Slendro - American Gamelan Institute

Transcription

The VocalNoøtion ofKRT. Wasitodiningrat
Volume I: Slendro
Contents
Editor's Acknowledgments
lX
Introduction: May This ServeYou \Øell
XI
pathet nem
Gendhing Kabor kethuk 2 kerep minggah Ladrangl(arawitan larasslendropathet nem
J
Ladrang Karawitan (Iftawiran) larasslendro pathet nem
4
Gendhing Kocak (Kotjak) kethuk 4 kerep larasslendro pathet nem
7
Gendhing Ipkananta (Lokononto) kethuk 2kercp minggah 4lansslendro pathet nem
10
Gendhing Lokananta (version2) kethuk 2 kerep minggah LadrangSiy.m larasslendro pather nem
r6
Ladrang Siyem larasslendro pathet nem
17
Gendhing Majemuk kerhuk 2 kerep larasslendropathet nem
19
Gendhing Pujangga (Pujonggo)kerhuk 4 minggah I larasslendroparhet nem
23
Ladrang Badranaya(Bodronoyo) larasslendro pather nem
27
Ladrang Dir¿da Meta (Dwirodometo) larasslendro parhet nem
29
Ladrang Remeng larasslendroparhernem
32
Ladrang Sobrang larasslendroparhet nem
34
Ayak-ayakan larasslendro pathet nem
36
Srepeganlarasslendropather nem
37
Lagu Penghijauan larasslendro pather nem
39
PatethanWantah larasslendropathet nem
4t
PathetanJugag larasslendro parhet nem
42
Pathetan Kedhu (Kedu) larasslendro pathet nem
43
,þÅtada. Gfuisa (Odo-odo Giriso) larasslendro parhet nem
44
Ada-ada Hasta Kuswala,{geng ftIasrakuswala)larasslendropather nem
45
Ada-ada Hasta Kuswala Alit (Hasrakuswala)laras slendro pathet nem
46
Sendhon Kloloran larasslendro parher nem
47
SekarAgeng Gurnang lampah 6 pedotan Z-4lansslendro parhernem
48
SekarMacapatPucung larasslendro parher nem
48
SekarMacapatGambuh larasslendro pathet nem
49
SekarMacaparGambuh (version2) latasslendro pathernem
50
pathet sønga
Gendhing Gambir Sawit (Gambirsawit)kethuk 2 kerepminggah 4larasslendro pathet sanga
53
Gendhing Gambir Sawit (Gambirsawit)(merong)kethuk 2 kereplarasslendropathet sanga
60
Inggah Gendhing Gambir Sawit Sembung Gilang (GambirsawitSembunggilang)kethuk 4
kalajengakenLadrangVestminster larasslendroparhersanga
63
I-,adrang'Westminster larasslendro pathet sanga
65
KetawangGendhing Ganda Kusuma (Gondokusuma)kethuk 2 kerepminggah Ladrang Ganda Suli
larasslendropathersanga
67
Ladrang Ganda Suli (Gondosuli)larasslendro parhersanga
69
KetawangGendhing Jongkangkethuk 2 kerep minggahLadrangJongkanglarasslendro pathet sanga
70
LadrangJonglang larasslendropather sanga
7t
KetawangGendhing Purnama Sidi (Purnomo.siddi) kethuk 2 kerep minggah l-adrangPurnamaSidi
kalajengakenBubaranPurnamaSidi larasslendroparhetsanga
73
Ladrang Purnama Sidi larasslendropathet sanga
/>
Bubaran Purnama Sidi larasslendro pather sanga
78
Ketawang Gendhing Purnama Sidi (version 2) minggah Ladrang Purnama Sidi laras slendro pathet
sanga
79
Ladrang Purnama Sidi (version2) larasslendro pathet sanga
83
Gendhing Renyepkethuk 2 kerep minggah LadrangEling-eling Kasmaranlarasslendropathet sanga
87
Ladrang Eling-eting KasmarankaselingSekarMacapatSinom Logondanglarasslendro pathet sanga
90
Andhegan SekarMacapat Sinom Logondhang (Logondang)larasslendro pathet sang¿
95
Gendhing Sumedhang(Sumedang)kethuk 2 kerepminggahLadrangGonjang-Ganjing larasslendro
pathet sanga
96
Ladrang Gonjangganjing larasslendro parhersânge
98
Ladrang Gonjangganjing (version2) larasslendropathetsanga
102
Ladrang Hutama larasslendro parhersange
1.04
Ladrang Kagok Madura larasslendro parher sanga
106
ladrang Pakumpulan laras slendro parher sanga
109
Ladrang Pangkur larasslendropathet sanga
111
Ladrang Rondha Malam (Ronda) larasslendro pathet sanga
r14
SekarAgeng l"angenAsmara (Langen-asmoro)lampah 14 pedotan 6-8 dhawah Ladrang Sri
Katongron larasslendro pathet sanga
115
Ladrang Sri Karongron larasslendro pather sanga
116
Ladrang Sri \Øibawa (Sri Vibowo) larasslendropathet sanga
I20
KetawangSuba Kasawa (Subakastawa)
larasslendroparhersanga
122
Lanc¿ranGodril larasslendro pathet sanga
724
Lanc¿ran Kid*g
725
Talun larasslendro perher sanga
Ayak-ayakan Mijil larasati laras slendro pathet sanga
126
Ayak-ayakan larasslendro pather sanga
131
Srepeganlarasslendropathet sanga
732
Lancaran Walang Kekek ($Øalangkekek)larasslendro pather sanga
733
Jineman UIer Kambang (Ulerkambang)larasslendroparhersenga
134
JinemanWiting Klrpr larasslendro pathet sanga
736
PathetanWanah larasslendro parhet sanga
737
PathetanJ"gag larasslendro parhet sanga
138
Gendhing Kemanak Mangun-kung (Mangunkung) larasslendro parhet sanga
139
pathet mønlara
Gendhing C"î"g Gantung (Caranggantung) kethuk 2 kerep minggah Ladrang Kembang Pete laras
slendro pathet manyura
r43
Ladtang Kembang Pete larasslendropathet manyurã
146
Gendhing Cucur Bawuk (Cucurbawuk) kethuk 2 kerep minggah PareAnom kethuk 4 kalajengaken
Ladrang SriIGton.kalaþngakgn KetawangSukmaIlang kãajengakenAyak-,{yakankaÉ;erig"ken
SrepegankalajengakenSampaklarasslendroparherm"nyura (pãralon)
t48
Inggah Pare.Anom (Pareanom)kerhuk 4la:asslendropathet mariyura
15r
Ladrang Sri Katon (Srikaton) laras slendro pathet manyura
152
KetawangSukma llang (Sulama-ilang)larasslendropather manyura
r53
,Ayak-ayakanlaras slendro parher manyura
r54
Srepegan(Slepegan)larasslendro parher manyura
r56
Gendhing Genes kethuk 2 kerep larasslendroparhermanyura
157
Gendhing Gonjing Miring (Gondjing-miring) larasslendropather rnanyura
160
Gendhing Kinanthi Padang Bulan (Kinanti Padangbulan)larasslendro parhet manyura
164
SekarMadye Kugwa
(K¡rryrorogo) dhawah Gendhing Kutut Manggung kethuk2 kerep
þn
minggah Ladrang Kutut Manggung kaselingCekilrelilaras slendro pather manyura
165
Gendhing Kutut Manggung kethuk 2 kerep minggah ladrangKurur Manggung larasslendropathet
menyura
r66
Ladrang Kuttrt Manggung laras slendro pathet manyure
168
Andhegan Kutut Manggunglaras slendro pathet manyura
170
Andhegan Cekikrek (Tjekilaek) laras slendro pather manyurâ
17r
Gendhing lambang Sati (Lambangsari)kethuk 4 kerepminggah 8 larasslendropathetmanyura
172
Inggah la.mbang Sari (l-a.mbangsari)laras slendro pathet manyura
174
SekarAgeng Madu Retna (Maduretna)lampah 12 pedotan54 dhewehGendhingLobong kethuk 2
kerep minggah4 kaselingLadrangPuspanjanalarasslendropather manyura
L75
Gendhing Lobong kethuk 2 kerep minggah4 kaselingPuspanjanalarasslendropathet manyura
L76
Ladrang P"spanjana (Puspandjono)larasslendropaúretmanyura
182
Gendhing SekarPuri (Sekarpuri)kethuk 8 larasslendroparhet man)rura
184
Ladrang .Argopenila¡asslendro pather manyura
186
LadtangAsmarandana(Asmorodono)larasslendropathet menyura
188
Ladrang Ayun-ayun larasslendro pathet manyura
191
Ladrang Ginonjing larasslendro pathet manyure
194
Ada-ada Mentaraman larasslendro pathet nem
198
Ladrang Kagok Liwung (Kagokliwung) larasslendro parhet menyura
198
Iadrang Kandha Manyura (Kondomanyuro)larasslendropather manyura
t99
Ladrang Moncer larasslendro pathet manyura
20r
Ladrang Pangkur larasslendro parhermanyura
203
Ladrang Pangkur (ngelik) laras slendro pather manyure
2A6
Ladrang Prabu Anom (Prabuanom)larasslendroparhetmanyura
208
Ladrang RujakJeruk (Rudjak-djeruk) Iarasslendropathet manyura
210
Ladrang Sd Katon (Srikaron) (version2) larasslendropathet menyura
213
Ladrang Sri Katon (Srikaton) (version3) larasslendropathet manyura
214
Ketawang Kembaqg Kates laras slendro pathet manyura
216
Ketawang Madu Murti (Madumurti ) larasslendropathet manyura
zLV
Ketawang Pawukir laras slendro pather menyura
218
Kerawang Puspa'W'arna(Puspowarno)larasslendropathet manyura
220
Ketawang Puspa'!Ø-arna(Puspawarna)(version2) larasslendropathet menyure
222
Kerawang Kinanthi]
Sandhung (Sandung)larasslendro parher manyura
224
Ketawang SekarTeja (Sekarteja)larasslendropathet manyura
226
Ketawang Sukma Ilang (Suksma-ilang) (version 2) la:asslendro pathet manyura
228
Lanc¿ran Emplek-emplek Keæpu larasslendro pather manyure
230
Lancaran Rena-rena(Reno-reno)larasslendroparhet manyura
233
Bubaran læbdaJiwa (Lebdojiwo) larasslendroparhet mâ.nyure
234
.dyak-ayakan larasslendro pather menyurâ
235
Ayak-ayrkan Kaloran laras slendro pather manyura
237
-,{yak-ayakanMijil larasslendro parhermÍrnyura
239
,{yak-ayakanumbul Donga (umbul-dongo) larasslendroparhet mírnyura
24r
Srepegan(version2) larasslendropathet manyure
243
Srepegan(Slepegan,YogyÐ (version3) larasslendroparhet manyura
2M
Srepegan (Slepegan,Yogya) (version 4) larasslendro pathet manyure
245
SrepegarrGegot larasslendro pathet manyura
246
Lagu Orek-orek Montore Mabur larasslendro pathet menyum
247
Lagu Dolanan Äku Duwe Pitik larasslendropathet menyura
248
Lagu Dolanan Buta Galak larasslendroparhet manyure
249
Lagu Dolanan Gajah-gajahlarasslendropathet manyura
25r
Lagu Dolanan Paman Tani laras slendro parhet manyura
252
Lagu Dolanan Ris-irisan Pandhan (Pandan) larasslendro parher rnanyura
253
Lagu Dolanan Ris-irisan Tela larasslendro pathet manyura
254
Lagu Dolanan Sepuran larasslendropathet manyura
255
Lagu Dolanan Tukang Kayu larasslendroparhermanyure
256
Jineman Mijit Wedadng Tyas larasslendroparhermanyura
257
PathetanW'anah larasslendro pathet menyure
258
PathetanJugag larasslendro pathet manyura
259
LagonJugag larasslendro pathet manyu(a
260
sekar Ageng Tebu Kasol lampah 9 pedotan4-5 larasslendro parher manyura
26r
SekarMacapat Mijil larasslendro parhet manyura
262
Sekar Macapat Pucung laras slendro parhet manyura
263
indexes
267
Editor's Acknowledgmenæ
I am grateful to all the peoplewho havehelped organize,assembleand refine this book. Thanks to their
efnorts,Pak Cok¡o's beautiful script and incomparable musical knowledgewill continue ro servefurure
generationsof karawitan studenrs.
Most of this notation was first collectedand organizedinto a book by Leslie (Dexter) Dhono Isworo in the
mid-1970s. Vith a calligraphy that imitated Pak Cokro's own hand, she added page numbers and created
a table of contents. fu Pak Cokro notated more pieces, a rcotganizationof Leslie'swork became necessary.
Alex Dea and Laurie Kottmeyer helped conceptualizethis new book, and wrore rhe inrroducrion. Gt"g
McCourt was particularly helpfirl in bringing the collection up ro date as of Pak Cokro's rerirement from
California Institure of the Arts in 1992.
Hardja Susilo strongly recommendedthat the notes missing due to repearedphorocopying be filled in;
I.M. Harjito supervisedand assistedin this processand was consultedregardingthe order of the piecesin
each section. A.L. Suwardi answeredquestionsabout severalpieces.Two publications from STSI
Surakartawere alsovaluablein checkingsomewords and nores:DoþumentaçiWangsølanSusan¿nNyi Bei
Mørdasari by T. Slamet Supatno, and Dibuang Sayng, a collection of vocal melodiesand texrs by R.L.
