Theory in Institutional Pedagogy and "Theory in Practice" for Sundanese Gamelan Music Author(s):...

Theory in Institutional Pedagogy and "Theory in Practice" for Sundanese Gamelan MusicAuthor(s): Andrew N. WeintraubSource: Ethnomusicology, Vol. 37, No. 1 (Winter, 1993), pp. 29-39Published by: University of Illinois Press on behalf of Society for EthnomusicologyStable URL: http://www.jstor.org/stable/852243 .

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ETHNOMUSICOLOGY

Theory in Institutional Pedagogy and "Theory in Practice" for Sundanese Gamelan Music

ANDREW N. WEINTRAUB UNIVERSITY OFc CALIFORNIA AT BERKELEY

n this article I will examine how certain fundamental aspects of music theory are constructed, debated, rationalized, and used in Sundanese

gamelan music.1 By "music theory" I am referring to the way musicians conceptualize piece structures, group them into categories, and articulate these systems to others.2 I will consider the development of academic music theory which continues to be taught at ASTI (Akademi Seni Tari Indonesia), the government-sponsored college-level music and dance conservatory in Bandung, the capital city of the province of west Java. An important component of the curriculum at ASTI is the concept of patet, a modal system borrowed from central Javanese music theory. I will explain some of the reasons why it does not currently enjoy widespread acceptance among Sundanese gamelan musicians.

Musicians outside the conservatory have developed theoretical systems of their own which I will call "theory in practice." In their conceptualization of an identical repertoire, musicians outside the conservatory differ from musicians within the conservatory and these differences indicate widely divergent attitudes about music theory among musicians in contemporary Bandung. These widely divergent attitudes are symptomatic of a central difference in approach: deductive as opposed to inductive. I will discuss an inductive approach to theory as formulated and rationalized by one of my teachers, Pa Otong Rasta.3

A Short History of the Development of Institutional Music Theory

At the center of institutionalized music theory is a body of work authored by Raden Machyar Angga Kusumadinata, in collaboration with Jaap Kunst,

? 1993 by the Board of Trustees of the University of Illinois

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VOL. 37, No. 1 WINTER 1993



30 Ethnomusicology, Winter 1993

during the 1920s and 1930s. These models have exercised the most influence among academics and form the basis of the theory curriculum in the music conservatory today. The collaboration between Kunst and Pa Machyar is well-known. Pa Machyar taught Kunst about Sundanese tunings, scales, and modes, while Kunst taught Pa Machyar about Western music, including the use of the monochord and how to describe scales using Ellis' cents system.4

Sundanese written music theory arose out of a perceived need to legitimize Sundanese music vis a vis theJavanese.5 Correspondence between Kunst and Pa Machyar from 1928 reveals that Kunst coached Pa Machyar on applying Javanese (and Western-derived) terms such as raras, modus, and patet to Sundanese music.6 Pa Machyar used Javanese names to refer to pitches although the Sundanese terms were available. Many Sundanese musicians today believe that Pa Machyar designed the Sundanese pitch and rhythmic notation systems with reference to Javanese models. These externally driven forces, that is, the influence of Kunst and the legitimization vis a vis the Javanese, inform the development of Kusumadinata's influential theories.

Ethnomusicological Perspectives on Institutional Music Theory

The academic works by Kusumadinata (1969), Harrel (1974 and 1975), and Supandi et al. (1976)7 are characterized by complicated graphs, models, and charts which fit the practice to the model, rather than the model to the practice. Non-Indonesian ethnomusicologists have expressed doubts about the suitability of Kusumadinata's theories (Tamura 1977; Heins 1977; van Zanten 1989).8 Ernst Heins notes appropriately that "Sundanese written musical theory of scales and tunings has been suffering somewhat from jungle growth" (1977:85, footnote). In a recent work Wim van Zanten, writing about the theory of Sundanese tone material developed by Kusumadinata for tembang Sunda,9 observes that "these theories ... hampered creative thinking about music" (1989:112). While the patet model in particular has limited acceptability among Sundanese musicians, my objec- tive here is not to disprove earlier models presented by theorists, but to try to understand and interpret some of their motivations and preferences. My first task is to explain some current attitudes about institutional music theory and to outline the basic properties of the patet model.

