{"id":2017,"date":"2018-01-21T14:11:51","date_gmt":"2018-01-21T14:11:51","guid":{"rendered":"http:\/\/vetter.sites.grinnell.edu\/gamelan\/?page_id=2017"},"modified":"2020-11-27T16:59:12","modified_gmt":"2020-11-27T16:59:12","slug":"musical-content-of-a-sekaten-day","status":"publish","type":"page","link":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/musical-content-of-a-sekaten-day\/","title":{"rendered":"Musical Content of a Sekaten Day"},"content":{"rendered":"

[This page is under construction.]<\/strong><\/p>\n

Presented here is a documentation of the gendhing\u00a0<\/i>choices made by the abdidalem niyaga\u00a0<\/i>during a single full day of Sekaten. The particular day that is being described here is an Akad (Sunday)-Kliwon (day in the five-day Javanese market week), the 6th\u00a0<\/sup>of Mulud, 1951 AJ, windu\u00a0<\/i>Dal (a year in the eight-lunar-year\u00a0windu\u00a0<\/i>cycle). It began on Saturday evening, the 25th\u00a0<\/sup>of November, 2017 CE, at about 8:00PM, after the evening magrib\u00a0<\/i>and isa\u00a0<\/i>prayers that marked the beginning of the new day, and ran through approximately 5:00PM on Sunday, the 26th\u00a0<\/sup>of November.[1]<\/abbr> The pieces performed on this day, listed in the order of their playing and with reference to on which gamelan sekati\u00a0<\/i>they were performed, are found in the following chart:<\/p>\n\n\n\n\n\n\n\n
TIME<\/u><\/span><\/strong><\/td>\nSALAT<\/u><\/span><\/td>\nPATHET<\/u><\/span><\/td>\nK.K. Gunturmadu<\/u><\/span><\/td>\nK.K. Nagawilaga<\/u><\/span><\/td>\n<\/tr>\n
19:58<\/span><\/strong><\/p>\n

20:30<\/span><\/strong><\/p>\n

21:00<\/span><\/strong><\/p>\n

21:37<\/span><\/strong><\/p>\n

22:12<\/span><\/strong><\/p>\n

22:39<\/span><\/strong><\/p>\n

23:03<\/span><\/strong><\/p>\n

23:28<\/span><\/strong><\/p>\n

MIDNIGHT\u00a0<\/span><\/strong><\/td>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

–<\/span><\/p>\n<\/td>\n

\n

lima<\/em><\/span><\/p>\n

lima<\/em><\/span><\/p>\n

lima<\/em><\/span><\/p>\n

lima<\/em><\/span><\/p>\n

lima<\/em><\/span><\/p>\n

lima<\/em><\/span><\/p>\n

lima <\/em><\/span><\/p>\n

lima<\/em><\/span><\/p>\n

–<\/span><\/p>\n<\/td>\n

\n

Rambu <\/span><\/p>\n

 <\/p>\n

Rangkung<\/span><\/p>\n

 <\/p>\n

Andhong-Andhong<\/span><\/p>\n

 <\/p>\n

Rendeng<\/span><\/p>\n

 <\/p>\n

[8-hour break]<\/span><\/p>\n<\/td>\n

 <\/p>\n

Rambu<\/span><\/p>\n

 <\/p>\n

Rangkung <\/span><\/p>\n

 <\/p>\n

Lung Gadhung Pel<\/span><\/p>\n

 <\/p>\n

Salatun\u00a0<\/span><\/p>\n

[8-hour break]<\/span><\/p>\n<\/td>\n<\/tr>\n

08:05<\/span><\/strong><\/p>\n

08:44 <\/span><\/strong><\/p>\n

09:07<\/span><\/strong><\/p>\n

09:42<\/span><\/strong><\/p>\n

10:07<\/span><\/strong><\/p>\n

10:34<\/span><\/strong><\/p>\n

11:00<\/span><\/strong><\/p>\n

11:23<\/span><\/strong><\/p>\n

11:26<\/span><\/strong><\/td>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

l<\/span>uhur<\/em><\/span><\/span><\/p>\n<\/td>\n

\n

barang<\/em><\/span><\/p>\n

barang<\/em><\/span><\/p>\n

barang<\/em><\/span><\/p>\n

barang<\/em><\/span><\/p>\n

barang<\/em><\/span><\/p>\n

barang<\/em><\/span><\/p>\n

barang<\/em><\/span><\/p>\n

barang<\/em><\/span><\/p>\n

–<\/span><\/p>\n<\/td>\n

\n

Kumandhang Barang\u00a0 <\/span><\/p>\n

 <\/p>\n

Kongas<\/span><\/p>\n

 <\/p>\n

Kenceng <\/span><\/p>\n

 <\/p>\n

Ngendhuri<\/span><\/p>\n

 <\/p>\n

[break]<\/span><\/p>\n<\/td>\n

 <\/p>\n

Supiyatun<\/span><\/p>\n

 <\/p>\n

Ngendhuri<\/span><\/p>\n

 <\/p>\n

Siring<\/span><\/p>\n

 <\/p>\n

racikan (<\/em>interrupted by <\/span>adzan <\/em>for salat luhur<\/em>)\u00a0 [break]<\/span><\/p>\n<\/td>\n<\/tr>\n

