{"id":279,"date":"2017-01-13T20:19:08","date_gmt":"2017-01-13T20:19:08","guid":{"rendered":"http:\/\/vetter.sites.grinnell.edu\/gamelan\/?page_id=279"},"modified":"2020-12-31T21:46:22","modified_gmt":"2020-12-31T21:46:22","slug":"k-k-siratmadu","status":"publish","type":"page","link":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/k-k-siratmadu\/","title":{"rendered":"K.K. Siratmadu"},"content":{"rendered":"

Acquired:<\/strong> during the Reign of Sultan Hamengku Buwana VIII
\nType of Gamelan:<\/strong> common practice–modernized
\nTuning<\/strong>: p\u00e9log<\/em><\/p>\n

\"\"<\/a>
One of the three gend\u00e8r barung<\/em> of the gamelans K.K. Madukentir and K.K. Siratmadu. This view shows the tebungan<\/em> on the performer’s side of the instrument.<\/figcaption><\/figure>\n

K.K. Siratmadu (‘radiance honey”) is, I believe, the first gamelan p\u00e9log<\/em> to enter the palace as half of a paired sl\u00e9ndro-p\u00e9log<\/em> set of modern common-practice gamelans manufactured as such. Along with K.K. Madukentir (“honey current”), its sl\u00e9ndro<\/em> counterpart, K.K. Siratmadu was commissioned in 1901 by Pangeran (Prince) Puruboyo, who twenty years later was to become the Eighth Sultan (reign 1921-1939). One peculiarity of their instrumentations is that both sets include an archaic melodic instrument called cluring<\/em>, otherwise found only in the very old gamelan pusaka<\/em> K.K. Kancilbelik. We can only speculate that it was the prince\u2019s admiration of this revered old set that prompted him to order cluring<\/em> for these otherwise modern sets. From the time of their introduction into the palace in the 1920s up to the present K.K. Siratmadu and K.K. Madukentir have been considered general purpose gamelans used for dance accompaniment and especially for concert performance (uyon-uyon<\/em>). Along with four other sl\u00e9ndro-p\u00e9log<\/em> pairings of common practice palace gamelans, K.K. Siratmadu and K.K. Madukentir have been used in rotation over the past several decades for uyon-uyon<\/em> Hadiluhung broadcasts and for dance rehearsal accompaniment.<\/p>\n

According to palace gamelan inventories of the 1930s and 1940s,[1]<\/abbr> K.K. Siratmadu\u00a0already had a gend\u00e8r panembung<\/em>, two gend\u00e8r penerus<\/em>, and a clempung<\/em> in it along with all the other instruments one would expect in a modern common practice gamelan p\u00e9log<\/em>, including six\u00a0kenong jaler<\/em> and six\u00a0kempul<\/em>. These inventories make no mention of a slentho<\/em>, gambang gangsa<\/em>, or a cluring<\/em> in this set, which suggests they were made without these archaic instruments. Apparently, since a cluring<\/em> does now exist for this gamelan, it either was not in use at the times of the inventories or was added at a later date.<\/p>\n

K.K. Siratmadu and K.K. Madukentir have identical casings, decorative motifs, and coloring. They are painted a dark red and have a vegetation carving motif highlighted in matte gold. Seen at the center of the tebungan<\/em><\/a> (front board) of the gend\u00e8r<\/em>-type instruments facing the audience and also above the gong racks encircled by the tails of naga<\/em> (mythological serpents) is a stylized monogram consisting of the entwined letters (Roman) P, B, and J<\/a>. These letters are taken from the name of the Eighth Sultan at the time he commissioned the sets\u2014Puruboyo, which at the time was spelled P<\/span>oeroeb<\/span>oj<\/span>o.<\/p>\n