There is much concern at ASTI about theory, as evidenced by the large number of materials published by graduates and staff in the last fifteen years. At ASTI, theory is talked about and taught as a closed system. For example, teori (theory) classes are held in a classroom, the only prop being a blackboard. Classes in praktek (practice) are held down the hall in the gamelan room.



Theory in Institutional Pedagogy and "Theory in Practice"

In general, the models are unassailable because of the legendary status of their author, Kusumadinata. I do know musicians within the conservatory who express doubts about the correctness of theories disseminated there, but those doubts are voiced away from the workplace in the privacy of their own homes. Sean Williams states that musicians at the government- supported conservatory reiterate Kusumadinata's ideas in fear of losing their jobs (1990:237). Just as Kusumadinata gained legitimacy by his association with Kunst, and by his acceptance of central Javanese-inspired terminology and theory, modern musicians seek the support of the music institution by proliferating its musical theory. For these reasons, the musical theory developed by Kusumadinata has survived to the present without serious challenge.

Patet Theory in West Java

The definition of patet from Atik Supandi's Kamus Istilah Karawitan Sunda (1988:158) is:

The organization of tones from one of the surupan/scales'0 in which each tone exerts its own influence and function. The function of those tones in each Patet is as follows:

Tahapan I: Patokaninglaras Tahapan II: Panglangan Tahapan III: Pangaget Tahapan IV: Pangrena Tahapan V: Pancer/Ding

The function of each tone is named according to (1) Tahapan nada (literally "tone level") indicated by roman numeral, and (2) a Sundanese term. The arrangement of tones in each patet and their corresponding functions are shown in Figure 1, Skema Papatet, taken directly from one of the standard texts for music theory courses at ASTI. Tones corresponding to tahapan I, II, and IV occur in important structural positions in pieces belonging to each respective patet. The shaded regions cover tones which do not occur in important structural positions.

Although five patet are theoretically available, Supandi admits that only three are actually used: Barang, Manyura, and Sanga (Supandi et al. 1976:17). The three patet are arranged in another chart (Figure 2) by posisi kenongan, the arrangement of the two most important structural elements of a piece; that is, (1) the goong tone or tones played by the large gong which occur at the end of each phrase, and (2) the kenong tone or tones played by a large suspended pot gong and occuring at the midpoint of each phrase. Goong tones are indicated in parentheses. The posisi kenongan are root structures which describe the relationship between the goong and kenong tones for

31




Figure 1: Skema Papatet (Supandi et al. 1976:28)

TAHAPAN

Nama Patet I

Patokaning Laras

II Panglangen

Barang 1 2

Tugu Loloran

Loloran 2 3

Loloran Panelu

Manyura 3 4 Panelu Galimer

Sanga 4 5 Galimer Singgul

Singgul 5 1

Singgul Tugu

III IV Pangaget Pangrena

4 Galimer

5 Singgul

1 Tugu

2 Loloran

3 Panelu

a large number of basic pieces in the repertoire (Figure 2). These basic pieces are called sekar alit (lit. "little pieces"). For example, the first posisi kenongan is roman numeral I - IV, with the kenong tone falling on tahapan I and the goong tone falling on tahapan IV. From the Skema Papatet, tones

corresponding to tahapan I - IV in patet Barang are tones 1 and 4, giving the

piece "Gendu." Tones corresponding to posisi kenongan I - IV in patet manyura are tones 3 and 1, which describes the piece structure "Sorong Dayung"; and tones corresponding to I- IV in patet sanga are tones 4 and 2, or "Cangkurileung." The remaining basic pieces are classified according to

patet for six other posisi kenongan.

