SOLO MUSIC Keys to emotions
MACAPAT by Rosella Balossino
Poetry and music in Java are strictly connected. Poems, in fact, are not recited but sung with melodies appropriate to the metre of the verse. These vocal compositions, called tembang in 'ngoko Javanese' and sekar in 'krama Javanese', are divided in three main groups according to their metrical scheme.
At the beginning of the 18th century, during the “Javanese Renaissance”, in Surakarta some court musicians started polishing and refining the macapat songs and fixed the prosody of about fifteen of them, calling them tembang cilik, “small songs”, to distinguish them from the Indian verses of the old Javanese court poems which were called tembang gedhé, “great songs”. This kind of literature had a second blooming at the end of the 19th century, during the “Second Javanese Renaissance” when many poets, such as Ranggawarsita “the last pujangga” and princes such as Mangku Nagara IV, wrote poetic stanzas in macapat metres.
According to Sri Hastanto, until the end of the 19th century macapat were used for didactic, religious, mystic purposes and also for writing letters that were sung to the recipient without musical accompaniment. “It was commonly believed – and frequently still is – that Friday is the day of evil spirits. According to traditional ideas, the spirits start their activities very early. Thus it was necessary to remain awake all night on Thursday in order to avoid being attacked by them. To ward off sleepiness, people sometimes sat together and sang tembang macapat in turns until dawn. The texts which were used were usually prayers to ask God’s blessing. Macapat were sung in much the same way at other religious ceremonies concerning marriage and birth.” (Sri Hastanto, p. 112-127.)
The singers, not being accompanied by any instrument, could add ornamentations and even introduce changes in tempo according to their taste, giving different renditions of the same tembang macapat in a way that sometimes made the original melodic line difficult to recognize. Jaap Kunst reports another particular use of tembang macapat: “A peculiar and rare form of macapat singing should be mentioned here: this is called tembang pendhapa or tembang pringgitan. Every evening in the Solonese kraton, an official, belonging to the prajurit corps of the Tamtama, places himself at the foot of, and with his back to, the large central pendhapa, turns his face in the direction of the large door behind which in olden times, the Susuhunans were wont to sleep, and proceeds to sing, all night long, various macapat songs. The style of rendering this performance, however, is such that only a perfectly trained ear is able to discern that it is indeed macapat melodies that are being sung, the execution being extremely surcharged with variations and fiorituri prescribed by tradition”. (J. Kunst, p.126.)
Each form of macapat metre has a title and is defined by the number of lines per stanza, the number of syllables for each line and the vowel of the last syllable. The number of the macapat forms is not defined but depending on the authors goes from 10 (Gitosaprodjo) to 20 (T. Pigeaud). Nowadays the musicians consider 11 forms: Mijil 6 lines 10i, 6o, 10é, 10i, 6i, 6u Maskumambang 4 lines 12i, 6a, 8i, 8a Kinanthi 6 lines 8u, 8i, 8a, 8i, 8a, 8i Sinom 9 lines 8a, 8i ,8a, 8i, 7i, 8u, 7a, 8i, 12a Durma 7 lines 12a, 7i, 6a, 7a, 8i, 5a, 7i Asmaradana 7 lines 8i, 8a, 8é(o), 8a, 7a, 8u, 8a Gambuh 5 lines 7u, 10u, 12i, 8u, 8o Dhandhanggula 10 lines 10i, 10a, 8é (o), 7u, 9i, 7a, 6u, 8a, 12i, 7a Pangkur 7 lines 8a,11i, 8u, 7a, 12u, 8a, 8i Megatruh (Duduk Wuluh) 5 lines 12u, 8i, 8u, 8i, 8o
The origin of the titles of the macapat is mainly unknown, but supposedly these names are preceding the formalization of the written forms. Some of them have a meaning, but have no connection with the subject of any given macapat. The only one that recalls its subject is Asmaradana, where asmara means “passionate love”.