14:02<\/span><\/strong><\/p>\n

14:32<\/span><\/strong><\/p>\n

14:52<\/span><\/strong><\/td>\n

 <\/p>\n

 <\/p>\n

asar<\/em><\/span><\/span><\/p>\n<\/td>\n

\n

nem<\/em><\/span><\/p>\n

nem<\/em><\/span><\/p>\n

–<\/p>\n<\/td>\n

\n

Lenggang Rambon<\/span><\/p>\n

 <\/p>\n

[break]<\/span><\/p>\n<\/td>\n

 <\/p>\n

Atur-Atur (interrupted by\u00a0 adzan<\/em> for salat<\/em> asar)\u00a0 \u00a0 \u00a0 <\/em><\/span>[break]<\/span><\/p>\n<\/td>\n<\/tr>\n

15:30<\/span><\/strong><\/p>\n

16:14<\/span><\/strong><\/p>\n

16:41<\/span><\/strong><\/p>\n

16:58<\/span><\/strong><\/td>\n

\n

\u00a0<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

–<\/span><\/p>\n<\/td>\n

\n

barang<\/em><\/span><\/p>\n

nem<\/em><\/span><\/p>\n

barang<\/em><\/span><\/p>\n

–<\/p>\n<\/td>\n

\n

Tukung<\/span><\/p>\n

 <\/p>\n

Bendrong (bubaran<\/em>)<\/span><\/p>\n

[end of day]<\/span><\/p>\n<\/td>\n

 <\/p>\n

Lagu<\/span><\/p>\n

 <\/p>\n

[end of day]<\/span><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

The opening session of the day (from 8:00PM to Midnight) began, as do all Sekaten days (except Jumuwah\/Fridays), with the playing of gendhing\u00a0<\/em>Rambu, first on K.K. Gunturmadu and then on K.K. Nagawilaga, followed by the playing of gendhing\u00a0<\/em>Rangkung on K.K. Gunturmadu and then on K.K. Nagawilaga. The other two obligatory gendhing sekati\u00a0<\/em>were then played, gendhing\u00a0<\/em>Andong-Andhong on K.K. Gunturmadu followed by gendhing\u00a0<\/em>Lung Gadhung Pel on K.K. Nagawilaga. There remained time for two further pathet lima\u00a0<\/em>pieces, the bonang\u00a0<\/em>player of K.K. Gunturmadu selecting gendhing\u00a0<\/em>Rendheng, his counterpart for K.K. Nagawilaga choosing gendhing\u00a0<\/em>Salatun.[2]<\/abbr>\u00a0Each playing of a gendhing\u00a0<\/em>was preceded by a performance of the racikan\u00a0<\/em>P\u00e9log Pathet Lima that together (the racikan\u00a0<\/em>plus the gendhing<\/em>) ranged in duration form twenty-four minutes (gendhing\u00a0<\/em>Lung Gadhung Pel) to thirty-seven minutes (one of the gendhing\u00a0<\/em>Rangkung performances). All six of the gendhing\u00a0<\/em>performed during this session are specific to Sekaten and to the gamelan sekati<\/em>.<\/p>\n

