ERNST HEINS

MUSIC IN JAVA: CURRENT BIBLIOGRAPHY

1973-1992
[3rd, enlarged edition]

Institute of Musicology Etnomusicology Center "Jaap Kunst" University of Amsterdam, The Netherlands

- 1993-

FOREWORD
to the second edition

This bibliography, to which have been added a discography and a filmography, contains more than 370 entries. It may thus demonstrate the explosive growth of studies on Javanese music since - but not necessarily owing to - the 1973 re-edition of Jaap Kunst's standard work Music in Java (The Hague, 1949, of which the first edition appeared in 1934 in Dutch, entitled De Toonkunst van Java ), to which it is a sequel. The setting in the field has dramatically changed over the past decades, and this has deeply and immediately affected the styles and modalities of current research in loco as well as behind the writing desk. In the first place the population in present-day post-Independence Java has more than doubled as compared to colonial times:
D.KJ. Jakarta Prop. Jawa Barat Prop. Jawa Tengah DJ. Yogyakarta Prop. J awa Timur
*)

1930* 18,000 < 11.022,000 < 12.889,000 < 2.150,000 < 14.810,000 <

1980* 6.500,000 27.450,000 24.370,000 2.750,000 29.190,000

1930 census after Kunst (1934, App.); 1980 census after Ron Hatley e.a., Other lavas away from the kraton (Monash U., 1983: 16).

New and larger audiences are arising; changes in audiences' and performers' attitudes, social organization and economy are all leading to a revaluation of the traditions and are giving rise to repertoire changes and, notably in urban Sunda, to entirely new and widely accepted genres. The cultural and therefore the research climate have drastically altered and this bibliography reflects these changes. A growing number of Indonesians is expanding the ranks of western researchers while generally the unrestricted application of participatory field techniques of doing research by performative learning and learning by research (unthinkable in Kunst's time) has made the ethnomusicology of Java a highly sophisticated musical science. In addition, developments in recording and play-back technology have equally reshaped research strategies. In this context the recent (1989) birth of an Indonesian (ethno)musicological society, Solo-based Masyarakat Musikologi Indonesia, should be mentioned. At present, the MMI is predominantly funded by foreign capital (Ford Foundation) and aims to unite Indonesian and foreign scholars in the field. A singular development is the impact of western musicians and scholars, including students in the field, on their Indonesian teachers and colleagues. The unforeseen effect of close professional interaction seems to be that from an oral tradition Javanese karawitan is becoming an at least partly written tradition - a significant modification in the transmission of music, brought about by external factors originating from the script-centrism of foreign scholars and students, with probably far-reaching effects in the future. Even professional Javanese musicians in some of the courts nowadays are known to use notation in official performance as well as in musical discourse. True, the four courts in Central Java have still remained the focal points of many music and dance activities. Their prestige as charismatic locations where the artistic conventions are nurtured as visual and aural manifestations of royal cultural power has as yet far from diminished. Every week one of the courts' gamelan, in monthly repetition, is live on the air in direct radio (RRI) broadcasts. Formal rehearsals are usually open to the public and domestic

as well as foreign tourists plan their excursions to the kraton to the rhythm of gamelan and dance rehearsals, semi-public performances and sometimes even palace ceremonies. Not unlike the proverbial Native American household-cum-anthropologist, groups of overequipped foreigners (ethnomusicologists?) squirming around the gamelan seem to have become a habitual property of the regular dance and gamelan sessions in the palaces. Yet the courts are under challenge. Nowadays there are firmly established institutions in urban Java, each with their own policies, where gamelan, other karawitan and dance are quite independently maintained and expanded, such as the government-run provincial music high schools SMKI and the academies STSI (formerly called ASKI), ASTI and lSI, in addition to numerous private dance (and gamelan) schools and the various local radio stations of Radio Republik Indonesia. It is there that new 'traditional' and 'avant-garde' styles, musics and choreographies are created alongside with the older traditional repertoire. Now the courts obtain their new dancers from them. Owing to Indonesian government policy and active sponsoring, the institution of the lomba or, in Sunda, pasanggiri (local and/or province-wide contests with juries and trophies) being a powerful tool, amateur theatre and music forms like kethoprak, sendratari, tembang sunda and the ubiquitous gamelan ibu-ibu are increasingly evolving. The involvement of local TV-RI stations underlines their growing importance. On the other hand many ancient Javanese court gamelan or single instruments disappear from Central Java to turn up in the nation's capital Jakarta among the new elite as merchandise or investment. However, the demand in Java proper and Sunda for payable and transportable gamelan is so large that new generations of gong smiths and instrument makers find a living in the gamelan assemblage, manufacturing and trade. Thereby the traditional bronze is often successfully replaced by cheaper brass and steel. Thus in the province of Yogyakarta every district office has been provided by the central government with a new bronze gamelan, and each subdistrict with an iron set of instruments, at the disposal of local amateur groups. A tendency to uniformity, however, is becoming evident since officially sanctioned performance styles, nursed in the state institutions of music education, are becoming normative as graduates of ASKI-Solo are given preference in gamelan teaching positions all over the province. Stylistic diversity seems to be quickly vanishing.