Martopangrawit, edited by Rahayu Supanggah.Djoko \Taluyo was kind enough to provide some rexr for
the pelog volume.
Philip Yampolsþ contributed valuable commenß on the organizationof the indexesand orher formats.
Susan\Øalton and Andy Sutton provided essenrialadvice on spelling, formar and texr. David Fuqua
assembledthe indexesand assistedwith overall design and page numbering.
The final responsibility for suppþing missing text, norarion and tides is my own. Future editions of rhis
collection will be up-dated. Those who use this work are invited ro suggesrcorrecrions,additional pieces
or other conttibutions. I hope theseeffortswill bring honor and pleasurero my firsr teacher,and be of value
to those who, like myself, have been inspired by him.
Notes in the margins
Through the years,Pak Cokro's studentshavewritten on rhe notadon: notes,translations,instructions,
rhythmic hints for ornaments,and other comments. M"ny of thesemarkingsare in the collection, either in
the otiginal writing or re-written for cladty, as it is likely thar the noteswere raken during lessonswith Pak
Cokro himself.
One annotation in perticular invokes a fitting blessingfor rhis projecr. At the bottom of SekarAg"rg
Sudira Vicitra is Pak Cokro's own rranslation of rhe lavaneserexr:
I(ømøsd.lsto Drona
donTbeofoi¿
I hauepusaka
Ifl! tirne not a?
JodyDiamond
Lebanon,New Hampshire
,{ugust,1995
tx
Introduction: May This Serve You Vell
by Alex Dea and Laurie Kottmeyer
The VocalNotatìon of RRT. lVasitodiningrat attempts to put in one place all of the vocal
notation that Pak Cokro I wrote out while teachingin the United States,beginning in 1971 at the
California Institute of the Arts (Cal Arts) in Valencia. Over the years,he has taught at the summer
programs of the American Socieryfor EasternArts (ASEA), et the Center for'SØorld Music, and at
numerous universities,including the Universiry of California at Berkeley(1977 - 1987).Until 1992, he
v¡asvery activeat Cal Arts and continued to make new notation in his own hand. [He is now retired and
living in Yogyakarta,where a gamelancenter is being esmblishedto continue his teachings.He has
cunailed his activitiessomewhat,but he continues to overseerecordingsof his own compositionsand the
training of severalgenerationsof musicians.]
Pak Cokro is well known to aficionadosof Central Javaneseclassicalgamelan music. Many, if
not a great majoriry of Ametican and some Europeanand Japanesestudentshave come under his spell and
tutelage at some time; he taught in the U.S. more or lesscontinually from L97l to 1992. Before coming
ro the U.S., he was the pirnpinan [musical director] of the goyernment radio station gamelan,R¿dio
Republik Indonesia (RRI) in Yogyakarta.In addition, he was pimpinan at one of the four principal coutts
in Central Java,the Paku Alaman. Through thesenvo postsalone, he greatlyinfluenced the courseof
classicalgamelanin this century.
This collection is especiallyinteresting becausePak Cokro is one of few-gamelanexpermwho is
a talented vocalist. \Øhile gamelandirectors alwaysexert some degreeof influence on their vocalists, Pak
Cokro, through his own natural ability and leaning, feelsa particular responsibiliryfor ensuring that the
vocal music in gamelan-specifically pesindhenøn(femaleparts) and gelongd.n(male parts)-are properly
developed.He numbers his studentsin the hundreds, mostly in the Yogyakartaa¡eaand particularly in
connection with the RRI radio stetion in Yogyakartaand the palacegamelangroup at the Paku Alaman.
In fact, he felt so suongly that the vocal parts must be perfectedthat he establishedhis own school in
t964.
Pak Cokro's contribution to classicalJavanesemusic goesfar beyond composition. He has
trained many important singers(both male and female)and instrumentaliststhroughout the years.He
brought Solonesesensibiliry to YogTakarta,single-handedlyaffecting the Yogyanesemusical tradition.
Although Pak Cokro was the leader of the Paku Alaman court gamelanin Yogyakarta,his family roots
are actually in Surakarte,rhe other court ciry of CenmalJava,making the musical sryle of the Paku
Alaman court somewhat Solonese.The cross-fertilizationof Soloneseand Yogyanesemusical sryle
sometimesresults in differencesbetweenhis versionsand more predominant Soloneseversions. Some of
his worla have found their way back to Solo, cross-fertilizingthe court tradidons.
The credibiliry of this collection is unquestionable.This is the work of one of the musical giants
of his time and tradition, an ardst with a highly influendal and classicalesthetic.The overall gara.Pøn
[interpretation, errangement]is correct. The choice of cenghoklbasic melodic pattern] is correct. Yet, one
is c¿utioned against taking this material as a bible of Javaneseclassicalvocal music.
[Jser's Guide or ReferenceManual?
This collection might be seenas a referencemanual: e sourceof information on vocel rnusic as
taught by one ofJava's most important classicalgamelanmusicians,an artist whose careetspansyearsthat
1. Pak Colno (pronounced"choke-row")is the familiarnamefor K.R.T.'SØasitodiningrat.
He wasformerþ known
asIC'Wasitodipuro,and beforetfiat asTjokro'Vasito. His studentsand friendscall him "Pak Cokro." [A biography
of K.R,T. Vasitodiningrat is in the eighth edition of Bøþer'sBiographicølDictionøryof Mushiøns.Eð,.1
lntroduction
xi
include Javanesefeudal courts, pre-independence,and the modern Republic of Indonesia-This book could
also be seenas a user'sguide, since it providesa wonderfi¡l and practical introduction to
Javanesevocal
music.
Pak CoLco wrote all Êhenotation by hand on I LlZ by 11 paper in the form of a "score."The
|esinàhen [female singer] and gerong[malechorus]partsarewrirten underneath the balungaa [melodic
framework]. Typically, the scoreshowsthe balunganon rhe firsr line, followed by rhe gerong part if there
is one, and under that the pesindhenpart. Eachline contains2 gatrø,(unit of four beats),showing 8 beaæof
balunganmlaþuor one gerong phrase.Kempul, kenong, and gong are usuallyindiceted. The buþa
(introduction to the piece) is frequently included. Since rhe norarion in this collection is from versions
that have been reusedand recycledcontinually through photocopying, some of the pagessuffer from lack
of clariry, or occasionallyhave lines cut off due to repearedphorocopying. [Many of the incomplete lines
have been filled in. Ed.] This way of presentingvocal norarion is nor normally used in Java,even for
teachingPurPosesin the governmentmusic schools.Pak Cokro, however,has usedsimilar noredon ro
teachclassicalJavanesevoc¿l music ro his studenæin Java.
This collection contains a veritable wealth of classicalmusic eiramples.A wide range of forms
are rePresented,from large sedatepieceslike Kocaþ ro shorr, fast-temponew compositions ltke l(tui
Apa Ifuwi, The music appearsfor the almost mysdcal bedhayadancesaswell as the lighrer ladrang end
hetøwangforms.Also included are suitesof dancepiecesused in senl.røtøri[dancedrama], bøuølsolo
songsusedto inroduce pieces], and andheganand hend¿la.a[intedudal cadenza-likephrasessomerimes
referred to in America as "stopping"J. Music from the wayanghulit [shadowpupper rheater] tradition also
apPeaß:the mood-setting songs?d.theta.nand løgon,aswell asrhe more marrial and urgenr þak-ayøkan
arrd Srepegdn.
The collection contains about 40 gendhing and about 100 of the smallerladrang and kerawang
forms. By comparison, Mloyowidodo's two volume compilarion of balungan notationz, consideredto be
representadveof the bulk of the Soloneserepertoire,conrainsapproximately280 gendhing and 350
ladrang and ketawang.Thi" givesa rario of l:7 gendhing md l:4 smaller forms berweenthis collection
and Mloyowidodo's compilation. Considering that there are many piecesin rhe Soloneserepertoire that
erc ørely or never played, this collection provides a good sample of the Central Javaneseclassicalcourt
style and repertoire. It is also a fair crosssection of many of the kinds of piecesone is likety ro encounter.
Anyone masteting the pieceshere will haveli*le trouble fitring inro musical situarions in Central Java.
Even so, the collection is not a completecoursein Javaneseclassicalvocal music. Some of the
larger classical pieces ltke I{ombangmoro,Morosonjo,or Rondhon ale not included becauset}rey are not
widely performed in Ametica, although they are very much a pam of the reperroire. Pak Cokro explained
that in teaching in,A.merica, there are new students each semester,so it is always necesseryto restart at the
beginning of the material. Most of his studentshaven'l stayedlong enough to study rhe more classical
pieces.Besides,it is likely that by the time a student reachesrhe level of proficiency needed ro
understandsuch pieces,notation of the type in this collecrionwould no longer be needed.
For the Solonese-orientedstudent, there are some unusual items: Yogyanesesendrataripiecesand
lagon fYoganese pathetan melodiessung by the male chorus]. There âre some surprisesaswell, including
a bawa (Puspaklito) that Pak Cokro composedfor his American studenm and new compositions rypically
in fast tempo with choral singing, such as Goronørgo("Freeway"),wrirren when he first moved to rhe Los
Angeles ææ. Gugur-gunangandVafura are wonderful examplesof his senseof nvo-parr choral harmony, a
teal innovation in Javanesemusic.
2. Mloyowidodo, S. ed,.Gending-GendingJøwø Gø1a SuraÞørta [Classical Pieces in Surakart¿ Style]. Surakarta:
Akademi Seni lG¡awitan Indonesia, Departemen P da¡r K di Surakarta,1976. Volume I: Slendro; Volume II: Pelog.
There is also a third volume of slendro and pelog piece, not referred to in this introducrion. Ed.
xii
The Vocal Norarion of KRT. \Øasitodiningrat
Pak Cokro has made it clear that this is notation for teachingpurpos€sonly, and may even
contain mistakesthat he would correct in his lessonsand classes.The researcherpafticularly should be
careful noËto infer too much f¡om this notation. Each choice of cengkokreflecrsonly one of many
possibilities. Pak Cokro may sometimesbe illustrating a particular sryle or technique. He may be
illustrating parnijen (specialcengkok) ot gail.urn(required or characerisriccengkok). He may be showing
rJrerelationship berweenthe pesindhenparr and that of the rebaband gender.
There is also the problem of properþ interpreting whar Pak Cokro has acruallywritten. The
primary problem is that it is difficult to disdnguish basic melodic patterns from ornamental details or
knowwhere nuancesof dynamic and accentshould occr.rr.Theseare elemenrsof this musical idiom that
need to be understood.
If this material were sung basedon \Testern notational practices,the result would invariably be
incorrect. The trained student, however,would not ettempt to read the notation note for note, but would
look only for generalindications: where the vocal parr is placed,wherher the melody was high or low,
whether there was e plesedzn[a musicalprocedurewhere a cadentialmelodic rone slurs ro anorher tone],
whether a special melody or text was to be used, etc. All of rhesedecisionsmight be made
instantaneously.Never would the nores be literally'read.o
Author! Author!
It is obvious that some piecesin the collection are Pak Cokro's own creations.Some were
composedbefore he cameto rhe U.S., otherswere written here. Bur when he was askedto indicate which
pieceswere his own, he declined to do so. Since dre conceprof authorship and the sysremof copyright in
the SZestis fundamental,one may wonder why he prefershis contributions to remain enonymous,
especiallysince he is recognizedfor bringing so meny improvements and innovations to maditional
gamelan pracrice.
In the courts of Java,there was no conceprof copyrighr in raditional gamelanmusic. Pieces
composedby court musicianswere atffibuted to rhe lord of the menor, that is, the king or prince in whose
court one was employed. Someonefrom such a bacþround might not anach much sþnificance ro
authorship. It may even be considerednegativeto claim individual credit for a piece. Pak Cok¡o made
the following comments: "Ifpeople know that you have composeda certain piece, they may become
overþ critical. Classicalpieceshave changeda lot over time-many anonymous musicians have
conttibuted small but important changesto piecesin the classicalrepertoire.Garapan does change over
time.' He feels very uncomfortable drawing etenrion to himself.3
Pak Cokro haswritten his name on many of the pagesin this collecdon. He is nor claiming
authorship-most of the piecesto which his name is attachedare classicalones.His name even appeírrson
'We
Swara Saling, a modern composition by Ki Nartosabdho.
know útet Goromøgo and Puspalalin were
written in Americ¿ by Pak Cokro. It is possibleto armibute the piecesKuwi Apa Kuai or Sopir Becahrc
him beceuseof recordingsand other documentadon.But noration aloneis nor convenrionallyused asproof
of authorship. He may have signedhis name to indicate rhar rhis norarion is his version or perhaps ro rake
tesponsibiliry rarher than credit for the particular rendition of the piece.
Poetic Texts
This collection contains examplesof many vocel music forms, using many rypes of rexrs.A
number of traditional pieces,such as Puspawøm4,þah-dyahan Umbuldnnga.and I(aloran,have special
texts. Modern piecestlrat comment on topical subjectsalso have their own rexrs,such as Sopir Bec¿þ,Ktwi
Apa Kuul alrrd Goromøtgo.
3..-Sincethis essaywas written, Pak Colao identified his own composidons in this collection. It is unclea¡ whether
this was due to a change in philosophy or a change in the inærviewËr. Ed.
