{"id":1799,"date":"2017-05-02T20:38:20","date_gmt":"2017-05-02T20:38:20","guid":{"rendered":"http:\/\/vetter.sites.grinnell.edu\/gamelan\/?page_id=1799"},"modified":"2022-10-04T21:55:56","modified_gmt":"2022-10-04T21:55:56","slug":"uyon-uyon-hadiluhung-november-26-1982","status":"publish","type":"page","link":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/uyon-uyon-hadiluhung-november-26-1982\/","title":{"rendered":"Uyon-uyon Hadiluhung, November 26, 1982"},"content":{"rendered":"

While carrying out research in Yogyakarta between August 1982 and July 1983 I attended live or listened to on the radio ten realizations of the uyon-uyon<\/em> Hadiluhung ceremony. All ten realizations shared a common form as expressed in what I am calling sound-structures\u2014realizations of one or more gendhing<\/em> (gamelan piece) and\/or tembang<\/em> (vocal piece) as individual, bounded items that are ordered in relation to one another and that collectively create a distinctive form or identity for an event. The \u201cform\u201d of a Hadiluhung ceremony in the early 1980s can be summarized as consisting of the following sound-structure components[1]<\/abbr>:<\/p>\n

1) Pambuka<\/em> (opening signature piece).<\/strong> A single gendhing<\/em> functioning as a signature piece associated with the arrival of the sultan (there are two such gendhing<\/em> designated to serve this function–ladrang<\/em> Prabumataram (\u201cKing of Mataram\u201d) in laras sl\u00e9ndro pathet sanga<\/em>, and ladrang<\/em> Rajamanggala (\u201cKing Commander\u201d) in laras p\u00e9log pathet nem<\/em>). Both of these pieces are in the bentuk<\/em> (gong-phrase structure) ladrang,<\/em> use kendhang kalih<\/em> (two-drum style) and the drumming pattern kendhangan ladrang<\/em>, and are played initially at a fast tempo (irama<\/em> 1) in the soran<\/em> (loud) style but then slowed down (to irama<\/em> 2) and quieted down to the lirehan<\/em> (soft) style with female and male singers performing as a mixed chorus (kor<\/em>). The same song-text, a poetic rendering of the full title of the reigning Sultan and a complete dating of his coronation, is used for both gendhing<\/em>, making them effective indices of the reigning Sultan and clarifying his centrality, be he present or not, to the event taking place. The text for these two signature pieces and its translation follow.<\/p>\n

Rinipta tinraping kidung <\/em>(It is written in the narrative),
\nWahyaning gita mengeti <\/em>(in the form of this song to remind us),
\nDuk jumeneng Dalem Nata <\/em>(of the elevation of the King),
\nNgasta Pusaraning Praja <\/em>(to rule).
\n\u00a0<\/em>
\nIngkang Sinuwun Hamengku <\/em>(His Highness, the legal ruler over),<\/em>
\nBuwana Nyenapateni <\/em>(the secular world; chief commander),<\/em>
\nIng Ngalaga Ngabdulrahman <\/em>(of the armed forces; the generous),<\/em>
\nSayidin Panata Gama <\/em>(master over religion).<\/em>
\n\u00a0<\/em>
\nKaliphatullah satuhu <\/em>(Successor of Mohammed, The Apostle of Allah),<\/em>
\nKang sudebya angrenggani <\/em>(who is sublime; he who resides in),<\/em>
\nKaraton Ngayogyakarta <\/em>(the Palace of Yogyakarta),<\/em>
\nKang kaping sanga minulya <\/em>(the ninth [in the lineage], esteemed).<\/em>
\n\u00a0<\/em>
\nIng hari Senen Pon nuju <\/em>([Ascended] On the day Monday-Pon<\/em>),<\/em>
\nWulan Sapar amarengi <\/em>(the eighth day of the month of Sapar<\/em>),<\/em>
\nKaping wolu leking candra <\/em>(in the year Dal<\/em>),<\/em>
\nWarsa Edal sinengkalan <\/em>(With the chronogram).<\/em>
\n\u00a0<\/em>
\nTunggal puji ngesthi Ratu <\/em>(Tunggal puji ngesthi Ratu<\/em>[2]<\/abbr>),
\nWinedhar angkaning warsi <\/em>(which expresses the year),
\nSewu wolungatus miwah <\/em>(one-thousand eight-hundred),
\nPitungdasa langkung juga <\/em>(seventy-one).<\/em>
\n\u00a0<\/em>
\nParingkelanya mawulu <\/em>(On the day of Mawulu<\/em> in the six-day week),<\/em>
\nIng mangsa kasanga akir <\/em>(In the month of Kasanga<\/em> of the solar year),<\/em>
\nGalungan pawukonira <\/em>(In the week Galungan<\/em> of the 210-day cycle),<\/em>
\nWindu adi kang lumaksa <\/em>(In the windu<\/em> of Adi<\/em>).<\/em><\/p>\n