The scope of current research seems to be dominated by studies of the formal aspects of gamelan resp. karawitan performance, where descriptive and prescriptive, -etic and -emic, process and product approaches strive for prevalence. This performative bias in most recent studies is obviously due to Kunst's relative disregard of questions arising from the approach of performance styles to which he in his time had little or no access, and that he apparently appraised differently then than is done today. Islamic religious music and urban as well as rural folk traditions beyond the pulling power of the Central Javanese courts, notably those of the coastal periphery of the island, however, appear to have almost entirely escaped from the field of vision as the thematic break-down on pages 34-37 below indicates. On the other hand, popular music, once unrelentingly discarded by Kunst and his contemporaries, has emerged as a valid research topic. So have the original Betawi traditions of the Greater Jakarta area, brought to international attention by an active group of Jakartan scholars.

The format of this bibliography calls for a few remarks. It contains in the first place monographs, Indonesian government publications, M.A. theses and Ph.D. dissertations (published and unpublished), some papers read at conferences, and finally articles that have appeared in scholarly and cultural serial publications. The criteria for inclusion were not extremely selective, which may explain the unevenness of the material presented here. On the other hand, a low selectivity level may lead to a wider use of this bibliography. However, although they contain a wealth of first-hand information, articles (editorials, feature stories,

interviews, readers' letters, etc.) that appeared in weekly magazines such as Tempo, Editor, Djoko Lodang and Java-based Indonesian newspapers could unfortunately not be included for reasons of inaccessibility and lack of completeness. Some pre-1973 titles that were previously overlooked have also been included and so have some reviews of the standard works, whereas record reviews were laid aside. Multiple entries of one author have been listed in alphabetical order (first word of title). As a rule titles on wayang kulit have been included only if they are dated beyond the closing date of Van Groenendael's wayang bibliography (1983, see below). If the musical component played only a peripheral role in wayang-, dance- and theatre literature, it was a reason to ban certain entries from this bibliography. Late entries were given a reference number with added a, b, c. To the written materials has been added a Discography of internationally distributed gramophone records, in alphabetical order by publishing company. The Lokananta output is therefore excluded; readers who are interested in Indonesia's national cassette production are referred to Yampolsky's Lokananta discography (1987). The Discography is followed by a very tentative Filmography, including published video programs. However, the compiler is aware of the fact that assumedly these listings are far from complete. Many of these entries have not been viewed by the compiler. On the other hand most, but not all of the written entries below have gone through the compiler's hands. The interested reader may be referred to the following valuable bibliographies which can be used for further reference: Danandjaja, James. An annotated bibliography oflavanesefolklore. University of California Centre for South and Southeast Asia Studies, Berkeley 1972. Groenendael, Victoria M. Clara van. Wayang theatre in Indonesia - An annotated bibliography. Dordrecht etc., Foris Publications 1987 [but closing date 1983]. Becker, Judith and Alan Feinstein [eds.]. Karawitan vol. 3. Ann Arbor, University of Michigan 1988. - and finally the Current Bibliography sections of the periodicals Caraka /The Messenger, Ethnomusicology and Excerpta Indonesica. My sincere thanks go to the staff and management of the Department of Musicology, especially to Marion Marcenaro who lent technical advice and her professional expertise to the editing process of this bibliography. Amsterdam May 1990 ERNST HEINS

PREFACE
to the third edition Since the publication of the second edition two years ago, 72 new titles could be added to the bibliography, and 13 titles to the discography. The entire numbering system has been adapted accordingly. Other than these there are no major changes in this edition. Amsterdam February 1993 E.H.

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BIBLIOGRAPHY
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Aziz, Abdul & Nandang Barmaya. Tari Ketuk tilu. Bandung, ASTI 1984. Baier, Randal. 'The angklung ensemble of West Java: continuity of an agricultural tradition.' Balungan 2 (1-2), 1985/1986: 8-16.

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Indonesia. M.A. thesis Wesleyan U. 1986.
Barmaya, Nandang R. Jenis-jenis tabuh gamelan Sunda tradisionil. Bandung, ASTI 1979.

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Bastin, John. 'The Raffles gamelan.' Bijdragen tot de Taal-, Land- en Volkenkunde 127, 1971. Beck, Gina Carol. The Javanese gender panerus: an analysis ofthe performance of Pak Minaro. M.A thesis U. of Maryland, Baltimore 1990. Becker, Judith. 'Earth, fire, sakti and the Javanese gamelan.' Ethnomusicology 32, 1988 : 385-392. -------. Gamelan stories: Tantrism, Islam and Aesthetics in Central Java. Arizona State U. Press, Tempe, Arizona 1992. ------- & Alton Becker. 'A grammar of the musical genre srepegan.' Journal of MusicTheory 23,1979: 1-43; repro in Asian Music 14,1983: 30-72. -------. 'The Javanese court bedhaya dance as a Tantric analogy.' In: Jamie C. Kassler [ed.], Metaphor - A musical dimension. Sydney, Currency Press 1991 : 109-120. ------- & Alan Feinstein [eds.]. Karawitan, Source Readings in Javanese Gamelan and Vocal Music, 3 vols., Ann Arbor, U. of Michigan 1984, 1986, 1988. -------. 'Kroncong Indonesian popular music.' Asian Music 7, 1975: 34-41.

