I think these are both songs in a shadow-puppet play. They both sounded pretty theatrical to me (which is to say only a bit more dramatism), especially compared to the other gamelan pieces we’ve been listening to. Before I realized this my first thoughts towards Ladrang Wilujang were that it was a happy song for a happy occasion. Then, however, noting the differences between this song and other wedding or festive songs we’ve heard, I thought of changing my description of “happy” to “triumphant.” Pembang Pacar also had this effect on me. My first thoughts were that it was simply a low-key song with a strange vibe (to Western ears). The tempo changes of the song towards the end, however, changed my mind, and I was suddenly convinced the song sounded just like a journey. Heavy, regular beats like footsteps. When it sped up, something intense was going on, and when it slowed down, the obstacle had been passed and the travelers had arrived at their destination.
Do you think there is a notable difference between this music and the gamelan music we were hearing before? Does it sound more dramatic to you? I think it would be interesting to listen to the other gamelan music with a mindset to interpret it as for a shadow-puppet play, and see what happens.
Powered by FireStats
I agree that these songs were more dramatic than the ones we listened to last week. I think that Burbaran Kembang Pacar sounded kind of ominous, with the loud, dramatic tones. Ladrang Wilujeng sounded joyful, but I don’t think I would neccessarily describe it as triumphant. But it was definitely dramatic and I think this was helped by the tone color of the singers in this piece. While in some previous examples the singers had a nasal quality, these singers used a more open sound, which was both more pleasing to my ear and more joyful sounding.