Pigeaud suggests that some names were connected with ceremonies of the pre-Islamic period or with people in charge of those ceremonies or with some poet or poem. Dhandhanggula is synonym of Dhandhan Gendhis, 13th century king of Kedhiri, who ruled over Java as Sri Gentayu, after fighting his rebellious brother Sandhang Garba. Asmaradana or Asmara Dana recalls the kakawin Smara Dahana in which Siwa, angry at Kama Jaya, the god of sensual love, who keeps intruding in his ascetic life, burns him with a glance of his third eye. Pangkur might be connected with the “officials of certain exorcist rites in Java whose incantations became secularised in the course of time” (Pigeaud). Maskumambang may recall the shamanic experience of floating. Gambuh means experienced or expert, and is connected with dances of ancient communal festivals in Java. Sinom (nom means “young”) may be connected with sinoman, a hosting activity carried out by groups of boys during community meals (wilujengan).
Each macapat metre has its own melody, which is considered to convey a particular mood. The subject of the stanza has to be in accordance with that mood. Each melody, which in its plain version is called wantah (simple), may be modified in various ways. Such modifications, indicated in the title with an appropriate word, may also modify the mood of the melody but without completely changing it. So it is possible to listen to Pangkur (Wantah) and also to Pangkur Ngrenas, Pangkur Paripurna, etc., depending on the elaboration of the melody. In the anthology “Macapat I, II, III” by Gunawan Sri Hastjarjo, we can find three wantah versions of Dhandhanggula – slendro sanga, pelog nem, pelog barang – and 26 other versions such as Dhandhanggula Buminatan, Dhandhanggula Natakusuman, Dhandhanggula Sukasih, and so on.
BIBLIOGRAPHY
TEMBANG MACAPAT by Darsono, S. Kar., M. Hum.
The word tembang literally means flower but can be explained as a series of words or sentences which are arranged in such a way as to resemble an arrangement of colourful flowers, which look so beautiful and smell so fragrant that they attract the attention of anyone who sees them. This series of sentences is sung by a vocalist who uses the sléndro or pélog scale of the Javanese gamelan.
The singing style depends largely on the text. When the text comes from ancient Javanese sources dating 1000-1500 AD in the ancient Javanese language (kakawin), the singing style is ornamented (tembang gedhé). When the literary text dates from the middle period between1500 and 1800 AD and the language is in a transition phase, the singing style is called tembang tengahan. The texts in modern Javanese from around the year 1800 are sung with little ornamentation and are called tembang macapat or just macapat.
The appearance of tembang macapat was influenced by the oral tradition in which information was passed on by word of mouth, largely due to the fact that only a few people could read and write. Therefore, in order to convey words of religious or moral advice, or information about history, education, and so on, books were written in the form of tembang macapat, and performed on a variety of different occasions in the Javanese community. These books include Srikandhi Meguru Manah, Dewa Ruci, Centhini, Wulangreh, and Wedatama. Tembang macapat also spread to West Java and Bali, while in Central Java several different styles developed, including Surakarta style, Semarang style, and Banyumas style.
Based on the “Purwakanthi” chronicle by M. Ng. Mangunwijaya (1922), the “Titi Asri” chronicle by Supardal Hardosukarto (1925), and the “Pathokaning nyekar” chronicle by R. Harjowirogo (1925), it is stated that tembang macapat was first invented by religious leaders for the purpose of spreading the Islamic religion. For example, Tembang Durma was written by Sunan Bonang, Pocung by Sunan Muryapada, Mijil by Sunan Geseng, Kinanthi by Sunan Pajang, Dhandhanggula by Sunan Kalijogo, and so on.
Each of the eleven tembang macapat, that are widely known and also contained in the “Menak Rare” chronicle, has its own structural differences, including the number of syllables (guru wilajang) on each line, the vowels (guru lagu) used at the end of each line, and the number of gatra or lines in each tembang.
Some tembang macapat have a completely different character from each other while others are quite similar. The following is a list of the characters which are usually said to be found in each tembang macapat: Dhandhanggula has an attractive, sympathetic, and very proper character, for which reason it is suitable for describing a variety of different feelings. Sinom has a shrewd, romantic character and as such it is suitable for describing or portraying a person in love. Kinanthi has a bright, happy, romantic character. Asmaradana has a sad, anxious character. Pangkur has a calm, powerful character. Mijil has a sad, romantic character. Pocung has a light-hearted character. Durma has an angry, stern character. Maskumambang has a sad, troubled character. Megatruh/Duduk Wuluh has a sad, piteous character. Gambuh has a familiar, tolerant character.