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------- & Alton Becker. 'A musical icon: power and meaning in Javanese gamelan music.' In: W. Steiner [ed.], The Sign in Music and Literature. Austin, U. of Texas Press 1981 : 203-215. ------- & Alton Becker. 'A reconsideration in the fonn of a dialogue.' Asian Music 14, 1983 : 9-16. -------. 'A Southeast Asian musical process: Thai thaw and Javanese irama.' Ethnomusicology 24, 1980: 453-463. -------. 'Review of Jaap Kunst, Music in Java (1973).' Ethnomusicology 19, 1975 : 310-314. -------. 'Time and tune in Java.' In: AL. Becker & AA Yengoyan, The Imagination ofReality. Northwood, Ablex 1979 : 197-210. -------. Traditional music in modern Java. Diss. U. of Michigan, Ann Arbor 1972.

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36.

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37.
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-------. The sacred bedhaya dances of the kratons of Surakarta and Yogyakarta. Diss. D. of Leiden 1988.
-------. 'Trancedansen in travestie op Java.' Verre Naasten Naderbij 10 (2), 1976 : 43-54. Brandts Buys, J.S. & A. Brandts Buys-van Zijp. The music of the Madurese. Translated and edited by Linda Bunnan-Hall [in prep., original: De Toonkunst bij de Madoereezen, 1928]. Brinner, Ben. Competence and interaction in the performance ofpathetan in Central Java. Diss. D. of California, Berkeley 1985.

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Budaya Jaya 11 (116), 1978. Various artt. on dance criticism by I Wayan Dibia, Enoch Atmadibrata, C.l Benny S., Edi Sedyawati & Soedarsono.
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Cameron, Nigel. 'Play, gamelan, play.' Orientations, May 1976: 24-31.

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Cara menabuh gamelan gaya Yogyakarta I: Bonang. Yogyakarta, Taman Budaya 1988.
Choon Mee Hong. A re-examination of Debussy's indebtedness to Indonesian musical culture. Diss. Michigan State D., East Lansing 1980. Choy, Peggy. Reading a golek: a perspective on a Javanese dance genre. M.A. thesis D. of Michigan, Ann Arbor 1982.
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Crawford, Michael. 'Indonesia V, East Java.' The New Grove Dictionary of Music and Musicians. London, Macmillan 1980, vol. 9: 201-207. Damais, Louis Ch. 'De driedaagsche wayang wong voorstelling in den Kraton te Jogjakarta op 18, 19 en 20 Maart 1939.' Djawa 19, 1939: 208-233. Danandjaja, James. 'Guna teater rakyat bagi kehidupan masyarakat Indonesia: ketoprak/dagelan Siswo Budoyo sebagai suatu kasus studi.' Berita Antropologi 7 (22), 1975 : 45-54. Danasasmita, Drs. Saleh. 'Latar belakang serajah, sosial dan budaya seni Pantun.' Buletin Kebudayaan Jawa Barat 23 (I-III), 1979 : 5-12.

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Dea, Alexander. Bawa: a Javanese solo vocal music. Diss. Wesleyan U., Middletown 1979. Deutsch, W. & F. Fodermayr. 'Tonhohe versus Frequenz: zur Frage der Indonesischen Tonsysteme.' Musicologia Austriaca 6, 1986: 197-226. DeVale, Sue Carole. 'Cosmological symbolism in the design and morphology of gamelan in Java.' In: Kathy Foley, Essays. .. [in prep.]. -------. 'Gong forging in Bogor, West Java: The process through its sound scape.' Pacific Review of Ethnomusicology 5, 1989 : 89-123. -------. 'Musical instruments and ritual: a systematic approach.' Journal of the American Musical Instrument Society 14, 1988 : 126-160. -------. A Sundanese gamelan - A Gestalt approach to organology. Diss. Northwestern U., Evanston 1977. Devereaux, Kent. 'Interview "It's not official till the gong is hung": Dr. Sri Hastanto, S.Kar.' Balungan 4 (1), 1989 : 6-10. Devries, Anik. 'Les musiques de l'Extreme-Orient a l'Exposition Universelle de 1889.' Cahiers Debussy 1, 1977 : 25-37. Dewi, Heristina. Studi trance kesurupan pada pertunjukan jaran kepang dalam konteks socio-kultural di Desa Cengkeh Turi, Sumatera Utara. Thesis Ethnomusicology, Un. Sumatera-Utara, Medan 1992. Dournon, Genevieve. 'Du pendopo au Musee: itineraire historique et musical d'un gamelan de Java.' Paris, Musee de I'Homme 1989 [in prep.]. Endang S. Pangajaran Tembang Sunda. Bandung, Pelita Masa 1979.
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Foley, Cathy M. 'The dancer and the danced: trance dance and theatrical performance in West Java.' Asian Theatre Journal 2, 1985: 28-49. ------- [ed.]. Essays in Southeast Asian performance. Berkeley, U. of California [in prep.]