The following morning\u2019s session included six pathet barang\u00a0<\/em>gendhing\u00a0<\/em>(one, gendhing\u00a0<\/em>Ngendhuri, performed twice). Only one of these pieces is Sekaten-specific (gendhing\u00a0<\/em>Supiyatun, which is the only Sekaten-specific piece in pathet barang<\/em>). The other five gendhing\u00a0<\/em>belong to the large common-practice gamelan repertoire of Yogyakarta. Three of these are\u00a0gendhing ladrang\u00a0<\/em>(Kumandhang Barang, Kongas, and Kenceng [Kumandhang Barang is a laras p<\/em>\u00e9log pathet barang ladrang<\/em>, but Kongas and Kenceng are laras sl<\/em>\u00e9ndro pathet manyura ladrang<\/em>]) and the other two are derived from laras p<\/em>\u00e9log pathet barang gendhing\u00a0<\/em>with larger gong phrases (Ngendhuri from the dados\u00a0<\/em>section of the kendhangan\u00a0<\/em>Sarayuda piece by the same name with a 64-beat gongan\u00a0<\/em>structure; Siring from the dhawah\u00a0<\/em>section of a kendhangan\u00a0<\/em>Semang piece of the same name with a 128-beat gongan\u00a0<\/em>structure). Each playing of a gendhing\u00a0<\/em>in this morning session was preceded by a performance of the racikan\u00a0<\/em>P\u00e9log Pathet Barang that together (the racikan\u00a0<\/em>plus the gendhing<\/em>) ranged in duration form twenty-three minutes (gendhing\u00a0<\/em>Supiyatun and one of the playings of gendhing\u00a0<\/em>Ngendhuri) to thirty-nine minutes (gendhing\u00a0<\/em>Kumandhang Barang). An eighth racikan<\/em>-and-gendhing\u00a0<\/em>performance was just getting underway when, at 11:23AM the adzan\u00a0<\/em>(call to prayer) for salat luhur\u00a0<\/em>was broadcast over loudspeakers from the Mesjid Ageng; only two minutes into the racikan\u00a0<\/em>P\u00e9log Pathet Barang, the musicians immediately stopped and the morning session ended.<\/p>\n

The musicians resumed performing at around 2:00PM for a short session of less than an hour in duration. P<\/em>\u00e9log pathet nem <\/em>is the prevailing mode for this time of day, and both gendhing\u00a0<\/em>selections on this day were of Sekaten-specific pieces: gendhing\u00a0<\/em>Langgang Rambon and gendhing\u00a0<\/em>Atur-Atur, both preceded by racikan\u00a0<\/em>P\u00e9log Pathet Nem. The performance of gendhing\u00a0<\/em>Atur-Atur was terminated in mid-course at 2:52PM by the adzan\u00a0<\/em>(call to prayer) for salat asar<\/em>.<\/p>\n

The final session of the day, from approximately 3:30 to 5:00PM, has as its prevailing mode p<\/em>\u00e9log pathet barang<\/em>. The musicians fit in two full racikan-gendhing\u00a0<\/em>selections\u2014a lengthy performance of racikan\u00a0<\/em>P\u00e9log Pathet Barang leading into gendhing\u00a0<\/em>Tukung (forty-four minutes), and a shorter presentation (twenty-seven minutes) of racikan\u00a0<\/em>P\u00e9log Pathet Nem and\u00a0gendhing\u00a0<\/em>Lagu.[3]<\/abbr>\u00a0Neither of these gendhing\u00a0<\/em>are Sekaten specific, the Sekaten version of Tukung being derived from the dhawah\u00a0<\/em>section of a kendhangan\u00a0<\/em>Semang piece of the same name with a 128-beat gongan\u00a0<\/em>structure, and Lagu is a p<\/em>\u00e9log pathet nem\u00a0<\/em>gendhing ladrang\u00a0<\/em>belonging, like gendhing\u00a0<\/em>Tukung, to the common-practice gamelan repertoire. To close out this day of Sekaten, the bonang\u00a0<\/em>player of K.K. Gunturmadu chose gendhing bubaran\u00a0<\/em>Bendrong, preceded by an abbreviated playing of racikan\u00a0<\/em>P\u00e9log Pathet Barang. Bendrong is a common-practice gamelan piece conceived of as being a laras sl<\/em>\u00e9ndro pathet manyura gendhing bubaran<\/em>, but it is also often performed in laras p<\/em>\u00e9log pathet barang<\/em>. By the time the K.K. Gunturmadu musicians ended their performance of gendhing\u00a0<\/em>Bendrong at 4:58 PM, the musicians of K.K. Nagawilaga had already departed from the Pagongan Lor. This day of Sekaten had reached its conclusion.<\/p>\n","protected":false},"excerpt":{"rendered":"

[This page is under construction.] Presented here is a documentation of the gendhing\u00a0choices made by the abdidalem niyaga\u00a0during a single full day of Sekaten. The particular day that is being described here is an Akad (Sunday)-Kliwon (day in the five-day Javanese market week), the 6th\u00a0of Mulud, 1951 AJ, windu\u00a0Dal (a year in the eight-lunar-year\u00a0windu\u00a0cycle). It … Continue reading “Musical Content of a Sekaten Day”<\/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-2017","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/pages\/2017","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=2017"}],"version-history":[{"count":42,"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/pages\/2017\/revisions"}],"predecessor-version":[{"id":2467,"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/pages\/2017\/revisions\/2467"}],"wp:attachment":[{"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/media?parent=2017"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}