This thesis considers the role and cultural presentation of the kendhang (drums) with special reference to the ciblon (medium-sized drum) within the gamelan ensemble in Solo, central Java. Amongst the extensive literature on gamelan music there has thus far been relatively little focus on the kendhang or more specifically the ciblon’s function and presentation in the ensemble. I explore these areas with particular reference to the performance, presentation and transmission of Javanese gamelan drumming. My primary research was conducted through participation, observation and interviews during fieldtrips to Solo, central Java between 2009-2010. The klenèngan performance setting involves the intersection of many key ideas explored over the course of this thesis. Primarily through my fieldwork interview findings conducted in Solo, I explore who plays the kendhang in Solo today and why some musicians are so highly regarded by others. Gamelan players are often multi-instrumentalists, so many of the ensemble’s musicians may have some drumming experience and be aware of drum strokes and signals, but the drummer still leads the gamelan in terms of tempo and also provides a unique layer of texture within the ensemble. I explore the role and function of the drummer and provide descriptions of drumming structures and notation derived from my fieldwork. I also explore how drumming is transmitted amongst musicians. Within my thesis I therefore aim to provide a view of the kendhang scene within Solo today and in doing so I explore who plays the kendhang and what is played in the gamelan performance setting as well as how drumming is presented and transmitted.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:605188 |
| Date | January 2012 |
| Creators | Stratford, Claire Louise |
| Contributors | Sorrell, Neil |
| Publisher | University of York |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | http://etheses.whiterose.ac.uk/6160/ |
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