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-------, 'My bodies: the performer in West Java.' The Drama Review. 34 (2), 1990 : 62-80.

n_. The Sundanese wayang golek: the rod puppet theatre ofWest Java. Diss. D.
of Hawaii, Honolulu 1979. Forrest, Wayne 1. 'Concepts of melodic patterns in contemporary Solonese gamelan music.' Asian Music 11, 1980: 53-127. Frederick, William H. 'Rhoma Irama and the dangut style: aspects of comtemporary Indonesian popular culture.' Indonesia 34, 1982 : 103-130. Freeland, Felicia H. 'Revivalism as a defining stand in Yogyakartan court dance. ' Indonesia Circle 37,1985: 35-44.

-------, see also: Hughes-Freeland, Felicia.

76 . Fryer, Ruth. Sundanese theory and practice in the performance of gamelan in Bandung, West Java. Diss. Queen's D., Belfast 1989. Gaetano, Mario A. 'Definite pitched idiophones of the Javanese gamelan.' Percussionist 15 (3), 1978 : 121-143.

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Ganua, Y. 'Dbrug topeng.' Budaya Jaya 10 (114), 1977 : 670-686. Giles, James L. Bawaswara in Javanese karawitan - An analysis of melodic structure and ornamentation. M.A. thesis D. of Hawaii, Honolulu 1985. Giles, R. 'Ombak in the style of the Javanese gongs.' Selected Reports in Ethnomusicology 2, 1974: 158-165. Gitosaprodjo, Sulaiman. Ichtisar teori karawitan dan teknik menabuh gamelan. Mimeogr., Malang 1971. Eng!. trans!. in: Judith Becker & Alan Feinstein [eds.], Karawitan I, 1984: 335-387. -------. Sekar. Malang 1971. Eng!. trans!' in: Judith Becker & Alan Feinstein [eds.], Karawitan II, 1986: 205-232. Goenoprawira, R. Soesanto. 'Lawak, teori dan praktek beserta liku-likunya.' Gamelan, Drama Tari dan Komedi Jawa 1984/1985: 83-112. Gooswit, Sylvia. Jaran kepang in Suriname. Een kwesiie van rukun. M.A. thesis Katholieke Dniversiteit Nijmegen (Anthropology) 1988. Groenendael, Victoria M.C. [Clara] van. The dalang behind the wayang - the role of the Surakarta and Yogyakarta dalang in Indonesian-Javanese society. [Diss. Vrije D., Amsterdam 1982] Dordrecht, Foris Publications 1985. Indonesian trans!': Dalang di balik wayang. Jakarta, Grafiti Press 1987.

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Foris Publications 1987.

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Groneman, J. 'Javaansche toneeldansen.' Tijdschrijt Indisch Aardrijkskundig Genootschap 1 (3), 1882 : 22-32. Grijns, Cees D. Distributional aspects offolk performance in the Jakarta Malayu area. Leiden 1982. Also in Masyarakat Indonesia 8 (2), 1981 : 187-226. -------. 'Lenong in the environs of Jakarta: a report.' Archipel 12, 1976: 175-202. Hadiwidjojo, KG.P.H. Bedhaya ketawang. Jakarta, Depdikbud 1978. -------. Bedhaya ketawang: tarian sakral di candi-candi. Jakarta, Bali Pustaka 1981. -------. 'Danse sacree it Surakarta.' Archipel 3, 1972 : 114-132. Handung Kus Sudyarsono. 'Kethoprak kelilingan.' Gamelan, Drama Tari dan Komedi Jawa 1984/1985: 57-83. Hardjo, W.S. Macapat Semarangan. Semarang, Dep. P. dan K 1982. Hardjoprawiro, Kunardi. Kajian bentuk dan lagu kidungan Jawa Timuran. Yogyakarta, Proyek P. dan K (Javanologi), Dep. P. dan K 1985. Hardjosubroto, C. 'Adakah sistimatik didalam laras slendro/pelog?' Musika 1, 1972: 1-18. Haryadi, Frans. 'Modem music in Java.' World of Music 20, 1978: 100-102.

m. 'Tanjidor sebagai ungkapan musik.' In: Tanjidor 1980: 97-135.

