222
classifications of
RASA GENDHING
18. Murtiyoso 1979/1980:10. Gendhings for iringan in wayang must be chosen in consideration of the swasana: trenyuh, mardhika [sic], sereng, prihatos, prenes, etc. 19. Murtiyoso 1979/1980:12. Through sanggit (creativity) the dhalang’s performance can have the following raoses: sem, nges, renggep, cucut, prenes, etc. 20. Soeroso 1983:70. [In a long chapter on the “functions” of gamelan:] if you’re stringing pieces together into a suite (komposisi), you can [should?] try to combine as many different characters of gendhings as possible: agung, gembira, dinamis, tegang, susah, bersahaja 21. Darsono 1980:70. There are basically two different types of gendhing sekar (gamelan pieces based on måcåpat songs): - tenang - gobyog, sereng, etc. 22. Tembang Djawa, published by Djawa Gunseikanbu, p. 6. Children need to know about the beauty of song . . . about expressing moods (lairing raos—the “birth,” “exteriorizing” of moods) in sekar (classical Javanese song): adreng, sereng, wani, susah-melasih, gambira, etc. 23. Martopangrawit 1972:53. Every composer needs to know about melodic structure, because this is what will create different characters (sifat) in the music (also quoted in Waridi [1986]:15, but with kenès in place of prenès): regu, memelas, bérag, sereng, prenès, etc. 24. Djumadi 1982:178. A rebab player must know the character (sifat) of a gendhing: tenang, regu, prenes, susah, etc. 25. Soetarno [1978]:37–39. Gendhings are classified according to their rasas (sentiments [F]), their details of performance, and their structures: 1. 2. 3. 4. 5. 6. 7. 8.
kuna alus (calme et noble) (calm and noble) sedih, trenyuh (nostalgique et triste) (nostalgic and sad) prenes (érotique et sentiment de bonheur) (erotic and feeling of contentment) gecul (humoristiques) (humorous) keramat (sacré, magique, thérapeutique) (sacred, magic, therapeutic) popiler = kreasi baru (facile à comprendre) (easy to understand) dolanan (divertissement) (amusement, play)