Oleh Iwan Gunawan
Kulu-kulu 2004 menggunakan gamelan berlaras salendro. Konsep karya ini berdasar pada pengolahan ritmik dari sebuah peristiwa bunyi yang dibangun dari tiga buah nada. Tiga buah nada tersebut dikembangkan dengan teknik menggeser struktur ritmenya sehingga membentuk sebuah kalimat melodi yang memiliki berbagai macam birama. Selanjutnya Kalimat melodi tersebut dikembangkan dengan berbagai teknik pengolahan bunyi. Adapun pengolahan itu dapat dilihat dari beberapa unsur yaitu dinamika, instrumentasi, figurasi dan warna akor.
Tanya Jawab dengan Mahasiswa dari Spanyol
The next development, you can see full score. (did you have?)
1. Which parts or motives of Kulu Kulu can you identify as traditional ones and which ones have the accent of your own touch?
I think, I did not use traditional motive, but a “use three tone” concept as forms used often in traditional Sundanese music. So, this traditional concept can be inspiration for my music.
2. Is Kulu-kulu 97 more authentic or traditional as 2004’s version?
In 1997, IKIP (now Universitas Pendidikan Indonesia) have two gamelan salendro with different character. I very interested for make music with used both. Kulu-kulu 97 only used “Wilah” Instrument (not “penclon” and gong). After kulu-kulu 97 finish to composed, I am still feel the lack. While I want continue to work this piece, someone steal a both gamelan. To bad…
In 2000, I try again to composed kulu-kulu with javanese gamelan. Of course, my ideas expanded. I do processing about, dynamic, instrumentation, etc. And in 2004 this piece finished. So, Kulu-kulu 2004 is forms repercussions of kulu-kulu 97.
3. Why did you enlarge Kulu kulu in 2004 version? What did you wanted to modify in the meaning or the message? Did it happen only because of the lack of the instrumentation in Berlin?
(I will answer last question). Of course not. Concert in Berlin in 2005, but kulu-kulu 2004 was finished.
4. Which one of the new aspects or motives or renewals do you like utmost?
A middle part. This part, very flexible of time.
5. Do you think that the differences in the composition of 2004, compared to 97, could be anyhow interpreted as a result of you personal development, experiences….-or would it be just completely wrong?
Once again, Kulu-kulu 2004 is forms repercussions of kulu-kulu 97. Although, kulu-kulu 97 and kulu-kulu 2004 may be said a different piece. But kulu-kulu 97 was never played since 1997, because to looking for character of both gamelan very hard.
6. If you have to decide one of both for a concert, which version would you prefer?
I was answered this question.
7. And the most important one: Did I forget to ask something that you think it might be important or basics or that you would have expected to be asked for?
Sorry, I am don’t understand your question.
This is my cv wrote by anmaro asia art from International gamelan festival amsterdam.
Iwan Gunawan, born in 1974, is considered one of the most important contemporary composers in the West Javanese cultural sphere today. He began to play traditional gamelan music as early as the age of six. After finishing the SLTP in 1989, Iwan Gunawan continued his studies at SMKI Bandung and has already started to compose his first works, mainly in the field of dance music. Between 1992 and 1994 he was also a member of the ensemble “Gentra Madya” (led by Nano S.) that has recorded various albums. During his study of composition and music for schools at UPI (Universitas Pendidikan Indonesia) in Bandung from 1993 – 1999, he concentrated in particular on his own musical tradition, but also on Western conventions (piano with Iswargia Sudarno, composition with Dieter Mack). Since 1999 he also started to use electro acoustic instruments and computers in his music. From 1998 until 2003 he also taught piano at DKSB Band of Harry Roesli. In 2005 he continued his studies at the post-graduate program composition of ISI Surakarta, beside teaching piano, kecapi tembang, gamelan Bali and composition at UPI Bandung.
Iwan Gunawan is one of those rare artists who has been able to preserve his own roots while at the same time gaining a professional status in Western musical cultures (he is a dedicated pianist). Contemporary techniques of composition, the use of live electronics and computers, are a part of Iwan Gunawan’s everyday repertoire.
His works are usually succinct and highly concentrated, shaped primarily by rhythmic processes stemming not only from his own musical tradition, but also from Balinese music. The key elements in his music are additive and subtractive rhythmic sequences, similar to those used by the Minimalists Philip Glass and Steve Reich. Nevertheless, Iwan Gunawan has found his own form of musical expression and his music does not belong to this style. Gamelan instruments and piano are his preferred instruments.