In the Javanese culture, each of these eleven tembang macapat exist in both sléndro and pélog tuning. The terms sléndro and pélog here imply the various opposites that exist in the universe, such as night and day, man and woman, happy and sad, dead and alive, and so on. Javanese people like to make connections between different events, thus the names of these tembang macapat are also related to different phases of the human life cycle, from birth to death. The order and a brief description of these human life events is as follows:
Mijil. The word mijil in Javanese means to come out or be born. After carrying a baby in the womb for 9 months and 10 days, a woman finally gives birth to a child. The birth of a baby is symbolized by tembang Mijil.
Maskumambang. A newborn baby is like a piece of clean, white paper, untainted by sin, and is also as valuable as gold. A baby is also said to be like an object floating (kumambang) on the surface of water which is blown in all directions by the wind. Therefore, it is important to bring up a child carefully to ensure that s/he will be valuable and useful for the rest of society. The existence of a baby aged around 10 months is symbolized by tembang Maskumambang.
Kinanthi. This word means accompanied by or led by the hand. When a child of around one year starts to learn to walk, the parents will hold the child’s hands carefully to make sure s/he does not fall. A child of this age is symbolized by tembang Kinanthi.
Sinom. When children grow-up they tend to be strong-willed and will go to all means to get what they want without taking into account right and wrong. This stage of life is symbolized by tembang Sinom.
Durma. Teenagers usually have no fear of anyone or anything, and are always filled with courage and conviction. This is like the character of a brave lion that never gives up. This age is symbolized by tembang Durma.
Asmaradana. This word means infatuated or in love. After finishing high school, or while at university, people are old enough to start experiencing the beauty of love and begin to become attracted by members of the opposite sex. This age of falling in love and dating is symbolized by tembang Asmaradana.
Gambuh. The word gambuh in Javanese means suitable or matching. While dating, young people weigh up each other’s characters, as well as find out about each other’s parents and families. If they feel they are well-suited in all these respects, and if they have finished studying and found a job, the next step is to get married.
Dhandhanggula. The word dhandhang means crow or raven, and gula means sugar. In this life, the peak of happiness is when people get married. To remember this happy day, people often celebrate their silver wedding anniversary after 25 years, and their golden wedding anniversary after 50 years. The peak of a person’s happiness or the occasion of a wedding is symbolized by tembang Dhandhanggula.
Pangkur. The second syllable of this word, kur, is short for the word mungkur, which means to leave behind all that is worldly oriented. When people are married with children, they wish for their family’s happiness. They leave behind their bad habits and extravagant way of life and instead do what is right for their family’s happiness. At this time of life, when people are described as being old, it is time for them to start thinking about the hereafter and doing good deeds before their life is over. This period of life is symbolized by tembang Pangkur.
Megatruh/Duduk Wuluh. Megat means apart or separate, and ruh means soul or spirit, so the meaning of megatruh is death. All of God’s creatures, including human beings, will eventually pass away. This time of death is symbolized by tembang Megatruh.
Pocung. The word pocung, or pocong, means a dead body wrapped in a shroud. A time after death.
In relation to the characters of tembang macapat outlined earlier, and the fact that Pocung has a lively, happy, joyful character, even though the word is related to death, I have been asked to comment on this apparent incongruence. In my opinion, people should spend their lives doing good or behaving honourably in accordance with God’s command, and not do anything that is shameful or forbidden by God. In this way, we will be rewarded justly and blessed for our good deeds. This in turn will bring happiness in this life and the next. And after we die, we will be rewarded for our actions on earth and be happier and more comfortable in the hereafter. Some people are afraid to die because they cannot comprehend the idea of life after death and because during their life on earth they have failed to gain God’s grace as they have performed many bad deeds and have not lived according to His command.
