Indonesian Traditional Music Practice in Islamic Religious Ceremony:Gamelan Sekati as Celebration for Muhammad's Birthday in Indonesia's Yogyakarta Palace
Date Issued
2006
Date
2006
Author(s)
Lee, Ming-Yen
DOI
zh-TW
Abstract
As one of the three most important dates in Muslim nations, Mohammed’s birthday is the twelfth day of the third month on the Islamic calendar. Followers of the Islamic faith account for over ninety percent of Indonesia’s population, and they naturally would not miss this important date. The week prior to Mohammed’s birthday in Indonesia commences unceasing celebratory activities, which are called – “celebration activities for the birth of Mohammed” (garebeg mulud/ sekaten). Besides the various standard ways of celebrating during the continuing week-long celebratory activities of Mohammed’s birthday, such as: the narration ceremony of Mohammed’s life story, recitation of the Koran, and chanting of religious songs, there is a distinctness in Indonesia’s celebration that differs from other Muslim nations. The particularity distinguishing Indonesia from other Muslim nations is in their utilization of music and their selection of using traditional Indonesian music (gamelan sekati), which permeates the entire process of the celebratory activities. Thus this thesis’ subject shall probe into the Islamic religious rituals’ musical practices of Indonesia’s traditional gamelan music, and use the celebratory activities for Mohammed’s birthday found in the court Gamelan-sakati of Jogjakarta in Indonesia as an example of these musical practices. This article shall discuss the historical origins of the celebratory activities of Mohammed’s birthday, the ways in which Indonesians utilize Gamelan-sekati in Islamic religious celebration activities and the practices of various cultural rituals (chapter two). I shall then discuss the set of instruments, the performers and the repertoire of the gamelan-sekati (chapter three). After gaining a rudimentary understanding of gamelan-sekati this article will place the utmost emphasis on gamelan-sekati’s musical practices (chapter four-six), which is divided into three sections divided into: prelude (racikan); the main piece; and the transformations of general gamelan compositions after they have been borrowed into gamelan-sekati. From the approaches mentioned above I hope for the reader to obtain a thorough and elaborate understanding of the celebratory activities of Mohammed’s birthday.
Key terms:Mawlid ；Indonesia music ；Javanese gamelan music ；Islamic music； Gamelan Sekati
Subjects
穆罕默德誕辰
印尼音樂
爪哇甘美朗音樂
伊斯蘭音樂
甘美朗西卡蒂
Mawlid
Indonesia music
Javanese gamelan music
Islamic music
Gamelan Sekati
Type
other
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