This is a comparative analysis of two different cultures - as Indonesian and Korean in terms of music. Both are unique and original. There are so many differences but the writer had tried to fit them into four pages…
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It is said to have originated in 16th century before the arrival or introduction of Islam in Indonesia, because of this, it is slightly modified, had change in new ways and absorbed new contexts (Harnish and Rasmsmusen). According to Harnish and Rasmussen, it is a large ensemble consisting of predominantly tuned, percussion instruments such as metallophones, hanging gongs and kettle gongs. It consists of two basic categories, pencon which are knobbed gong instruments and wilahan or slabbed key instruments (Spiller 60). It is composed of several gongs with different pitches based on the differences in thickness of surfaces, sizes, shapes and weights. It can be arranged vertically or suspended horizontally and struck with a use of a mallet. Slab key instruments compose of ten to fifteen rectangular metal bars arranged from left to right, from smallest to largest. The timbre of the metal bars depends on the softness or hardness of mallet use when playing the instrument. Gamelan Sekaten is a gamelan piece. It has a cyclical pattern and can be played repeatedly many times (Spiller 69-71). It is associated with the Muslim festival Garebeg Maulud, birth of the prophet Mohammed during Muslim holy week. No drastic changes have been done in gamelan sekaten because of its historical values. Javanese treats the instrument not as an ordinary instrument but a symbol associated with history, royal legitimacy and link to the past. No new pieces have been composed and the instruments have not been tuned ever since to preserve its originality, prevent distracting its venerability and diminishing symbolic potency (Spiller 70-72). Due to its status symbol and importance in history that can be traced many centuries ago, gamelan sekaten has. Banquet music is played to entertain. Korean banquet music is divided into three categories, the aak or Chinese ritual music, tangak, Koreanized Chinese ritual music and the hyangak or the Korean ritual music. According to Broughton et al. (p. 161) aak was the first to be introduced to Korea by Chinese in 1116 and has been modified and changed through the years. Contemporary aak originated from the reconstruction in 1430 with the use of written melodies dated back to twelfth century. Only two melodies have survived though the years and played only in Sacrifice to Confucius using Chinese originated ritual instruments. May states that (p.32) Tangak means music from the T’ang dynasty China, ak means Korean term for music. Tangak has only two orchestral pieces and hyangak pieces are originally created on fifteenth century to suit Korean royal ancestors. To this day hyangak pieces still exist that is still closely related to fifteenth century notations. Its purpose was to entertain the royal ruling class in informal form and subdivided into two, the chong-ak and sog-ak. Chong-ak is for the royal ruling class while sog-ak is for ordinary people. Court music includes ritual, banquet and military music. It consists of voice, musical and instrumental components. It usually starts in a slow pace and progresses into a cheerful dance pace until the end. Court music should be approved and accepted by the ruling class. In addition, the circumstance of its performance should also then be approved
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