I have also been asked what differential character and meaning I feel in singing or listening to a macapat in slendro versus the same in pelog. The difference in character between macapat in slendro and in pelog is of a general nature. Slendro and pelog are like an inseparable couple, or husband and wife. Slendro is like a man and pelog is like a woman. In all his actions and behaviour, a man is calm, assured, simple, and undemanding, while a woman, on the contrary, is fickle, likes to make herself beautiful, and is often demanding. [Sic. Ed] In connection with this, I should explain here that songs or tembang in slendro are usually of a very simple or unadorned nature, while songs in pelog are more varied and use more variations of cengkok, luk (melodic variations which move by step), wiled, and gregel (short melodic ornaments). [It will be noted that Pak Darsono sings all macapat in slendro, while macapat in pelog are assigned to the pesindhen. Ed]
As a final comment, I should say that the texts used in this CD have no connection between one tembang and another, as numerous sources were chosen spontaneously for the texts in this recording. Priority is given to the melody rather than the text. The texts follow no particular order and there is no particular grouping of characters that are suitable for each tembang.
TEXT AND TRANSLATION OF MACAPAT Translation of the Javanese texts into English was the responsibility of Rosella Balossino with the collaboration of Adi Deswijaya and Janet Purwanto.
1 – Mijil slendro sanga
Lamun sira madeg Narapati When you'll become a king Yayi wekas ingong My brother asking me Apan ana ing Prabu ugerré Whether there is someone who can advise the king Sastra cetha ulatana yayi Look for clear writings, my brother, Omahna dèn pasthi Keep in your heart Wulang ing sastréku The teachings of my books.
2 – Mijil pelog barang
Miwah lamun aprang ndhedhingini And whenever you foresee a quarrel Sru polah lok alok Do shout loud and run Ing batiné angempèk kuwanèn Within your heart will emerge a hint: Iya dudu duwèké pribadi Although this may not belong to your character Kang mangkana yayi It is the one that in such a case, young brother, Prenahna dèn gupuh You shall use without hesitation.
3 – Maskumambang slendro sanga miring
Ana uga étang etangané kaki There are also the elucubrations of an old man Lelima sinembah Greeted with a sembah by a group of five persons Dunungé sawijiwiji About how many would be, counted one by one, Sembah lelima punika Those who greet him in the group of five.
4 – Maskumambang pelog nem
Iku pantes sira tiruwa ta kaki It is appropriate that you emulate your grandfather Miwah bapa biyung And both your parents Amuruk watekkan becik They teach you the correct behaviour Iku kaki èstokena Be in accordance with your elders.
5 – Kinanthi slendro sanga
Dhuh Déwa dhuh Jawata gung Oh God, oh great Gods Tingalana solah mami Look at my condition Sèwu lara sèwu brangta One thousand people in pain one thousand in love Tan ana timbangé mami There is no one comparable to me Yèn ta ulun tan panggiha When I don't meet Kalawan pangéran mami My prince.
6 – Kinanthi pelog barang
Narpati Rama lingnya rum Oh King Rama with fragrant words Konen sesuci reresik Do order to be bathed and washed Anjarag sedya sujana Yes, to intentionally become a shrewd human being Kusuma ari Mantili Noble brother Mantili Tetéla setya sumetya Clearly, to be faithfully loyal Yekti sarat areresik Is the actual necessary condition to do the cleansing.
7 – Sinom Malatsih slendro sanga
Sigra manjing jroning pura At once enters the palace Anoman ing pukul siji Anuman at one o'clock Katanggel wetuning wulan At the rising of the moon Anoman minggah ing wukir Anuman climbs the mountain Wukir sajroning puri Mountain inside the palace walls Samadyaning setusetu In the centre of the terraces Ngayuh Anoman minggah Anuman reaches higher Wengkoning praja kaèksi Looks at the palace area Akè katon gedhong gedhong jroning pura Many stone buildings are visible.
8 – Sinom pelog nem
Nulada laku utama An example of good behaviour Tumrapé wong tanah Jawi For the people of Java Wong Agung ing Ngèksiganda Is the great man of Ngesiganda (Mataram) Panembahan Sénapati The venerable Senopati Kapati amarsudi To intensely attain Sudaning hawa lan nebsu The diminishing of passions Pinesu tapa brata By pursuing it through meditation Tanapi ing siyang ratri Day and night Amemangun karyènak tyasing sasama Creating the conditions of one's own well-being.