2)\u00a0 Gendhing bonang.<\/em><\/strong> A single gendhing<\/em> with a large, bi-sectional bentuk<\/em> (gong-phrase structure, the first section called \u201cdados<\/em>\u201d, the second \u201cdhawah<\/em>\u201d) of the ageng<\/em>, tengahan<\/em>, or alit<\/em> variety.[3]<\/abbr> This program item is performed in the loud, forceful, purely instrumental style (soran<\/em>). The sparse, single-drum (kendhang satunggal<\/em>) kendhangan<\/em> (drumming pattern) and only the more condensed tempo levels (irama<\/em> 1 and 2) are utilized. In parts of Central Java, large gendhing<\/em> that have their introduction (buka<\/em>) played on the bonang barung<\/em> and that are performed in the soran<\/em> style are called \u201cgendhing bonang<\/em>\u201d or \u201cgendhing bonangan<\/em>.\u201d I have never heard this designation used in the Kraton Yogyakarta, but that is what the gendhing<\/em> appropriate for this slot in the Hadiluhung program are.<\/p>\n

3)\u00a0 Lampah bedhayan.<\/em><\/strong> A medley of gendhing, lagon <\/em>(instrumentally-accompanied mood songs), <\/em>and tembang<\/em> (unaccompanied vocal pieces) for the accompaniment of a palace srimpi<\/em> or bedhaya<\/em> choreography. Called a lampah bedhayan<\/em>, such a medley is performed as though the dancers are present (the characteristic sound of the keprak<\/em><\/a>, a rhythmic and signaling instrument used for dance accompaniment, is heard throughout these medleys), even though they are not for these events. These accompaniments are performed entirely in the soft style (lirehan<\/em>) except when the lampah bedhayan<\/em> is set to laras p\u00e9log<\/em>. In this instance, the gendhing<\/em> used to accompany the entrance and exit of the dancers are drawn from a special group of bentuk ladrang<\/em> pieces called mares<\/em> (\u201cmarches\u201d), which are performed in the loud soran<\/em> style using kendhang kalih<\/em> (two-drum style) and a special drum pattern called kendhangan sabrangan<\/em> (\u201cforeign pattern\u201d; optionally includes use of Western field drums [tambur<\/em><\/a>] and wind and string instruments). Kendhang satunggal<\/em>\u00a0and kendhang kalih<\/em> drumming patterns are used for the gendhing<\/em> in the sequence[4]<\/abbr>, which are performed at only the more condensed tempo levels (irama<\/em> 1 and 2). Separate female and male choruses perform the vocal lines of gendhing<\/em> and lagon<\/em> (mood songs), respectively. These accompaniments unfold in a calm and stately fashion.<\/p>\n

4)\u00a0 Vocal selingan<\/em>.<\/strong> A vocal piece (tembang<\/em>), usually belonging to the sekar ageng <\/em>or sekar tengahan<\/em> categories of Yogyanese sung poetry, sung in a rhythmically free, melodically ornate style by a male soloist. No gamelan accompaniment is used. This element of the Hadiluhung program is labeled as a \u201cselingan<\/em>\u201d (\u201cinterspersion, something scattered at intervals\u201d).<\/p>\n

5)\u00a0 Uyon-uyon<\/em> medley.<\/strong> A medley of, typically, two gendhing<\/em>, the first being a bi-sectional gendhing<\/em> (with repeatable dados<\/em> and dhawah<\/em> sections) of the alit<\/em> or tengahan<\/em> size, the second a gendhing<\/em> in either the bentuk<\/em> ladrang<\/em> or bentuk<\/em> ketawang<\/em>. This medley is performed in the soft style (lirehan<\/em>) in accordance with the norms of present-day gamelan performance practice–expanded tempo treatment (irama<\/em> 3 and 4), animated kendhangan batangan<\/em> drumming, and solo female (sindhenan<\/em>) and male chorus (gerongan<\/em>) singing in the dhawah<\/em> section of the bi-sectional gendhing<\/em>. The ladrang<\/em> or ketawang<\/em> piece is performed in irama<\/em> 2 with kendhang kalih<\/em> drumming and solo female (sindhenan<\/em>) and male chorus (gerongan<\/em>) singing. The medley is framed by pathetan<\/em> (purely instrumental renderings of lagon<\/em>, or mood songs), and the bi-sectional gendhing<\/em> is preceded by a bawa<\/em> (a tembang<\/em> performed by a solo male singer and that flows directly [ketampen<\/em>] into the gendhing<\/em>).<\/p>\n

