Indonesia's representative instrumental ensembles and their music. Ensembles of various sizes, connected with dance and theater, or as pure music, are found almost exclusively on the islands of Java and Bali. The instrumental arrangement consists of a variety of melodic percussion instruments, drums, flutes, and bowed string instruments. (1) The tuning of Javanese gamelan instruments follows the scale of the serendro or pelog, but there are slight variations between groups. The notes in the scale are not used in all songs, and each song has its own mode, called patet. Similar to Indian raga, patet is linked to the concept of time and seasons, and naturally determines the performance time of dance dramas and shadow puppet shows (wayang kulit), which are based on the epics Mahabharata and Ramayana, influenced by Hindu culture. Within Java, a distinction can be made between Javanese and Sundanese (west Java) styles. In Sunda, small-scale ensembles that enjoy the subtle beauty of sound are popular, while in Javanese music, large-scale ensembles were once used as court music. The orchestration aims for a layered musical structure by dividing instruments into three functional groups. The main groups are the group that plays the main melody (saron and serentem), the group that decorates the melody (bonang, gundel, gambang), and the group of colotomy instruments that persistently demonstrate periodic meter (gong, kumpur, kenong, kutok). The largest group is the group that includes kendang, rebarb, serin, soloists, and choruses. (2) The tuning of Balinese gamelan instruments is based on sairima (serendro) and saipitu (pelog), but the pelog scale is used for theater and dance. The ensemble form is specified in more detail than in Java. For example, the form of Gamelan Gambuh (7-note Pelog) is the origin of the forms of Gamelan Gong and Gong Kebuyar (5-note Pelog). Gamelan Joge, which uses only bamboo instruments, is an ensemble form that plays music for the folk dance called Joge. Gundel Wayang, which accompanies shadow puppet theater, uses only the Slendro. Two pairs of gundels, one large and one small, for a total of four gundels are used, and this ensemble is for intellectual music that pursues a high level of beauty in sound composition. In contrast, Gamelan Angkoron is an ensemble form for functional music that is easy to play and is used in ceremonies, village festivals, and school education, or for entertainment music. Gamelan |
インドネシアの代表的な器楽合奏およびその音楽。大小さまざまの規模の合奏形態が,舞踊や演劇と結びついたり,純音楽の形で,ジャワ島とバリ島にほぼ集中して存在する。楽器編成は多種の旋律打楽器,太鼓,笛,擦弦楽器から成る。 (1) ジャワのガムラン楽器の調律は,スレンドロあるいはペロッグの音階に従っているが,綿密には団体ごとに多少のずれがある。音階に含まれる音は,すべての曲のなかで使用されるわけではなく,曲ごとに応用する旋法が規定されており,これがパテットと呼ばれる。インドのラーガに似て,パテットは時間や季節の概念と連関しており,ヒンドゥー文化の影響としての『マハーバーラタ』と『ラーマーヤナ』叙事詩に基づく,舞踊劇や影絵人形芝居 (ワヤン・クリ) の上演時間をおのずから規定する。ジャワ島の内部で,ジャワ様式とスンダ様式 (西部ジャワ) を区別することができる。スンダでは小編成の微妙な音の美を楽しむ合奏が好まれ,ジャワ様式では,かつて宮廷音楽として大規模の合奏形態があった。オーケストレーションは,楽器を機能的に3つの群に分けて,層化された音楽構造をねらっている。主旋律を奏する楽器群 (サロンとスレンテム) ,旋律装飾を行う楽器群 (ボナン,グンデル,ガンバン) ,周期的な拍節法を執拗に明示するコロトミー楽器群 (ゴング,クンプール,クノン,クトック) が主要なグループで,さらにクンダン,レバーブ,スーリーン,独唱,合唱が加わると最大の規模となる。 (2) バリ島のガムラン楽器の調律は,サイリマ (スレンドロ) とサイピトゥ (ペロッグ) に基づいているが,演劇や舞踊にはペロッグ音階のものが用いられる。合奏形態はジャワ島の場合より詳細に規定される。たとえばガムランガンブー (7音ペロッグ) の形態は,ガムランゴングやゴングケブヤル (5音ペロッグ) の形態の元祖である。竹製楽器だけのガムランジョゲは,ジョゲという民俗舞踊のための音楽を奏する合奏形態である。影絵芝居を伴奏するグンデルワヤンはスレンドロのみが用いられる。2台1対のものが大小の2組,合計4台のグンデルが使われ,高度の音構成美を追究する知的な音楽のための合奏で,それに対しガムランアンコロンは,儀礼や村祭に使われたり,学校教育で使われたりする演奏の容易な機能音楽,あるいは娯楽音楽のための合奏形態である。
ガムラン
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