TRACES OF MUSICAL INSTRUMENTS IN KAKAWIN BHARATAYUDHA
Hendra Santosa
Dyah Kustiyanti
I Komang Sudirga
Indonesia Institute of the Arts Denpasar
email: hendrasnts@gmail.com

ABSTRACT
This article is part of the research entitled "Melacak Jejakdari Karawitan dalam Naskah JawaKuno: Kajian Bentuk, Fungsi, dan Makna" based on 22 early Old Javanese literature manuscripts.This article is specifically talking about the form and function of musical instruments that are written in the Kakawin Bratayudha only to clarify the form and function of musical instruments during the reign of Jayabaya in Kediri, East Java. This study uses historical method, namely, through the stages of heuristics, criticism, interpretation, and historiography.
The results showed that at the stage of heuristics three kakawin are found including Bharatayudha by I WayanWarna in 1990, works of R.M. SutjiptoWirjosuparto 1968 entitled Kakawin BharataYudha, and a translation book Kakawin BharataYudha by I Gusti Bagus Sugriva, 2012. Criticism is done internally through translation and also by comparing the three works from the text, followed by interpretation of the translation of three Kakawin BharataYudha, and the last is the stage of historiography. The function of musical instruments in the kakawinof BharataYudhacan not be separated from the function of musical instruments at the time of the Ancient Javanese namely as a means of ceremonies and to accompany secular activities. Secular activity in question is entertainment, communication, respect, war, economy, dowry, and symbol (Fernandus, 2003: 381-415). Musical instruments contained in kakawin BharataYudha, is still found, but there also have been renamed as Mredangga (drum) and rawanahasta (a type of fiddle). Harps only thrive in Sundanese, and Rawanahasta grow and spread in different parts of the archipelago.

Keywords: functionality, musical instruments, kakawin BharataYudha.