6)\u00a0 Vocal selingan<\/em>.<\/strong> Another solo vocal piece (tembang<\/em>) selingan<\/em>, like #4 above.<\/p>\n

7)\u00a0 Uyon-uyon<\/em> medley.<\/strong> A gendhing<\/em> medley similar to #5 above, except that the dhawah<\/em> section of the bi-sectional piece is replaced with a gendhing<\/em> in the bentuk<\/em> ladrang<\/em>. This medley is performed in the soft style (lirehan<\/em>) in accordance with the norms of present-day gamelan performance practice–expanded tempo treatment (irama<\/em> 3 and 4), animated kendhangan batangan<\/em> drumming, and solo female (sindhenan<\/em>) and male chorus (gerongan<\/em>) singing in the ladrang <\/em>piece. The medley begins with a pathetan<\/em> (purely instrumental rendering of a lagon<\/em>, or mood song), and the initial gendhing<\/em> is preceded by a bawa<\/em> (a tembang<\/em> performed by a solo male singer and that flows directly into a gendhing<\/em>).<\/p>\n

8)\u00a0 Panutup<\/em> (closing signature piece).<\/strong> A single gendhing<\/em> functioning as a signature piece associated with the departure of the sultan. There are two such gendhing<\/em> designated to serve this function–ladrang <\/em>Tedhaksaking (\u201cdescend from [the throne]\u201d) in laras p\u00e9log pathet barang, <\/em>and ladrang <\/em>Srikondur (\u201cKing returns home\u201d) in laras sl\u00e9ndro pathet manyura<\/em>. Both of these gendhing<\/em> are in the bentuk<\/em> ladrang,<\/em> use kendhang kalih<\/em> (two-drum style) and the drumming pattern kendhangan ladrang<\/em>, and are played only at a fast tempo (irama<\/em> 1) in the soran<\/em> (loud) style.<\/p>\n

Each of the above formal components of a Hadiluhung ceremony involving use of the available gamelans is set to one or the other of the two tuning systems (laras<\/em>) of Javanese gamelan music\u2014sl\u00e9ndro<\/em> or p\u00e9log<\/em>. Contributing to the overall form of a Hadiluhung event is that each successive gamelan sound-structure in the above template alternates between being set to laras<\/em> sl\u00e9ndro<\/em> and laras<\/em> p\u00e9log. <\/em>Each successive iteration of the Hadiluhung ceremony will flip the laras<\/em> sequence of the previous one; a Hadiluhung beginning in laras<\/em> sl\u00e9ndro<\/em> will be followed by one beginning in laras<\/em> p\u00e9log<\/em>.<\/p>\n

Clearly, even the simplified descriptions presented above of the sound-structures used for Hadiluhung events introduce many musical performance practice technical terms. It is not the purpose of this website to explain all the complexities of Javanese gamelan performance practice in a systematic way. What I will do instead is present here a recorded example of each of the above formal building blocks of a Hadiluhung program as performed on November 26, 1982, during an iteration of the ceremony that I attended and recorded. The gamelans used for this realization of the Hadiluhung ceremony were the gamelan<\/em> sl\u00e9ndro<\/em> K.K. Madukentir<\/a> and the gamelan<\/em> p\u00e9log<\/em> K.K. Siratmadu<\/a>. The duration of each\u00a0program sound-structure\u00a0is given in parentheses at the end of its title; the timing for the start of each component of a multi-component sound-structure is enclosed in carrots (<time>); the timing for the start of the second section of a bi-sectional gendhing<\/em>, its dhawah<\/em>, follows the word “sadhawahipun<\/em>” in such a piece’s title.<\/p>\n

1.\u00a0Pambuka:<\/em><\/strong> Ladrang<\/em> Rajamanggala, p\u00e9log pathet nem<\/em>\u00a0(5:10)<\/p>\nhttps:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-content\/uploads\/2017\/05\/rajamanggala.mp3<\/a><\/audio>\n

2.\u00a0Gendhing bonang:<\/em><\/strong> Gendhing<\/em> Galagothang<0:00>, sl\u00e9ndro pathet nem, kendhangan <\/em>Jangga, sadhawahipun<\/em><6:12>[5]<\/abbr>, minggah ladrang <\/em>Galagothang<14:04> (20:49)<\/p>\nhttps:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-content\/uploads\/2017\/05\/galagothang.mp3<\/a><\/audio>\n