Harrell, Max L. 'Indonesia VI, 1. West Java, Classical music.' The New Grove Dictionary of Music and Musicians. London, Macmillan 1980, vol. 9 : 207210. -------. The music of the gamelan degung of West Java. Diss. Los Angeles, VCLA 1974. -------. 'Some aspects of Sundanese music.' Selected Reports in Ethnomusicology 2 (2), 1975 : 81-101. Hastanto, Sri. The concept ofpathet in Central Javanese gamelan music. Diss. U. of Durham, 1985. -------. 'Pathet I: pathet di dalam laras pelog pada karawitan Jawa Tengah.' Seni PertunjukanIndonesia 1 (1), 1990: 155-187. Hatch, Martin. Laru, Laras, Layang - rethinking melody in Javanese music. Diss. Cornell V., Ithaca 1980. -------. 'Nyai Bei Mardusari, singer of Javanese poetry.' Review ofIndonesian and MalayanAffairs 19, 1985: 113-136. -------. 'Popular music in Indonesia.' Popular Music Perspectives 2, Papers of the 2nd Intern. Congress on Popular Music Studies, Reggio Emilia 1985 : 210227. ------- & Suranto Atmosaputro. 'Serat Wedatama, A translation.' Indonesia 14, 1972: 157-182.

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109.

-------.' Social change and the functions of music in Java.' In: Charlotte Frisbie,
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'The song is ended - changes in the use of macapat in Central Java.' Asian Music 7 (2), 1976: 59-71.

-------. 'Towards a more open approach to the history of Javanese music.' Indonesia 27, 1979 : 129-154.
Hatley, Barbara. 'Babads on stage: Javanese history and contemporary popular theatre.' Indonesia Circle 26, 1981 : 33-43.

-------. 'Indonesian ritual Javanese drama - Celebrating Tujuh-belasan.' Indonesia 34, 1982: 55-64.
m

Kethoprak - Performance and social meaning in a Javanese popular theatre form. Diss. U. of Sidney, 1987.

-------. 'Ludruk and ketoprak: popular theater and society in Java.' Review of Indonesian and Malayan Affairs 7 (1), 1973 : 38-58.

-----no 'Not by royal command: people's theatre in Yogya and Solo.' Inside
Indonesia 13, 1987 : 26-29.

-------. 'Popular theatre and social world of Java.' In: C.P. Epskamp, Theater op Java, 1985. -------. Theatrical imagery and gender ideology in Java. Princeton 1983, Conference paper, Cultural Construction of Gender in Insular Southeast Asia, Princeton 1983. -------. 'Wayang and ludruk : polarities in Java.' The Drama Review 15 (3), 1971 : 88-101. -------. 'Women in Javanese popular theatre.' Inside Indonesia 10, 1987 : 28-30.
Hefner, Robert W. 'The politics of popular art: tayuban dance and culture change in East Java.' Indonesia 43, 1987 : 75-95. Heins, Ernst. Entries 'angklung', 'gambang', 'gong chimes', 'Indonesia: gamelan (general)', 'Folk music: West Java', 'kacapi', 'kendhang', 'suling', 'tarompet'. The New Grove Dictionary ofMusic and Musicians. Macmillan, London 1980, passim.

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-------. Goong renteng - Aspects of orchestral music in a Sundanese village. Diss. U. of Amsterdam 1977.
m

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-------. 'Kroncong and tanjidor, two cases of urban folk music in Jakarta.' Asian
Music 7, 1975 : 20-33.
_m . 'Letter to the Editor' [Reply to Becker 1975]. Ethnomusicology 20, 1976: 97-101.

-------. 'Review of Judith Becker & Alan Feinstein, Karawitan III, 1988.' Journal ofAsian Studies 48, 1989 : 924-926.

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Hennawan, Deni. Tabuhan kacapi tembang Sunda Cianjuran; tinjauan musikologi terhadap teknik dan gaya permainan Uking Sukri. M.A. thesis U. Sumatera Utara, jurusan Etnomusikologi, Medan 1990. Pub!. in Masyarakat Musikologi Indonesia 2 (1), 1991. Hoffman, Stanley B. Concepts of melody in Javanese music. B.A. thesis U. of Michigan, Ann Arbor 1974.

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134.

-------. Epistemology and music in Java. M.A. thesis U. of Michigan, Ann Arbor
1975.

-------. 'Epistemology and music, a Javanese example.' Ethnomusicology 22, 1978

: 69-88. Hood, Mantle. 'The concensus makers of Asia.' In: Barry S. Brook e.a. [eds.], Perspectives in Musicology. New York, Norton 1972: 290-306.

-------. The evolution of Javanese gamelan, Book I - Music of the Roaring Sea.
Wilhelmshaven, Heinrichshofen 1980. -------. 'Folk imitations of the Javanese gamelan.' Vi/tis 15, 1956 : 5-7.

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137.

-------. 'Improvisation in the stratified ensembles of Southeast Asia.' Selected Reports in Etnomusicology 2, 1975 : 25-33. -------. 'Javanese gamelan sekati.' Acta Musicologica 57, 1985: 33-37.
-------. Legacy of the Roaring Sea-The evolution of Javanese gamelan, Book//. Wilhelmshaven, Heinrichshofen 1985.