V Pancer




Figure 2: Posisi Kenongan and Patet (after Supandi et al. 1976:50)

Patet

Barang Manyura Sanga Posisi Kenongan

I- (IV) 1 - (4) 3 - (1) 4- (2) Gendu Sorong Dayung Cangkurileung

I- (IV) 2-(4) 4-(1) 5-(2) Kulu-kulu Bem Kulu-kulu Barang Kulu-kulu Kenong

()- (II) (1)- (2) (3)- (4) (4)- (5) Bendrong Waled Bendrong Sanga

I - (II) - I - (IV) 1 - (2) - 1 - (4) 3 - (4) - 3 - (1) 4 - (5) - 4 - (2) Banjaran Rancag Bungur

IV - (I)- IV- (I) 4- (1)- 4- (2) 1- (3)- 1- (4) 2- (4) - 2 - (5) Panglima Sinyur Barlen

I - (I)- II- (IV) 2- (1)- 2- (4) 4 -(3)- 4 - (1) 5-(4)-5-(2) Karangnunggal KN. Manyura K.N. Sanga

(I) - (II) - (IV) (1)- (2) - (4) (3)- (4) - (1) (4) - (5) - (2) Angle Tumenggungan T. Sanga

By applying the structural relationship to respective patet,l the same piece in different patet can be determined. In simplified terms, music theorists have devised elaborate schema for classifying and teaching the primary structural and modal features of a piece. The model illustrates the institutional propensity for neat tables which appear to be systematically derived, but it actually gives a slightly skewed picture of the repertoire. Without dwelling on this model, I will mention four points: (1) these are not the only root structures in the repertoire; (2) these are not the only basic pieces (for example, Solontongan, Mitra, and Renggong Gancang are excluded); (3) some of the pieces excluded belong to the other two patet; and (4) some of the pieces listed are rarely, if ever, played; rather they are simply theoretical possibilities (for example, K. N. Manyura and T. Sanga).

Theory in Practice Outside the Conservatory

Unlike the situation in central Java, patet theory in Sunda has not generally developed into a system of musical thought among practicing musicians. Outside the conservatory, musicians will generally say, "Patet theory has little to do with what we actually play." I have not found evidence that patet theory provides the grammar governing, for example, senggol

33




(formulaic melodic patterns, called cengkok in Javanese) and melodic composition as it does in centralJavanese gamelan music (see Martopangrawit 1975; Poerbapangrawit 1955). Musicians outside the conservatory have never indicated to me that, for example, Sorong Dayung is Gendu in patet manyura. It seems rather that each piece has its own individual identity based on determinants such as the melody (lagu) realized by the rebab (two- string bowed lute) player or singer, association with puppet and/or dance characters, and piece-specific melodic and rhythmic motifs.12 Based on my fieldwork experience, pieces are taught individually as well, and certainly without reference to a patet model. In contrast to the institutional method, explication of musical concepts, when offered, is reinforced by demonstra- tion on an instrument.

How then do musicians outside the government-sponsored conservatory reflect on the nature and properties of the musical system being used and how is it articulated? As Stephen Blum writes, "The ways in which musicians articulate, reveal, or conceal (to themselves and to outsiders) these theoretical systems afford crucial insights regarding the relationship of music-making to larger cultural processes" (1975:218).

My teachers indicated that the most important characteristic of a piece is the relationship between the two primary structural tones of the piece, the goong tone and the kenong tone. On a number of different occasions, one of my teachers explained this relationship using the following paired metaphors. The goong and kenong stand in a relationship of husband to wife (goong dan kenong bersuami-istri). The goong cannot be called the goong without its opponent [kenong] (goong ini tidak akan bisa disebut goong karena tidak ada perlawananya). The goong will not sound without the kenong (goong tidak akan bersuara kalau tidak ada kenong). The kenong waits for the goong (kenong menunggu goong). The kenong chases the goong; and the lagu (the musical piece) chases the goong (lagu apa saja yang mengejarsuara goong). And finally, after the sound of the goong, two become one (dua menjadi satu) (Pa Otong Rasta, personal communica- tions, October 1988-March 1989). These paired metaphors illustrate that (1) social values and musical values are intertwined, and (2) the explication of theory based on practice is metaphoric and not technical.