Inroduction xiii
For a very large portion of the classicalgamelanrepenoire,however,the useof texts is far more
flexible. Texts, while having meaning (i.e. they are nor nonsensesyllablesor random collections of
words), in generalare not relevantor connectedto a particular gamelancomposition. Instead, tocts are
reusedfrom one composition to enother,and there are cerrainrulesor guidelina for their use.These
guidelines are concernedprimarily with the rype of text to be used.For example,when the gerong sings,a
text in the appropriatepoetic fotm must be chosen.The most frequently usedforms ue Kin¿nthi and
Salisir.Pak Cokro has been deliberatein including a number of different examplesof Kìnanthi ¿ndSalisir
texts, es well as texts for other poetic forms, including Jurudemungandr4smøradana
Poetic forms are usually defined in terms of (a) number of lines per verseþ) number of syllables
per line (c) ending vowel sound of eachline. In many cases,the combination of compositional süucture
(ketawang,ladrang,gendhing kethuk 2kercp, etc.) and ìranøfrnstntmenal relationshipsin time and
densiry] affect which poetic forms might be used. For example,a ladrang played in irama dados[a
Particular level of time relationships,also called irama II] is ideal for the Salisir form, which consistsof
4 lines of 8 syllableseach.One line is sung per kenong phrase.Iãnanthi texts, v¡ith 6 lines of 8 syllables
each,fit nicely into the last one and a half kenong phrasesof ingah [secondsectoinof a gendhing] form
when played in iram¿ ciblan fa time level which often include ciblon drumming, dso called irama III or
irama wilet]. Some compositionssuch as LadrøngPangkurrequireuseof the Pangkurpoedc form,
although occasionallyone hearsthe gerong singe lGnanthi text concurrentlywith the pesindhen'ssinging
of a,Panghul text. There ere evensomecompositionswhich appeerto be "up for grabs,"such as the
merong section of Gmdhing Gambirsa.witwhich might be sung with Kinanthi, Jurademung, ,4sm¿ral¿nøor
Sinom.
For the solo pesindhenpart, the two types of rext aremost often usedarc wøngraknand isen-isen
(sometimes called abon-abon). Vançalan are didactic riddles consisting of 2lines of rwelve syllables
each. Hundreds exist, and Pak Colco ptovides numerous examples.Isen-isenor abon-abon ere texß for
the shorter melodieswhich the pesindhensings betweenwangsalanmelodies.Their purpose is to fill in or
"spice up" the pesindhenpart. Besideswançalan and isen-isen,other types of texts are also used,such as
rajahan,which havethe feeling of isen-isenbut consistof more words and are didactic in nature. The
pesindhenmust alsoknow and usethe sametextsas the gerong.
The spelling of the texts can be confusing.This collection includes boúr the new modern
Indonesian orthography and the older one from Dutch colonial dmes. The clue ro which spelling is being
nc" uy",which
used in the useof the letters
ot
were not presentin the old spelling. The following table
shows the changes.
new spelling sounds like:
old spelling
c
cherry
tj
j
jo-p
dj
y
j
yak
A lesserproblem concernsthe Javanesevor,vel"a" when it is found at oÍ near the end of words (the
preciserule and explanationof this sound cen be found in Elinor Horne's Jauanese-English
Dictionary,Yale
Universiry Præs, L974). In the older spelling, a small 'o' wasplaced over the "a.' This is pronounced
"aw" (es in the word jaw). In modetn spelling, a single "o" replacesthe "a' and "o" combination. For
example 'rema" in old spelling is "romo" in the new spelling; the word is prounouced "raw-maw.'A
problem existsin that there are words that are normally spelledwith the letter "o.' These words are not
pronounced using the "alv" sound but with en *o" sound. This problem is resolvedonly through knowing
the language.
[-fhere is also an older style of symbols for kenong and kempul in some piecesin this collecdon.
When Pak Colco fust came to the U.S., he used a pointed chevron or caret abovea note to indicate
xIv
The Vocal Notation of KR.T.
'Wasirodiningrat
kenong, and a down-tutned curve to indicate kempul. (SeepageLadrangA1ruft-alunon page l9l for an
exampleof the old symbols.)Later he switched to the currenr sysrem,in which rhe down-turned curye
indicateskenong and an upturned curve indicatesrhe kempul. Ed.]
The Gerong Notation
Vhile the pesindhennotation presentsnumerousproblemsrelatedto the peculiaritiesof rhe
female vocal part's idiom, the notation for the gerong parr is more straighrforward.A srudenr of the
gerongancan easilyuse this materid, pardy becausethe geronganrhphm is more fixed. The parr is sung
in measuredtime rather than the freer rhphm of the pesindhenpart. Also, the use of melodic variation is
restricted becausethe gerong ideally is sung by three or more men.
Melodic variation occurs,of course,but on a grosserlevel than the pesindhenparr. Each female
vocalist will sing different variations of the basiccengkok for repetirionsof the gong cycles,whereasrhe
male singersgenerallysing the samemelodies eech dme. Even ornemenrsand embellishmentsmight
become stylized by male singerswho perform together frequenrly resulting in a a group "sryle" or
consciousness.
But evenin the gerongpart, the samesort of precautionsprevail asin interpredng the pesindhen
notation. For instance,there may be vocal ornamentsand embellishmentsthat are not notated. In the first
gerong line in LadrangSrt I{aton,
.f
o
-
:
f-ó
rc.6o'
""-
é
,6 i
A
ìt
f
-
å 6
.4Gt
.â.å
,Þ, -
æn¿_
ð
,A&cn
8a.-
the vocal ornamenß could be written:
4
/ã.
,é¡ã¿''
6e.-
l'
ð
v?îu.n
Sometimes,what may seem to be at one level of melodic structure may actually be at another. A typical
example is from rhe rhird gerong line in Gendhing Gambirsaait.
?
o
t\
:1 +ii
/.:
:"
a,e?f.h?l 4,d- Z¿ *
.:-lr,t7 ,?i '!s z
*
?fan
l*
luy
/
I
fun
The rhyrhm of the fourth syllable appears to be
{ui
although it is acrually closer ro
ut!
and probably ought to be notated to show only the principal melodic rones as follows:
.î r¿-2,
Inuoduction
xv
Even at the grossestlevel, the gerong notation cannor be taken at facevalue.Rhythmic valuesare
not alwaysrneant exacdy aswritten. The previously discussedphrase from Sri l{atoncotildhave been
notated:
-:fu-
f
5-r' -¿.e ¡
-''€. G t6t. 3
A .n6 .5
In fact, this is what would be taught in lessons.The discrepancyis not one of content but merely
ofnotational expediencyor convenrion(or perhapslack ofconvention).
Nso, aloh'aloleand senggakan[incidentd vocalizationsand melodic inrerjections] are not alv¡eys
indicated. For instance,in the notation for the popular piecel{etawangPuspauama.,the male vocalizations
are not notated. SincePuspawa.rna.
is the sþature opening pieceof Pak Cokro's prince, the Paku Alam,
studentswould certainly be mught thesevocalizarionsin lessons.
In this collection, the gerongvariationsthat do occur should not necessarilybe construedto be
YoryaneseversusSolonese,nor Pakur{laman versusSolonesestyle. In Java,there are many minor
variations among gamelangroupswithin the samecourt or regional sryle.Variations are generallythe
interpretation of the leaderof the group. The choiceof variation often defaultsto the bestsinger in the
ensemble.In a sense,thesevariatiorìsare a processof composition within the idiom of the music.
Therefore, variations found in this collection neither validate authenriciry of style nor make Pak Cokro's
melodiesmore aurhoritative.
For example,in tåe gerong for Sri l(aton in this collecdon, on the third line we find a melisma
on the third syllable that probably would not be heard in Solo. Pak Cokro allowed that even in Yogya it
would be rarely if ever be done. He wrote it that way becausewhen he first taught this piece in ,{merica,
the gamelantuning wasso low that he wanted ro "spiceup' the phrase!
A Closer Look at Gambfus¿wit
Since it is expectedthat this collection will be of special inrerest to students of the femalevocal
part, let's examine in detail one of the most popular piecesin Yogyakanaand Solo. This piecewill be
arralyzedin order to show the fundamental proceduresfollowed by the femalesinger in performing her
part, including use of text, melodic variarions, and embellishments.
The piece to be examinedis GendltingGarnbircøwit,inslendro senga.Garnbircøwitis in the form
called gendhing kethuk 2 kerep. That is, it is comprisedof four kenong phrasesto the gong cycle, each
kenong phrasemade up of rwo kethuk phrasesof two four-beargatra each.The schemafor this is:
. :
. 0
Each be¿ris representedby a . ; rhe tarks the kerhuk. Kenong are marked Uy ?nd the gong by Q
Piecesin this form, rwice as long as the ladrang, are often the most commonly played piecesfor
hlcnengan[a program of music alone, not asan eccompanimentto danceor thearer]. In order to keep our
place in dre following discussion,we will refer to eachgatra and kenongan by number. For instancethe
fifth beat on the third line will be refertedto as the "secondgamaof rhe rhird kenongan".
There are severalpoints of interestwhich beardirectþ on the successof the beginning pesindhen
student. Theseare timing and phrasing,cengkokand ornamenration,variation of cengkok, and garapan.
Pak Cokro's notation includeslessonsin all of these,but the notation can not be read literally. The
xvi
The Vocal Norarion of KRT.
\Øasitodiningrat
pesindhenPart has a definite rh¡hm but it is not strictly merered.It is in a free rhythm with a very
definite senseofweak and smongpulses,and of very minute levelsof slovring down and speedingup. The
rhythm of the pesindhenpan is very difficuh ro norerepreciseþ.
The first four lines of pesindhennotation in Gømbirsdwitas notatedby Pak Cokro, if interpreted
stricdy in metered wesrern notarion might look like this:
E
¡
.
?
r
.-. 9
2r7., I
t
ft,¿-ri,s
)r r
3
7
-
haf
/
n
øa'
Lgr
6
/
;
A
2
J
s
,i .ó..;.
à
&.Ås
Á.or-
da
I.! lLt
6 f
f
6
/\
i
i
é
.
1
î , sTr dT.{
à.i G.j=
a,
Hary'anîtyt voy
1 rf ur r {gjIrr
z
7
tnnol,.ed. æ
J . ¿
,7d
.t
.t
.¡
^
t
?ris
/
,ìr=
r ófó - ¡ó -.1. .L , 1 . ' ,
- 4a'¡29*Åor. 9at//
3
å ¡ .
+ ê ê
t r ¿tuH_te
u_r
This is not at all what shouldbesung.Yet, to tccurutelynotateuhese
linesusinga steadyreference
(after
pulse
all, the gamelanitself is planng in fairly regularmeter)would be painstakinglydifficult and
would resultin a finely detailedbut relativeþuseless
documenr.One way ro rnoreclearlyshow timing
Introduction xvii
might be to usehorizontal spacing to indicate relativedurarion. But this would only be slighdy befter
becauseanother problem in interpreting pesindhennoþtion is that the differenceberweenvocal ornamencs
and the basiccengkok cannot be discerned.The useof horizontal spacingstill doesnot give a clear sense
of the underlying pulse of the pesindhenpart. The addidon of various symbols to indicate vocal
ornamentsmight make it easierto focus on essendalthe melodic movementsof the cengkok.
t
2
.
t
hdf
R¿-ñs
,l
3
z
-
-l
.f
6
.r
o
, t
.
I
ryatdnncnT
z-
.
,dîi.?
â-l
|
¿
d^
e
=
t
lo
| -Jl65-
/'
J
:
1,sã'c .1.-4
.
)
wÐnî Qtndfr.la
æ
-i J.4 -6*l"E s .r+'enTr$z-
7
æ
àre
¿-
r
n
/tor.
Ê ¿ . r¿s
6 r
e r? , , I
6
,,i.;6,
f
I
A
f
g -e-.L l -
L
2
?
.æ. 3
J . ¿
rra
z
3
3
. é
.t
3
/
.r , ¿F¿.E ", ' i , l ,(o;r. sø
Ð,{s - sig, *
î
^ ?.
. 6 Í _ f * 6 5 . , ¿ \ ,- * Þ f -
¡.
,-_A4
lJltimately, the best notation is a recording. P"k Cok¡o ¡eminds us that his notation is mereþ a
teaching tool and is not meant to be usedwithour a re¿cher.
xviii
The Vocal Notarion of K.R.T.'Wasirodiningrar
Once one has begun to understandthe idiom of the pesindhenparr, however,his notation becomes
helpful in showing how variations of cengkok are usedand how ga.rrpalworks. A simple exampleof
variation is illusrated by comparing two of rhe cengkok going to rhe gong 5. In rhe first gong cycle of
Gambirsauit (page 53), he gives us the rwelve syllable:
,
3
f
7
-
¡
-
'..2
¿. ?.
I
:
?-. I
o
t 6 t -7 ó
e ,7,ê, , t.çî'
- - J
l,o,so4om3fu Ao-iu.ncr¡a
J
Ð*srþ
@
/
:Rl-zz-
9' -
late¡ on page 56, he givesus an eight syllableversion of the samecengkok:
?. *- , t.Í', :1 ,. e ,,.ç{J
,
9?fi':1,4*ã"y".(
oogS,ì- J*V
,4,nexampleof more complex variation is found on page 54, when the pesindhensings to pitch I
at the end of the secondkenong and in the middle of the fourrh kenong.