This pair of gamelans was in use on a daily basis during the first four months of my research period in 1982. During subsequent visits in 1989, 1999, and 2007, I did not encounter them, which did not alarm me because the palace possesses so many fine sets that at any one time only a small number of them are in use. However, during my most recent visit in 2016 I did once again encounter Madukentir-Siratmadu–in storage at dalem<\/em> Yudhonegaran<\/a>, the residence of G.B.P.H. Yudhaningrat, the head of the palace’s performing arts office (Kridhamardawa). Yudhaningrat showed me some keys on a saron<\/em> that displayed spots of discoloration, signaling decay in the bronze. I could not get a sense of how widespread the problem was, but it was serious enough in Gusti Yudhaningrat’s mind to warrant the sets being pulled from active duty in the palace. Their casings were also in need of repainting, especially the gold highlight which has become dull in appearance. Fast-forward to 2020, these sets have been returned to service. For the Hadiluhung broadcasts in October, November, and December of that year, the two sets, newly repainted with a vibrant, glossy gold paint now used to highlight their carving, were set up in Bangsal Srimanganti, where these three Hadiluhung ceremonies took place (they can be seen on the YouTube Hadiluhung documentations for October<\/a>, November<\/a>, and December<\/a>, 2020). I am not aware of what, if any, mitigation in regard to the bronze decay has taken place, but, to my ear, the two gamelans sound every bit as wonderful as they did when I first heard them in 1982.<\/p>\n

Inventory:<\/strong>
\ngong ageng<\/em> (2)
\ngong siyem\/suwukan <\/em>(3)
\nkempul<\/em><\/a> (6)
\nkenong jaler<\/em> (6)
\nkenong japan<\/em> (1)
\nkethuk<\/em> (1)
\nkempyang <\/em>(1)
\nbonang penembung<\/em> (1)
\nbonang barung<\/em> (1)
\nbonang penerus<\/em> (1)
\nsaron demung<\/em> (2)
\nsaron ricik\/barung<\/em> (4)
\ncluring<\/em><\/a> (1)
\ngend\u00e8r penembung\/slenthem<\/em> (1)
\ngend\u00e8r barung<\/em><\/a> (2)
\ngend\u00e8r penerus<\/em> (2)
\ngambang kayu<\/em> (2)
\nclempung\/celempung<\/em> (2)
\nkendhang ageng\/gendhing<\/em> (1)
\nkendhang ketipung<\/em> (1)
\nkendhang alit\/batangan<\/em> (1)
\nsuling<\/em> (1)
\nbendh\u00e9<\/em> (general use instrument shared with other gamelans)
\nbedhug<\/em> (general use instrument shared with other gamelans)
\nrebab<\/em> (general use instrument shared with other gamelans)
\nsiter<\/em> (general use instrument shared with other gamelans)
\nkemanak<\/em> (general use instrument shared with other gamelans)
\nkec\u00e8r<\/em> (general use instrument shared with other gamelans)
\nkeprak<\/em> (general use instrument shared with other gamelans)
\ntambur<\/em> (general use instrument shared with other gamelans)<\/p>\n

Audio and Video Clips:<\/strong><\/p>\n

Audio 1<\/a> [L<\/em>adrang\u00a0<\/em>Gati Main-main, laras p\u00e9log pathet barang<\/em>, performed on K.K. Siratmadu,\u00a0November 26, 1982. Played in loud style (soran<\/em>).]<\/p>\n

Audio 2<\/a>\u00a0[Ladrang<\/em> Grompol, laras p\u00e9log pathet barang<\/em>, performed on K.K. Siratmadu, November 26, 1982. Played in soft\u00a0style (lirehan<\/em>).]<\/p>\n

<\/a>
The kempul<\/em> of K.K. Madukentir and K.K. Siratmadu.<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Acquired: during the Reign of Sultan Hamengku Buwana VIII Type of Gamelan: common practice–modernized Tuning: p\u00e9log K.K. Siratmadu (‘radiance honey”) is, I believe, the first gamelan p\u00e9log to enter the palace as half of a paired sl\u00e9ndro-p\u00e9log set of modern common-practice gamelans manufactured as such. Along with K.K. Madukentir (“honey current”), its sl\u00e9ndro counterpart, K.K. … Continue reading “K.K. Siratmadu”<\/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-279","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/pages\/279","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=279"}],"version-history":[{"count":29,"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/pages\/279\/revisions"}],"predecessor-version":[{"id":2490,"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/pages\/279\/revisions\/2490"}],"wp:attachment":[{"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/media?parent=279"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}