138. 139.
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-24-

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___om, see also: V. McDermott, 1975

342.
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-25-

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-26-

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-27-

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-28-

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-29-

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438. 439.

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441. 442. 443. 444.

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-31-

DISCOGRAPHY
450. 451. 452. 453. 454. 455. 456. 451.
Alvares C.462. 'Musique de Java, l'Ecole de Loka Wangi, Centre Java.' Jacques Brunet, n.d. Archiv Produktion 2723 017. 'Gamelans from the Sultan's Palace in Yogyakarta.' 2 discs. J. Brunet 1972 [see also D.G.G.] Barenreiter/Musicaphon SL 2031. 'Indonesia I, Java Court Music.' Jacques Brunet, 1972. RRI-Yogya (KRTWasitodipuro); Pakualaman (KRTWasitodipuro). C.RS. 65440. 'Java: une nuit de wayang kuHt, h~gende de Wahyu Tjakraningat.' Jacques Brunet, n.d. Glagah Wangi (Kardi Rahardjo Pramono). D.G.G. 2535 462 (1980). 'Gamelan music from Java.' J. Brunet, 1972 [previously released as part of Archiv Produktion 2723 017]. E.M.I. 2403201 (1985). 'Java: music of the theatre.' Jacques Brunet, 1968nO. Globestyle CDORB057. 'Jaipongan Java'. CD, Jugala Group, Bandung 1990. Icon Records, ElectraINonesuch 9 79173-2. 'Idjab Hadidjah - Tonggeret Jaipong Sunda.' CD, Jugala Group, Bandung 1987. Notes by Philip Yampolsky. Rev. in Asian Music 21,1990: 166-170. Icon Records, ElectraINonesuch. 'Sangkala/Degung. Modem Instrumental Music from Indonesia.' CD, 1985. Rev. in Balungan 3 (1), 1987 : 35-36. KiwilPacific (Hibiscus) Records HLS/91 (1982). 'Music for sale, Street Musicians ofYogyakarta.' Jack Body, 1976n8. Lyrichord LLST 7301. 'Java, Music of mystical enchantment.' Doreen Powers, 1977. Lyrichord LLST 7310. 'Street music of Central Java.' Mark Nelson & Roger Vetter, 1976. Yogyakarta. Lyrichord LLST 7317. 'Javanese music from Surinam.' Verna Gillis, 1977. Music of the World. 'The Sultan's pleasure: Javanese gamelan and vocal music.' Yogyakarta. Cass.tape, Roger Vetter, 1989. Rev. in Asian Music 22, 1990: 174-176, and in Ethnomusicology 36, 1992: 299-302. Musique du Monde 21-500-21-2. 'Sunda, Les Kratons de Cirebon.' Jacques Brunet, 1972. Kasepuhan and Kanoman, Cirebon (Pak Sakum, Raden Saleh, Basari Abas). Nonesuch H-72074 (1977). 'Javanese court gamelan II.' Robert E. Brown, 1976. Mangkunegaran, Surakarta. (R.T. Soendoro). Reissued as CD, 1991. Nonesuch H-72083 (1979). 'Javanese Court Gamelan III.' Robert E. Brown, 1976n8. Kraton Ngayogyakarta Hadiningrat, Yogyakarta.

458. 459.
460.

461.
462. 463.

464.

465.
466.

-32-

467.

Ocora 558507/9. 'Java - "Langen Mandra Wanara", Opera de Danuredjo VII.' Jacques Brunet, 1975. Notoyudan, Yogyakarta (R.M. Prodjowiwaha). 3 discs. Ocora 558502. 'Sunda, Musique et Chants traditionnels.' Jacques Brunet, 1972/1973. Bandung, kacapian & tembang Sunda. Ocora 558598. [1982] 'Java, Palais Royal de Yogyakarta, Musique de concert.' Jacques Brunet, 1972/1973. Kraton Yogyakarta. Ode 1379. 'Music of the open air: India - China - Indonesia.' CD, Jack Body, 1991. [a.o.: ronggeng, street music, reog, jaranan, prajurit] Ode 1380. 'Suara.' Jack Body, 1991. [a.o.: ciblon, ngamen" guwa tabuhan, rice pounding, genggong, sawangan] Ode 1381. 'Music of Madura.' CD, Jack Body, 1991. [a.o.: gamelan, tuk-tuk, gumbek, gebluk, galundang] Pan-Paradox 2020 CD. 'Frozen Brass - Asia. Anthology of brass band music # 1.' CD, Rob Boonzajer Flaes, Ernst Heins, 1993. [a.o.: tanjidor, prajurit, gamelan] Philips 6586041, Unesco Collection Musical Sources - Art Music of SE Asia 9-6. 'Vocal Art from Java.' Jacques Brunet, 197511977 (R.S. Banjaransari; Sunarto; Niken Larasati; Siteran). Playa Sound PS 33507. 'Java, l'Art du Gamelan.' Jacques Brunet, 19721. RRIYogyakarta [but photographs of Kraton Yogyakarta gam.] [side A previously issued on Galloway GB 600.522]. Playa Sound PS 33515. 'Indonesie: Sunda.' Jacques Brunet, 1972. Bandung, kacapian & tembang Sunda. Smithsonian/Folkways SF40055. Music of Indonesia 1. 'Songs before dawnGandrung Banyuwangi.' CD, Philip Yampolski, 1991. Smithsonian/Folkways SF40056. Music of Indonesia 2. 'Indonesian popular music - Kroncong, dangdut & langgam Jawa.' CD, Philip Yampolsky, 1991. Smithsonian/Folkways SF40057. Music of Indonesia 3. 'Music from the outskirts of Jakarta-Gambang kromong' CD, Philip Yampolsky, 1991. Smithsonian/Folkways SF40059. Music of Indonesia 5. 'Tanjidor, Topeng Betawi, and Ajeng.' [In press]. CD, Philip Yampolsky, 1992. Tangent TGS 137. 'Flute and gamelan music of West Java.' Mike Steyn, 1978.