-
..F
.j
]JE
.:
,6.6 t.-5: ? ,?.f,, r.fezr,
4ery{c>y
Ådlë-ty*o Áa.trrry. t.rn
i , à.å
(a. run,
z-i ¡fic
7
ta.-
t-Qt,
7na9,.-¡^¿ *-
Both cengkok sart the sameway, but the first dips down to pitch 5 while the second
immediately takes a turn to high 3. Both rest briefly on high I in the middle of the phrase (fourth syllable
of an eight syllable text) before proceeding.Then, both patterns resumesimilarly but each finds a
different way to end up on pitch 1, the desiredgoal.
M*y other examplesof melodic variation abound throughout this collecdon and form a
fascinatingstudy, but it is not neccessarilyPak Cokro's intention to show offhis skill at making such
variations. He is simply expressingthe compositions as idiomatically as possibleand according to his
senseofesthetics. For instance,the cengkokgoing to the first kenong on page 54 also ends on pitch 1. It
statts differently on low pitch 5, but is in fact, a variation like the rwo just discussed.
-
ó= &jF
r,
D¡ruúomæryt,í ,yë{a -
,e, Q
¡.é1,
n
It worla im way to high 1 by mid-phrase (like the other nvo) and continues its way to pitch I
exacdylike the second cengkok. Esthetically,starting on pitch 5 is more pleasingbecausethe gerong
melody has just begun and is on a relarivelylow pitch of 2,
/\
2
2
2
J
/
:
o o r , 2 ,
,- 4 4 2 2 ,
1)'
te
)
tlrØda
t)tt¿gø
-5
D¡rudonærgí ,y,ítø- î Introducdon xix
while the other n¡¡o cengkok coexistwi*r gerong melodieswhich have alreadyreachedhigh 1 by the dme
the pesindhenmelody begins.
1
# o
1
o
1
--r,
,: .ru?l
,"" kd.-,i. ¿i
^?f
zi *
t
2,.
rt- 4
7.
z 3 !
3
e
1
å -Ég .E.-E ,es ?, r
{uV _ (un
.T?? ¿o'=
¡,'5
.i
?tÍ: 'â'ó
1,1'f,r'sra¡,
Iety&,y áa.li-12e.n Áa.f.,rg. &"n
2
6-
c
g'
,,¿r-
l¿
L¡
6;
a,
à ,¡E ,"ú f+ ,zs .rt
/
T
f.3.¿
c¿-aj-.r¿.,
These are 3 variations of the samecengkok, eachin irs estheticallyappropriate context.
Garapan
The final (and most difiìcult to discuss)concern in using thesenotations in order to learn to sing
the pesindhenpa$ ß garapdn Garapanis a difücuh conceprto explain, bur we can ar leasrsay drasir is
that which givescharacterto a piece through the expressionof cerrainkey parts in the ensemble.These
parts include the gender,rebab,gambang,bonangand the pesindhen.Knowing much if not all of the
correct garapanfor a pamicular piece comesfrom experience:from hearing other musiciansexpresstheir
inteqpretationsof the piece.Garapencan evenchangeover the courseof rime.
Garapan is "the way ofworking out" a composition.Vhile one could play arry piece in the
gamelan repertoire formulaic¿lI¡ making nice variations on cengkok thar fir the balungan, it would not
necessarilybe the correct garapan.Garapandoesseemto follow some rules, but there are many
exceptions,and perhapsit is thesevery exceptionswhich give the piecesindividual character.Typical
rules govern when to sing a high or a low cengkok,whether a specialcengkoksuch aspunt gelut or a.!u
kuningis used,whether isen-isenis used,whether the minor sounding petogJike børangmiring melodies
would be used,otwhethet plesedanþliding to another note afrer rhe end of the cengkok] is used.
Pak Col,no'snotation representsto a large degreehis interpretation of the garapanfor these
pieces.One is cautioned that there are placeswhere he may have excludedspecialgarepen,perhapsbecause
of teaching requirementsor the ability level of the srudenn. On the other hand, becausehe has included
something doesnot mean that he excludesother interpretations.
xx
The Vocal Notarion of KRT.
'Wasitodiningrat
In Garnbirsawit,for enample,there is a specid cengkok rhat only can be usedin that piece. It
comesafter the gong in the merong section.
J
3
î
/a\
L
¡ z
Y/
( " 6
r
2 a
,1..
?
7na--
L !
-¿¿
z
-r6r-¿ 5
Uur
z
n
6
6 t
Ganb¡rsuæ,t
ma-
4
,
"-:
u)ur
3
t
ó
? - . L - - - ¡ çt 5 ç t 4 g Ç
Ìd h- té-t4 i¿-'l'-- il¿i
,^
z
3
L
4
t
l
h¿L'
Do
There are severalother possibleways to complete this cengkok:
s
-
2
3
J- J
ú1an
)
t
?
S- 3 Lt
¿
t
e-r4¿¿/l em<n
3
- l L
{
Á
tã-i-rL
|#
é-mc.n
3.3J
e '
2-
€-'___.t
71uÌ?L
{
?
3
T ' L
ÄtL- t,-
?
z
2
a
s-
¿5
/ 4
L 3 L
ürK
ct¿ 2
_
z\
t
ç !-:4
la" mqs
Inttoduction
xxi
But in the notation in this collecdon on pege 56,PakCokro hasusedthe much more rypical and
lessspecialregular cengkok ro gong 5, followed by an isen-isenro the first garra:
J
o
3
f
-
ó
o
z.
; ! r ,¿t
7t9a(
h/o>?a
v
7.
-/-
1.t
.'ltr
.tó¡
.
l-:-,
.iflnçgune Á*línoo.(
J
.
l
lq
X
mo.g
,J
-r,.
/a- -
J
J
J
.ó
â t
ê
t^f )
=./
5
a'æJ4y.
,.
Êé,
úÉ¿,
wolj a.- J*:r
g'
. .lód
l-ra-:J
rrteg
He was probably ettempting to teachhis new American studentsthe basicstructure of gendhing
kethuk 2 kerep form in which an isen-isenphmsewould frequently be usedin the firct gatra after the gong.
TØeknow from lessonswith him that Pak Coftro is well awareof the specialcengkok that could be used.
In fact, he made notation at a later date that included such phrases.
May this serve you well...
'Wasitodiningrat's
In summary, this collection of Pak Cokro
vocal notation is a valuable learning
tool both for the Javaneseand non-Javanese
student of classicalCentral Javanesecourt vocal music. It
contains many of the uypicalcompositions that ere still popular today, and it benefits the student well to
have learnedthesepieces,as there are many opportunities to play them in and outside of JavaFor the trained student, this collection will probably not be sung verbatim, but rather will be
used as a referenceto check the garapanof individual compositions,e.g. the use of special melodic
Patterns,the possibleplaceswhere isen-isencould be used,whether a melody should go high or loïv, etc.
For the untrained student, the useof the material as a referenceis equally important, but ir must be
rememberedthat without an understandingand feeling for the idiom of pesindhenanend for gamelanin
general, this material can be misleading.Pak Cokro warns that this material is only a guideline and is
really a teaching tool. Thetefore we are cautioned that this material should be usedwith a teacher
knowledgeablein pesindhenan.
'W'hatever
use is made of this material, we have here an unprecedentedcollection representinga
broad crosssecÈionof Central Javanesevocel music, createdby the humble efforts of a great musician
through his love and concernfor the musicalgrowth of his students,and for his own culture's truús. May
his effots not be in vain.
xxii
The Vocal Notarion of KRT.
'Wasitodiningrat
2' .v,,j^
Çn^,à''"*q W"?^*h,rrç,
I
A
'
-oqol,o, (/rnJ^
9y'or{o¿ X,¿il, Qt"l
{,.r*ul
f
{"
{
.
- oj,o/,or,
Ðy./
+
2
,
¿+
ç
l
5
+
f ,
5 (ow,
f
,
f
J..-
1l--
,nO
r
2
,
2
¿
f
J
?
J
.
.
r
i
ó
f
z
î
r
î
tr]s,
5
¿
L
/
.3
j-
5
6
Ða3rrs
--r
ó
a , / ó @
3
*t
-
Hil-'Lt"'t4 .
t\O
_
r
.
á
-
7;
z
.z.¿
X
)
t_
r¿ . eôr.o tur
â
3
..-.
,ó
J
-:
¡.ó
,
6
¿
;6
ê¿
,{o
/
O
Q)
, 5-3¿,
sA-s - lro
,J.ó
\
t¡\farrl2nQJ
t
L
.f,,
6
_
J
(a-vl
r
s
.
:
-
r
î: É*..i
¿
L
. 3 .
-
;
-
.
f
a
L
L é ,¡7)ê
r..¡&
vu(an {c¿r.">¡o-
YLwaAc2j
î
î
r.3
¿
f
,
g
î .
.s.J,
yo. nè,s
î
,d.sã
dr'- fi-
ro
¿
f,
Sr/
.t-6î
to
d
f
.,.
f
:i
z
z
3
'(e.¡ca{ {o P,
rg,lti
â
or.
ç
é
a
I
- . :
ñ
I{¿./odo
/
.r-,7s
rìyl .
ó
,r!, 4 ,,
lry¿t
6
c. -
_
Ko nlty
l+
â
,&
,t.éî,
Aa.ns Áo - {ro
J
t
Slendro Nem
3
, )
-?.
t
- /la.6o>^
a r 6
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The Vocal Notation of ICRT. Vasirodiningrat
{ul-
indexes
Abbreviations
usedin lndexes
Piecesin Bedhayanstyle............
2T6
Gd.
Gendhing
Pieceswith A¡dhegan...............ZTG
Kt.
Ketawang
8awa............
Kt. Gd.
KetawangGendhing
kt.
Kerhuk
Ld.
Ladrang
I.n.
Lancaran
mg.
Minggah
P5
PelogLima
P6
PelogNem
P7
PelogBarang
........276
Pieceswith lrama I, II andIII... 276
Pieceswith Irama [V.................ZTT
Piecesin Yogyasryle..................277
Compositions by
KRT.'Wasitodining rut .......272
PN
PelogNyamat
S.Á.
SekarAgeng
56
SlendroNem
59
Slendro Sanga
SM
SlendroManyura
Indexes 267
Spelling
changes
First entry is spelling asir ocçurson
notation; bold entry showsupdated
spelling usedin indexesand Table of
Contents.
