ERNST HEINS

MUSIC IN JAVA: CURRENT BIBLIOGRAPHY

1973-1992

[3rd, enlarged edition]

Institute of MusicologyEtnomusicology Center "Jaap Kunst"

University of Amsterdam, The Netherlands- 1993-

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FOREWORDto the second edition

This bibliography, to which have been added a discography and a filmography, contains morethan 370 entries. It may thus demonstrate the explosive growth of studies on Javanese musicsince - but not necessarily owing to - the 1973 re-edition of Jaap Kunst's standard workMusic in Java (The Hague, 1949, of which the first edition appeared in 1934 in Dutch,entitled De Toonkunst van Java ), to which it is a sequel.

The setting in the field has dramatically changed over the past decades, and this hasdeeply and immediately affected the styles and modalities of current research in loco as wellas behind the writing desk. In the first place the population in present-day post-IndependenceJava has more than doubled as compared to colonial times:

D.KJ. JakartaProp. Jawa BaratProp. Jawa TengahDJ. YogyakartaProp. Jawa Timur

1930* 1980*18,000 < 6.500,000

11.022,000 < 27.450,00012.889,000 < 24.370,000

2.150,000 < 2.750,00014.810,000 < 29.190,000

*) 1930 census after Kunst (1934, App.);1980 census after Ron Hatley e.a., Otherlavas away from the kraton (Monash U.,1983: 16).

New and larger audiences are arising; changes in audiences' and performers' attitudes, socialorganization and economy are all leading to a revaluation of the traditions and are giving riseto repertoire changes and, notably in urban Sunda, to entirely new and widely acceptedgenres. The cultural and therefore the research climate have drastically altered and thisbibliography reflects these changes. A growing number of Indonesians is expanding the ranksof western researchers while generally the unrestricted application of participatory fieldtechniques of doing research by performative learning and learning by research (unthinkablein Kunst's time) has made the ethnomusicology of Java a highly sophisticated musicalscience. In addition, developments in recording and play-back technology have equallyreshaped research strategies. In this context the recent (1989) birth of an Indonesian(ethno)musicological society, Solo-based Masyarakat Musikologi Indonesia, should bementioned. At present, the MMI is predominantly funded by foreign capital (FordFoundation) and aims to unite Indonesian and foreign scholars in the field.A singular development is the impact of western musicians and scholars, including students inthe field, on their Indonesian teachers and colleagues. The unforeseen effect of closeprofessional interaction seems to be that from an oral tradition Javanese karawitan isbecoming an at least partly written tradition - a significant modification in the transmissionof music, brought about by external factors originating from the script-centrism of foreignscholars and students, with probably far-reaching effects in the future. Even professionalJavanese musicians in some of the courts nowadays are known to use notation in officialperformance as well as in musical discourse.

True, the four courts in Central Java have still remained the focal points of many musicand dance activities. Their prestige as charismatic locations where the artistic conventions arenurtured as visual and aural manifestations of royal cultural power has as yet far fromdiminished. Every week one of the courts' gamelan, in monthly repetition, is live on the air indirect radio (RRI) broadcasts. Formal rehearsals are usually open to the public and domestic

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as well as foreign tourists plan their excursions to the kraton to the rhythm of gamelan anddance rehearsals, semi-public performances and sometimes even palace ceremonies. Notunlike the proverbial Native American household-cum-anthropologist, groups of over­equipped foreigners (ethnomusicologists?) squirming around the gamelan seem to havebecome a habitual property of the regular dance and gamelan sessions in the palaces.

Yet the courts are under challenge. Nowadays there are firmly established institutions inurban Java, each with their own policies, where gamelan, other karawitan and dance are quiteindependently maintained and expanded, such as the government-run provincial music highschools SMKI and the academies STSI (formerly called ASKI), ASTI and lSI, in addition tonumerous private dance (and gamelan) schools and the various local radio stations of RadioRepublik Indonesia. It is there that new 'traditional' and 'avant-garde' styles, musics andchoreographies are created alongside with the older traditional repertoire. Now the courtsobtain their new dancers from them.

Owing to Indonesian government policy and active sponsoring, the institution of thelomba or, in Sunda, pasanggiri (local and/or province-wide contests with juries andtrophies) being a powerful tool, amateur theatre and music forms like kethoprak, sendratari,tembang sunda and the ubiquitous gamelan ibu-ibu are increasingly evolving. Theinvolvement of local TV-RI stations underlines their growing importance. On the other handmany ancient Javanese court gamelan or single instruments disappear from Central Java toturn up in the nation's capital Jakarta among the new elite as merchandise or investment.However, the demand in Java proper and Sunda for payable and transportable gamelan is solarge that new generations of gong smiths and instrument makers find a living in the gamelanassemblage, manufacturing and trade. Thereby the traditional bronze is often successfullyreplaced by cheaper brass and steel. Thus in the province of Yogyakarta every district officehas been provided by the central government with a new bronze gamelan, and each subdistrictwith an iron set of instruments, at the disposal of local amateur groups. A tendency touniformity, however, is becoming evident since officially sanctioned performance styles,nursed in the state institutions of music education, are becoming normative as graduates ofASKI-Solo are given preference in gamelan teaching positions all over the province. Stylisticdiversity seems to be quickly vanishing.

The scope of current research seems to be dominated by studies of the formal aspects ofgamelan resp. karawitan performance, where descriptive and prescriptive, -etic and -emic,process and product approaches strive for prevalence. This performative bias in most recentstudies is obviously due to Kunst's relative disregard of questions arising from the approachof performance styles to which he in his time had little or no access, and that he apparentlyappraised differently then than is done today. Islamic religious music and urban as well asrural folk traditions beyond the pulling power of the Central Javanese courts, notably those ofthe coastal periphery of the island, however, appear to have almost entirely escaped from thefield of vision as the thematic break-down on pages 34-37 below indicates. On the otherhand, popular music, once unrelentingly discarded by Kunst and his contemporaries, hasemerged as a valid research topic. So have the original Betawi traditions of the Greater Jakartaarea, brought to international attention by an active group of Jakartan scholars.

The format of this bibliography calls for a few remarks. It contains in the first placemonographs, Indonesian government publications, M.A. theses and Ph.D. dissertations(published and unpublished), some papers read at conferences, and finally articles that haveappeared in scholarly and cultural serial publications. The criteria for inclusion were notextremely selective, which may explain the unevenness of the material presented here. On theother hand, a low selectivity level may lead to a wider use of this bibliography. However,although they contain a wealth of first-hand information, articles (editorials, feature stories,

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interviews, readers' letters, etc.) that appeared in weekly magazines such as Tempo, Editor,Djoko Lodang and Java-based Indonesian newspapers could unfortunately not be includedfor reasons of inaccessibility and lack of completeness.

Some pre-1973 titles that were previously overlooked have also been included and sohave some reviews of the standard works, whereas record reviews were laid aside. Multipleentries of one author have been listed in alphabetical order (first word of title). As a rule titleson wayang kulit have been included only if they are dated beyond the closing date of VanGroenendael's wayang bibliography (1983, see below). If the musical component playedonly a peripheral role in wayang-, dance- and theatre literature, it was a reason to ban certainentries from this bibliography. Late entries were given a reference number with added a, b, c.

To the written materials has been added a Discography of internationally distributedgramophone records, in alphabetical order by publishing company. The Lokananta output istherefore excluded; readers who are interested in Indonesia's national cassette production arereferred to Yampolsky's Lokananta discography (1987).

The Discography is followed by a very tentative Filmography, including publishedvideo programs. However, the compiler is aware of the fact that assumedly these listings arefar from complete. Many of these entries have not been viewed by the compiler. On the otherhand most, but not all of the written entries below have gone through the compiler's hands.The interested reader may be referred to the following valuable bibliographies which can beused for further reference:

Danandjaja, James. An annotated bibliography oflavanesefolklore. University of CaliforniaCentre for South and Southeast Asia Studies, Berkeley 1972.

Groenendael, Victoria M. Clara van. Wayang theatre in Indonesia - An annotatedbibliography. Dordrecht etc., Foris Publications 1987 [but closing date 1983].

Becker, Judith and Alan Feinstein [eds.]. Karawitan vol. 3. Ann Arbor, University ofMichigan 1988.

