MUS 11 Lecture Notes - Lecture 3: Rhoma Irama, Kroncong, Drum Kit
A Sea of Influences: Music in Indonesia 1/28/16
1. Keroncong
a. Portuguese trade ships, 16th century
b. A usi that represets a reofigurig, loalizig of the foreig =
c. Not identified with one particular ethnic group or region (unlike Javanese, Balinese
gamelan)
d. A fleile traditio
i. Could incorporate songs form music traditions of various ethnic groups (more
than 200 different ethnic groups in Indonesia)
e. Instruments
i. 2 Indonesian ukuleles (cuk and cak) play an interlocking rhythm
ii. Cuk pattern emphasizes downbeat
iii. Cak pattern the offbeat
1. Interlocking: melodic line played by two or more instruments
f. 7 standard keroncong instruments
i. Cuk and cak, cello, flute and violin, guitar, upright bass
2. Layers of sound in keroncong
a. Layer 1: main melodic lines: flute and violin
b. Layer 2: interlocking rhythms: cuk, cak, cello
c. Later 3: underlying melody: guitar
d. Layer 4: upright bass: punctuates first beat of every measure
3. Langgam Jawa
a. A Jaaizatio of keroog
b. Associated with the city of Solo in Central Java
c. Keroncong instruments imitate sounds of Javanese gamelan instruments
i. Cello: kendhang drum patterns
ii. Cak: zither
iii. Bass: gong
d. Waldjinah
i. A keroncong vocalist from Solo, specializing in langgam jawa
ii. Popularized langgam jawa in late 1960s
iii. An icon of Indonesian modernity/IDENTITY
4. Islam in Indonesia
a. Islamic call to prayer (adhan) in Indonesian (and other Muslim world) soundscapes
b. Issues:
i. Loudness
ii. Secular space vs. Islamic space
iii. Sound defines space: sound structures power within space
5. Islam in Southeast Asia
a. Characterized by variety rather than unity
i. Intertwined with beliefs of each ethnic group
b. Early folk and court art traditions developed long before Muslim traders arrived
c. Islamic influence
i. Gamelan, sung poetry, theater
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