3. Lampah bedhayan:<\/em><\/strong> Muncar, p\u00e9log pathet barang<\/em>, kendhangan<\/em> Gandrung-gandrung\u00a0(42:33)<\/p>\n

a) Lagon p\u00e9log pathet barang wantah<\/em><0:00><\/p>\n

b) Ladrang <\/em>Gati Kumencar (kapang-kapang maju<\/em>)<2:06><\/p>\n

c) Lagon p\u00e9log pathet barang jugag<\/em><5:18><\/p>\n

d) Bawa <\/em>[unidentified]<6:37>\u00a0katampen <\/em>Muncar<8:04>, sadhawahipun<\/em><13:09>, minggah ladrang<\/em> Grompol<20:47>, kalajengaken<\/em> ayak-ayak<\/em><27:10>, slepegan<\/em><30:24>, wangsul ayak-ayak malih<\/em><32:42><\/p>\n

e) Lagon p\u00e9log pathet barang jugag<\/em><37:09><\/p>\n

f) Ladrang <\/em>Gati Main-Main (kapang-kapang mundur<\/em>)<38:23><\/p>\n

g) Lagon p\u00e9log pathet barang jugag<\/em><41:17><\/p>\nhttps:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-content\/uploads\/2017\/05\/01-Lampah-Bedhayan-Moncar.mp3<\/a><\/audio>\n

4. Selingan:<\/em><\/strong> sekar ageng <\/em>Pranajiwa, p\u00e9log barang\u00a0<\/em>(3:39)<\/p>\nhttps:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-content\/uploads\/2017\/05\/14-Pranajiwa.mp3<\/a><\/audio>\n

5.\u00a0Uyon-uyon<\/em> medley:<\/b>\u00a0Gendhing<\/em> Madyalatri, sl\u00e9ndro pathet sanga, kendhangan <\/em>Condro, jangkep<\/em> sadhawahipun<\/em>, minggah ladrang<\/em> Langensuka\u00a0(32:41)<\/p>\n

a) pathetan sl\u00e9ndro pathet sanga wantah<\/em><0:00><\/p>\n

b) bawa sekar <\/em>[unidentified]<1:41><\/p>\n

c) gendhing<\/em> Madyalatri<4:36>\u00a0jangkep<\/em> sadhawahipun<\/em><10:21>, minggah ladrang<\/em> Langensuka<23:27><\/p>\n

d) pathetan sl\u00e9ndro pathet sanga jugag<\/em><31:53><\/p>\nhttps:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-content\/uploads\/2017\/05\/madyalatri.mp3<\/a><\/audio>\n

6. Selingan<\/em><\/strong>: sekar tengahan <\/em>Pamiwaltung, p\u00e9log bem<\/em>\u00a0(2:28)<\/p>\nhttps:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-content\/uploads\/2017\/05\/15-Pamiwaltung.mp3<\/a><\/audio>\n

7. Uyon-uyon<\/em> medley: <\/strong>Gendhing\u00a0<\/em>Genjung-Goling p\u00e9log pathet nem, kendhangan <\/em>Sarayuda, ndhawah ladrang<\/em> Genjung-Goling\u00a0(11:49)<\/p>\n

a) pathetan p\u00e9log pathet nem wantah<\/em><0:00><\/p>\n

b) bawa sekar <\/em>[unidentified]<1:21><\/p>\n

c) gendhing<\/em> Genjung-Goling<4:50>\u00a0ndhawah ladrang<\/em> Genjung-Goling<5:44><\/p>\nhttps:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-content\/uploads\/2017\/05\/genjunggoling.mp3<\/a><\/audio>\n

8. Panutup:<\/em><\/strong>\u00a0Ladrang <\/em>Srikondur,\u00a0sl\u00e9ndro pathet manyura<\/em>\u00a0(3:27)<\/p>\nhttps:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-content\/uploads\/2017\/05\/srikondur.mp3<\/a><\/audio>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

While carrying out research in Yogyakarta between August 1982 and July 1983 I attended live or listened to on the radio ten realizations of the uyon-uyon Hadiluhung ceremony. All ten realizations shared a common form as expressed in what I am calling sound-structures\u2014realizations of one or more gendhing (gamelan piece) and\/or tembang (vocal piece) as … Continue reading “Uyon-uyon Hadiluhung, November 26, 1982”<\/span><\/a><\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1799","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/pages\/1799","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/comments?post=1799"}],"version-history":[{"count":63,"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/pages\/1799\/revisions"}],"predecessor-version":[{"id":2755,"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/pages\/1799\/revisions\/2755"}],"wp:attachment":[{"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/media?parent=1799"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}