- and finally the Current Bibliography sections of the periodicals Caraka /The Messenger,Ethnomusicology and Excerpta Indonesica.My sincere thanks go to the staff and management of the Department of Musicology,especially to Marion Marcenaro who lent technical advice and her professional expertise to theediting process of this bibliography.

AmsterdamMay 1990

PREFACEto the third edition

ERNST HEINS

Since the publication of the second edition two years ago, 72 new titles could be added to thebibliography, and 13 titles to the discography. The entire numbering system has been adaptedaccordingly.Other than these there are no major changes in this edition.

AmsterdamFebruary 1993

E.H.

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BIBLIOGRAPHY

1 . Abdurachman, Paramita. 'Kroncong moresko, tanjidor dan ondel-onde!.' BudayaJaya 10 (109), 1977: 338-347.

2 • Achmad, A. Kasim. 'Sebuah pengantar tentang teater tradisionil di Indonesia.'Budaya Jaya 10 (114), 1977 : 645-658.

3. Adiana, Meilia. Lengger kesenian tradisionil Jawa di kecamatan Panti kabupatenJember, Yogyakarta. Proyek Penelitian dan Penghajian Kebudayaan Nusantara(Javanologi), Dep. P. dan K., Yogyakarta 1986.

4 • Anderson, Benedict. 'The last picture show: wayang beber.' Proceedings Con/. ofModern Indonesian Literature. Madison, U. of Wisconsin 1974: 33-81.

5. Anderson, William A. 'An Orff approach to teaching Indonesian gamelan music.'Percussionist 13 (3), 1976: 98-105.

6. Arps, Bernard. Tembang in two traditions. Performance and interpretation ofJavanese literature. Ph.D. thesis U. of Leiden 1992. Un. of London, Schoolof Oriental and African Studies. London 1992.

7 • Arps, Ben. 'Volkstradities en instituties in het Middenjavaanse volkstheater.' In:C.P. Epskamp, Theater op Java, 1985.

8. Asian Musics in an Asian Perspective: Report ofAsian Traditional Performing Arts.Tokyo, Heibonsha, 1977. Edited by Fumio Koizumi, Yoshikito Tokumaru &Osamu Yamaguchi.

9 • Asmoro, Piet. Tuntunan karawitan Djawa Timuran. Modjokerto, Kantor PembinaanKebudayaan 1971.

10. Atmadibrata, Enoh. 'Indonesia VI,3. West Java: Dance.' The New GroveDictionary of Music and Musicians. London, Macmillan 1980, vol. 9 : 211­215.

-------, see also: Budaya Jaya.

11, Aziz, Abdul & Nandang Barmaya. Tari Ketuk tilu. Bandung, ASTI 1984.

12 . Baier, Randal. 'The angklung ensemble of West Java: continuity of an agriculturaltradition.' Balungan 2 (1-2), 1985/1986: 8-16.

13. -------. 'Is trance tuning theorized? or, one musician's view of the ancestors in WestJava, Indonesia.' Paper read at the 33th Annual Meeting of the Society forEthnomusicology, Tempe, Arizona, 1988.

14. -------. Si Duriat Keueung: the Sundanese angklung ensemble of West Java,Indonesia. M.A. thesis Wesleyan U. 1986.

15. Barmaya, Nandang R. Jenis-jenis tabuh gamelan Sunda tradisionil. Bandung, ASTI1979.

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16. Bastin, John. 'The Raffles gamelan.' Bijdragen tot de Taal-, Land- en Volkenkunde127, 1971.

1 7 . Beck, Gina Carol. The Javanese gender panerus: an analysis ofthe performance ofPak Minaro. M.A thesis U. of Maryland, Baltimore 1990.

18. Becker, Judith. 'Earth, fire, sakti and the Javanese gamelan.' Ethnomusicology 32,1988 : 385-392.

19. -------. Gamelan stories: Tantrism, Islam and Aesthetics in Central Java. ArizonaState U. Press, Tempe, Arizona 1992.

20. ------- & Alton Becker. 'A grammar of the musical genre srepegan.' Journal ofMusicTheory 23,1979: 1-43; repro in Asian Music 14,1983: 30-72.

21. -------. 'The Javanese court bedhaya dance as a Tantric analogy.' In: Jamie C.Kassler [ed.], Metaphor - A musical dimension. Sydney, Currency Press1991 : 109-120.

22. ------- & Alan Feinstein [eds.]. Karawitan, Source Readings in Javanese Gamelanand Vocal Music, 3 vols., Ann Arbor, U. of Michigan 1984, 1986, 1988.

23. -------. 'Kroncong - Indonesian popular music.' Asian Music 7, 1975: 34-41.

24. ------- & Alton Becker. 'A musical icon: power and meaning in Javanese gamelanmusic.' In: W. Steiner [ed.], The Sign in Music and Literature. Austin, U. ofTexas Press 1981 : 203-215.

25. ------- & Alton Becker. 'A reconsideration in the fonn of a dialogue.' Asian Music14, 1983 : 9-16.

26. -------. 'A Southeast Asian musical process: Thai thaw and Javanese irama.'Ethnomusicology 24, 1980: 453-463.

27. -------. 'Review of Jaap Kunst, Music in Java (1973).' Ethnomusicology 19,1975 : 310-314.

28. -------. 'Time and tune in Java.' In: AL. Becker & AA Yengoyan, The Imagi-nation ofReality. Northwood, Ablex 1979 : 197-210.

29. -------. Traditional music in modern Java. Diss. U. of Michigan, Ann Arbor 1972.

30. -------. Traditional music in modern Java - Gamelan in a changing society.Honolulu, U. Press of Hawaii 1980.

31. -------. 'Western influence in gamelan music.' Asian Music 3, 1972 : 3-9.

32. Beunnann, A & A Schneider. 'Probleme und Aufgaben akustisch-tonometrischerForschung in der vergleichenden Musikwissenschaft.' Acustica 69, 1989 :156-162.

33. Blekkenhorst, Gert. Muziek van de penca-silat in West-Java. M.A. thesis (Ethno-musicology) U. of Amsterdam 1974.

34. Brakel [-Papenhuyzen] , Clara. 'The court dances of C. Java and their relationshipto classical Indian dancing.' Archipel 11,1976: 8-18.

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35. -------. 'Javaanse maskerdansen en het Panji-thema.' In: c.P. Epskamp, Theater opJava, 1985.

36. -------. 'Manuscripts of Javanese court dances.' Bijdragen tot de Taal-, Land- enVolkenkunde 131, 1975 : 344-346.

37. -------. The sacred bedhaya dances of the kratons of Surakarta and Yogyakarta.Diss. D. of Leiden 1988.

38. -------. 'Trancedansen in travestie op Java.' Verre Naasten Naderbij 10 (2), 1976 :43-54.

39. Brandts Buys, J.S. & A. Brandts Buys-van Zijp. The music of the Madurese.Translated and edited by Linda Bunnan-Hall [in prep., original: De Toonkunstbij de Madoereezen, 1928].

40. Brinner, Ben. Competence and interaction in the performance ofpathetan in CentralJava. Diss. D. of California, Berkeley 1985.

41. -------. 'At the border of sound and silence: the use and function of pathetan inJavanese gamelan.' Asian Music 21 (1), 1990: 1-34.

42. -------. 'Review of Judith Becker and Alan Feinstein, Karawitan vols. 1-3,1984-1988'. Ethnomusicology 34, 1990: 140-147.

43. Budaya Jaya 11 (116), 1978. Various artt. on dance criticism by I Wayan Dibia,Enoch Atmadibrata, C.l Benny S., Edi Sedyawati & Soedarsono.

Bunnan-Hall, Linda, see: Brandts Buys, J.S.

44. Cameron, Nigel. 'Play, gamelan, play.' Orientations, May 1976: 24-31.

45. Cara menabuh gamelan gaya Yogyakarta I: Bonang. Yogyakarta, Taman Budaya1988.

46. Choon Mee Hong. A re-examination of Debussy's indebtedness to Indonesianmusical culture. Diss. Michigan State D., East Lansing 1980.