9 – Durma Ransang slendro sanga
Wus sinamber sang putri Mantilidirja Princess Mantilidirja was seized Ring sang kaga Narpati By the Bird King Janthayu gya mesat Janthayu immediately takes off Ndedel ngayuh gegana Rising high to the great sky Ginéndhong sang rajaputri Carrying on his back the daughter of the king Munggèng ngawiyat Promptly aims to the sky Dasamuka sira glis Dasamuka.
10 – Durma pelog barang
Mituturi Sang putri Mantilidirja Princess Mantilidirja tells that Yèn Ramabadra mangkin Rambadra now Myarsa jrih dosanya Is afraid that his sin be known, Dènira numpes ditya Having exterminated the giants Ing balané Sri Bupati The army of the King, Mila tan nedya Because then they will not Ngupaya garwaneki Search for his wife.
11 – Asmaradana slendro sanga
Paduka manjinga puri Your excellency should enter the palace Prakawis praptaning mengsah Because of the arrival of the enemies Wanara ampuh yudané The monkeys have supernatural powers in battle Kathah bupati kang pejah There are many kings who died Tumpes sawadyanira Exterminated with their soldiers Prajangga Pragangsa lampus Prajangga Pragangsa died Mintrakna lan Wirupaksa As well as Mintrakna and Wirupaksa.
12 – Asmaradana pelog barang
Ujar waluyaning dadi It is told that the well-being of a prosperous existence Raharja ajur kéwala May be badly damaged simply Kalulun kèlu alané By being carried along by wrongdoing. Kang sami amrih raharja Everybody hopes, in order to be happy and safe, Tetepé sinéwaka To get a steady service at the court. Kawangsul kang amrih hayu The one who wants to be safe will refuse it Kolu kang amrih dursila The one who likes it is willing to do wrong.
13 – Gambuh slendro manyura
Déné katelu iku In that third period (of the calendar) Si kidang suka ing patinipun The happy roe-deer died Pan si gajah aléna patinirèki Then the elephant not caring of danger died Si ula ing patinipun And the snake found its death Ngandelken upasé mandos Because it relied on its potent poison.
14 – Gambuh pelog nem
Sekar Gambuh ping catur The fourth is Sekar Gambuh Kang cinatur polah kang kalantur Telling about bad behaviour Tanpa tutur katula tula katali Without guidance will make one's world tangled-up Kadalu warsa katutuh If you learn too late you'll be disdained Kapatuh pan dadi awon Getting habits that produce bad results.
15 – Dhandhanggula slendro sanga
Pamedharé wasitaning ati Pronouncing words of wisdom Cumanthaka aniru pujangga I (the author) dare to pretend to be a poet. Dahat mudha ing batiné My inner self is young Nangingkedah ginunggung But I wish to reveal my thoughts. Datan wruh yèn akèh ngèsemi I don't know if many people will deride (my work) Ameksa angrumpaka I forced myself to write a poem Basa kang kalantur In copious language Tutur kang katulatula My words tell of difficulties Tinalatèn rinuruh kalawan ririh Patiently and carefully proceeding Mrih padhang ing sasmita To reveal clearly my inner message.
16 – Dhandhanggula pelog nem
Pakolihé kaduwe sang Aji Things to be achieved by a king: Ambumboni karahayoningrat To create well-being in the world Lawan ta yayi malihé That is, my brother, you shall Ambecikana lurung Repair the narrow streets Myangmarga ring jaban kithèki And the roads outside this town Rèhen pedhakna toya Plan them close to water Sumber sendhang sètu Like wells, springs, dams, Pancur pancuran telaga Fountains, ponds. Urut marga wehana balé sayekti Erect with much care a house along the road Wèh santosèng lumampah That give cantonment to those who walk by.
17 – Pangkur slendro sanga
Suka Sri Ramawijaya Rama the Victorious is exultant Mulat sagung wré prawira wus prapti Seeing the courageous monkeys already there Lir gora gambira catur Producing a frightfully gay chatter Yayah basmèng Ngalengka As when Ngalenka was burned. Dékangbala wanara samya gulagul The troops of the monkeys are horrifying Samoha maha saktiman All have strong magical powers Gumregut anggegirissi Forceful and frightening.