While Pa Otong will not discount the patet model, he prefers a classification which emphasizes piece structure over modal identity. Pa Otong admitted that he developed the following model after the practice was already in place, another characteristic feature of theory in practice. Pa Otong's classification encompasses the same twenty or so basic pieces as the institution uses to teach patet theory. Each form in Figure 3 represents a type of piece structure, showing the primary structural tones of the piece, kenong and goong (Supandi's "posisi kenongan"). In Pa Otong's model, kenong




tones are indicated by K, and goong tones by circles. The first piece structure has one goong tone and one kenong tone. The second structure is characterized by two different goong tones and the kenong tone leading to the goong is the same for both goong tones. The third structure has three goong tones and each kenong tone is different. The last form is characterized by two goong tones again, but this time the kenong is different for each

goong tone.13

Figure 3: Otong Rasta's Taxonomy of Sekar Alit Piece Structures

k k

O k 00 k O

I L A 0 Gendu Banjaran Angle Bendrong Sorong Dayung Rancag Tumenggungan Waled Cangkurileung Bungur Renggong Gancang Kulu-kulu Bem Panglima Kulu-kulu Barang Sinyur

Karang Nunggal Barlen

Below the model are pieces classified into groupings according to each form. Figure 4, my composite of the ASTI model and Pa Otong's model, shows these groupings. The ASTI grouping is arranged vertically and Pa Otong's reads horizontally. Although the repertoire of pieces is almost identical, the classification of pieces differs remarkably. Pa Otong's taxonomy, grouped according to kenong-goong structure, contrasts sharply with the model used at ASTI, which emphasizes mode (patet).

Beyond the practical elements of the model, Pa Otong used his structural forms to explain that gamelan pieces were not merely for entertainment (hiburan semata-mata), but that theory is rationalized by other connota- tions, a phenomenon not unique to Sunda. He explained that the forms could be made into letters, indicated in Figures 3 and 4. With the addition of another L, they can be arranged to spell the word "ILALO," also meaning ALLAH.14 The rationalization of theoretical groupings through the use of this "folk etymology" reveals much about the practice of music theory outside the conservatory. The interconnectedness of Pa Otong's theory with the institution of Islam automatically invests the theory with the authority of

35




Figure 4: Composite of ASTI model and Otong Rasta model

PATET

Posisi Kenongan Barang Manyura Sanga __- -1 - (N\

I/ ( I- (IV) / 1-(4) \ / 3-(1) \ / 4-(2) \

Gendu \ orong Dayun angkurileun

In-(IV) / 2-(4) 4-(1) \ 5-(2) Kulu-Kulu Bem \ Kulu-kulu Barang IKulu-kulu Kenon

(I)-(II) ( (1)-(2) (3)- (4) (4)- (5) Bendrong Waled Bendrong Sanga

(II)- I- (IV) 1- (2) - 1- (4) 3 - (4) - 3- (1) 4- (5) - 4-(2) Banjaran Rancag Bungur

IV -(I) - IV - ( 4 -(1) - 4- (2) 1 -(3)- 1-(4) 2 -(4) - 2-(5) Panglima Sinyur Barlen

n - (I- ) 2 - (1)- 2- (4) 4-(3) - 4- (1) 5- (4)- 5 - (2) Karangnunggal K.N. Manyura K.N. Sanga

(D- (I) - (IV) \(1) - (2) - (4) (3)-(4)-(1)/ (4)(5)(2)

LI i ~\ Angle / umenggungi

\ T. Sanga/

0

L

A

Y*. YU. YI.




religion. More importantly, for Pa Otong, the notions of music and religion exist side by side; Islam belongs naturally in a discourse about Sundanese gamelan. Music theory accommodates this transition from a logical classification to a mystical rationalization. In fact, music theory only makes sense when the models take on attributes beyond the musical-acoustical; then, they become cocok, or fitting, with the world.

Conclusion

In current practice, the ASTI patet model has limited acceptability among Sundanese musicians. The problem is not so much that Kusumadinata's theories were wrong or even a "mistranslation" of actual practice, but that there has been a lack of continuing debate and criticism within the conservatory. It is difficult for insiders to challenge a legendary figure such as Kusumadinata. However, as he admitted in his last work (1969:56), some of his models were still "far from perfect."

The central determinant of Pa Otong's model is the position of the primary structural tones of each piece. The conservatory model is based on the modal relationship between those tones. In contrast to the institutional model, I found that Sundanese musicians outside the conservatory articulate theory by using metaphor, "folk etymology," or an allusion to some other aspect of culture. These significantly different ways of thinking about, classifying, and articulating piece structures for an identical repertoire reflect widely divergent attitudes among musicians at the conservatory on the one hand, and musicians outside the conservatory on the other.

