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The ''Gamelan Sekaten'' (or ''Sekati'') is a ceremonial gamelan (musical ensemble) from central Java, Indonesia, played during the annual ''Sekaten'' festival. The word "''sekaten''" itself is derived from ''syahadatain'' or ''shahada'', the first requirement for converting into Islamic faith. Traditionally it is played once per year, on the occasion of ''Mawlid'', Muhammad's birthday, for the week from the 6-12 of the month of ''Mulud'' (the third month of the Javanese calendar, corresponding to the Islamic ''Rabi' al-awwal''). On this celebration it is brought from the palace at 11 pm to two pavilions before the Great Mosque. It is played every day during that week except the Thursday night/Friday morning. On the eve of the birthday proper, it is returned at 11 pm.〔Lindsay, Jennifer. ''Javanese Gamelan''. Oxford: Oxford UP, 1979. ISBN 0-19-580413-9. Page 46.〕 The ensemble is said to have been created by Java's first Muslim prince,〔Broughton, Simon, et al., eds. ''World Music: The Rough Guide''. London: The Rough Guides, 1994. ISBN 1-85828-017-6. Page 418〕 or one of the ''Wali Sanga'', in order to convert reluctant Javanese to the Islamic faith. However, it almost certainly already existed, though the music was probably used to propagate the faith.〔Lindsay 1979, 47.〕 The style of the ''Sekaten'' ensemble is very loud and majestic, because it seeks to attract people to the mosque.〔 It was said that if a ''saron'' player was able to play so hard that he broke one of the bronze keys, he would get a reward from the sultan.〔 The ''gamelan sekaten'' includes neither singers nor the soft instruments, unlike most Javanese ensembles.〔Brinner, Benjamin (2008). ''Music in Central Java'', p.11. ISBN 978-0-19-514737-7.〕 The ensembles are kept in the royal palaces. Two sets dating to the 16th century are found in each of the ''kraton'' in Surakarta and Yogyakarta, and two in Cirebon, one at Keraton Kasepuhan and one at Keraton Kanoman. Previously they were found in Madura and Banten as well.〔 The names of the sets at Yogyakarta are ''Kyai Guntur Madu'' and ''Kyai Naga Wilaga''; those at Surakarta are ''Kyai Guntur Madu'' and ''Kyai Guntur Sari''.〔.〕 According to Benjamin Brinner, the ''gamelan sekaten'', exists in halves: divided between the two rival courts in Surakarta and Yogyakorta, each court had a matching second half made.〔 The pitches of the ''Sekaten'' ensemble is in ''pelog'', but lower than standard ensembles today.〔 According to Benjamin Brinner it is the lowest pitched, largest, and loudest ensemble in Java.〔 In recent times the gamelan at STSI Surakarta commissioned a special ''Sekaten'' set that would be compatible with their other gamelan, to be used in new experimental compositions.〔Roth, A. R. ''New Compositions for Javanese Gamelan''. University of Durham, Doctoral Thesis, 1986. Page 96-97〕 Historically, the ''Sekaten'' ensemble is notable in the development of the gamelan because it marked the change from the use of the ''bonang'' as the most important melody instrument, as it is in the earlier ''Munggang'' and ''Kodokngorek'' ensembles, to "leading" the ensemble by playing the pitches in anticipating patterns.〔Roth 1986, 8.〕 In the ensemble, players sit on opposite sides of the ''bonang'', which may have led to the modern configuration of pots, which is aimed at making octaves comfortable.〔Roth 1986, 14.〕 ==Notes== 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Gamelan Sekaten」の詳細全文を読む スポンサード リンク
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