18 – Pangkur Kasmaran pelog nem
Ature Prabu Sugriwa King Sugriwa reports that Luhira dres Ragutama Narpati King Ragutama's tears flow Sang harya Wibisana nglud While the noble Wibisana pursues Myangtaruna Leksmana Young Laksmana. Ngingseg ingseg sadaya wré kang andulu All the monkeys, seeing that, cry uncontrollably Wré tan bisa anangisi But monkeys cannot cry Kabèh tinon kadi tulis They all look petrified.
19 – Dudukwuluh slendro sanga
Nora kena sinelak selak pineluk Do not permit hastily to be embraced Mringkang ngadhangadhang sisip By one who waits for his mistakes to be forgotten Yèn loro anggep irèku If those two think that I Temah kèthèr maring ngening Will neglect to make clear Adoh kaelettan adoh Things that are remote in the past.
20 – Megatruh pelog barang
Sira Prabu Gunawan manembah nuhun King Gunawan, I am grateful to your Highness Wong Agung ngandika malih For I speak once again to the great man. Yayi yèn ingsun tan ayun My brother, what I do not desire Kang sawenèh ana angling Is that there be someone who speaks Mbesuk ing palastraning ngong In the future at the time of my death.
21 – Pucung slendro sanga
Ngelmu iku kalakoné kanthi laku That knowledge which is obtained through experience Lekasse lawan kas Starts with a steady will Tegesé kas nyantosani To seriously strengthen Setya budya pangekesé dur angkara A loyal character that overcomes passions and greed.
22 – Pucung pelog barang
Abot ènthèng wong duwé sanak sadulur A man has heavy and light relatives Enthèngé yen pisah They are easy when on their own Pikiré tan dadi siji But this is not the only point of view Abotipun yèn sabiyantu ing karsa They become difficult when one needs their help.
23 – Wirangrong pelog nem
Dèn samya marsudeng budi Concentrate your efforts to train your mind Weweka dipun waspaos Be always on guard and alert Aja dumèh dumèh bisa muwus Do not speak, just because you can, Yèn tan pantes ugi If it is not also appropriate Sanadyan mung sakecap Not even a single word Yèn tan pantes prenahira When the place is not suitable.
A NOTE by Sukamso
The programme for this recording contains vocal music (macapat), genderan (solo music for gender), and sulingan (solo music for suling, the Javanese bamboo flute). The pieces for gender which I play in this recording use various techniques, such as grambyangan, pathetan, ada-ada, gender introduction (buka), and melody (lagu), each having different characteristics. John Noise Manis conceived the inclusion of the instrumental pieces among the vocal music as a 'comment' and a reflection of the mood of the preceding macapat. This makes the result not monotonous and should provide the listener with an interesting musical challenge. Note on Track 38 - Genderan duo on Ladrang Pangkur The performance on this track of the gender part for Ladrang Pangkur pélog barang may be divided in three sections. I play the first section (0:00 to 2:43), beginning in irama wiled ciblon, then in the second gatra of the first kenong, the irama changes to rangkep. The variations in the gender part, known as wiledan, are of an individual nature, and vary from one player to another. In the world of karawitan, differences in wiledan, and sometimes even cengkok, are not a problem. In this performance, the wiledan performed by me are the result of an accumulation of my own experience and creativity as a gender specialist. The second section (from 2:43) of the gender part for Ladrang Pangkur pélog barang begins in irama wiled ciblon, and is performed by Ibu Kris Sukardi, the best female gender player at this time. The wiledan played by Ibu Kris are shaped by her vast experience as a gender player who often accompanies shadow puppet theatre (wayang kulit). Some of her cengkok and wiledan are different from those of other (female) gender players. She tends to play with fast rhythms and her wiledan are full of ornaments which makes her gender playing bright and melodious. On the approach to the gong at the end of the first gong cycle, the irama changes to rangkep. After the (virtual) gong (at 4:31), the second gender player, myself, joins in, playing in laras sléndro, while Ibu Kris continues to play in laras pélog. This combination of the sléndro and pélog tuning with different wiledan creates, in my opinion, an intense, powerful, and highly attractive performance.