47. Choy, Peggy. Reading a golek: a perspective on a Javanese dance genre. M.A.thesis D. of Michigan, Ann Arbor 1982.

48. _m . 'Texts through time: the golek dance of Java.' In: S. Morgan & L.J. Sears[eds.], Aesthetic Tradition, 1984: 51-82.

49. Crawford, Michael. 'Indonesia V, East Java.' The New Grove Dictionary ofMusicand Musicians. London, Macmillan 1980, vol. 9: 201-207.

50. Damais, Louis Ch. 'De driedaagsche wayang wong voorstelling in den Kraton teJogjakarta op 18, 19 en 20 Maart 1939.' Djawa 19, 1939: 208-233.

51. Danandjaja, James. 'Guna teater rakyat bagi kehidupan masyarakat Indonesia:ketoprak/dagelan Siswo Budoyo sebagai suatu kasus studi.' BeritaAntropologi 7 (22), 1975 : 45-54.

52. Danasasmita, Drs. Saleh. 'Latar belakang serajah, sosial dan budaya seni Pantun.'Buletin Kebudayaan Jawa Barat 23 (I-III), 1979 : 5-12.

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53. Dea, Alexander. Bawa: a Javanese solo vocal music. Diss. Wesleyan U., Middle-town 1979.

54. Deutsch, W. & F. Fodermayr. 'Tonhohe versus Frequenz: zur Frage der Indo-nesischen Tonsysteme.' Musicologia Austriaca 6, 1986: 197-226.

55. DeVale, Sue Carole. 'Cosmological symbolism in the design and morphology ofgamelan in Java.' In: Kathy Foley, Essays. .. [in prep.].

56. -------. 'Gong forging in Bogor, West Java: The process through its sound scape.'Pacific Review ofEthnomusicology 5, 1989 : 89-123.

57. -------. 'Musical instruments and ritual: a systematic approach.' Journal of theAmerican Musical Instrument Society 14, 1988 : 126-160.

58. -------. A Sundanese gamelan - A Gestalt approach to organology. Diss. North-western U., Evanston 1977.

59. Devereaux, Kent. 'Interview "It's not official till the gong is hung": Dr. SriHastanto, S.Kar.' Balungan 4 (1), 1989 : 6-10.

60. Devries, Anik. 'Les musiques de l'Extreme-Orient al'Exposition Universelle de1889.' Cahiers Debussy 1, 1977 : 25-37.

60a. Dewi, Heristina. Studi trance kesurupan pada pertunjukan jaran kepang dalamkonteks socio-kultural di Desa Cengkeh Turi, Sumatera Utara. ThesisEthnomusicology, Un. Sumatera-Utara, Medan 1992.

61. Dournon, Genevieve. 'Du pendopo au Musee: itineraire historique et musical d'ungamelan de Java.' Paris, Musee de I'Homme 1989 [in prep.].

62. Endang S. Pangajaran Tembang Sunda. Bandung, Pelita Masa 1979.

63. Ensiklopedi Seni Musik dan Seni Tari daerah Jawa Timur. Surabaya, ProyekPenelitian dan Pencatatan Kebudayaan Daerah, Dep. P. dan K. 1976.

64. Epskamp, c.P. [ed.]. Theater op Java. Zutphen, Walburg Pers 1985.

65. Falk, Catherine. 'The rajah ofthe gamelan.' Hemisphere 20 (1), 1976: 28-33.

66. -------. 'The tarawangsa - a bowed string instrument from West Java.' In: M.J.Kartomi [ed.], Studies in Indonesian Music. Cheltenham, Monash U. 1978 :45-103.

67. -------. The Tarawangsa tradition in West Java. Diss. Monash U. 1982.

68. Feinstein, Alan, see: Judith Becker & Alan Feinstein [eds.], Karawitan (1984­1988); see also: Jennifer Lindsay e.a., A preliminary. .. catalogue [in prep.],and Preface.

Fodermayr, E, see: Deutsch, W. (1986).

69. Foley, Cathy M. 'The dancer and the danced: trance dance and theatrical per­formance in West Java.' Asian Theatre Journal 2, 1985: 28-49.

70. ------- [ed.]. Essays in Southeast Asian performance. Berkeley, U. of California [inprep.]

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71. -------, 'My bodies: the performer in West Java.' The Drama Review. 34 (2), 1990 :62-80.

72. n_. The Sundanese wayang golek: the rod puppet theatre ofWest Java. Diss. D.of Hawaii, Honolulu 1979.

73. Forrest, Wayne 1. 'Concepts of melodic patterns in contemporary Solonese gamelanmusic.' Asian Music 11, 1980: 53-127.

74 . Frederick, William H. 'Rhoma Irama and the dangut style: aspects of comtemporaryIndonesian popular culture.' Indonesia 34, 1982 : 103-130.

75 • Freeland, Felicia H. 'Revivalism as a defining stand in Yogyakartan court dance. 'Indonesia Circle 37,1985: 35-44.

-------, see also: Hughes-Freeland, Felicia.

76 . Fryer, Ruth. Sundanese theory and practice in the performance of gamelan inBandung, West Java. Diss. Queen's D., Belfast 1989.

77. Gaetano, Mario A. 'Definite pitched idiophones of the Javanese gamelan.'Percussionist 15 (3), 1978 : 121-143.

78. Gamelan, Drama Tari dan Komedi Jawa, ed. by Soedarsono, Djoko Soekiman,Retna Astuti. Projek Penelitian dan Pengkajian Kebudayaan Nusantara(Javanologi), Direktorat Jendral Kebudayaan, Dep. P. dan K., Yogyakarta1984/1985.

79. Ganua, Y. 'Dbrug topeng.' Budaya Jaya 10 (114), 1977 : 670-686.

80. Giles, James L. Bawaswara in Javanese karawitan - An analysis of melodicstructure and ornamentation. M.A. thesis D. of Hawaii, Honolulu 1985.

81. Giles, R. 'Ombak in the style of the Javanese gongs.' Selected Reports in Ethno-musicology 2, 1974: 158-165.

82. Gitosaprodjo, Sulaiman. Ichtisar teori karawitan dan teknik menabuh gamelan.Mimeogr., Malang 1971. Eng!. trans!. in: Judith Becker & Alan Feinstein[eds.], Karawitan I, 1984: 335-387.

83. -------. Sekar. Malang 1971. Eng!. trans!' in: Judith Becker & Alan Feinstein [eds.],Karawitan II, 1986: 205-232.

84. Goenoprawira, R. Soesanto. 'Lawak, teori dan praktek beserta liku-likunya.'Gamelan, Drama Tari dan Komedi Jawa 1984/1985: 83-112.

85. Gooswit, Sylvia. Jaran kepang in Suriname. Een kwesiie van rukun. M.A. thesisKatholieke Dniversiteit Nijmegen (Anthropology) 1988.

86. Groenendael, Victoria M.C. [Clara] van. The dalang behind the wayang - the roleofthe Surakarta and Yogyakarta dalang in Indonesian-Javanese society. [Diss.Vrije D., Amsterdam 1982] Dordrecht, Foris Publications 1985. Indonesiantrans!': Dalang di balik wayang. Jakarta, Grafiti Press 1987.

87. _nm_. Wayang theatre in Indonesia, An annotated bibliography. Dordrecht etc.,Foris Publications 1987.

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88. Groneman, J. 'Javaansche toneeldansen.' Tijdschrijt Indisch AardrijkskundigGenootschap 1 (3), 1882 : 22-32.

89. Grijns, Cees D. Distributional aspects offolk performance in the Jakarta Malayuarea. Leiden 1982. Also in Masyarakat Indonesia 8 (2), 1981 : 187-226.

90. -------. 'Lenong in the environs of Jakarta: a report.' Archipel 12, 1976: 175-202.

91. Hadiwidjojo, KG.P.H. Bedhaya ketawang. Jakarta, Depdikbud 1978.

92. -------. Bedhaya ketawang: tarian sakral di candi-candi. Jakarta, Bali Pustaka 1981.

93. -------. 'Danse sacree it Surakarta.' Archipel 3, 1972 : 114-132.