468. 469. 469a. 469b. 469c. 469d.

470.

471.

472. 473. 474. 475. 476. 477.

-33-

FILMOGRAPHY / VIDEOTAPES
478. 479. 480. [Anon.] An angklung orchestra (Java). Australian Infonnation Service, n.d. 16 mm, 6 mins. [Anon.] Penca and topeng babakanfrom Sunda, Indonesia. Asia Society, 1983. [Baylis] Shadow puppet theatre of Java. Baylis-Glascock, CA, n.d., 16 mm, 22 mins. Brakel, Clara. Bedhaya dances ofthe Surakarta and Yogyakarta courts, 1988. VHS, 45 mins. Grasveld, Fons. Birds of passage. Netherlands Film Institute, Hilversum 1986 [Java, Surinam, Netherlands]. [Hatley] Sacred trances in Bali and Java. Hatley Productions CT., n.d. 16 mm, 30 mins. Heins, Ernst. Wayang golek in the world of man. Stichting Film en Wetenschap, Utrecht 1975. 16 mm, 35 mins. -------. KIana topeng - Classical mask dance from Central Java. Stichting Film en Wetenschap, Utrecht 1978. 16 mm, 25 mins. -------. The components of the Javanese gamelan. Ethnomusicology Centre 'Jaap Kunst', U. of Amsterdam 1989. VHS, 55 mins. Hellwig, Jean. Jaipongan: Sundanese popular culture alive! Inst. of Cult. Anthropology, U. of Amsterdam 1989. UMatic, 55 mins. Hughes-Freeland, Felicia. The dancer and the dance. Film and Television School, Royal Anthrop. Inst., London 1988. 16 mm, 44 mins. [Susilo, Hardja] Gamelan music of Java: an introduction. East-West Center, Honolulu 1984 (U. of Honolulu Manca gamelan ensemble).

481. 482. 483. 484.

485. 486. 487. 488.

489.

-34-

A thematic breakdown yields the following categories. It should be kept in mind, however, that many articles do not easily fit into precise boundaries. This compiler's choices in naming the specific categories and designating an article to them are subjective. The categories have been grouped into the various main administrative areas of the island, followed by five groups that fall outside the provincial boundaries.

CENTRAL JAVA AND D.I. YOGYAKARTA

1. Generalities. 70, 147, 155, 168, 181,213,241, 276, 299, 404, 463. 2. Gamelan (karawitan).
2.1 ------- as a tradition; its social history and development 22, 78, 111, 132, 133, 137, 141, 148,238,247,283,285.,286,295,298, 301, 310, 360,361, 391, 432, 469d. ------- as an ensemble structure. General introductions (formal/technical) to the ensemble and its music. 22, 29, 30, 63, 122, 165, 182, 183,202,203, 210,223,226, 257,258, 276, 277, 280,290,291,312,362,368,396,402,416,441,450,451, 452, 454, 460, 463, 465,466,469,470,471,486,489. ------- region-oriented studies. 195,354,355,375,378,381,382,385.

2.2

2.3

3. Special and/or specific gamelan.

3.1 3.2 3.3 3.4 gamelan sekati 136, 340,401 gamelan pakurmatan 18,211,313 'Raffles'16,44,399 other 124, 262,422.

4. The anthropology of gamelan.

4.1 4.2 4.3 4.4 meaning, epistemology, cosmology, ideology, semiotics 18, 19,24,57, 130, 131, 161, 222, 229, 301, 309, 339, 359, 437, 443. politics, social change, tourism, media 109, 121, 156, 157,235, 371, 370,441. the courts 185,192,410,451,464,465,466,469,481. gender studies 118, 120, 379, 389,437.

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4.5 4.6

the streets: ngamen 459,461, 469a, 469b. performers and their interaction 29, 30,40,47,48, 59, 70, 106, 135, 173, 175,357,358,379, 380,389,410.