-Asmaradono,Asmorondono
Asma¡andana
Asmo¡ondono Jokolola
AsmarandanaJakatala
Banyaknglangi Banyak Nglangi
BasontoBasana
Bimakurda Bima Kurda
Bodronoyo Badranaya
Bondhet Bondhet
Budeng-budengBudheng-budheng
Buta-galakButa Galak
Caranggantung Cararrg Gantung
Cucurbawuk Cucur Bawuk
Dahono Dhahana
DandanggulaTurulare Dhandhang
Gula Turu lare
Djago-kateJago Kate
Donoworo Dana'S?'ara
Dulaino Duksina
Duporo Dupara
Dwirodometo Dirada Meta
Gadj ah-gadjah cajah-gajah
GambangsulingGambang Suling
Gambirsawit Gambir Sawit
Giriso Girisa
Gondj ing-miring Gonjing Miring
Gondokusuma Ganda Kusuma
Gondosuli Gande SuIi
Goromargo Gora Margp
Greget-sautGreget Srut
Gudasih Gudha Sih
Gugur'gunung Gugur Gunung
Gunungsari Gunung Sari
Hærikaton Hasri Katon
Hastakuswala Hasta trürswala
Janggleng-irengJanggleng Ireng
Jonggolono Jangga Lana
IGgokliwung Kagok Liwung
Kagolaemi Kagok Semi
Kapirento l(api Rento
Kedu Kedhu
Kembang-kacang Kembang
IGcang
Kembang-kacesKembang Kaæs
Kembang-pepeKembang Pepe
Kembang-peteKembang Peæ
Kinanti Kinanthi
Kinanti PadangbulanKinanthi
Padhang Bulan
Kondomanyuro Kandha Manyura
Kotjak Kocek
Krawitan Karawitan
Kumudo Kumuda
Kusworogo Kuswa Raga
Lambangsari l-ambang Sari
Langen-asmoro langen r{smara
LangengitoSrinarendroIangen
Gita Sri Narendra
Larasmadyalaras Madya
Larasmoyo Iaras Maya
Lebdojiwo LebdaJiwa
Lokononto loliananta
Lunggadung l,ung Gadhung
Madumurti Madu Murti
Maduretna Madu Retna
Madya-Lalita Madya Ialita
Maesalangit Maesa Langit
Manggologito Manggala Gita
Mangunkung Mangun-kung
Maskumambang Mas lfurnambang
Mayangmekar Mayang Mekar
Mentok-men tok Menthokmenúok
Mugirahayu Mugi Rahayu
Njoto kowewasisNyata Kowe
Wasis
Odo-odo Ada-ada
Padang Bulan Pandhang Bulan
Pancatnyono Pancat Nyana
Pancerono Pancerana
Pangkur Ngrenasmoro Panghú
Ngrenasmara
Pa¡eanom Pare Anom
PrabuanomPrabuÁnom
Pujonggo Pujangga
Purnomo-siddi Purnama Sidi
Purwagilang Purwa Gilang
PuspandjonoPuspanjana
Puspandjala,Puspanjolo
Puqpanjala
Puspawatna,PuspawarnoPuspa
Wä¡na
Puspogiwang Puspa Giwang
PuspolalitoPuspa Ialiø
PuspotadjemPuspaTajem
Putjung Pucung
268 The VocalNotarion of KRT. Vasirodiningrar
Rendukentir Randhu Kentir
Reno-renoRena-rena
Retnamulya Retna Mulya
Ris-irisan Pandan Rþfuisan
Pandhan
Rondo Malam Rondha Malam
RondongangsuRan.lha Ngangsu
Roningtawang Roning Tawang
Rudjak-djeruk Rujak Jeruk
SandungSandh*g
Sedyo-.asih
SedyaAsih
SekarpuriSekarPuri
SekartejaSekarTeja
SembunggilangSembung Gil"trg
Sinom Logondang Sinom
Logondhang
Sinom Parijoto Sinom Parijatha
SlepeganSrepegan
Soroyudo Sa¡aYuda
Sri Duhito Sd Duhita
Sri lGetarto Sri Kretarta
Sri Sinubo Sri Sinuba
Sri \Øibowo Sri Wibawa
Sri'Widodo SriWìdada
Srikaton Sri Katon
Subokastowo Suba l(astawa
Sudirewitjitro Sudira Wicitr¿
Suksma-ilangSukma Ilang
Sumedang Sumedhang
SurungdayungSurung Dhayung
Tatanjo Tatanya
TebuhsahuyunTebu Sauyun
Tedjonoto TejaNata
TejasariTeja Sari
Tirtokencono Tirta Kencana
Tj andra-asmataCandm Asmara
Tjekilaek Cekikrek
Tropongbang Tropong Bang
Tulis-kresno Tulis Kresna
Tunggal-jiwo Tunggal liwa
Lllerkambang t ller Kambang
Umbul-dongo Umbul Donga
'Waditro
Waditr¿
'!Øalangkekek
W-alang Kekek
'Wedyasmoro
Wedyasmara
'lfidosæi
Wìda Sari
'Winduaji
\flindu Aji
Index by tifle, Vol. | & ll
Ada-ada,W ayangG olek P7,324
Aku Duwe Pitik, lagu Dolarnn SM,248
Argolagu,Ld. P6, f01
-Argopeni,td. SM, 186
.Arum-arum,Andhegan@udhengbudheng)P6, 6l
(v. 2), Ld. P7,233
-Asmarandana
Asmarandana
Jakalala,IÅ. P7,236
-Asmarandana
Semarangan,
L;rguP6, 107
Asmarandana,
LÅ,.W, 2ll
Äsmarandana,
kl. SM, 188
Ayak-ayakan(Paalon)SM, 154
(v. 2) SM,235
Afalc-ayakan
.A¡ak-ayakanP6, 86
P7,222
Âyak-ayakan56, 36
,{yak-ayakanSg,l3l
Ayun-Ayun (v. 2), Lxl.P6, 108
Ayun-ayun (gerong),Lrl. P6, I l 1
,tyun-ayun,Ld. P6, 104
,{yun-ayun,Ld. SM, l9l
Badranaya,
U.36,n
BanyakNglangi,U.P5,6
BasanaP6, 153
BimaKu¡da,LA.P7,238
Bondher(Y"ry"), Gd. P6,52
Bondhet,Gd.,P6,46
Boyong Gd'P7,205
BrondongMendiPT, T75
BrondongMennrl, Andhegn W, 277
Budheng-budhe
ng Gd' P6, 57
Buta Galak,l:gu DolananSM,249
CandraAsmara,S^ P7, 245
CarangGanrung,Gd., td. IGmbangPeæ
sM,r43
Cekikr€lçÁndheganSM, l7l
Cucur Bawuh Gd. SM, 148
DanaIØar¿P6,157
Dhahana,lÃ,P7,303
DhandhangGula Turu l¿re, Seka¡
MacapatP6,200
DiradaMca, td. 56, 29
DuksinaP6, 159
Dupara,td. P6, t13
Durma,,{da-adaW,326
Durma, SekarMacapatPZ 329
Eling-elinglGsmaran,Ld. 59,90
Emplek-emplekKerepu,Ln. SM,230
Gajah-gjah, lagu DolananW,1t2
Gajah-gjah, lagu Dolarun SM,25l
GambangSulinp Iagu P6, 183
Gambir Sawir(merong),Gd. 59, 60
Gambir SawitPancerana,
Gd,,P6,62
Gambir SawitSembungGilang Ingah
cd. s9, 63
GambirSawir,Gd. 59, 53
Gambuh(v. 2), SekarMacapar56, 50
GambuhP7,278
Gambuh,SekarMacapat56,49
GandaKusuma,Kr. Gd, 59, 67
GandaSuli, l.d. 59, 69
Gegot,Srepegan5M,246
Genes,Gd. SM, 157
Ginonjing td. SM, 194
Girisa,Ada-ada56, 44
Gþr-gþr, Ayak-AyakanP7, 309
Gleyungld. P6, 116
Godril, Ln. 59, r24
Gonjang-ganjing
(v. 2), Ld. 59, 102
Gonjang-ganjingLd. 59, 98
GonjingMiring cd. SM, 160
Gom Marga,I-agrP7,263
Greçt SausAda -AÅ^P6, 197
Greçt Saut,Ada-adaP7,327
GudhaSih,Ld. P5,19
GugtrrGunung l:n. D7, 305
GunungSariP7, 279
GunungSari,td. P6,118
GurnangSl- 56,48
HasriKaton,G¿.P7,209
Hasri Katon, SekarMadya P7, 330
HastaKuswalaAgen6 Ada-ada56, 45
HasraKuswalaAIir, Ada-ada56, 46
Huama, td. 59, 104
Ibu PeniwiP5,32
Ilir-ili¡, PalaranP7,318
JagoKate, Laga ÐolananP7, 373
U.P6,124
Janggalana,
lren6 U. P6, 121
Jangglcng
JongkangKt. Gd. 59,70
JongkangLd. 59,7l
lagon P6,87
Jugag(Mataraman),
Jugag(slendro),Paútet:,nP7, 322
Jugag(v. 2), ParhetznP7, 327
Jugag lagon P6, f96
JuBa&Lapn SM,260
Juga6PaúeranP7,323
56,42
JugagPathetan
Jugag Pathetan59, 138
Jugag,Pathean5M,259
IGbor, Gd. 56, 3
KagokLiwung td. SM, 198
KagokMadura,t¿ 59, 106
KagokRespati,Gd. P6,68
KagokRespad,LÀ. P6, 126
KagokSemi,U. P6, 1T7
Kaloran,Ayak-ayakanSM, 237
KambanglGcanglagu P6, f84
KambanglGtesP7, 281
KandhaManyura,td. SM, 199
Kapi Rento,U.P5,21
Karawitan,t,d. 56,4
Kedhu,Paúretan
56, 43
KembanglGtesSM,216
(v.2), Ld.P6, 129
KembangPepe
KembangPepe,td. P6, 85
KembangPets Ld. SM, 146
Kidangelun,Ln. 59,125
Kinanthi PadhangBulan,Gd, SM, 164
Kinanthi, Sekar[Macapat],lagu laras
MadyaP7,328
Kloloran,Sendhon56, 47
Kocak,G¿ 56,7
Kontap,Kt. P6, 160
Kumuda,Srepegan
P6, 182
Kupu Kuwe,l-aguDolanaoP6, 188
KuswaRaga,SekarMadyaSM, 165
.sØirangrong
Kuswa
Kr. P6, 162
Kutut Manggunp,{ndhegan SM, 170
KurutManggung Gd. SM, 166
KuutManggunp [d. SM, 168
KuwiÁpa Kuwi,lagu P7,3ll
lagon, IØa¡ang Golek P7, 324
hmbang Sari,cd. SM, 172
Iambang Sari, lnga\ P7, 232
IambangSari,InggahSM, 174
Iangen.r{smara,
Sl- 59, t l5
langen Gita Sri Narendra,Kl P7, 284
Iangen Gia [Sri Narendm], Kl V7, 282
laras Maya (v. 2), Kt- P7, 288
Iaras Ma¡a, Kr. W, 286
Iansingrum,Ll. P6, 130
læbdaJiwa,BubaranSM, 234
Lobong cd. SM, 176
Lokananta(v. 2), Gd. 56, f6
I-okananta,
Gd. 56, 10
LungGadhung,I-d- P6, 132
MaduMu¡ti, K¿SM,2l7
Madu Retna,S.A.SM, 175
Madya Lalica,SÀ- P7, 244
Maesabngit, SekarTcngahanW,218
MajemulcGd. 56, 19
ManggalaGita, SJ" P6,73
Mangun-kungGd. Kemanak59, 139
Manjilo,U.P5,22
Mas KumambangSekarMacapatP6, 201
Mataraman,
Ada-adaP6, 131
Ma¡angMekar,Gd. P5,3
MegatruhP7,290
Mencaraman,,{da-ada
56, f 98
Menthok-mentholcLaguDolananP6, f90
Mijil laramti, Ayak-ayakan59, 126
Mijil Sulasri,Ji¡eman W, 375
Mijil Ifcdaringtyas, JinemanSM, 257
Mijil ltìdawaten,JinemanP6, 192
Mijil, Ayak-ayakanSM, 239
Mijil, SekarMacapat SM, 262
ModernisasiDesa,Ln. P6, 176
Moncer,IÅ.P7,240
Moncer,Ld. SM, 201
Mugi Pahayu,l-Ã. P7, 242
NyataIGwe \Øasis,l:gu DolananP7,3l4
Onang-onang,
Gd' P6,74
Orek-orekMonrore Mabur, I aW SM, 247
Pakumpulan,ld. 59, 109
PamanTani, lagu DolananSM,252
PancatNyana, Gð,.W, 215
Pandilori,Gd.P7,2l9
Pangkur(nçliþ, I-d. SM, 206
PangkurNgrcnasmar¿,
Kt. P5, 34
Pangkur,
LÀ.V,246
Panglarr,Ld. PN, 333
Pangkur,td. 59, I I I
Pangkur,t"d. SM,203
Pangþur,PalaranP7, 319
PareArom,InggahSM, 151
PatalonSM, seeGd. Cucur Bawulc 148
Pawukir,Kt. SM, 218
Pcnghijauan,t"agu56, 39
Playon(v.2),1Å.P5,26
Pleyon,IÀ.P5,24
PrabuAnom, td. SM, 208
PucunpKt.P7,292
Pucung,SelcarMacapat56, 48
Pucung SekarMacaparSM, 263
Pujangga,
cd. 56, 23
PurnamaSidi (v. 2), Kt. cd. 59, 79
Pu¡namaSidi (v. 2), Id. 59,83
PurnamaSidi, Bubaran59, 78
PurnamaSidi, Kt. Gd. 59,73
PurnamaSidi, Ld'.59,75
PurwaGilang Gd. P6,84
Indexes 269
PuspaGiwang KcW,294
Puspal-alita,Sá. P6, 199