94. Handung Kus Sudyarsono. 'Kethoprak kelilingan.' Gamelan, Drama Tari danKomedi Jawa 1984/1985: 57-83.

95. Hardjo, W.S. Macapat Semarangan. Semarang, Dep. P. dan K 1982.

96. Hardjoprawiro, Kunardi. Kajian bentuk dan lagu kidungan Jawa Timuran.Yogyakarta, Proyek P. dan K (Javanologi), Dep. P. dan K 1985.

97. Hardjosubroto, C. 'Adakah sistimatik didalam laras slendro/pelog?' Musika 1,1972: 1-18.

98. Haryadi, Frans. 'Modem music in Java.' World ofMusic 20, 1978: 100-102.

99. m. 'Tanjidor sebagai ungkapan musik.' In: Tanjidor 1980: 97-135.

100. Harrell, Max L. 'Indonesia VI, 1. West Java, Classical music.' The New GroveDictionary of Music and Musicians. London, Macmillan 1980, vol. 9 : 207­210.

101. -------. The music of the gamelan degung ofWest Java. Diss. Los Angeles, VCLA1974.

101. -------. 'Some aspects of Sundanese music.' Selected Reports in Ethnomusicology2 (2), 1975 : 81-101.

103. Hastanto, Sri. The concept ofpathet in Central Javanese gamelan music. Diss. U. ofDurham, 1985.

104. -------. 'Pathet I: pathet di dalam laras pelog pada karawitan Jawa Tengah.' SeniPertunjukanIndonesia 1 (1), 1990: 155-187.

105. Hatch, Martin. Laru, Laras, Layang - rethinking melody in Javanese music. Diss.Cornell V., Ithaca 1980.

106. -------. 'Nyai Bei Mardusari, singer of Javanese poetry.' Review ofIndonesian andMalayanAffairs 19, 1985: 113-136.

107. -------. 'Popular music in Indonesia.' Popular Music Perspectives 2, Papers of the2nd Intern. Congress on Popular Music Studies, Reggio Emilia 1985 : 210­227.

108. ------- & Suranto Atmosaputro. 'Serat Wedatama, A translation.' Indonesia 14,1972: 157-182.

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109. -------.'Social change and the functions of music in Java.' In: Charlotte Frisbie,Explorations in Ethnomusicology: Essays in Honour ofDavid P. McAllester.Detroit, Information Coordinators 1986: 69-76.

110. m • 'The song is ended - changes in the use of macapat in Central Java.' AsianMusic 7 (2), 1976: 59-71.

111. -------. 'Towards a more open approach to the history of Javanese music.' Indonesia27, 1979 : 129-154.

112. Hatley, Barbara. 'Babads on stage: Javanese history and contemporary populartheatre.' Indonesia Circle 26, 1981 : 33-43.

113. -------. 'Indonesian ritual Javanese drama - Celebrating Tujuh-belasan.' Indonesia34, 1982: 55-64.

114. m • Kethoprak - Performance and social meaning in a Javanese popular theatreform. Diss. U. of Sidney, 1987.

115. -------. 'Ludruk and ketoprak: popular theater and society in Java.' Review ofIndonesian and Malayan Affairs 7 (1), 1973 : 38-58.

116. -----no 'Not by royal command: people's theatre in Yogya and Solo.' InsideIndonesia 13, 1987 : 26-29.

117. -------. 'Popular theatre and social world of Java.' In: C.P. Epskamp, Theater opJava, 1985.

118. -------. Theatrical imagery and gender ideology in Java. Princeton 1983, Conferencepaper, Cultural Construction of Gender in Insular Southeast Asia, Princeton1983.

119. -------. 'Wayang and ludruk : polarities in Java.' The Drama Review 15 (3), 1971 :88-101.

120. -------. 'Women in Javanese popular theatre.' Inside Indonesia 10, 1987 : 28-30.

121. Hefner, Robert W. 'The politics of popular art: tayuban dance and culture change inEast Java.' Indonesia 43, 1987 : 75-95.

122. Heins, Ernst. Entries 'angklung', 'gambang', 'gong chimes', 'Indonesia: gamelan(general)', 'Folk music: West Java', 'kacapi', 'kendhang', 'suling', 'tarom­pet'. The New Grove Dictionary ofMusic and Musicians. Macmillan, London1980, passim.

123. -------. Goong renteng - Aspects oforchestral music in a Sundanese village. Diss.U. of Amsterdam 1977.

124. m • '132 jaar gamelan in Nederland.' Wereldmuziek 1 (2), 1989 : 4-7.

125. -------. 'Kroncong and tanjidor, two cases of urban folk music in Jakarta.' AsianMusic 7, 1975 : 20-33.

126. _m . 'Letter to the Editor' [Reply to Becker 1975]. Ethnomusicology 20, 1976:97-101.

127. -------. 'Review of Judith Becker & Alan Feinstein, Karawitan III, 1988.' JournalofAsian Studies 48, 1989 : 924-926.

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128. Hennawan, Deni. Tabuhan kacapi tembang Sunda Cianjuran; tinjauan musikologiterhadap teknik dan gaya permainan Uking Sukri. M.A. thesis U. SumateraUtara, jurusan Etnomusikologi, Medan 1990. Pub!. in Masyarakat MusikologiIndonesia 2 (1), 1991.

129. Hoffman, Stanley B. Concepts of melody in Javanese music. B.A. thesis U. ofMichigan, Ann Arbor 1974.

130. -------. Epistemology and music in Java. M.A. thesis U. of Michigan, Ann Arbor1975.

131. -------. 'Epistemology and music, a Javanese example.' Ethnomusicology 22, 1978: 69-88.

132. Hood, Mantle. 'The concensus makers of Asia.' In: Barry S. Brook e.a. [eds.],Perspectives in Musicology. New York, Norton 1972: 290-306.

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134. -------. 'Folk imitations of the Javanese gamelan.' Vi/tis 15, 1956 : 5-7.

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314. Spiller, Henry. [doct. diss. on drumming for classical dance in Sunda] in prep.1989.

315. Stahl, Rae Ann. 'Transformations in kacapi-suling instrumental music.' Balungan1990.

Sri Hastanto, see: Devereaux, K, 1989.

316. Studi Gamelan Jawa di Luar Negeri. Proyek Penelitian dan Pengkajian KebudayaanNusantara (Javanologi), Dirjen Kebudayaan, Dep. P. dan K, no. 11, Yogya­kana 1985.

317. Suarnan, Maman. a) Diktat karawitan -praktek game/an. pelog dan salendro; b)Kumpulan lagu-lagu tatabuan dalam karawitan Sunda; c) Petunjuk praktisuntuk belajar menabuh gamelan salendro. Bandung, ASTI 1983.

318. Suanda, Endo. 'Cirebonese topeng and wayang of the present day.' Asian Music16, 1985 : 84-120.

319. -------. 'Review of "Tonggeret" cd.' Asian Music 21,1990: 166-170.

320. -------. 'Seniman Cirebon dalam konteks sosialnya.' Seni Pertunjukan Indonesia 1(1), 1990: 26-54.

321. -------. 'The social context of Cirebonese performing artists.' Asian Music 13,1981 : 27-42.

322. Subagio, Gunawan. Apa itu lagu pop daerah? Bandung, Citra Aditya Bakti 1989.

323. Sudjadi. 'Asal-usul dan keadaan kesenian gandrung Banyuwangi.' In: Soedarsono,Kesenian ... , 1986 : 65-80.

324. Sudjana, Kadir Tisna. 'Banjet.' Bulletin Kebudayaan Jawa Barat (Bandung) 2,1974: 14-25.

325. Suharto, Ben. 'Perkembangan tari klasik gaya Yogyakarta.' In: F. Wibowo [ed.],Mengenal tari ... , 1981 : 110-127.

326. -------. Tayub: Pengamatan dari segi tari Bergaulan serta kaitannya dengan unsurupacara kesuburan. Yogyakarta. Dep. P. dan K 1980.

327. Suhastjarja, R.M.Ap. & Soeroso. Pembuatan gong besar oleh empuh Resowigunodi Wirun, Mojolaban. Yogyakarta, Dep. P. dan K. & Javanologi 1986.

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328. Sukanda, Enip. Tembang Sunda cianjuran. Sekitar pembentukan dan perkem­bangannya. Bandung, ASTI 1984.

