG in Kp. Lamajang Lamajang Village district. Pangalengan Kab. Bandung. Gamelan has not played since this is approximately 35-40 years old and have no one able to KOROMONG menabuhnya because gamelan is deemed to have a mystical value. KOROMONG Gamelan is still there and well maintained. To order this KOROMONG gamelan can be beaten, then said holding and caring for the gamelan must be copied.
Gamelan gamelan is one distinctive and original creativity of the Sundanese people. Gamelan is now the number has grown rapidly, estimated to start around the end of the century ke-18/awal development of the 19th century. Jaap Kunst which records all over the island of Java gamelan in his Toonkunst van Java (1934) noted that there gamelan in London (5 devices), Sumedang (3 devices), Cianjur (1 device), Kudat (1 device), Kasepuhan (1 device ), Kanoman (1 device), Darmaraja (1 device), Banjar (1 device), and Singaparna (1 device).
Sundanese people with backgrounds in the kingdom which is located upstream of the river, the royal Galuh for example, has its own influence on the arts gamelan, especially the songs are a lot of colored river conditions, in between songs Manintin, Galatik Manggut, bullfrog Buluk, and the Bango. Habit of always lively side dish lacks the Sundanese gamelan and developing joint gamelan to gamelan.
Allegations Sundanese people who say that gamelan music is royal or kadaleman kirata associated also with a base, which is that the word "gamelan" comes from the word "ngadeg" (standing) and "great" (grand) or "pangagung" (marvelous; nobility ), which implies that art is used for the greatness (grandeur) the dignity of royalty. E. Sutisna, one nayaga Degung Parahyangan, linking the word "gamelan" because gamelan is used to only be owned by the pangagung (regent). In the literature the term "gamelan" first appeared in 1879, which is in the dictionary arrangement HJ Oosting. The word "De gong" (gamelan, Dutch) contains the definition in the dictionary "-penclon penclon hanging".
Gamelan is quite an old age than those in the palace Kasepuhan (gamelan Hum) is a gamelan gamelan at the Museum of King Geusan Pangasih Ulun, Sumedang. Gamelan is a relic Kusumadinata Prince (Prince Kornel), Sumedang regent (1791-1828).
First gamelan gamelan sounded just as gendingan (instrumental). Cianjur Regent RT. Wiranatakusumah V (1912-1920) forbade wearing gamelan song (vocals) because it makes the atmosphere less serious (trash). Regent in 1920 when it moved to Bandung district, then the gamelan gamelan in the pavilion Cianjur nayaganya also brought along, led by Idi. Since the gamelan gamelan called it graced the marquee Pamagersari Bandung with his songs.
See and hear the beauty of the gamelan, a London merchant Pasar Baru Palembang descent, Sam Thayib, feel compelled to use them in a celebration event to be held. Incidentally he was the friend of the regent. He therefore appealed to the regents for permission to use the gamelan hajatannya, and it allows it. From now on that gamelan is used in the celebration (event) public. Such request more and more, the regents ordered him to make a gamelan gamelan again, and realized a new gamelan called Purbasasaka, led by Oyo.
Previous waditra (instrument) gamelan gamelan consists only of koromong (bonang) 13 penclon, cempres (saron length) 11 wilah, gamelan (jenglong) 6 penclon, and goong one fruit. Later additions waditra occur in accordance with the musical challenges and needs, such as the addition of drums and flute by Idi father. Gamelan gamelan Bandung district, along with other arts are used as karesmen gending music (opera Sunda) Loetoeng colossal Kasaroeng dated June 18, 1921 the Institute welcomed Cultuurcongres Java. Previously, in 1918 Rd. Soerawidjaja had also made gending karesmen with gamelan music, which was staged in Medan. 1926 the gamelan is used to illustrate the story of Indonesia's first film titled Loetoeng Kasaroeng by L. Heuveldrop and G. Kruger production Java Film Company, London. Other works use the gamelan as a musical that is gending karesmen Mundinglaya dikusumah by M. Sastraprawira and Idris Rd. Purwakarta Djajaatmadja in 1931.
After Idi died (in 1945) gamelan hampered its development. Especially after the revolution resulted in a lot of physical suffering of the people. Gamelan seriously revived in 1954 by Moh. Tarya, Sukarna Ono, and E. Tjarmedi. In addition to presenting the songs that already exist, they also create new songs with the feel of the songs previously gamelan. Gamelan began broadcasting in 1956 are still in the RRI deals with getting a good reception from the public. In 1956 Enoch Atmadibrata make Cendrawasih dance with gamelan music with gamelan accompaniment track Palwa. The sound of gamelan songs Palwa each time when the opening sounds of Sundanese news event, so it can seep in and bring the atmosphere of a typical Sundanese community in the heart.