5. Organology (incl. West Java): acoustics, manufacture, construction, history and role/place of instruments 18, 55, 56, 57, 58, 66, 77, 81, 122, 150, 176, 218, 222, 259, 268, 288, 298, 311, 327,400,403,412. 6. Scales, tunings. 32,54,97,102,140,153,261,412. 7. Modality, pathet. 41,103,104,105,138,195,244,246,250,251,252,278,292. 8. Formal aspects (congeneric, non-referential analysis). 8.1 structures of gendhing 20, 25, 26, 28, 29, 30, 73, 82, 105, 129, 138, 145, 178, 188, 239, 260, 265, 267, 290,291,297,308,334,335,337,352,353,354, 369,387, 388,417,438. performance styles of gendhing (general) 82,135,307,332,337,387,388,393,408,409,436,486,489. --- of pathetan 40,279. --- of specific instruments 1. gender 17,204,209,237,294,333,341,384 2. rebab 259, 266, 275, 307 3. kendhang 206, 248, 330, 336, 338 4. bonang 45, 188, 201 5. gambang 356, 377 6. other 68, 218, 262, 449. vocal music 1. tembang, bawa, sindhenan 6, 53, 80, 83, 95, 106, 108, 110, 163, 243, 245, 251, 252,296,342,343,344,345 2. suluk 279.

8.2 8.3 8.4

8.5

9. The repertoire: notations, collections of gendhing, manuscripts 22 [vol. III], 68, 127, 177, 191, 193,209,212,230,236,249,271,293,296, 297, 313, 343, 344, 345, 357,410,418. 10. Theatre, dance, drama. 10.1 general (court, urban) 34, 36,43, 63, 88, 146, 154, 155, 156, 157, 186, 216, 227, 264, 293, 302, 325, 364,365,418,423,488.

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10.2

1. wayang kulit (selection) 86, 87, U9, 169, 173, 174, 196,225,

248, 279, 281,

332,390,426,453,480 2. other puppetry 159, 196, 234, 287. 10.3 10.4 10.5 10.6 10.7 10.8 10.9 wayang orang SO, 158, 170, 303, 366, 367, 373, 374. bedhaya/srimpi 21, 34, 37, 75, 91, 92, 93, 142, 143, 151,215,216,414,481,483. gambyong,golek 47,48,214,282,433,439. topeng 35, 220, 415, 433, 485. other dance 12, 433. dance drama, sendratari 274, 300,411,467. kethoprak 51, 84,94, 112, 114, 115, 170, 1712,207, 300,444,455.

10.10 other trad. and modern theatre 2, 7, 64, 113, 115, 116, 117, UB, 160, 170,207,300,444,455.

11. Javanese folk traditions (incl. East Java) 1. general 134, 300 2. jaran kepang 6Oa, 85, 162, 164, 469a 3~ reog 3B, 166, 300, 469a 4. {wayang] topeng 35, 219, 228 5. gandmng 305,323,435,437,473 6. tayuban 121, 300, 326 7. other 3,300,359,407,434, 469a, 469b, 469d.

EAST JAVA AND MADURA

12. East Java and Madura. 9,10,39,49,96,121,219,220,228,265,266,272,273, 304, 305, 386,434, 435, 437, 469c.
WEST JAVA

13. Sunda 1. karawitan Sunda, general 100, 144,318,347,349,351,405,429 2. gamelan salendro/pelog; degung; goong renteng 15, 58,65, 76, 101, 123, 270, 314, 317,420,458 3. tonal scales, modality 102, 295, 449 4.1 tembang Sunda (Cianjuran), kacapi-suling 62, 128,311,315,328,329,348, 350,392,427,430,445,446,447,448,449,468,472,477 4.2 other vocal music 52, 267,346,421

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5. other musical traditions 12, 13, 14,33,66,67, 122, 200a, 218,240, 320,431, 456, 457, 469d, 476, 478 6. wayang golek 72, 484 7. dance 10, 11,69, 79, 152,200,224,324,479,484,487.

14. Cirebon 58,61, 318, 320, 321, 390,440,464.

D.K.I. JAKARTA

IS.

1. general 89, 194,231,241,425 2. tanjidor 1, 99, 125, 199, 233, 397, 469d, 476. 3. folk theatre (lenong, topeng betawi) 90, 232, 253,254,255,256,284,331 4. other 1, 242, 475, 476.

16. SURINAM-JAVANESE 85,462,482.

17. CHINESE 242, 291, 475.

18. POPULAR MUSIC (westernized, entire Java). 1. general 107, 200a, 322, 428, 442, 474 2. kroncong 1,23, 125, 179, 180, 184, 200a,436, 474 3. dangdut 74, 200a, 474.

19. JAVA & THE WEST, vice versa. 5,31,46,60,98, 124, 187, 194a, 217, 263, 269, 289, 301, 312, 316, 372, 385, 407..

20. DISCOURSE (reviews, criticism) 27,41,42,43, 126, 127, 139, 167, 198,239,319, 370, 371, 394,402,413.