GENDHING TARI SRIVIJAYA: THAI-COMPOSED MUSIC FOR ADAPTATION ON JAVANESE GAMELAN

Abstract

This paper investigates the process of transculturation between Thai classical music and Javanese gamelan through the creative adaptation of the Rabam Srivijaya repertoire. Originally composed by Montri Tramote as part of the Rabam Borankadee to foster a sense of national identity, the music is reimagined here as Gendhing Tari Srivijaya. The study utilises an interconnected-music-networks framework to bridge process-centred performer experiences with structure-centred artistic visions. Central to this transformation is the deconstruction of the tham nong saradtha (essential melody) and neua phleng (basic melody) to identify its Luktoke (core target notes), which then serve as the foundation for a Javanese balungan (skeletal melody). Structurally, the adaptation systematically aligns Thai rhythmic tiers with Javanese colotomic cycles: the moderate Song Chan tempo is transformed into the Ladrang form, while the fast Chan Diao tempo is mapped to the Lancaran form. The studies also address idiomatic differences, such as the inclusion of a Javanese buka and the reconstruction of melody positions to compensate for the absence of the Thai classical music technique. Performed in the robust Soran style suitable for dance. Gendhing Tari Srivijaya exemplifies the resilience of traditional forms, highlighting the shared intangible gong culture of Southeast Asia through cross-cultural musical interaction.