329. Sukanda, Viviane. Sekelumit tentang Tembang Sunda. Jakarta, Lingar Mitra Buda­ya 1978.

330. Sukardi, Kris. Kendhangan gaya Yogyakarta. Surakarta, ASKI 1976.

331. Sumantri Sastrosuwondo. 'Penggalian dan pengembangan teater rakyat Betawi.' In:H. Wijaya [ed.], Seni-Budaya Betawi, 1976: 100-114 [125].

332. Sumarsam. 'Gamelan music and the Javanese wayang kulit.' In: S. Morgan & L.Sears [eds.], Aesthetic tradition . .. , 1984 : 105-116.

333. n. 'Gender barung, its technique and function in the context of Javanesegamelan.' Indonesia 20, 1975 : 161-173.

334. -------. 'Gendhing Kalunta: a historical metaphor?' Asian Music 15, 1984 : 43-57.

335. mo. 'The historical contextualization of the term balungan in Central Javanesegamelan.' Paper read at the 34th Annual Conference of the Society forEthnomusicology, Cambridge 1989.

336. no. 'Introduction to cib10n drumming in Javanese gamelan.' In: Judith Becker &Alan Feinstein [eds.], Karawitan II, 1986: 171-204.

337. -------. 'Inner melody in Javanese gamelan music.' Asian MltSk 7, 1975 : 3-14.Repr. in: Judith Becker & Alan Feinstein [eds.], KarawitanJ. 1984: 245-304.

338. -------. Kendhangan gaya Solo. Surakarta, ASKI 1976.

339. -------. 'The meaning of game1an performance.' Progress Reports in Ethno-musicology 2 (3), 1987-88: 1-11.

340. _u • 'The musical practice of the Gamelan Sekaten.' Asian Music 12, 1981 : 54­73.

341. -------. Tjengkok genderan. Surakarta, ASKI 1971.

___om, see also: V. McDermott, 1975

342. Sundoro, Moh. Radi. Seni Macapat Jawa di Kabupaten Jember: laporan penelitian.Yogyakarta, Javanologi, Dep. P. dan K. 1986.

343. Supadmi, Nyi. Cengkok-cengkok srambahan dan abon-abon. Surakarta, ASKI1984. Repr.: Hanover, American Gamelan Institute 1990.

344. -------. Ladrang: sindhenan gendhing ladrang slendro & pelog. Hanover, AmericanGamelan Institute 1990.

345. -------. Palaran: gaya Surakarta & gaya Yogyakarta. Hanover, American Game1anInstitute 1990.

346. Supandi, Atik. Kakawihan barudak nyanyian anak-anak Sunda. Yogyakarta,Proyek Javano10gi - Dirjen Kebudayaan, Dep. P. dan K. 1985.

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347. ------- & Enoch Atmadibrata. Khasanah kesenian daerah Jawa-Barat. Bandung,Pelita Masa 1976,21977.

348. -------. Lagu pupuh, pengetahuan dan notasinya. Bandung, Pustaka Buana 1985.

349. -------. Penuntun pengajaran karawitan Sunda. Bandung, ASTI 1978.

350. -------. 'Tembang Sunda Cigawiran.' Buletin Kebudayaan Jawa Barat 9 (2-3),1976: 33-35.

351. m e.a. Teori dasar karawitan [Sunda]. Bandung 1970,31976.

352. Supanggah, Rahayu. 'Balungan.' Balungan 3 (2), 1988: 2-10.

353. -------. 'Balungan.' Seni Pertunjukan Indonesia 1 (1),1990: 115-136.

354. Supardjo. Naskah karawitan Semarang (pesisiran). Semarang, Dep. P. dan K.Propinsi Jawa Tengah, Proyek Pusat Pengembangan Kesenian Jawa Tengah,1975.

355. Suparno, Slamet. Naskah karawitan Banyumas. Semarang, Dep. P. dan K.Propinsi Jawa Tengah, Proyek Pusat Pengembangan Kesenian Jawa Tengah,1975

356. -------. Notasi cengkok gambang di laras slendro gaya Surakarta. Surakarta, ASKI1969.

357. -------. Dokumentasi wangsalan: susunan Nyi Bei Mardusari. Surakarta, PDK,ASK! 1985.

358. -------. Sindhenan andegan Nyi Bei Mardusari. Surakarta, PDK, ASKI 1984/1985.

359. Suripan Sadi Hutomo. 'Tukang kentrung sebagai penutur sejarah.' In: I GustiNgurah Bagus [ed.], Punya - Cenderamata untuk Prof. Emeritus A. Teeuw.Den Pasar, Pustaka Siddhanta 1987 : 186-199.

Surjodiningrat, see: Wasisto Soerjodiningrat.

360. Surono. Peminjauan sumber-sumber sedjarah gamelan/karawitan di Djawa.Surakarta, ASKI 1969.

361. Suryabrata & Basuki Kusworogo. The island of music: an essay in socialmusicology. Jakarta, Balai Pustaka 1987.

362. Suryabrata, Bernard. 'Lecture demonstration of Javanese music.' World of Music20, 1978 : 89-92.

363. -------. 'Penggalian dan pengembangan seni musik Betawi.' In: H. Wijaya [ed.],Seni-Budaya Betawi, 1976: 58-64 [71].

364. Surjobrongto, B.P.H. 'The classical Yogyanese dance.' Kalakshetra Quarterly 1(3), Oct.-Dec. 1978: 9-16.

365. n __ • 'Tari klasik gaya Yogyakarta.' Analisis Kebudayaan 1 (2), 1980/1981 : 35-45.

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366. Surjobrongto [Soerjobrongto], G.RP.H. 'Wayang wong gagrag Mataraman.' In:F. Wibowo [ed.], Mengenal tad . .. , 1981 : 45-56.

367. Susilo, Hardja. 'Improvisation in wayang wong panggung: creativity within culturalconstraints.' Yearbook for Traditional Music 19, 1987 : 1-11.

368. -------. 'Indonesia IV: Central Java: classical music.' The New Grove Dictionary ofMusic and Musicians. London, Macmillan 1980, vol. 9 : 190-196.

369. -------. 'The logogenesis of gendhing lampah.' Progress Reports in Ethno-musicology 2 (4-7),1989: 1-17.

370. -------. 'Review of J. Kunst, Music in Java 31973.' Asian Music 7, 1975: 58-69.

371. -------. 'Review of Philip Yampolsky, Lokananta (1987).' Ethnomusicology 33,1989 : 358-360.

372. -------. 'Sumbangan para sarjana dalam pengembangan karawitan di AmerikaSerikat.' In: Studi Gamelan Jawa di Luar Negeri, 1985: 13-34.

373. -------. 'Wayang wong panggung: a case of multi-level improvisation.' In: RicardoTrimillos & V. Feltz [eds.],Improvisation ... , 1985: 49-75.

374. _u . 'Wayang wong panggung: its social context, technique and music.' In: S.Morgan & L. Sears [eds.], Aesthetic tradition . .. , 1984: 117-161.

375. Sutton, R. Anderson. 'Change and ambiguity: gamelan style and regional identity inYogyakarta.' In: S. Morgan & L. Sears [eds.], Aesthetic tradition . .. , 1984 :221-245.

376. -------. 'Commercial cassette recordings of traditional music in Java: implications forperformers and scholars.' World ofMusic 27 (3), 1985: 23-45.

377. -------. 'Concept and treatment in Javanese gamelan music, with reference to thegambang.' Asian Music 11, 1979: 59-79.

378. -------. 'The crystallization of a marginal tradition: music in Banyumas, West CentralJava.' Yearbookfor Traditional Music 18, 1986: 115-132.

379. -------. 'Identity and individuality in an ensemble tradition: the female vocalist inJava.' In: Ellen Koskoff [ed.], Women and music . .. , 1987: 111-130.

380. u • 'Individual variations in Javanese gamelan music.' In: Ricardo Trimillos &V. Feltz [eds.], Improvisation . .. , 1985: 129-158.

381. u • 'Musical pluralism in Java: three local traditions.' Ethnomusicology 29,1985 : 56-85.

382. u • 'New theory for traditional music in Banyumas, West-Central Java.' PacificReview of Ethnomusicology 3, 1986: 79-101.

383. _u_u_. 'Asia/Indonesia.' In: Jeff Todd Titon, Worlds of Music. New York,Schirmer 21992: 266-317. [Central Java pp. 268-304.]