PuspaTajem,Kt. P6, 168
Puspa\Øama(v. 2), Kt. 5M,222
Puspa'Warna,
Kr. SM, 220
(v. 2), Kr. P6, 166
Puspanjala
Ptrspanjala,
k.P6, 164
Puspanjana,
Ld. SM, f82
RandhaNpngs w LagaP5, 42
RandhuKcntir,Gd. P6,88
RebengGd. P6,9l
Remeng,Ld. 56,32
Rena-rena,
Ln.5M,233
tunyep,cd. 59,87
RetnaMulya, 51..P7,259
Ris-irisanPandhan,lagu DolananSM,
253
Ris-irisanTela, lagu Dolana¡ 5M,254
FondhaMalam, td. 59, I 14
RoningTawangI-d. P6, 135
tujakJeruk, [d. SM, 210
SandhungP7, 296
SandhungSM, 224
Santi-sunda
P5, 36
SaraYuda,lÅ.P6, 137
SedyaAsih,
U.P7,251
SekarPuri, Gd. SM, 184
SekarTeja SM, 226
Sembawa,
LÅ.P5,28
Sepuran,l,agu Dolanan SM, 255
SinomLogondhang[SekarMacapat]
Andhegpn59, 95
SinomParijatha,Kl W, 298
Siyem,Ld. 56, 17
SobrangBetawe
n, lÀ. P7, 221
SobrangU.56,43
SopirBecahlågu P6, 186
(Patalon)SM, 156
Srepegan
(v.2) 5M,243
Srepegan
Srepepn (Y"Syd (". 3) 5M,244
Srepegan(Y"g¡r) (". 4) 5M,245
Srepegan
P5, 4l
Srepegan
P6, l8l
SrepcpnP7,310
Srepegan
56,37
Srcpcgan59,132
S¡i Duhira,I.d.P7,253
S¡i Kaloka,Ld.P7,256
Sri Karongron,t"d. 59, I 16
Sri lGton (Paulon),L¿. SM, 152
Sri Katon(v. 2), Ld. SM,213
Sri Katon(v.3), I-d.SM,2l4
SriKaton,L¿.P7,264
Sri lketarta, Ld. P6, 139
Sri Lulut P7, 300
Sri Rejeki,cd., P6, 95
Sri Rejeki,td. P6,98
SriSinuba,U.P6, l4/t
S¡iMbawa, Ll. 59, f20
Sri Mdad¿, IÀ-P7,260
Subatríastawa,
Kr. P6, 170
SubalGstawa,Kt. 59, 122
Sudira'S7icit¡a,
S-4. P6, 45
SukmaIlang (Paralon),Kt. SM, 153
SukmaIlang (v.2), Kt. SM,228
P6, 172
Sumedhang
Sumedhang,
Gd. 59,96
Sum¡ar,IÀ.P7,266
SurungDhayungff"ryd, t¿ P6, 148
SurungDhayunpU.P6,146
Swan Suling LaguP6, 183
Tatanya,JinemanW,316
Tebu Kasol,S-A SM, 261
TebuSauyun,I.4.P7,270
TejaNata, Gd., P5,8
TejaSari,cd., P5, t4
Tina Kencana,Ld. P6, 150
TropongBang Ln. P6, 178
Tukang IGyu, lagu Dolanan SM, 256
Tulis K¡esna,tagu DolananP6 191
TunggalJiwaP6, 174
Uler KambangJinemanP6, 193
UIer KambangJineman59, 134
Umbul Dong, Ayak-ayakanSM, 241
Vadera,Buba¡anP7,307
Wadit¡a,Ln. P6, 180
\Palang
'S?antahKekek,Ln. 59, 133
(manynra),PaúteønP7, 321
IØantahand Jugag,PathetanP6, 195
Wantah,Pathetan56,41
-Vanrah,
Pathetan59, 137
\Fantah, PathetanSM, 258
'Wedyasmara,
Kt. P5, 38
VelasanAsih,Ln.P5,40
'Westminsær,
Ld. 59, 65
Tfietah,f,agonP7,325
.WidaSari,
Gd-P7,225
Mlujeng (v. 2), I-Ã. W, 2:74
Vilujeng lÀ.P7,2:72
'S7induAji
(gerongan),
l.d. P5,30
IFinduAji (sindhenan),
td. P5,31
'WìndurA,ji,
cd.P5,17
'Wirangrong,
U,P6,152
Mting Klapa,Jineman59, 136
270 The Vocal Notation of KRT.'Wasitodiningrar
lndex by pathet
Pelog Lima
Asmarandana Semarangan, [Sekar
Macapatl, 107
Banyak Nglangi, Ld., 6
Gudha Sih, l¡1., l9
Ibu Peniwi, Kt., 32
Kapi Rento, [d.,21
Manjilo,I-Ã.,22
Mayang Mekar, G4 3
Pangkur Ngrenasmar¿,Kt,, 34
Playon(v. 2),U,,26
Playon,l-Ã'24
Randha Ngangsu, Lago, 42
Santi-sunda, Kt. 36
Sembawa,ld.,28
Srepegan,4l
Teja Nau, Gd., I
Teja Sari, Gd., 14
\Tedyasmara, Kt.,38
'l7elasan
Asih, Ln., 40
Iøindu,A,ji (gerongan), Ld., 30
TØindu Aji (sindhenan), Ld., 31
!Øindu Aji, Gd., 17
Pelog Nem
A¡golagu, [d., l0l
Arum-arum (Budheng-budheng),
Aadhegan, 6l
Asmarandana Sem¿uangan(P5), tagu, 107
Af¿k-ayakan,86
.Ayun-ayun, lÀ.,lO4
Ayun-Ayun (v.2), Ld., f 08
Ayun-ayua G"*ng), Ld., 11f
Basanta,Kt. 153
Bondhet, Gd.,46
Bondhet (Yogra) , Gd.,52
Budheng-budhen1 Gd' 57
Dhandhang Gula Turu La¡e, Seka¡
Macapat, 200
Dana'Wara, Kt.,157
Duksina, KL, f 59
Dupara, I-d., f 13
Gambang Sulinp lagu, 183
Gambir Sawit Pance¡ana,Gd., 62
Gleyung ld., 116
Greget Saut, Ada-Ada, 197
Gunung Sari, td., 118
Janggleng lren6 lÅ., 721
Janggalana, I.Ã.,124
Jugag (Mataraman), hgon, 87
J€ag, lagon, 196
IGgok Rrspati, Gd., 68
IGgok Respati, U,126
Kagok Scmi, l-Ã,,127
Kembang Kacang Lagr, 184
Kembang Pepe, Ld., 85
Kembang Pepe (v. 2), l-d., 129
Kontap, Kt., 160
Kumuda, Srepegan,182
Kupu Kuwe, lagu Dolanan, 188
Kuswa IØirangrong 162
I-arasingrum, Ld., t30
l.nng Gadhung LÀ.,132
Manggala Gita, S*4,.,73
Mas KumambangSekarMacapat,201
Mataraman,.Ada-ada,
l3l
Menthok-menrhoklagu Dolanan,190
Mijil ïØidawaten,
Jineman,192
ModernisasiDesa,Ln., 176
OnangonangGd.,74
PurwaGilang,Gd.,84
Puspalalita, SJq..,199
Puspanjala,
Kt.,164
Puspanjala(v. 2), Kt., 166
PuspaTajem,
Kt., 168
RandhuKentiçGd.,88
RebengGd.,9I
RoningTawang,LÅ.,135
SaraYuda, U, 137
SopirBecak,Lagu,186
Srcpegan,l8l
Sri lGetarta, U, 139
Sri Rcjeki,Gd., 95
Sri Rejeki,Id., 98
Sri Sinuba,LÀ.,144
SubatrGstawa,
rc., 170
SudimIficitr¿, S.4,45
SumedhanpKr, 172
SurungDhayung(Y"g¡a),td., I48
SurungDhayunglÀ.,146
Tirta Kencana,kl., 150
Tropong Bang Ln, 178
Tulis Kresna,lagu Dolanan,191
TunæalJiwa, k., 174
Uler KambangJineman,193
IØaditra,Ln., 180
ïØantahandJugag,Pathean,195
'S?irangrong
L,Å.,152
Pelog Barang
Ada-ada,IØayangGolek,324
.¡{smarandana,
U.,211
(v. 2), I.Ã.,233
.Asmarandana
AsmarandanaJakalale,IÅ., 236
Ayak-ayakan,222
Bima Ku¡da,LÃ'238
Boyong Gd., 205
Brondong Menatl, Andhegeu277
BrondongMentti, Kt., 275
C-andr¿
Asmara,SA., 245
Dhahana,Ln.,303
Du¡ma, Ada-ada,326
Durma, SekarMacapat,329
cajah-gjah, lagu Dolanan,312
Gambuh,Kt'278
G þr-gþ r, Ayak-,{¡'akan,309
Gora Marga,I-ag't,263
Greget Saut,Ada-eda,327
Gugur Gunung Ln.,305
GunungSari,Kt.,279
Hasri Katon,Gd., 209
Hasri Katon,SckarMadya,330
Ili¡-ilir, Palar¿n,318
JagoIGæ, lagu Dolanan,313
323
Jugag,Pathecan,
Jugag(slendro),Pa¡hean,322
Jugag(v. 2), Parhean,327
KambangFlates,Kr, 281
Kinanthi, Sekar[Macapat],Lagu Laras
Madya,328
Kuwi Apa Kuwi, Lågr¡,311
lagon, \ØayangGolek, 324
IambangSari,Ingah, 232
Lançn Gita [SriNarendm],Kt.,282
lançn Gita Sri Narendra,k.,284
LarasMa¡a, Kt., 286
laras Maya(v.2), Kt., 288
Madyalalia, S.A-,244
Maesal-angir,SekarTengahan,218
Megatnrh,k.,290
Mijil Sulasui,Jineman,315
Moncer,lÅ'240
Mugi Rahayu,IA.,242
NyataKoweVasis,LaguDolanan,314
PancatNyana,Gd., 215
Pandilo¡i,Gd'2l9
Pangkur,U,246
Pangkur,Palaran,319
Pucung,Kt.,292
PuspaGiwang Kt,294
RetnaMulya, S-þr,259
Sandhun6Kt.,296
Sed¡aAsih,
LÅ'251
SinomParþtfia,Rt,298
SobrangBetawe
n, l-ð,.,221
Srepegan,
310
Sri Duhia, LÅ.,253
Sri lGloka,LÀ.,256
Sri Luluç Kr., 300
SriMdada, L.¿..,260
S¡i lGton, U.,264
Sumyar,IÃ.,266
Tatanya,Jineman,316
Tcbu Sauyun,lÁ., T70
Vader¿,Bubar¿n,307
'Wanmh
(manyura),Paúretan,321
\tretah, I-agon,325
lfrdaSari, Gd'225
Vilujeng IÀ.,272
Itrilujeng (v. 2), IÀ., 274
PelogNyamat
Pangkur,l-¿.,333
Slendro Nem
Badnnaya,IÀ.,27
DiradaMea, Ld., 29
Gambuh,SekarMacapau49
Gambuh (v. 2), SckarMacapat,50
Gi¡isa,Ada-ada,44
GurnangS-4",48
HastaKuswalaAgcng Ada-ada,45
Hase KuswalaAIit, Ada-ada,46
Jugag Pathenn,42
IGbo¡ Gd.3
Kedhu,Parhean,43
Kloloran,Sendon,47
Kocak,Gd.,7
Ka¡¿witan,Ld.,4
Lokananra,Gd., l0
l,okanann(v. 2), Gd, 16
Majemuk,Gd., 19
Mentaraman,Ada-ada,198
Pcnghijauan,
Lagu,39
Pucung SekarMacapar,48
Pujangga,Gd., 23
Remeng,Ld,,32
Rena-rena,
Ln., SM Í561,233
Sþm, ld., 17
Sobranpld.,43
Srepegan, 37
IØantah, Patetan,4l
Slendro Sanga
Ayak-ayakan, 131
Eling.eling Kasmaran, [d,, 90
Gambi¡ Sawir (merong), Gd., 60
Gambir Sawit Sembung Gilang (inggah),
cd.,63
GambirSawit,Gd., 53
Godril, Ln., 124
Gandatrú¡suma,
K¿ Gd., 67
GandaSuli,1.d.,69
Gonjang-pnjin¡oLd,98
Gonjang-ganjin
g (v. 2), IÀ, 102
Hutama,U.,104
Jongþng Kt. Gd.,70
Jonþng,f.d.,7l
Jugag,Pathetan,l38
trGgokMadura,Ld., 106
KidangTalun, Ln.,125
Iangen.Asmara,
Si-, f 15
Mangun-kungGd. Kemanak,139
Mijil l:nsati, Ayak-ayakan,126
Pakumpulan,kl., 109
Pangkur,Ld., 111
PurnamaSidi,K¿ Gd.,73
Purnama
Sidi,[d.,75
Pu¡namaSidi, Bubar¿n,78
PurnamaSidi (v. 2), Kt. Gd., 79
PurnamaSidi (v. 2), LÅ.,83
Renyep,Gd., 87
RondhaMalam,[ã., 114
Sinom Logondhang [SckarMacapat]
Andhegan,95
Srepegan,132
Sri Karongron,tl., 116
Sri Wibawa,U.,120
SubaKastawa,Kr.,122
Sumedhang
Gd.,96
Uler l(ambangJineman,134
'WalangtrGkeþ
Ln., 133
'Wantah,
Pathetan,137
'Westminster,
[d.,65
Viring Klapa,Jineman,136
Slend¡oManyu¡a
AIm Duwe Pitik, l,aguDolanan,248
.Argopeni,1.d.,186
Asmarandana,
Ld., 188
A¡ak-ayakan(Patalon),I 54
Ayak-ayakan(v.2),235
Ayun-ayun,I-d,, l9l
Bua Galak,lagu Dolanan,249
CarangGantung Gð., 143
Cel{ilçrck,Andhegan,l7l
Cuor¡ Bawuk,Gd., 148
Emplek-emplekKetepu"Ln., 230
Gajah-gajah,
lagu Dolanan,251
Gegot,Srepegan,
246
Genes,Gd., 157
Ginonjing I.Ã.,194
Gonjing Miring Gd., 160
Jugag tagon,260
Jugag Parhean,259
IGgokLiwung 1.d.,198
Kaloran, A¡rak-ayakan,237
KembangKates,Kr,276
Indexes271
KembangPete,LÅ,,146
Kinanthi PadhangBulan,Gd.,164
KandhaManyua, I.Å,.,199
KuswaRap, SekarMadya, 165