A NOTE by Supardi
For the suling pieces that I play in this recording, I freely chose the cengkok (musical patterns), trying to match with the preceding male or female vocal part. There are a few cengkok which are directly influenced by the macapat melody. This connection is especially clear in track 6; the suling ending in track 14 copies the preceding vocal melody.
TRACK LISTING, CONTENT, AND PERFORMERS
Track 01 1:09 macapat Mijil slendro sanga - Darsono Track 02 0:29 sulingan on Mijil slendro - Supardi Track 03 1:22 macapat Mijil pelog barang - Sri Suparsih Track 04 0:54 macapat Maskumambang slendro sanga miring - Darsono Track 05 1:01 macapat Maskumambang pelog nem - Sri Suparsih Track 06 0:38 sulingan on Maskumambang pelog - Supardi Track 07 1:01 macapat Kinanthi slendro sanga - Darsono Track 08 1:08 macapat Kinanthi pelog barang - Sri Suparsih Track 09 2:24 genderan grimingan pelog - Sukamso Track 10 1:36 macapat Sinom Malatsih slendro sanga - Darsono Track 11 2:21 genderan Sendhon Abi Many slendro sanga - Sukamso Track 12 1:50 macapat Sinom pelog nem - Yayuk Sri Rahayu Track 13 1:13 macapat Durma Ransang slendro sanga - Darsono Track 14 0:50 sulingan on Durma Ransang slendro - Supardi Track 15 1:22 macapat Durma pelog barang - Sri Suparsih Track 16 1:04 macapat Asmaradana slendro sanga - Darsono Track 17 1:29 genderan Emplek-Emplek Ketepu slendro sanga - Sukamso Track 18 1:23 macapat Asmaradana pelog barang - Sri Suparsih Track 19 0:45 sulingan on Asmaradana pelog - Supardi Track 20 1:00 macapat Gambuh slendro manyura - Darsono Track 21 1:17 macapat Gambuh pelog nem - Yayuk Sri Rahayu Track 22 1:36 genderan Ada-Ada pelog nem - Sukamso Track 23 1:57 macapat Dhandhanggula slendro sanga - Darsono Track 24 1:46 genderan pathetan slendro sanga - Sukamso Track 25 1:55 macapat Dhandhanggula pelog nem - Sri Suparsih Track 26 1:24 macapat Pangkur slendro sanga - Darsono Track 27 1:44 genderan Buka Gadhung Mlati slendro sanga - Sukamso Track 28 1:28 macapat Pangkur Kasmaran pelog nem - Sri Suparsih Track 29 0:38 sulingan on Pangkur Kasmaran pelog - Supardi Track 30 1:02 macapat Dudukwuluh slendro sanga - Darsono Track 31 1:08 macapat Megatruh pelog barang - Yayuk Sri Rahayu Track 32 0:21 sulingan on Megatruh pelog - Supardi Track 33 0:37 macapat Pucung slendro sanga - Darsono Track 34 0:57 macapat Pucung pelog barang - Sri Suparsih Track 35 0:47 sulingan on Pucung pelog - Supardi Track 36 3:24 genderan Jineman pelog nem - Sukamso Track 37 1:27 tembang tengahan Wirangrong pelog nem - Darsono Track 38 6:51 genderan duo on ldr. Pangkur - Sukamso (pelog), Ibu Pringgo (pelog), Ibu Pringgo/Sukamso (pelog/slendro)
Total Time 55:20 Note: some 'paper noise' may be heard on Tracks 4 and 7
Performers: Vocal: Darsono (Tracks 1, 4, 7, 10, 13, 16, 20, 23, 26, 30, 33, 37) Sri Suparsih (Tracks 3, 5, 8, 15, 18, 25, 28, 34) Yayuk Sri Rahayu (Tracks 12, 21, 31) Gender: Sukamso (Tracks 9, 11, 17, 22, 24, 27, 36, 38) Ibu Pringgo Hadiwiyono [Ibu Kris Sukardi] (Track 38) Suling: Supardi (Tracks 2, 6, 14, 19, 29, 32, 35)
Recording of macapat – ISI Surakarta, 23 September, 2008 Recording of gender and suling – ISI Surakarta, 3 July, 2010
Musical Design, Recording, Mastering, and Photos – John Noise Manis
YANTRA – Production and Digital Release
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