Theoretical models based on practice represent an effective alternative to the pedagogical models supported by the Indonesian conservatory. Alter- native models such as Pa Otong's, more closely aligned with what musicians actually do in practice, throw into question the appropriateness of Euro- pean/centralJavanese-inspired theoretical systems. An alternative classification of the sekar alit repertoire reflects a more accurate representation of musical practice and a challenge to the authority of the conservatory.

Notes

My data are derived in part from theoretical readings and discussions with theorists at the music conservatory in Bandung, west Java. My knowledge of theory practiced outside the conservatory is based on collaboration with practicing musicians over the last nine years. I am indebted to Undang Sumarna, Otong Rasta and his family, and Uking Sukri among others. I would also like to acknowledge the Institute of Culture and Communication at the East-West Center for sponsoring my field research in west Java during 1988-89, and the Research Group Jaap Kunst (Etnomusicologisch Centrum "Jaap Kunst" at the University of Amsterdam) for providing access to correspondences betweenJaap Kunst and R.M.A. Kusumadinata. An earlier version of this paper was read at the 1990 meeting of the Society for Ethnomusicology in

37




Oakland, California, and it was awarded the Society for Ethnomusicology's Charles M. Seeger Prize. I would like to thank Hardja Susilo, Ricardo D. Trimillos, Alice Dewey, R. Anderson Sutton, Henry Spiller, and Simon Cook for their comments on the original draft.

1. My findings are limited to gamelan salendro, one of several types of Sundanese gamelan played in west Java. Gamelan salendro is distinguished by its tuning (salendro), instrumenta- tion, repertoire, performance context, and constituency of musicians. It is primarily used as accompaniment for various kinds of dance, theatre, and song. For the purposes of this paper, I will use the term gamelan to refer to gamelan salendro.

2. The formulation of my ideas borrows from the ethnomusicological literature on "ethno- theories" explicated by Blum (1975), Feld (1981), Sutton (1986a) and Baily (1988).

3. The Sundanese title "Pa" (from "Bapa") literally means "father" and indicates respect. 4. They wrote several manuscripts together, including Kunst and Kusumadinata 1929

which, together with Kusumadinata N.d., Kunst incorporated into his book De toonkunst van Java (The Music ofJava) (1934).

5. Sutton 1986a:79 and 1986b mentions a similar case of legitimization vis a vis Javanese music theory with regard to Banyumas, West Central Java.

6. Letter from Kunst to Kusumadinata, November 21, 1928. This correspondence was made available to me by the Research Group Jaap Kunst (Etnomusicologisch Centrum "Jaap Kunst") at the University of Amsterdam.

7. Supandi, a student of Kusumadinata, received his training at ASTI Surakarta in central Java under the Javanese scholar Martopangrawit before joining the faculty at ASTI Bandung.

8. Fryer (1987) offers a well-balanced treatment of the discourse on patet. 9. A Sundanese vocal genre accompanied by kacapi (zither) and suling (flute) 10. The terminology has not been standardized. One manual used at ASTI (Supandi et al.

1976:13-14) defines surupan as all of the following: (1) tuning of the fixed pitch gamelan (pelog or salendro), (2) to tune an instrument (using the verb form nyurupkeun), (3) scale, (4) mode, and (5) tone.

11. This concept, called pindah patet (literally, "to move the patet"), is similar to the Western music concept of transposition from one key to another.

12. In addition, Ruth Fryer observes that performance practice of certain pieces based on patet theory at ASTI is at variance with the way pieces are played by musicians outside the conservatory (1987: 208).

13. The addition of an extra L structure in Otong Rasta's model will be explained in my conclusion.

14. The Islamic declaration of faith is laa ilaaha illallaah, roughly glossed as "there is no God but Allah." The last word of the phrase, illallaah, is sounded "ilaloh," or "ilalo."

The addition of an extra L structure in Otong Rasta's model illustrates another difference between the two models I have chosen to contrast. In Figure 2, every piece structure in the patet matrix is accounted for, including rarely played pieces, in order to fill in all the possibilities the patet matrix suggests. In contrast to the conservatory model, Otong Rasta did not prescribe theoretical possibilities to the additional L structure in order to fill in the model.

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