384. -------. 'Notes towards a grammar of variation in Javanese gender playing.'Ethnomusicology 22, 1978: 275-296.

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385. -------. 'Studi kesenian Jawa di Amerika Serikat.' In: Studi Gamelan Jawa di LuarNegeri, 1985 : 1-11.

386. -------. Traditions ofgamelan music in Java. Musical pluralism and regional identity.Cambridge Studies in Ethnomusicology, Cambridge U., Cambridge etc. 1991.

387. -------. 'Variation and composition in Java.' Yearbook for Traditional Music 19,1987 : 65-95.

388. -------. Variation in Javanese gamelan music: dynamics ofa steady state. Diss. U. ofMichigan, Ann Arbor 1982.

389. -------. 'Who is the pesindhen? Notes on the female singing tradition in Java.'Indonesia 37, 1984: 119-133.

390. Suwanda, Endo. 'Ceribonese topeng and wayang of the present day.' Asian Music16, 1985 : 84-120.

391. Suwandono. 'Preservation ofIndonesian traditional music.' Proceedings 2nd AsianPacific Music Con/., Seoul 1976 : 71-74.

392. Suwaya, Nunung e.a. Tembang Sunda dan masalah-masalah yang dihadapinyadalam rangka pembinaan. Bandung, Lembaga Kebudayaan U. Padjadjaran1974.

393. Suyenaga, Joan M. 'Patterns in process: Java through gamelan.' In: S. Morgan &L. Sears [eds.], Aesthetic tradition . .. , 1984: 82-104.

394. -------. 'Review of Judith Becker & Alan Feinstein, Karawitan I, 1984.' Journal ofAsian Studies 45, 1985: 439-440.

394a. Tamagana, Kiyoshi. Echosfrom the East: the Javanese gamelan and its influence onthe music ofClaude Debussy. 1988.

395. Tamura, Fumiko. 'The tone and scale systems of Sunda.' Asian Musics 1977: 64­72.

396. Tanabe, Hisao. Dai To-A no ongaku. Tokyo, Kyowa Shobo 1943.

397. Tanjidor - Sebuah laporan pengamatan lapangan kesenian tanjidor di daerahJakarta dan sekitarnya. Jakarta, Lembaga Pendidikan dan Kesenian 1980.

398. Tarijejer, tari pemaju dan tari padangulan. Surabaya, SMKI 1979.

399. Thomas, Alan. 'The Javanese gamelan of Raffles.' Asian Affairs 59, 1972 : 58-60.

400. Timbul Haryono. 'Instrumen gamelan dalam relief candi di Jawa.' In: Soedarsono[ed.], Pengaruh India . .. , 1985 : 15-48.

401. Toth, Andrew. The gamelan sekati in Central Java. Honors thesis Wesleyan U.,Middletown 1970.

402. -------. 'Review of Judith Becker, Traditional music in modern Java (/980).'Ethnomusicology 27, 1983: 137-140.

-------, see also: E. Jacobsen & J.R. van Hasselt.

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403. Trimanto, Ki [alias Mpu Triwiguno]. 'Membuat dan merawat gamelan.' In:Gamelan, Drama Tari ... ,1984: 7-31.

404. Trimillos, Ricardo & W. Feltz [eds.]. Improvisation in the performing arts.Honolulu, East-West Center 1985.

405. Upandi, Pandi. Pengetahuan karawitan, latar belakang dan perkembangan karawitanSunda. Bandung, ASTI 1984.

406. Vaniekova, E. 'A study of the Javanese kethoprak.' Archiv Orientalny 33, 1965 :397-450.

407. Vetter, Roger. 'Animism, Hinduism, Islam and the West: fusion in musical andvisual symbolism in a Javanese ceremony.' Progress Reports in Ethno­musicology 2 (4-7), 1989: 1-12.

408. -------. 'Flexibility in the performance practice of Central Javanese music.'Ethnomusicology 25, 1981 : 199-214.

409. -------. Formal aspects ofpeiformance practice in Central Javanese gamelan practice.M.A. thesis U. of Hawaii, Honolulu 1977.

410. -------. Music in the Lap of the World: gamelan performance, performers, andrepertoire in the Kraton Yogyakarta. Diss. U. of Wisconsin, Madison 1986.

411. -------. 'Poetic, musical and dramatic structures in a Langen Mandra Wanaraperformance.' In: S. Morgan & L.J. Sears [eds.], Aesthetic Tradition . .. ,1984: 163-209.

412. -------. 'A retrospect on a century of gamelan tone measurements.' Ethnomusicology33, 1989: 217-227.

413. -------. 'Review of Judith Becker & Alan Feinstein, Karawitan I, 1984.' AsianMusic 16, 1985: 186-189.

414. Vetter, Valerie Mau. Bedhaya Durma. Change and continuity in a Javanese courtdance. M.A. thesis U. of Wisconsin, Madison 1984.

415. Wahyono, M. 'Masks and men: topeng, a regional Javanese dance form.'Hemisphere 22 (1), 1978 : 2-5.

416. Warsodiningrat. Weda pradangga. Surakarta, SMKI 1972/1979. Eng!. trans!. in:Judith Becker & Alan Feinstein [eds.], Karawitan II, 1986: 1-170.

417. Wasisto SoeIjodiningrat e.a. Gamelan dan Komputer. Yogyakarta, Gadjah Mada U.Press 1977.

418. -------. Gending beksan Mataraman. Yogyakarta, Gadjah Mada U. Press 1976.

419. -------. 'Studi kesenian Jawa di Jepang.' In: Studi Gamelan Jawa di Luar Negeri,1985 : 35-52.

420. Weintraub, Andrew. A manual/or learning Sundanese gamelan. Senior thesis inmusic, U. of California, Santa Cruz 1985.

421. -------. Pantun Sunda: the music of an epic narrative tradition in West Java,Indonesia. M.A. thesis U. of Hawaii, Honolulu 1990.

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422. Wengen, Ger van. 'De Leidse gamelans.' Verre NaastenNaderbij 6 (1), 1972: I-ll.

423. Wibowo, Fred [ed.]. Menegal tari klasik gaya Yogyakarta. Yogyakarta, DewanKesenian Prop. DIY 1981.

424. Widjaja. 'Ketoprakongkek.' BudayaJaya 10(114),1977 :689-708.

425. Wijaya, Hussein [ed.]. Seni-Budaya Betawi - Pralokakarya penggalian danpengembangannya. Jakarta, Pustaka Jaya 1976.

426. Wilpert, Clara. Schattentheater. Hamburg, Museum fUr Volkerkunde 1973.

427. Williams, Sean. 'Urbanization in the world of Tembang Sunda.' Paper read at the34th annual meeting of the Society for Ethnomusicology, Cambridge MA1989.

428. -------. 'Current developments in Sundanese Popular music.' Asian Music 21, 1990: 105-136.

429. -------. ['Sundanese humourin music and dance.'] [in pr.] [1990]

430. -------. The Urbanization ofTembang Sunda, an aristocratic musical genre ofWestJava, Indonesia. Ph.D. U. of Washington, Seattle 1990.

431. Wiradinata, E. Kushad. 'Kesenian tradisional Angklung Gubrag.' Kawit, BulletinKebudayaanJawaBarat 26,1978: 11-13.

432. Wiranto, M. 'Pengembangan dan pembinaan seni karawitan di Indonesia.' LaporanSeminar Kesenian, Surakarta 2-4 Oktober 1972. Surakarta 1972 : 100-108.

433. Wisnoe Wardhana. 'Macam-macam tari tunggal, beksan dan tarian sosial gayaYogyakarta.' In: F. Wibowo [ed.] , Mengenal tari ... , 1981 : 28-48.

434. Wolbers, Paul. 'Account of an Angklung Caruk, July 28, 1985.' Indonesia 43,1987 : 67-75.

435. -------. 'Gandrung and Angklung from Banyuwangi: elements of a past shared withBali.' Asian Music 18, 1986: 71-98.

436. -------. 'National music'. In: Bruno Nettl, The western impact on World Music.LondonlNew York, Schirmer 1985 : 90-93.

