The History of Java, v. 1-2

by Sir Thomas Stamford Raffles

The bónang or krómo (No. 3) the sáron (No. 5) the démong, (No. 6) and selántam (No. 7) are staccátos of metallic bars, and a sort of bells placed on a frame. They contain a regular dianotic scale, and nearly two octaves. These, however, are never played singly, but harmonize with the instrument on which the air is played.

The gongs (No. 9) are perhaps the noblest instruments of the kind that have been brought to Europe: I am assured that they are very superior to that which was admitted in the terrific scenes of the serious ballet representing the death of Captain Cooke. Suspended in frames, and struck by a mallet covered with cloth or elastic gum, they sustain the harmonious triad in a very perfect manner, and are probably the most powerful and musical of all monotonous instruments. They might be introduced with advantage in lieu of large drums. They have the advantage of being mellifluous, and capable of accompanying pathetic strains. The two gongs differ from each other by one note.

The above observations apply particularly to the gámelan pélog, which usually accompanies the recitation of the popular poems of the country. The gámbang káyu of the salíndru appears only to differ in being in another key, which is considered better suited to the occasions in which that kind of gámelan is used.

The airs which are exhibited in the plate are selected from several written down by a gentleman at Semárang, as they were played on the rebáb of the gámelan pélog, and may afford a further illustration of the nature of their music.

But it is the harmony and pleasing sound of all the instruments united, which gives the music of Java its peculiar character among Asiatics. The sounds produced on several of the instruments are peculiarly rich, and when heard at a distance have been frequently compared to those produced on the harmonic glasses. The airs, however simple and monotonous they may appear of themselves, when played on the gámbang káyu, or accompanied by the other instruments, never tire on the ear, and it is not unusual for the gámelan to play for many days and nights in succession.

The Javans do not note down or commit their music to writing; the national airs, of which I have myself counted above a hundred, are preserved by the ear alone. Those which are exhibited in the plate are among the most popular: but there are a variety which are played on occasions of rejoicing and festivity, which it would be difficult to note down; if, indeed, they can be called airs at all, the sounds produced rather resembling the chiming of bells than a melody. Thus, when a great man arrives at the native seat of government, the tune of kébu gíru, "buffaloes frisking," is played, and a variety of others of the same nature, which diffuse the same kind of joy and gaiety among all assembled, as the quick ringing of bells in the churches of England.

A complete set of the gámelan pélog costs from a thousand to six hundred dollars (£250 to £400,) but second-hand sets are frequently disposed of. The principal manufacture is at Grésik, and the gongs in particular furnish a valuable article of export. Every native chief in authority has one or more gámelans, and there are more or less perfect sets in all the populous towns of the eastern provinces.

In some of the interior, and in particular in the Súnda districts, the inhabitants still perform on a rude instrument of bámbu, called the ángklung, of which a representation is given in one of the plates. This instrument is formed of five or more tubes of bámbu, cut at the end after the manner of the barrels of an organ. These, which are of graduated lengths, from about twenty to eight inches, are placed in a frame, in such a manner as to move to a certain extent from their position, and to vibrate on the frame being shaken. A troop of from ten to fifty mountaineers, each with an ángklung, and accompanied by one or two others with a small drum played with the open hand, always perform upon this instrument on occasions of festivity in the Súnda districts. The upper part of the instrument, and the parties themselves, are generally decorated with common feathers, and the performers, in their appearance and action, are frequently as grotesque and wild as can be imagined. There is something, however, so extremely simple, and at the same time gay, in the sound produced by the rattling of these bámbu tubes, that I confess I have never heard the ángklung without pleasure. The Javans say the first music of which they have an idea was produced by the accidental admission of the air into a bámbu tube, which was left hanging on a tree, and that the ángklung was the first improvement upon this Æolian music. With regard to the music of the gámelan, "that," they say, "was procured from heaven, and we have a long story about it."

A wind instrument, of the nature of a flute, but in length some feet, with a proportionate diameter, is sometimes introduced in the gámelans; but this is not usual in Java, though, in Báli it is general.

The trawángsa is a stringed instrument, not very unlike a guitar[196], which is occasionally found in the Súnda districts: it is by no means general. I recollect to have once heard an old blind bard at Chiánjur play upon this instrument, reciting at the same time traditions respecting Pajajáran, and the ancient history of the country, which had probably never been committed to writing.