Development of gamelan songs with vocals followed by the group leader Parahyangan E. Tjarmedi about 1958. Furthermore E. Rahmat Sukmasaputra Tjarmedi and also tried working with the gamelan songs alit (sawiletan) of the benchmark salendro pelog gamelan songs. Sukmasaputra grace is also a figure who pioneered the gamelan with nayaga women. In addition, as stated Enoch Atmadibrata, gamelan women spearheaded by members of the Damas (Student Resources Sunda) around 1957 under the tutelage of Sukanda Artadinata (Oyo-law).
In 1962, one tried to enter into a gamelan angklung waditra. But this does not develop. RS in 1961. Darya Mandalakusuma (RRI Bandung Sunda broadcast head) complete with waditra gamelan xylophone, saron, and fiddle. Completeness is to support the work of Rev. gending karesmen Mundinglayadikusumah Wibisana. This is called gamelan gamelan Gamelan Si Pawit. Gamelan is also used to pirigan Pakuan puppet. Of production records Lokananta (Surakarta) by a group led Parahyangan RRI Bandung and E. Tjarmedi gamelan can be heard using this additional waditra. The songs and working on many takes of the gamelan tabuhnya salendro pelog, for example the song Paksi Tuwung, Cotton Flower, and so on. In 1964, Mang Koko makes the tone gamelan gamelan tunings oriented salendro gamelan (bilingual Voice). Bonanya rack form like a horseshoe. Than there are gamelan which at that time, surupannya higher. The existence of this gamelan as a realization of the theory of R. Machyar. Gamelan gamelan tunings are never used to accompany gending karesmen Nini Balangantrang Aki (1967) work Wibisana Mang Koko and Revelation.
Year 1970-1980's more and more that working on gamelan, eg Nano S. Gentra Group Associate (1976), environment art leadership Euis Komariah Dewi Pramanik, gamelan Kustyara head gate, and the gamelan style Ujang Suryana (Pakutandang, Ciparay) are very popular since the 1980's with the characteristics of a typical flute game. No less important is the Nano S. Associate Gentra group that incorporate elements of his waditra Kacapi in degungnya. Nano S. make a habit of making tracks gamelan with separate intro and arranger. Some songs work gamelan Nano S. tapes recorded in success in the market, among Panglayungan (1977), Puspita (1978), Naon Lepatna (1980), Tamperan Kaheman (1981), Anjeun (1984) and sung by Kalangkang Nining Syahyana Meida and Barman (1986). Kalangkang song is more popular again after you have recorded in a pop style by singer Nining Sunda Meida and Adang Cengos around the year 1987.
Unlike the early days (1950's) where the singers come from the singer gamelan gamelan salendro pelog (pasinden; ronggeng), the singers gamelan now (since the 1970s) mostly come from the mamaos (Sunda Cianjuran song), both men and women. Interpreter kawih popular gamelan and come from the mamaos among Euis Komariah, Ida Widawati, Teti Afienti, Mamah Dasimah, Barman Syahyana, Didin S. Badjuri, Yus Wiradiredja, Tati Saleh and so on.
Gamelan songs include: Palwa, Palsiun, Bima mobos (Sancang), the Bango, Kinteul Bueuk, Pajajaran, Catrik, Lalayaran, Jipang Lontang, Sangkuratu, Coral Ulun, Karangmantri, Ladrak, Edge of the Sea, Manintin, Beber screen, Kadewan , Padayungan, etc.. While the gamelan songs that dealt with the creation of new use pattern rerenggongan songs include: a vague, Flower Ligar, Surat Ondangan, Hariring Bandung, Tepang Asih, Kalangkang, Rumaos, Landscape Kuring, etc..
Outside Indonesia gamelan development conducted by colleges of art and some musicians, such as neighborhood Heritage Art Sunda University of California (Santa Cruz, USA), musician Lou Harrison (U.S.), and Rachel Swindell along with other students in London (England), Paraguna ( Japan), and Evergreen, John Sidal (Canada). In Melbourne, Australia, there is a set of gamelan gamelan's University of Melbourne which is often used by a community of music lovers for training and staging Sunda at festivals.
Some examples of Sundanese music a mixture of distilled stringed instruments Kacapi or harf and gamelan Kacapi or harf
Music Sunda 3 mp3