INTRODUCTION
Bharatayudhawas written by mpuSedah and continued by Panuluh. MpuSedah finished the story until prabuҪalyathe commander of the war, then told mpuPanuluh to complete. Jayabhaya reigned in Kediri (1135 - 1146 AD). The division into two kingdoms namely Kediri kingdom and Jenggala, which then Jenggala was conquered by Jayabhaya. The author justifies what was done by Jayabhaya. Kekawin BharataYudha consists of 52 cantos and 675 poems (in the works of Ida Bagus Sugriva there are 22 cantos)..The shortest is 25 with three stanzas of poetry and the longest being the 15 cantos with the number 43stanzas. There are 29 lyric poems that mention a wide variety of original instruments in the archipelago and its function and meaning.
This very famous book was expressed by the words of the sanga-kuda-sudha-tjandrana = Ҫ 1079  (1157 AD), during the  Jayabhaya government in Kediri (1135-1157AD) The story tells up to prabu Salya mission to go to war, composed by mpu Sedah, continued by mpu Panuluh. It contained a song that describes Pandavas war with the Kauravas and won by the Pandavas. The story begins from the story of Kresna Duta, until Parikesit is crowned king of Astin
Kekawin Bharatayudha is a poem; One of the characteristics of myths is its close dependence between human and supernatural forces outside of himself (Herlina, 2009: 13). This was seen when the story at the beginning of the script of Kakawin Bharata Yudha from Canto I stanza number 2 which is translated into "The enemy who had been defeated called the king as a king of gods." It is explained further in the II number 3: "At that time it is said that the god Ҫiwafollowed by a group of gods and sages went down to the world. The king tried to meet him and paid homage to the god, who was regarded as the indescribablesanctity. Therefore,  Ҫiwa was very happy and said: "O king Jayabhaya, do not fear. I did not come out of anger, but came to give grace so that you may be a winner in the ten heavens. "Later the first canto No. 4 states that "after the god Ҫiwa gave grace, god Ҫiwa as usual disappeared." The sequel lines "Thus says god Ҫiwa with demolished; it has been approved by an entourage of resi (priests) in the sky."It also makes a typicalcharacteristic of the characteristics mentioned as a principle of pars pro toto (part for all), which is an attempt to be identical partially with others, such as:" Let it be heard by the whole country. " Geneological form is also mentioned in the first canto number four when Lord Shiva said: "Accept my grace that I gave to youmyson Jayabhaya! "indicating that Jayabaya is a descendant of Lord Shiva. Furthermore, the words "Blessed are you as a king and be a great king in the world and defeat the enemy. Moreover, remain united with my soul; directly become a god in the world. "
Kekawin BharataYudha as described in Canto I number 1 up to number 7 is a preliminary, and it is mentioned in verse number seven, the translation of which is: "It would be nice if the foregoing is used as a preliminary to make a compliment about the battle between Pannddawa against king Kurawa, and Canto LII number 3 to number 13 is the concluding part.
This study uses historical method, which according to Louis Gottschalk (1975: 32), is the process of testing and critically analyze the records and relics of the past. The historical method consists of heuristics, criticism, interpretation, and historiography, with the aim of reconstructing the past (Garraghan 1957: 33-69; Gottschalk: 1975: 17-19; Kartodirdjo 1982). 
The first stage is a heuristic which collects various data sources related to the problem being studied. Written sources in the form of three first script KekawinBharataYudhawritten by I WayanWarna 1990 issued by Dinas Pendidikan Dasar Provinsi Daerah Tingkat I Bali(Primary Education Department of the Province of Bali), written by R.M. SutjiptoWirjosuparto, 1968. Kakawin-BharataYudha, Djakarta: Penerbit Bhratara., and a translation book of Kakawin BharataYuddha by I Gusti Bagus Sugriva, 2012, issue of Bali Studies centre, Udayana University Press. The second stage is the criticism by testing the credibility of the source or the so-called internal criticism by comparing the three works.
The third stage is the interpretation of the facts and historical sources; interpretation is done in two forms namely analysis and synthesis. Interpretation consists of verbal interpretation that is associated with language, vocabulary, grammar, context, and translation. Verbal interpretation is to explain the meaning of words or sentences. (Garraghan, 1957: 321; Herlina, 2014: 36-55). The phase of historiography is the writing of the report in the form of multidimensional writing.
Kekawin Bharata Yudha mentions 25 musical instruments. The most mentioned word is the word çangk (h) a (9 times) which is currently in Bali called the sungu (X 5) that is wind instrument made of great seashells explicitly mentioned in Canto IX 10 X 3, 16, 16, XIV, XV 26 17 XVI, XIX 20, XXVI 1, XXXVI 3, LII 8. The çangkais used for the coronation ceremony of warlords along with padahi instrument and bheri (X 3). Furthermore çangka is a fixture in battle (XIV 16). Çangkais blown continuously without stopping (17 XVI, XIX 20), pounded together with other instruments as an encouragement to fight (XXXIX), so that the soldiers scramble want in front (XXVI 1). Sungu is used to start a war (X 5) and ҫangka to end the war and then return followed by prayers (XXXVI 3). After the completion of the war, Çangka named Pancajayais only used at times of ceremony (LII 8). .In war, çangka can be used as a weapon (IX 10) which is to inflict terror on the opponent so that the opponent would be afraid (XV 26). It is expressed also in the Canto IX , 9 serves as a weapon, which ҫangkamusical instruments that is sounded with the gong and bajra, apparently also be used as a weapon, a description of how musical instruments are used as above, to make opponents fear. Gong (large sphere-shaped with a diameter of more than 60 cm in the middle of which there is pencon andbajra(a type of small bells). In Canto XXI 18 gantta, another name of bajra, serves to foster life and joy that are most likely in a ceremony.
Furthermore, the word mredangga, according to my opinion, is a kind of fat drum like wine barrel called six times. In Canto X no. 8 is a war unfold regulation not to kill the man who brought mredangga (can also be called as war gamelan). Mredangga in Canto IX No. 10 is beaten with a boisterous mixed with the shouts of the soldiers. Mredangga sounded continuously along ҫangka (XIX 20). Mredangga also shared with kala (one faced drum with a short stem), sangka, and gubar are beaten to give encouragement, so the soldiers fight for a place at the front (XXVI 1). Later in the canto XXXIX No. 2 in addition to encouraging soldiers it also serves to start a war. Mredangga dis beaten endlessly to celebrate victory in battle (XLIX 6).
Gubar, a small gong with sonorous voice, is bende instrument in Sunda and Java, in Bali is called tawa-tawa, called 5 times. In Canto X 9 gubaris beaten in a war with the continuously relentless, along with ҫangka and similar big gong called saragi (Kunts, 1968: 70) and is used to start a war (X 16), gubar also functions as an encouragement in battle (XXVI 1, XLII 1), gendding gubar and gong, have a sound louder than the sound of the waves (XXXVI 8).
The word gending means song or instrumental music compositions written as much as four times at Canto V 8 XXXVI 8 XLII 1, and L 5. In Canto V 8, the composition of the music produced by curing instrument is used to accompany or in the form a picture of people being making love. The composition is played ongubar and gonginstruments (XXXVI 8). Musical compositions are also used to give encouragement at war (XLII 1). Music composition from the instrumentsof kangsi, kemanak, and sinden (gending) as a frog singing voice and singing cengeret and loud and boisterous grasshopper is the rhythmic sound of kamanak and kangsi sounded in the ravines (L 5). The word Salunding wayang means metal slats instrument strung to accompany the puppet show, and the pring bumbang as a metaphor of the gamelan sound blown by the wind noise.
Garantung in all translations is considered as gamelan, but the author is more inclined to the notion of bamboo instruments that are hung, and sounded as music to honor or welcome guests (Krishna) in the event of deliberation, the music for banquets (II 6), and Ghatika is a musical instrument in the form of moderate bell; the sound indicates the kidnapping of a princess (IV 14), thecuring instrument has the form of bronze xylophone is played using a bat with two hands, its function as a sign of a woman is being married (IV 14). Curing is also used to describe people who are making love contained in Canto V no. 8, even in Canto V 7 the wordgamel(groupof instrument) is used to accompany people who are making love. In Canto XXII 10 curing Instrument is used for the ceremony when a girl first menstruated.
The musical instruments are used as a means for information system for example on Canto XXI 13 mentioning that wanwa (wooden bell) is used as to notify the fire. The word tabeh-tabehan which is a group of gamelan instrument serves as instrumental to stay awake from sleep (XXI 18). In Canto L 6, the word Kulkulan, namely kentongan, wooden / bamboo bells are sounded in a constant nitir and continuous in tone, and is used to scare the pigs and deer.