437. -------. 'Transvestism, eroticism, and religion; in search of a contextual backgroundfor the Gandrung and Seblang traditions of Banyuwangi, East Java.' ProgressReports in Ethnomusicology 2 (4-7), 1989: 1-22.

438. Wong, Deborah & Rene Lysloff. 'The overture in Thai and Javanese ritualperformance.' Ethnomusicology 35, 1991 : 315-349.

439. Woodward, Stephanie. 'Evidence of a grammatical structure in Javanese dance:examination of a passage from Golek Lambangsari.' Dance Research Journal8 (2), 1976: 10-17.

440. Wright, Michael R. The music culture of Cirebon. Diss. UCLA, Los Angeles1978.

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441. Yampolsky, Philip. Lokananta: a discography ojthe national recording company ojIndonesia 1975-1985. U. of Wisconsin, Bib!. Series 10, Madison 1987.

442. -------. 'Hati yang luka, an Indonesian hit.' Indonesia 47, April 1989 : 1-18.

443. Yudoyono, Bambang. Gamelan Jawa, awal-mula, makna masa depannya. Jakarta,PT Karya Unipress 1984.

444. Yusof, Gulam Sarwar. 'Traditional theatre in Southeast Asia.' Performing Arts 2,1985 : 37-49.

Zain, Djoedjoe, see: Sain Martadinata, Djoedjoe.

445. Zanten, Wim van. 'The poetry of Tembang Sunda.' Bijdragen tot de Taal-, Land- enVolkenkunde 140, 1984: 289-316.

446. -------. 'Structure in the panambih pelog songs of tembang Sunda.' In: FeestbundelA.A. Gerbrands. Leiden, U. of Leiden 1986: 187-198.

447. -------. Sundanese music in the Cianjuran style: anthropological and musicologicalaspects ojTembang Sunda. Dordrecht/Providence, Foris Publications 1989.

448. -------. Tembang Sunda: an ethnomusicological study oj the Cianjuran music ojWest-Java. Diss. U. of Leiden, Leiden 1987.

449. -------. 'The tone material of the kacapi in Tembang Sunda in West-Java.'Ethnomusicology 30, 1986 : 84-112.

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DISCOGRAPHY

450. Alvares C.462. 'Musique de Java, l'Ecole de Loka Wangi, Centre Java.' JacquesBrunet, n.d.

451. Archiv Produktion 2723 017. 'Gamelans from the Sultan's Palace in Yogyakarta.' 2discs. J. Brunet 1972 [see also D.G.G.]

452. Barenreiter/Musicaphon SL 2031. 'Indonesia I, Java Court Music.' Jacques Brunet,1972. RRI-Yogya (KRTWasitodipuro); Pakualaman (KRTWasitodipuro).

453. C.RS. 65440. 'Java: une nuit de wayang kuHt, h~gende de Wahyu Tjakraningat.'Jacques Brunet, n.d. Glagah Wangi (Kardi Rahardjo Pramono).

454. D.G.G. 2535 462 (1980). 'Gamelan music from Java.' J. Brunet, 1972 [previouslyreleased as part of Archiv Produktion 2723 017].

455. E.M.I. 2403201 (1985). 'Java: music of the theatre.' Jacques Brunet, 1968nO.

456. Globestyle CDORB057. 'Jaipongan Java'. CD, Jugala Group, Bandung 1990.

451. Icon Records, ElectraINonesuch 9 79173-2. 'Idjab Hadidjah - Tonggeret JaipongSunda.' CD, Jugala Group, Bandung 1987. Notes by Philip Yampolsky. Rev.in Asian Music 21,1990: 166-170.

458. Icon Records, ElectraINonesuch. 'Sangkala/Degung. Modem Instrumental Musicfrom Indonesia.' CD, 1985. Rev. in Balungan 3 (1), 1987 : 35-36.

459. KiwilPacific (Hibiscus) Records HLS/91 (1982). 'Music for sale, Street MusiciansofYogyakarta.' Jack Body, 1976n8.

460. Lyrichord LLST 7301. 'Java, Music of mystical enchantment.' Doreen Powers,1977.

461. Lyrichord LLST 7310. 'Street music of Central Java.' Mark Nelson & RogerVetter, 1976. Yogyakarta.

462. Lyrichord LLST 7317. 'Javanese music from Surinam.' Verna Gillis, 1977.

463. Music of the World. 'The Sultan's pleasure: Javanese gamelan and vocal music.'Yogyakarta. Cass.tape, Roger Vetter, 1989. Rev. in Asian Music 22, 1990:174-176, and in Ethnomusicology 36, 1992: 299-302.

464. Musique du Monde 21-500-21-2. 'Sunda, Les Kratons de Cirebon.' JacquesBrunet, 1972. Kasepuhan and Kanoman, Cirebon (Pak Sakum, Raden Saleh,Basari Abas).

465. Nonesuch H-72074 (1977). 'Javanese court gamelan II.' Robert E. Brown, 1976.Mangkunegaran, Surakarta. (R.T. Soendoro). Reissued as CD, 1991.

466. Nonesuch H-72083 (1979). 'Javanese Court Gamelan III.' Robert E. Brown,1976n8. Kraton Ngayogyakarta Hadiningrat, Yogyakarta.

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467. Ocora 558507/9. 'Java - "Langen Mandra Wanara", Opera de Danuredjo VII.'Jacques Brunet, 1975. Notoyudan, Yogyakarta (R.M. Prodjowiwaha). 3discs.

468. Ocora 558502. 'Sunda, Musique et Chants traditionnels.' Jacques Brunet,1972/1973. Bandung, kacapian & tembang Sunda.

469. Ocora 558598. [1982] 'Java, Palais Royal de Yogyakarta, Musique de concert.'Jacques Brunet, 1972/1973. Kraton Yogyakarta.

469a. Ode 1379. 'Music of the open air: India - China - Indonesia.' CD, Jack Body,1991. [a.o.: ronggeng, street music, reog, jaranan, prajurit]

469b. Ode 1380. 'Suara.' Jack Body, 1991. [a.o.: ciblon, ngamen" guwa tabuhan, ricepounding, genggong, sawangan]

469c. Ode 1381. 'Music of Madura.' CD, Jack Body, 1991. [a.o.: gamelan, tuk-tuk,gumbek, gebluk, galundang]

469d. Pan-Paradox 2020 CD. 'Frozen Brass - Asia. Anthology of brass band music #1.' CD, Rob Boonzajer Flaes, Ernst Heins, 1993. [a.o.: tanjidor, prajurit,gamelan]

470. Philips 6586041, Unesco Collection Musical Sources - Art Music of SE Asia 9-6.'Vocal Art from Java.' Jacques Brunet, 197511977 (R.S. Banjaransari;Sunarto; Niken Larasati; Siteran).

471. Playa Sound PS 33507. 'Java, l'Art du Gamelan.' Jacques Brunet, 19721. RRI-Yogyakarta [but photographs of Kraton Yogyakarta gam.] [side A previouslyissued on Galloway GB 600.522].

472. Playa Sound PS 33515. 'Indonesie: Sunda.' Jacques Brunet, 1972. Bandung,kacapian & tembang Sunda.

473. Smithsonian/Folkways SF40055. Music of Indonesia 1. 'Songs before dawn-Gandrung Banyuwangi.' CD, Philip Yampolski, 1991.

474. Smithsonian/Folkways SF40056. Music of Indonesia 2. 'Indonesian popular music- Kroncong, dangdut & langgam Jawa.' CD, Philip Yampolsky, 1991.

475. Smithsonian/Folkways SF40057. Music of Indonesia 3. 'Music from the outskirtsof Jakarta-Gambang kromong' CD, Philip Yampolsky, 1991.

476. Smithsonian/Folkways SF40059. Music of Indonesia 5. 'Tanjidor, Topeng Betawi,and Ajeng.' [In press]. CD, Philip Yampolsky, 1992.

477. Tangent TGS 137. 'Flute and gamelan music of West Java.' Mike Steyn, 1978.

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FILMOGRAPHY / VIDEOTAPES

478. [Anon.] An angklung orchestra (Java). Australian Infonnation Service, n.d. 16 mm,6 mins.

479. [Anon.] Penca and topeng babakanfrom Sunda, Indonesia. Asia Society, 1983.

