{"id":60,"date":"2016-10-17T16:04:11","date_gmt":"2016-10-17T16:04:11","guid":{"rendered":"http:\/\/vetter.sites.grinnell.edu\/gamelan\/?page_id=60"},"modified":"2018-02-19T21:30:10","modified_gmt":"2018-02-19T21:30:10","slug":"k-k-harjanegara","status":"publish","type":"page","link":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/kraton-yogyakarta-gamelans\/k-k-harjanegara\/","title":{"rendered":"K.K. Harjanegara"},"content":{"rendered":"

Acquired:<\/strong> during the Reign of Sultan Hamengku Buwana VI
\nType of Gamelan:<\/strong> common practice–modernized
\nTuning:<\/strong> sl\u00e9ndro<\/em><\/p>\n

\"harjanegara\"<\/a>
The gend\u00e8r barung<\/em> of the gamelan K.K. Harjanegara. The two gend\u00e8r barung<\/em> of the gamelan K.K. Harjamulya share the same carving motif and color combination.<\/figcaption><\/figure>\n

K.K. Harjanegara (“prosperous kingdom”) was either commissioned or purchased as a separate gamelan sl\u00e9ndro<\/i> by the Sixth Sultan when he was still the Crown Prince.[1]<\/abbr> During his reign as the Sixth\u00a0Sultan (1855-1877),\u00a0K.K. Harjanegara was paired with the gamelan p\u00e9log <\/i>K.K<\/a>. Panji<\/a>, a set\u00a0acquired by the Fifth Sultan. These two sets were, from the reign of the Sixth Sultan\u00a0until the beginning of the reign of the Eighth Sultan, used for entertainments marking\u00a0the Sultan\u2019s weton<\/em> (the coincidence of days in the 5- and 7-day Javanese weeks on which a person is born; this coincidence recurs every thirty-five days), celebrating life-cycle ceremonies of the Sultan\u2019s children other than the crown prince, welcoming important guests, and accompanying dance theatre (ringgit tiyang<\/em> or wayang wong<\/em>) rehearsals and performances. During the reign of the Eighth Sultan,\u00a0K.K. Harjanegara had its original\u00a0pre-modern instrumentation filled out and was paired with a different palace\u00a0gamelan p\u00e9log,<\/em>\u00a0K.K. Tummenggung, a set dating back to the reign of the Sixth Sultan.[2]<\/abbr> K.K. Tummenggung was also\u00a0a\u00a0pre-modern common practice gamelan that underwent additions of instruments to make it fully modern during the the reign of the Eighth Sultan. It was, at that time, given a new name–K.K. Harjamulya. The casings made for K.K. Harjanegara and K.K. Harjamulya at the time of their modernization and newly established association with one another\u00a0were\u00a0identical in design but not in color (see below). Thus the half-century long association between K.K. Harjanegara and K.K. Panji came to an end and the latter set was placed in storage for many decades to come.\u00a0Since the reign of the Ninth Sultan (1940-1988) the new pairing of K.K. Harjanegara–<\/i>K.K. <\/i>Harjamulya\u00a0has been used in rotation with four or five\u00a0other sl\u00e9ndro-p\u00e9log<\/i> pairings for uyon-uyon\u00a0<\/em>Hadiluhung,<\/em>\u00a0concerts that\u00a0celebrate the weton<\/i>\u00a0of the reigning Sultan and that\u00a0are broadcast live over the government radio station in Yogyakarta (R.R.I.\u00a0Yogyakarta). They have also been used to accompany dance (beksan<\/em>), dance drama (wayang wong<\/em>), and shadow-puppet theatre (wayang kulit<\/em>) performances for both private and public palace celebrations.<\/p>\n

The only available source listing the pre-modern instrumentation of K.K. Harjanegara indicates that the set had four saron demung<\/em>, eight saron ricik<\/em>, and one saron peking<\/em>.[3]<\/abbr> This is interesting because a slightly later inventory that details its post-modernization instrumentation lists only three saron demung<\/em>, six saron ricik<\/em>, and one saron peking,<\/em>\u00a0an accounting that corresponds to the current makeup of this gamelan in 2016.[4]<\/abbr> This discrepancy cannot be resolved with the available sources, but perhaps when K.K. Harjanegara and K.K. Harjamulya were paired the keys of one saron demung<\/em> and two saron ricik<\/em> of the former set were retuned and transferred to the latter set, which in its pre-modern form had only two saron demung<\/em> and four saron ricik<\/em>. Prior to its modernization, K.K. Harjanegara included\u00a0the other standard pre-modern instruments for a gamelan\u00a0sl\u00e9ndro<\/em>–one\u00a0gambang gangsa<\/em>, one slentho<\/em>, one each of all three sizes of bonang<\/em>, one gend\u00e8r barung<\/em>, one gambang kayu<\/em>, one kethuk<\/em>, two kenong jaler<\/em>, one kenong japan<\/em>, one kempul<\/em>, and two gong ageng<\/em>. The modernization of this set during the reign of the Eighth Sultan added to the above the following: one clempung<\/em>, one\u00a0gend\u00e8r panembung<\/em>, one\u00a0gend\u00e8r penerus<\/em>, three kenong jaler<\/em>, three kempul<\/em>, and three gong siyem<\/em>.[5]<\/abbr> Currently (in 2016) this set also includes\u00a0a kemong<\/em>, but I do not know when this addition was made. When K.K. Harjanegara is set up together with K.K. Harjamulya for performance, only one gong ageng<\/em> from each set is hung from\u00a0a common stand. I am not aware of where the other two gong ageng<\/em>\u00a0are now located or if they are still used with these sets. Conceivably, one or both of them might have been reassigned to other sets.<\/p>\n