Kuurt Manggunp Andhegan,170
Kuut ManggungGd., 166
Kurut Manggung,Ld., 168
I-ambangSari,G¿,.,172
LambangSari,Ingah, 174
l,ebdaJiwa, Bttban¡, 234
Lobong Gd.,176
Madu Murti, Kt.217
Madu Retna,S.,4*,f75
Mi j il Ïøedaringrf¿s,Jineman,257
Mijil, Ayak-ayakan,
239
Mijil, SekarMa c:;par,262
Monce¡,I-¿..,201
Orek-orek Montore Mabur, Lagu,247
PamanTani, l:gu Dolanan,252
Pangkur (ngelik), l-d..,206
Pangkur,U.,203
Patalon,seeGd. Cucur Bawuk,148
Pawukir,218
PrabuAnom, IÁ,,208
Pucung SekarMacapar,263
Puspanjana,
I"¿,.,182
PuspaVama, Kc,220
PuspaIØama(v. Z),Yr.,222
Rena-rena,
L¡'233
Ris-i¡isanPandhan,l-aguDolanan,253
Ris-i¡isanTela, Lagu.Dolanan,254
Rujaklen¡k,U,210
SandhungKt.,224
SekarPuti, Gd., 184
SekarTeja,Kt ,226
Sepuran,LaguDolanan,255
Srepegan
@atalon),156
(v.2),243
Srepegan
Srepegan¡Yorya) (v. 3) 5M,24
Srepegan(Y"g¡r.) (v. 4) 5M,245
Sri Katon (Patalon),IÅ,.,152
Sri Katon (v. 3), LÃ., 214
Sri Katon(v.2), LÅ., 213
Sukmallang (Paulon),153
Sukmallang (v.2), 22Å
Tebu Kasol,S-A-,261
Tukang l(a¡r, lagu Dolanan, 256
Umbul Donga,Ayak-ayakan,241
IØantah,Patletan,258
lndexby form
Âdâ-Ada
GregetSautP6, 197
Ada-ad¿,V ayangG olekP7, 324
DurmaP7,326
Girisa56, 44
GregerSaurP7,327
HastaKuwala Açng 56, 45
Hasta[ûswalaAlir 56,46
MataramanP6, 131
Mentar¿man
56, 198
,{ndhegan6cSelingan
Asmaranda¡aSemí¡rangan,
P5,p. 107
Arum-arum@udhengbudhcng)
P6,61
BrondongMenruIW,277
Cek¡lüekSM,171
KututManggungSM,
170
Sinomlogondhang59, 95
Ark-,{yakan
Giyar-giyarP7, 309
Ayak-ayakanP6, 86
Ayak-ayakanP7,222
'¡t¡'ak-aYakan
56' 36
Ayak-ayakan
59, 131
Ayak-ayakanßatalon) SM, 154
Â¡ak-ayakanSM, 235
KaloranSM, 237
Mijil larasati59, 126
Mijil sM,239
Umbul DongaSM, 241
Buba¡a¡
LebdaJiwaSM, 234
Purnama
Sidi59,78
YadenP7,307
Gendhing
Bondhet,P6,46
Bondhet(togjra)P6,52
BoyongP7,205
Budhcng-budhengP6,
57
C.arang
Gantung,SM, 143
Cucur Bawuk,SM, 148
GambirSawit(merong),59, 60
Gambir SawitPanærana,P6, 62
Gambi¡Sawit59, 53
GenesSM, 157
GonjingMiringSM,160
GandaKusumaKc Gd. 59,67
HasriKatonP7, 209
Jongkang,Kt. Gd. 59,70
IGbo¡ 56,3
K?gokRespatiP6, 68
Kinant]¡iPadhangBulanSM, 164
Kocak,56,7
KututManggungSM, 166
lambangSariSM, 172
l,obon6 SM, 176
I¡k¿nanta56,l0
l¡kanana (v. 2), 56, 16
Majemuk56,19
Ma¡ang Mekar P5, 3
Onang-orang,P6,74
272 YocalMusic of KRT. \Øasitodiningrat
PanetNyanaP7,215
PandiloriP7,219
Pujangga
56, 23
Pu¡namaSidi,Kt. Gd. 59,73
Pu¡namaSidi (v. 2), Kr. Gd, 59, 79
PurwaGilangP6,84
RandhuKentir P6, 88
RebengP6,9l
Renyep59, 87
Seka¡Puri SM, 184
Sri RejekiP6,95
Sumedhang
59, 96
TejaNata P5,8
TejaSariP5, 14
WidaSariP7,225
T7induAjiP5,17
Gendhing IGmmaIc
Mangun-kung59, 139
Inggah
GambirSawitSembungGilang 63
IambangSariSM, 174
l-zmbangSariP7,232
Gambir SawitPancenna,P6, 62
Pa¡eA¡om, SM, f 51
Jineman
Mijil \ØcdaringryasSM, 257
P6, 192
Mijil S7ìdawaten
Mijil SulastriP7, 315
Tat:nyzP7,316
Uler KambangP6, 193
Uler IGmbang59, 134
I7idng Klapa59, 136
I(eawang
BasanmP6, I53
BrondongMennrl P7, 275
DanaI[a¡a P6, 157
Dulsina P6, 159
Gambuh P7, 278
Gunung SariW,T79
Ibu PertiwiP5,32
KembangKatesSM, 2t6
I(ambangKatesP7, 281
IGntap P6, 160
Ktswa ï?irangrongP6, 162
I-ançn Gita [SriNarendr¿]P7,282
Lançn Gita SriNarendraP7,284
Lans Maya P7, 286
IarasMaya(v.2)P7,288
MaduMuni SM,217
Megtnrh P7, 290
PangkurNgrenasmaraP5, 34
PawukirSM, 218
PuangP7,292
PuspaGiwangP7,294
P6, 164
Puspanjala
Puspanjala(v. 2) P6, 166
PuspaTajem
.WarrnP6, 168
SM, 220
Puspa
Puspa\flarna[2)5M,222
SandhungP7,296
SandhungSM, 224
P5, 36
Santi-sunda
SekarTeja5M,226
Sinom ParijathaP7,298
Sri Lulut P7,300
SubatrGstawa
P6, 170
Suba}äsmwa59, 122
Sukmallang @aalon)SM, 153
SukmaIlang (v.2) SM,2?Å
SumedhangP6, 172
TungalJiwa P6, 174
T[edyasmara
P5,38
Ladrang
ArgolaguP6,tOl
ArgopeniSM, f86
Asmarandana
SM, 188
Asmar¿ndana
P7, 2l I
(v. 2) P7,233
Asmar¿ndana
Asmarandana
Jakalúa P7, 236
Ayun-ayunP6, 104
,{yun-ayun(v.2) P6, 108
,{yun-ayun(gerong)P6, lll
Ayun-ayunSM, l9l
Badnnaya56, 27
BanyakNglangiP5, 6
Bima Ku¡da P7, 238
DuparaP6, l13
Dir¿daMeu 56, 29
Eling-elinglGsmar¿n59, 90
GinonjingSM,194
GleyungP6, 116
GandaSuli 59, 69
Gonjang-ganjing
S9,98
(v. 2) 59, 102
Gonjang-ganjing
GudhaSih P5,19
GunungSari
P6,118
Hutama59, 104
JangglenglrcngPí,12l
JanffitLa,naP6,124
Jongkang59,71
IGgok Madura59, 106
IGgok RespatiP6, 126
IGgokLiwungSM,198
IGgok SemiP6, 127
IGpi RentoP5,2t
KembangPepeP6, 85
KembangPepe(v.2) P6, 129
KembangPeæSM, 146
I(andhaManyuraSM, 199
IGr¿witan56, 4
Kutut ManggungSM, 168
l.arasingrumP6, 130
Lung GadhungP6, 132
Manjilo P5,22
Moncrrú,24I
Monce¡ SM, 201
Mugi RahayuP7,242
Pakumpulan59, 109
Pangkur(nçlik) SM, 206
PaogkurP7,246
PangkurPN, 333
Pangkur59,
lll
PangkurSM, 203
PlayonPÍ,24
Playon(v. 2)P5,26
P¡abu,AnomSM, 208
Pu¡namaSidi 59, 75
PumamaSidi (v. 2) 59, 83
Puspanjana
SM, 182
Remeng56, 32
RondhaMalam 59, I 14
RoningTawangP6, 135
RujakJenrkSM, 210
SaraYuda(Soroyudo)P6, 137
SedyaAsih P7, 251
Sembawa
P5, 28
Sþm s6, 17
SobrangBetawenP7,227
Sobnng56, 43
Sri Duhita P7,253
S:iKalol<aW,256
Sri líarongmn59, 116
Sri trGcrarta
P6, 139
Sri RcjekiP6,98
Sri SinubaP6, 144
Sri IØibawa59, 120
Sd Ilidada P7, 260
Sri IGton (Paalon)SM, 152
Sri Katon(v.2) SM, 213
Sri Keton(v.3) SM, 214
SriKaronP7,264
SumyarW,266
SunrngDhayung(Yogya)P6, 148
SurungDhayungP6, 146
Tebu SauyunP7,270
Tirta KencanaP6, 150
Wesrminsær
59, 65
V\IajengP7,T/2
'W-dujeng
(v.2)W,I74
'[7indu
Aji (gerongan)
P5,30
VinduAji (sindhenan)
P5,3l
l?irangrongP6,I52
Irgoo
Jugag(Mataraman)P6, 87
JWagP6,196
JugagSM, 260
I-agon,WayangGolekP7, 324
TlgøhW,325
tg"
Asmarandana
Semarangan
P5, 107
GambangSulingP6, 183
GonMaryaW,263
KembangKacangP6, 184
Kuwi Âpa Iúrwi P7,311
Oret-orek Montore Mabu¡ SM, 247
Penghijauan
56,39
RandhaNgangsuP5,42
SopirBecakP6, 186
lagu Dolanan
Aku Duwe Pidk SM, 248
Bua GalakSM, 249
GaFJtß{ahP7,312
Gajah-gjahSM, 251
JagoKateP7,373
KupuKuweP6,188
Mcnthok-menthokP6, 190
'$7asis
Nyata Kowe
P7, 314
PamanTani5M,252
Ris-irisanPandhanSM, 253
Ris-irisanTela SM, 254
SepuranSM, 255
TukangKayu 5M,256
Tulis lGesnaP6, 191
Iancaran
DhahanaP7,303
Emplek-emplek
KerepuSM, 230
God¡il 59, 124
Gugur GunungP7, 305
Kidangtalun 59, 125
ModernisasiDesaP6, 176
Rena-rena
SM, 233
TropongBangP6, 178
'SØaditr¿
P6, lB0
IØalangKekek59, 133
SØelasan
Asih P5,40
Pala¡a¡
Ilir-ilir P7, 318
Pangkur P7, 319
Pathetan
Jugag (slendro) P7, 322
Juæ1W,323
J"æe (". 2) P7,3n
Jug4S6,42
Jugag59, r38
JuggSM,259
Kedhu56, 43
\trantah56,4l
'Wanah
(manyura)P7,321
'Waneh
andJugagP6, 195
'SØantah
59, 137
'Sl'antah
SM, 258
SekarÂgeng
C¿nd¡aAsmar¿,lampah16 pedoan &8,
P7,245
Gurnang lampah6 pedotan24,56,48
l-angenAsmara,Iampah14 pcdotan6-8,
s9,115
Madu Retna,lampaht2 pedoÉn5-7, SM,
175
Madyalalia, lampah9 pedonn 54,P7,
2M
ManggalaGia, lampahl5 pedotanB-7,
06,73
Puspa[.alia, lampah12 pedot¿n6-6, P6,
199
RetnaMulya, lampah12 pedotzn444,
P7,259
SudiraMcitra, Iampah12 pedotan5-7,
P6,45
Tebu lGsol, lampah9 pedotan4-5, SM,
261
SekarMacapat
Asmarandana
Semarangan
P5, 107
DhandhangGula Tu¡u la¡e P6, 200
Du¡ma.W,329
Gambuh56,49
Gambuh(v. 2) 56,50
Kinanthi lagu leras Mady W,328
Mas KumambangP6,20l
MijilsM,262
Pucung56,48
PucungSM, 263
Sinomlogondhang59, 95
SekarMad¡ra
Hasri Katon P7, 330
KuswaRagaSM, 165
Indexes 273
Indexby pathetandform
Sekar Tengahan
Maesa lângit P7, 218
Pelog Lima
Sendhon
Kloloran 56,47
Srepegan
Gegot SM, 246
Kumuda P6, 182
Srepegan56,37
Srepegan59, 132
Srepegan(Pamlon) SM, 156
Srepegan(v.2) SM, 243
Srepegan (Yogr) (". 3) SM,244
Srepcgan (Yoeya) (". 4) SM,245
SrepeganP5, 41
SrepeganP6, l8l
SrepeFn PZ 310
Gadhing
Mayang Mekar, 3
Teja Nata, I
Teja Sari, 14
\üìndu.A,ji, l7
Keøuang
Ibu Pertiwi, 32
Pangkur Ngrem maru 34
Santi-sunda,36
'Wcd¡asmara,
38
I-adrang
Banyak Nglangi, 6
Gudha Sih, 19
ßäpi Rento, 2l
Manjilo,22
Playon,24
Plryon (v. 2),26
Sembawa,28
IPìndu Aji (gerongan),30
Iüindu.A,ji (sindhena¡), 31
L"C"
Randha Ngangsu 42
I¿ncømn
TØelasanAsih, 40
Srepegan
Srepegan,4l
Pelog Nem
Ada-A¿a
Greget Saut, 197
Mararama¡, 131
Andhegøn
A¡um-a¡um @udheng-budheng), 6l
,¿tyak-ayakan,86
Gcndhing
Bondhcq 46
Bondhet (Y"ga),52
Budhcng-budheng 57
Gambir Sawit Pancerana,62
l(agok Re.spad,68
Onang-onang,74
Purwa Gilang, 84
Randhu Kentir, 88
Rebeng 9l
Sri Rejeki, 95
Jincman
MijilMdawaten, 192
Uler lGmban6 193
IGtawang
Basana, I53
Dana Wan, 157
Dul<sina, 159
Kontap, 160
Kuswa !7ìrangrong, 162
Puspanjala,164
Puspanjala(v.2),166
PuspaTajem, 168
Suba Kasrawa,170