CONCLUSION AND SUGGESTION
	Some musical terms that have been studied by previous researchers are sometimes difficult to trace its truth due to several reasons, for example a script used comes from different sources, it is difficult to be found, or has changed its form from poetry into prose, its poetical form changed, or because of the less scrupulous copying. This happens because there is no printing machine as a multiplier of the manuscript.
The study also revealed that the mentioningof  group of instruments (ensemble), or just the name of the instrument strengthens the evidence that th time when the  manuscripts were written, explained that the name of a gamelan instrument is also a nickname for a group of instruments (gamelan). So what happened in Bali and other areas such as the naming of angklung, xylophone, gamelan, calung, and others are still based on the rules applicable at the time of ancient Javanese that survive until now.
The forms of instrument stated in the ancient Javanese script, at still mostly survive at the present, even from the side effects of music technology it has been progressing so as to produce the desired sound. Changes in the form of instrumentation, in addition to the effect of more advanced technology making instruments, is due to variety of internal and external influences. The internal effect is caused bythe desire of the artist himself, while the external change is due to the existence other elements such as political influence.
Function and meaning of the instrument at the time when the  ancient Javanese texts were written are almost the same as the present where the gamelan instruments are used for ceremonies such as religious ceremonies and entertainment. Nowadays, there are function and meaning that are lost such as the function as war gamelan which subsequently become the gamelan for ceremony. 
	Research on the Indonesian music, is not yet fully using the traditional literature in the archipelago. Therefore it is recommended to researchers of Indonesianmusic to use this literature either kekawin, kidung, geguritan, and others.

ACKNOWLEDGEMENT
On this occasion, the author would liketo thank God Almighty, Rector of ISI Denpasar, DP2M and Chairman of LPPM, which have provided the opportunity to carry out research on the form and function of musical instruments in the ancient Javanese script. Furthermore, high appreciation also goes to the Journal of Cultural Studies that has provided the opportunity to the author for the publication of this article.

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