Prior to the pairing of K.K. Harjanegara and K.K. Tumenggung\u00a0during the reign of the Eighth Sultan, these two sets did not at all look alike. Though both were bright red (abrit sepuh<\/em>) with gold edging and highlight, the carving motif of K.K. Harjanegara<\/a> was entirely vegetation while that of K.K. Tumenggung<\/a> was a horse framed by mirong<\/em> (wings) over sparse vegetation. As K.K. Tumenggung became K.K. Harjamulya, its new casings were given the decorative motif of K.K. Harjanegara. However, their new identically carved casings were not given the same base color. According to a palace manuscript from the 1940s[6]<\/abbr>, K.K. Harjanegara was its current color (sawo mateng<\/em>), K.K. Harjamulya a vibrant rich blue<\/a> (biru sepuh<\/em>), both sets with gold highlight against a red background. As recently as the early 1990s they were still painted these colors, but by 1999 K.K. Harjamulya had been repainted sawo mateng<\/em> to match K.K. Harjanegara. The new casings made during the reign of the Eighth Sultan for the gend\u00e8r<\/em>-instruments of these two sets are nearly identical to those of the gamelan pusaka<\/em> K.K. Kancilbelik<\/a>, with the only significant difference beyond their base colors being that the figural motif of a mouse deer in a pond on the K.K. Kancelbelik gend\u00e8r<\/em> is not found on Harjanegara-Harjamulya. The rest of the new (and current) casings of K.K. Harjanegara are characterized by vegetation motifs (lunglungan<\/em>) that on many panels are carved all the way through the wood. This adds a spectacular three-dimensional quality to the casings. Included on the front boards of the gend\u00e8r<\/em>-type instuments is the royal emblem<\/a> of the Eighth Sultan. In recent years caps that also feature the Hamengku Buwana lambang<\/a><\/em> (without the numeral “8”) have been added to the cross beams of all the gong racks (gayor<\/em>) of both of these gamelans.[7]<\/abbr><\/p>\n

Two short audio examples\u00a0of K.K. Harjanegara are provided, the first exemplifying its sound when played in the robust soran<\/em> style (involving only\u00a0its saron<\/em>-, bonang<\/em>-, gong<\/em>-, and kendhang<\/em>-type instruments), the second its sound in the calmer and dynamically softer\u00a0lirehan<\/em> style (for which its entire instrumentation plus male and female singers are involved).<\/p>\n

Inventory:
\n<\/strong>gong ageng<\/em> (2)
\ngong siyem\/suwukan<\/em> (3)
\nkempul<\/em> (4)
\nkenong jaler<\/em><\/a> (5)
\nkenong japan<\/em><\/a> (1)
\nkethuk<\/em> (1)
\nbonang penembung<\/em><\/a> (1)
\nbonang barung<\/em><\/a> (1)
\nbonang penerus<\/em> (1)
\nsaron demung<\/em><\/a> (3)
\nsaron ricik\/barung<\/em><\/a> (6)
\nsaron peking<\/em> (1)
\nslentho<\/em><\/a> (1)
\ngend\u00e8r penembung\/slenthem<\/em> (1)
\ngend\u00e8r barung<\/em><\/a> (1)
\ngend\u00e8r penerus<\/em> (1)
\ngambang gongsa\/gangsa<\/em> (1)
\ngambang kayu<\/em> (1)
\nclempung\/celempung<\/em> (1)
\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> (1, shared with K.K. Harjamulya)
\nrebab<\/em> (general use instrument shared with other gamelans)
\nsiter<\/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)<\/p>\n

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

Audio 1<\/a>\u00a0[excerpt of gendhing<\/em> Sumyar, from Javanese Court Gamelan, Vol. III<\/em>. One CD, Nonesuch 79722-2, track 3.]<\/p>\n

Audio 2<\/a>\u00a0[excerpt of g<\/em>endhing<\/em> Lambangsari, from Javanese Court Gamelan, Vol. III<\/em>. One CD, Nonesuch 79722-2, track 5.]<\/p>\n

<\/a>
The gamelans K.K. Harjanegara and K.K. Harjamulya set up in Bangsal Kasatriyan in December 2016.<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Acquired: during the Reign of Sultan Hamengku Buwana VI Type of Gamelan: common practice–modernized Tuning: sl\u00e9ndro K.K. Harjanegara (“prosperous kingdom”) was either commissioned or purchased as a separate gamelan sl\u00e9ndro by the Sixth Sultan when he was still the Crown Prince. During his reign as the Sixth\u00a0Sultan (1855-1877),\u00a0K.K. Harjanegara was paired with the gamelan p\u00e9log … Continue reading “K.K. Harjanegara”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":24,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-60","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/pages\/60","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\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/comments?post=60"}],"version-history":[{"count":57,"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/pages\/60\/revisions"}],"predecessor-version":[{"id":2219,"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/pages\/60\/revisions\/2219"}],"up":[{"embeddable":true,"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/pages\/24"}],"wp:attachment":[{"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/media?parent=60"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}