274 TheY ocalNotation of KRT.'Wasitodiningrar
Sumedhang 172
TunggalJiwa" 174
Lødrøng
Argolagu, lOf
,{yun-ayun, 104
,{yun-Ayun (v. 2), 108
Ayun-ayun (gerong), I I I
Dupara, I l3
Gle¡rng f 16
GunungSari, 118
Jangglcng lren6 121
Jangga,I-ana,124
Kagok Respati, 126
KagokSemi, 127
Kembang Pepe,8J
KembangPepe(v.2),129
l-aresingrum, 130
LungGadhung 132
RoningTawang 135
Sa¡aYuda,137
Sri K¡etara, 139
Sri Rejeki, 98
Sri Sinuba, 144
Surung Dhayung üoÐ¡a), 148
SuarngDhayung 146
Tirta Kencana, 150
I7irangrong 152
Lagn
Jugag (Mataraman), 87
Jugg, 196
Løga
Asmar¿ndanaSemar¿ngan(P5), 107
Gambang Suling, 183
Kembang lGcang, 184
SopirBecak,186
Izgu Dolzttan
Kupu Kuwe, 188
Menthok-mcntholc 190
Tulis Kresna, 191
Løncørøn
Modemisasi Desa, 176
TropongBang 178
Vaditr¿, 180
'!Øantah
andJugag 195
ScÞarAgng
Manggala Gita,73
Puspa Lalita, 199
Sudira ÏTicitra, 45
ScÞørMuapøt
Dhandhang Gula Turu Larc, 200
Mas Kumambanp 201
SrEegaz
Kumuda, 182
Srepegao 181
Pelog Barang
A¿a-a¿a
Ada-ada, IØayang Golelç 324
Durma,326
Grcget Saut, 327
Andl*gan
Brondong Mentul, 2Z/
A1aÞ-A1atrøn
Gþr-giyar,309
Ayak-ayakan,222
P¿laran
Ilir-ilir,318
Pangkur,3l9
Bubaran
Yaden,307
Pathetan
Jugag(slendrd,322
Jwe(v.2),327
Gcndhiag
Boyong,205
HasrilGton,209
PancatNyana,215
Pandilori,219
TffÅaSari,225
Ingah
LambangSari,232
Jirutnan
Mijil Sulastri,
315
Tatanya,316
I{ctauøng
BrondongMentul, 275
Gambuh,278
GunungSari,279
KambanglGtes, 281
LangenGita [Sri Narendra],282
lançn Gia Sri Narcndra,284
IarasMa¡a, 286
Iaras Maya(v. 2),288
Megatnrh,290
Puang292
PuspaGiwang 294
Sandhung296
SinomParijatha,298
S¡i Lulut, 300
Ladrang
Asmarandana,
211
(v. 2), 233
.Asma¡andana
AsmarandanaJakalaJa,
236
Bima Ku¡da"238
Moncnr,240
Mugi Rahayu,242
Pangkur,246
SedyaAsih,251
SobrangBeawen,221
Sri Duhia,253
Sri Kaloka,256
Sri Vidada, 260
Sri Katon, 264
Sumyar,266
Tebu Sauyun,270
Vilujeng,272
Vlaleng(v.2),274
Lø.gon
'Wayang
I-agon,
Goleb 324
]Veah,325
Iøgu
GonMarga,263
KuwiApa Kuwi,3lI
Izgu Dohnan
Galah-gaj^h,312
JagoIGte,313
Nyata l(owe ÏØasis,314
L¿ncøran
Dhahana,303
Gugur Gunung 305
Jws,323
'W'anmh
(manyura),321
SeÞørAgng
Candr¿ Asmara, 245
MadyaI-alita,2M
Rctna Mulya, 259
SeharMøcøpdt
Dwrma,329
Kinanrhi, lagr lans lvladya, 328
SeÞzrMadlø
Hasri Katon, 330
Sektr Tengøhan
Maesa l¿ngir, 218
Srepegan
Srepegan,310
Pelog Nyamat
Ladrang
Pangkur,333
Slendro Nem
Ada-a¿z
Gins,44
Hasta Kuswala Ageng 45
Hasta Kuswala Alir, 46
Menarama¡, 198
Alah-ayøÞan
Ayak-ayaløn,36
Gendhing
IGbor, 3
Kocak,7
l¡kananta, t0
l,okananta (v.2), 16
Majemuk, 19
Pujangg,23
I-adrøng
Badranaya,IT
Dirada Mee, 29
Kar¿witan,4
Remeng, 32
Siyem, 17
Sobrang 43
Løgt¿
Penghijauan,39
Patheøn
J"æg,42
IGdhu,43
'Süantah,4l
SekørAgeng
Gurnang 48
SchørMacapøt
Gambuh,49
Gambuh(v.2),50
Pucung 48
Sendhon
Klolor¿n,47
Srcpegan
Srepepn,3T
Slendro Sanga
Andlxgøn
Sinom lngondhanp 95
Ayøh-ayhan
Âyak-ayakan, 131
Mijil Lansati, 126
Bubarøn
PurnamaSidi, 78
Gndhing
Gambir Sawir (mcrong), 60
Gambir Sawit Sembung Gilang
(inggah),63
Gambi¡ Sawit, 53
Ganda Kusuma, Kt. Gd.,67
Jongkang, Kt. Gd.,70
Purnama Sidi, Kt. Gendhing 73
Purnama Sidi (v. 2), Kt. Gendhing 79
Renyep, 87
Sumedhang 96
Gndhinglhtatøh
Mangun-kung, 139
Ingah
Gambir Sawit Sembung Gilang 63
Jinnnøn
Uler Kambang 134
lØiting Klapa, 136
IGtøaøng
Suba Kastawa, 122
Ladrang
Eling-eling Kasmaran, 90
Ganda Suli, 69
Gonjang-ganjing 98
Gonjang-ganjing (v. 2), 102
Hutama, 104
Jongkang,7l
KagokMadura, 106
Pakmpulan, 109
Pangkur,111
Purnama Sidi,75
PurnamaSidi (v,2),83
Rondha Malam, 114
Sri Karongron, I 16
Sri \Øibawa, 120
'l7estminste¡,
65
Iznøran
God¡il, 124
KidangTalun, 125
Valang IGkelc 133
Patlteøn
Jueag, 138
IXIanuh, 137
Sehar.Agcng
fançn.Asman,
l15
ScÉarMacapdt
Sinom logondhang 95
Indexes 275
Srepegan
Srepegan,132
Slend¡o Manyr¡¡a
Andhcgan
Cekik¡eh lZl
Kutut Manggung, 170
A1øÞ-øyøhzn
Ayak-ayakan @atalon), f 54
Ayak-ayakan (y.2),235
Kalonn,237
Buta Galak,249
Gajah-gajah,251
PamanTani,252
Ris'irisan Pandhan, 253
Ris-irisan Tcla, 254
Sepuran,255
Tukang IGyu, 256
Izncaran
Emplek-cmplek Ketepu, 230
Rena-rena,233
Padteøn
Mijit,239
UmbulDonga,241
Jug,g259
Ifanmh, 258
Bubaran
Le,bdaJiwa,234
ScÞarAgmg
Madu Retna, 175
Tebu lGsol, 26I
Gcndhing
CarangGanung 143
Cucur Bawuk, 148
Genes,157
Gonjing Miring 160
KÌnanthiPadhangBulan,I 64
Kutut Manggung 166
LambangSari,
172
lobong 176
SekarPuri, 184
Ingah
IambangSari,174
SeÞø.lulacapat
Miiit,262
Pucung263
ScÞarMadya
KuswaRåga,165
SrEegøn
Gepu246
Srepegan
@atalon),156
(v.2),243
Srepegan
SrepeganÇYoWa)
k. 3), 244
Srepcgan(Yoga) (v. 4), 245
Jirctnan
Mijil IØcdaringryas,257
IGøwøng
KembangKates,216
Madu Muni,2l7
Pawukir,218
Puspa!Øarna,220
PuspaVarna (v. 2),222
Sandhunp224
SekarTeja,226
SukmaIlang(Paralon),153
Sukmallang (v. 2),228
Lødrang
Argopeni,186
Asmarandana,
188
Ayun-ayun,191
Ginonjing 194
IGgok Liwung 198
KembangPete,146
KandhaManyura, 199
Kutut Manggung 168
Moncer,201
Pangkur(nçlik),206
Pangkur,203
PrabuAnom,208
Puspanjana,
182
RujakJeruk,210
Sri Katon (Patalon),152
Sri lGton(v.2),213
Sri Katon(v.3),214
I-agon
Jluær,260
Løga
O¡ek-orek Mon torc Mabw, 247
I-øguDoktan
Aku Duwe Pirik, 248
276 The VocalNotationof KR-T.'Wasitodiningrat
Piecesin Bedhayanstyle
GleyungLÅ.P6, 116
(v. 2), td. 59, 102
Gonjang-ganjing
Hutama,td. 59, 104
KembangPepc,Lrl. P6,85
Kembang
Pepe(v.2),1À.P6,129
Kinanthi PadhangBulan,Gd. SM, 164
KandhaManyura,td. SM, 199
langenGita [S¡iNarendra]P7,282
langenGia SriNa¡endr¿P7,284
Playon,lÅ. P5,24
Playon(v.2),1À.P5,26
Sembawa,
U.P5,28
Sumedhang
P6, 172
SurungDhayun9 LA. P6, 146
TCilujengU.P7,272
Pieceswith Andhegan
Ayun-ayun,LÅ.P6,1O4
Ayun-ayun(v. 2), td. P6, 108
BrondongMennrl,Kt. W, 275
Budheng-budhen
g, Gd. P6, 57
Eling-elingKasmaran,
ld. 59, 90
GambirSawit,Gd.,59, 53
Ginonjing Ll. SM, 194
Gonjang-ganjinglrl. 59, 98
trGgokRespati,Gd., P6,68
KembanglGcang,lågu P6, 184
Kutut Manggung,Gd. SM, 166
lnbong, Gd. SM, 176
Pu¡namaSidi (v. 2), i.d. 59, 83
Sri Kaloka,l-d.P7,256
ìØidaSa¡i Gd.,P7,225
Bawa
Gndra Asmar¿S.4..,lampah16 pedotan
8-8 P7 (fo¡ ld. Panglarr),245
KuswaRaga,SekarMadyaSM (for Gd.
Ifutut Manggung),165
langenAsmara,S-4-,lampaht4 pedotan
6-8 59 (ForLxl.Sri llarongron),I 15
Madu Rcma,S.A, lampah12pedor:.n5J
SM (for Gd. tobong), 175
MadyaLalia, S.À, lampah9 pedoan54
P7 (for t d. Paogkur),2M
Mangala Gita"S.4-,lampah15 pedotan87 P6 (for Gd. Onang-Ornng),73
RetnaMulya, S.À, lampah12 pedotan444P7 (forlÀ,. Sri fØidada),259
SudiraMcitr¿, S.i{",lampah12 pcdotan57 P6 (for Gd. Bondhet),45
Pieceswith lrama l. ll and lll
Argolagu,td., P6, 101
.Asma¡andana,
t,d. SM, 188
U.P7,2ll
Ama¡andana,
,{yun-ayun, lÅ,. P6, 104
Ayun-ayun(r. 2), td.P6, 108
Eling-eling IGsma¡¿n,Ld. 59, 90
GunungSari,kl. P6, 118
lren6 LÅ. P6, l2l
Janggleng
Pangkur,L¿ 59, lll
Pangkur,L"d.SM, 203
Pu¡namaSidi (v. 2), Id. 59, 83
Sri trGloka,LÅ.P7,256
Sri Karongron,Ld. 59, It6
Sri Kretarta,l-d,.P6, 139
Sri Mdada, LÅ.P7,260
Sumyar,f.d.P7,266
Pieceswith lrama lV
Majemuk,cd. 56, 19
Onangonang Gd.P6,74
Pangkur,U.P7,246
Piecesin Yogya style
,{da-ada,I7ayangGolekPZ 324
Brondong MenaÅ, And\eganW, 277
BrondongMennrlP7,275
I¡gon P6,87
Jugag(Mataraman),
Jug¿g,tâgonP6, 196
Jup6 lagon SM, 260
hgon, WayangG olekP7, 324
Srepegan(Yogra)(v. 3) 5M,24
Srepegan(Yogla) (". 4) 5M,245
Srepegan
P7,310
SurungDhayung(Y"g¡¿),LÅ.P6, 148
IØetah,LagonP7,325
Compositionsby K.R.T.Wasitodiningrat
Argolagu,Ll. P6, l0l
Agopeni, Ld. SM, 186
Basanta,Ks P6, 153
Dhahana,Ln.P7,303
DanaVam,k.P6,157
Duksina,Kt. P6, 159
Dupara,l"d. P6, 113
Gora Marga, Lag,:,P7, 263
Gugur Gunung Ln.P7,305
Kontap,Kt P6,160
Kupu Kuwe,l:gu DolananP6, 188
Kuwi Apa Kuwi, LaguP7, 3ll
Manjilo, l-Ã.P5,22
Mijil Vidawaren,JinemanP6,192
ModernisasiDesa,Ln. P6, 176
PamanTani, lagu DolananSM,252
Penghijauan,
lagu 56, 39
PurnamaSidi, Bubaran59,78
PumamaSidi,Gd. 59,73
PumamaSidi,td. 59,75
PurnamaSidi(v.2), Gd. 59,79
PumamaSidi (v. 2), td. 59, 83
Puspalalita, Sá. P6, 199
RondhaMalam,Ll. 59, 114
Sepuran,LaguDolananSM, 255
Sopir Bccalst"aguP6, 186
Sri Duhita,LÅ.P7,253
Sri Lulut, Kt. P7,300
Tatanya,Jinemaî P7, 316
Tukang IGyu, lagu Dolanan 9]li/.,256
Tulis K¡esna,lagu DolananP6, l9l
Vadera,BubaranP7,307
T?aditra,Ln. P6,
'lfedyasmara, 180
Kt P5,38
!flelasenA¡ih, Ln. P5,40
'Wesrminsrer,
Ld. 59, 65
lndexes 277

Slendro - American Gamelan Institute

Transcription

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