480. [Baylis] Shadow puppet theatre of Java. Baylis-Glascock, CA, n.d., 16 mm, 22mins.

481. Brakel, Clara. Bedhaya dances ofthe Surakarta and Yogyakarta courts, 1988. VHS,45 mins.

482. Grasveld, Fons. Birds of passage. Netherlands Film Institute, Hilversum 1986[Java, Surinam, Netherlands].

483. [Hatley] Sacred trances in Bali and Java. Hatley Productions CT., n.d. 16 mm, 30mins.

484. Heins, Ernst. Wayang golek in the world of man. Stichting Film en Wetenschap,Utrecht 1975. 16 mm, 35 mins.

485. -------. KIana topeng - Classical mask dance from Central Java. Stichting Film enWetenschap, Utrecht 1978. 16 mm, 25 mins.

486. -------. The components of the Javanese gamelan. Ethnomusicology Centre 'JaapKunst', U. of Amsterdam 1989. VHS, 55 mins.

487. Hellwig, Jean. Jaipongan: Sundanese popular culture alive! Inst. of Cult. Anthro-pology, U. of Amsterdam 1989. UMatic, 55 mins.

488. Hughes-Freeland, Felicia. The dancer and the dance. Film and Television School,Royal Anthrop. Inst., London 1988. 16 mm, 44 mins.

489. [Susilo, Hardja] Gamelan music of Java: an introduction. East-West Center,Honolulu 1984 (U. of Honolulu Manca gamelan ensemble).

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A thematic breakdown yields the following categories. It should be kept in mind, however,that many articles do not easily fit into precise boundaries. This compiler's choices in namingthe specific categories and designating an article to them are subjective. The categories havebeen grouped into the various main administrative areas of the island, followed by five groupsthat fall outside the provincial boundaries.

CENTRAL JAVA AND D.I. YOGYAKARTA

1. Generalities.70, 147, 155, 168, 181,213,241, 276, 299, 404, 463.

2. Gamelan (karawitan).

2.1 ------- as a tradition; its social history and development22, 78, 111, 132, 133, 137, 141, 148,238,247,283,285.,286,295,298, 301,310, 360,361, 391, 432, 469d.

2.2 ------- as an ensemble structure. General introductions (formal/technical) to theensemble and its music.22, 29, 30, 63, 122, 165, 182, 183,202,203, 210,223,226, 257,258, 276, 277,280,290,291,312,362,368,396,402,416,441,450,451, 452, 454, 460, 463,465,466,469,470,471,486,489.

2.3 ------- region-oriented studies.195,354,355,375,378,381,382,385.

3. Special and/or specific gamelan.

3.1 gamelan sekati 136, 340,4013.2 gamelan pakurmatan 18,211,3133.3 'Raffles'16,44,3993.4 other 124, 262,422.

4. The anthropology of gamelan.

4.1 meaning, epistemology, cosmology, ideology, semiotics18, 19,24,57, 130, 131, 161, 222, 229, 301, 309, 339, 359, 437, 443.

4.2 politics, social change, tourism, media109, 121, 156, 157,235, 371, 370,441.

4.3 the courts185,192,410,451,464,465,466,469,481.

4.4 gender studies118, 120, 379, 389,437.

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4.5 the streets: ngamen459,461, 469a, 469b.

4.6 performers and their interaction29, 30,40,47,48, 59, 70, 106, 135, 173, 175,357,358,379, 380,389,410.

5. Organology (incl. West Java): acoustics, manufacture, construction, history androle/place of instruments18, 55, 56, 57, 58, 66, 77, 81, 122, 150, 176, 218, 222, 259, 268, 288, 298, 311,327,400,403,412.

6. Scales, tunings.32,54,97,102,140,153,261,412.

7. Modality, pathet.41,103,104,105,138,195,244,246,250,251,252,278,292.

8. Formal aspects (congeneric, non-referential analysis).

8.1 structures of gendhing20, 25, 26, 28, 29, 30, 73, 82, 105, 129, 138, 145, 178, 188, 239, 260, 265, 267,290,291,297,308,334,335,337,352,353,354, 369,387, 388,417,438.

8.2 performance styles of gendhing (general)82,135,307,332,337,387,388,393,408,409,436,486,489.

8.3 --- of pathetan40,279.

8.4 --- of specific instruments1. gender 17,204,209,237,294,333,341,3842. rebab 259, 266, 275, 3073. kendhang 206, 248, 330, 336, 3384. bonang 45, 188, 2015. gambang 356, 3776. other 68, 218, 262, 449.

8.5 vocal music1. tembang, bawa, sindhenan 6, 53, 80, 83, 95, 106, 108, 110, 163, 243, 245, 251,

252,296,342,343,344,3452. suluk 279.

9. The repertoire: notations, collections of gendhing, manuscripts22 [vol. III], 68, 127, 177, 191, 193,209,212,230,236,249,271,293,296, 297,313, 343, 344, 345, 357,410,418.

10. Theatre, dance, drama.

10.1 general (court, urban)34, 36,43, 63, 88, 146, 154, 155, 156, 157, 186, 216, 227, 264, 293, 302, 325,364,365,418,423,488.

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10.2 1. wayang kulit (selection) 86, 87, U9, 169, 173, 174, 196,225, 248, 279, 281,332,390,426,453,480

2. other puppetry 159, 196, 234, 287.

10.3 wayang orangSO, 158, 170, 303, 366, 367, 373, 374.

10.4 bedhaya/srimpi21, 34, 37, 75, 91, 92, 93, 142, 143, 151,215,216,414,481,483.

10.5 gambyong,golek47,48,214,282,433,439.

10.6 topeng35, 220, 415, 433, 485.

10.7 other dance12, 433.

10.8 dance drama, sendratari274, 300,411,467.

10.9 kethoprak51, 84,94, 112, 114, 115, 170, 1712,207, 300,444,455.

10.10 other trad. and modern theatre2, 7, 64, 113, 115, 116, 117, UB, 160, 170,207,300,444,455.

11. Javanese folk traditions (incl. East Java)1. general 134, 3002. jaran kepang 6Oa, 85, 162, 164, 469a3~ reog 3B, 166, 300, 469a4. {wayang] topeng 35, 219, 2285. gandmng 305,323,435,437,4736. tayuban 121, 300, 3267. other 3,300,359,407,434, 469a, 469b, 469d.

EAST JAVA AND MADURA

12. East Java and Madura.9,10,39,49,96,121,219,220,228,265,266,272,273, 304, 305, 386,434,435, 437, 469c.

WEST JAVA

13. Sunda1. karawitan Sunda, general 100, 144,318,347,349,351,405,4292. gamelan salendro/pelog; degung; goong renteng 15, 58,65, 76, 101, 123, 270,

314, 317,420,4583. tonal scales, modality 102, 295, 4494.1 tembang Sunda (Cianjuran), kacapi-suling 62, 128,311,315,328,329,348,

350,392,427,430,445,446,447,448,449,468,472,4774.2 other vocal music 52, 267,346,421

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5. other musical traditions 12, 13, 14,33,66,67, 122, 200a, 218,240, 320,431,456, 457, 469d, 476, 478

6. wayang golek 72, 4847. dance 10, 11,69, 79, 152,200,224,324,479,484,487.

14. Cirebon58,61, 318, 320, 321, 390,440,464.

D.K.I. JAKARTA

IS. 1. general 89, 194,231,241,4252. tanjidor 1, 99, 125, 199, 233, 397, 469d, 476.3. folk theatre (lenong, topeng betawi) 90, 232, 253,254,255,256,284,3314. other 1, 242, 475, 476.

16. SURINAM-JAVANESE85,462,482.

17. CHINESE242, 291, 475.

18. POPULAR MUSIC (westernized, entire Java).1. general 107, 200a, 322, 428, 442, 4742. kroncong 1,23, 125, 179, 180, 184, 200a,436, 4743. dangdut 74, 200a, 474.

19. JAVA & THE WEST, vice versa.5,31,46,60,98, 124, 187, 194a, 217, 263, 269, 289, 301, 312, 316, 372, 385,407..

20. DISCOURSE (reviews, criticism)27,41,42,43, 126, 127, 139, 167, 198,239,319, 370, 371, 394,402,413.