Central Javanese Gamelan: How Globalization Influences Students' Music Consumption
INTRODUCTION
Central Javanese gamelan study has been available in some schools. In some schools do not have Central Javanese gamelan study. In my opinion, it is very unfortunate, because students need to conserve our own traditional music, especially Central Javanese gamelan. So, one of ways to conserve the Central Javanese gamelan, is understand the theory, the history about it. Not only understand the theory and the history, but also understand how to play the Central Javanese gamelan (the implementation). Ki Hadjar Dewantara (as cited in Sumarsam, 2003, p. 168) argued that “put the Javanese art spectacle as an obligated curriculum in Taman Siswa is the most important thing to do.” Actually, the writer agrees with Ki Hadjar Dewantara’s argument. By putting the Javanese art spectacle as an obligated curriculum, then the students can learn and understand about it. And so is the Central Javanese gamelan. The Central Javanese gamelan is one the Javanese art spectacle. So the students must learn, understand the theory and the implementation of it.
Because the Central Javanese gamelan is very important to be preserved, Ki Hadjar Dewantara (as cited in Sumarsam, 2003, p. 168) said that:
Gendhings lesson are not only needed to look for the knowledge and the ability (to play) the gendhings, but it is important to generate the life of the inner, because gendhings always guide the rhythmic sense, generate the sense of beauty, and silence a sense of decency. (As mentioned in Sultan Agungan’s teaching, and the teachings of western scholars) (p. 168)
What Ki Hadjar Dewantara means here is the students do not only just understand the theory and the implementation, but also the students are demanded to be able to feel the song (gendhing). Usually the students just play the song perfunctorily. Actually, it is not allowed. While the students are playing the song, they have to try to feel the song. If they can feel the song, their feeling will be
Central Javanese gamelan study has been available in some schools. In some schools do not have Central Javanese gamelan study. In my opinion, it is very unfortunate, because students need to conserve our own traditional music, especially Central Javanese gamelan. So, one of ways to conserve the Central Javanese gamelan, is understand the theory, the history about it. Not only understand the theory and the history, but also understand how to play the Central Javanese gamelan (the implementation). Ki Hadjar Dewantara (as cited in Sumarsam, 2003, p. 168) argued that “put the Javanese art spectacle as an obligated curriculum in Taman Siswa is the most important thing to do.” Actually, the writer agrees with Ki Hadjar Dewantara’s argument. By putting the Javanese art spectacle as an obligated curriculum, then the students can learn and understand about it. And so is the Central Javanese gamelan. The Central Javanese gamelan is one the Javanese art spectacle. So the students must learn, understand the theory and the implementation of it.
Because the Central Javanese gamelan is very important to be preserved, Ki Hadjar Dewantara (as cited in Sumarsam, 2003, p. 168) said that:
Gendhings lesson are not only needed to look for the knowledge and the ability (to play) the gendhings, but it is important to generate the life of the inner, because gendhings always guide the rhythmic sense, generate the sense of beauty, and silence a sense of decency. (As mentioned in Sultan Agungan’s teaching, and the teachings of western scholars) (p. 168)
What Ki Hadjar Dewantara means here is the students do not only just understand the theory and the implementation, but also the students are demanded to be able to feel the song (gendhing). Usually the students just play the song perfunctorily. Actually, it is not allowed. While the students are playing the song, they have to try to feel the song. If they can feel the song, their feeling will be