Feeling Time in Indonesian Langgam Jawa

Abstract:In this article I analyze rhythmic structuring in kroncong (Indonesian string band) cello (selo) performance. When performing the langgam Jawa repertoire the kroncong ensemble’s cello ostensibly imitates the gamelan’s kendhang drum. But while historically inspired by gamelan drumming, langgam Jawa selo playing has developed into a distinct practice. While selo players imitate kendhang tones, they do not literally incorporate its patterns. Many of my informants argued that beyond obvious orchestral differences, there is a difference of feeling (rasa) between kroncong and gamelan, selo and kendhang, even when they perform the same repertoire. Differences of feeling between gamelan and kroncong can be characterized partly through differences in microtiming, or “groove.” Selo playing in langgam Jawa is generally less “rubbery” than is gamelan drumming. In my analytical comparisons of selo and kendhang microtiming I focus narrowly on one piece from the langgam Jawa genre, “Yen Ing Tawang Ana Lintang,” by the composer Andjar Any. I compare five recordings of the piece, two kroncong and three gamelan performances by Solonese musicians.Abstract:Dalam artikel ini saya menganalisa penataan ritmik dalam pertunjukan cello (selo) kroncong. Di saat pementasan lagu langgam Jawa, pemain selo seolah- olah menirukan alat kendhang dari ensemble gamelan Jawa tengah. Namun, walaupun terinspirasi oleh kendhang, permainan selo langgam Jawa sudah berkembang menjadi gayanya sendiri. Walaupun pemain selo meniru pukulan kendhang, mereka tidak secara lang-sung mengikuti polanya (misalnya pukulan “kenser” atau “ngaplak”). Beberapa ahli musik/musisi berpendapat bahwa, selain perbedaan alat, ada perbedaan “rasa” antara kroncong dan gamelan, selo dan kendhang, ketika bermain repertoar yang sama. Perbedaan rasa antara gamelan dan kroncong bisa dicirikan melalui perbedaan “micro-timing” atau “groove.” Permainan selo dalam gaya langgam Jawa pada umumnya tidak se- “karet” dibandingkan dengan permainan kendhang dalam konteks gamelan. Dalam analisa ini saya hanya berfokus pada satu lagu saja: “Yen Ing Tawang Ana Lintang,” oleh Andjar Any. Saya membandingkan lima rekaman, dua kroncong, dan tiga gamelan, oleh musisi dari Surakarta.