The gamelan music in the wayang play consists of instrumental music in the Slendro and Pelog modes, and songs such as the Pathetan, Adada, and Sendhon; in Balinese Wayang the Pengalang and Tandhak. Many different gamelan melodies are used in the course of the play to create atmosphere and to provide dramatic accompaniment. Expressions of joyfulness, sorrowfulness, angriness, peacefulness, and conflict are all indicated by different gamelan melodies and by the songs sung by the Dhalang and the traditional singers known as Sindhen. The gamelan music is therefore not a mere musical accompaniment, but an important evocative element linked with the development of the story. Its function is akin to that of the music in opera house.
Sulukan, Pathet, Sendhon, Gregetsaut, Tandhak, are terms relating to the most important songs in the wayang play. The Pathet (in Bali, called Pengalang Sendhon, Lepita) is used to create a mood; sometimes with the accompaniment of the Gamelan, sometimes not. The text of the song is called the Sulukan, and with it, the Dhalang can evoke different moods for different scenes.
The Wayang Purwa performance is done in a classical manner, accompanied b the Gamelan in the Slendro mode and the Wayang Gedhog by the Pelog mode. The development of these 2 modes or systems of music in the history of Indonesian art is difficult to trace accurately. And it’s still in question, whether there are musical influences from outside Indonesia, or wether the Gamelan is an indigenous Indonesian art form. Those ethnic groups within Indonesia which have completely developed an independent Gamelan form, are the Javanese, Sundanese, Maduranese, Balinese, and the people of the Banjarmasin area of South Borneo and those of South Andalas.
The Slendro mode is pentatonic, a system of music characteristic of the people of Southeast Asia and China. There are a few Gamelan instruments, which can be found throughout Nusantara, and these are drum, flute, cymbals, and the gong. These instruments are probably the original and primitive instruments of Nusantara, but somewhat similiar instruments do occur also in Vietnam. The comparison of musical instruments and musical composition of various Asian countries is still beingstudied by musicologists of the various conservatories and schools of music in Nusantara.
The themes and forms used in the wayang play are very important. They are sources of dramatic mood that accompany scenes of conflict with exciting music for state occasions, or occasions of joy, or sorrow and anger. The tunes used most frequently during the play, which continues from early evening till the next morning are Ayakayakan, Playon, Srepeghan, Kerepan, and Sampak. At every stage appropriate music is played to match the mood or character presented. Every act of the wayang play is accompanied by appropriate atmospheric music, such as Ketawang, themes for peaceful moments, and Ladrangan for joyful anticipation.
In a Balinese wayang performance, the atmosphere is also shaped by the gamelan tunes, the Gendhing Pedhalangan. A session in the Kraton is accompanied by the Angkatangkatan Sekarginotan or Selangsah. In scenes, where a princess appears on the screen, the Angkatangkatan Sekethi is played. In amorous scene the Gendhing Rebong is played. When a titan king falls in love with a princess, Gendhing Benduasmara is played. When a titan king has a session in his palace the Gendher plays the Gendhing Candhi Rebah. The Bhatari Durga is accompanied by the Gendhing Sunyang which have a mystical character. When a princess is in sorrowful mood, the Gendhing Mesem is played. Battle is always accompanied by the Bathel.[email_link]
Narasumber: Moerdowo,R.M.
