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Sound-producing Instruments in Traditional Society: a study of esoteric instruments and their role in male-female relations

The research leading to the publication of The Music of Lombok was done from the third to the tenth of October 1972. The authors, who, except for Tilman Seebass, are instructors of Balinese music at the Konservatori Karambitan Indonesia in Den Pasar, Bali, modestly warn us not to have great expectation for the book. Its title, The Music of Lombok, reminds us of such books with similar titles as Music in Java, Music in Bali. 1 Unlike the latter, however, The Music of Lombok is a survey rather than an in depth study. It deals with twelve instrumental ensembles and four genres of vocal music in fifty two pages. The coverage of each genre is uneven. Wayang Sasak, for example, is discussed in four and a half pages, but the section on Children's Songs covers only five lines. Included in the former are such data as time and place of the audio recording made in conjunction with this book, the recording equipment used, instrumentation, chart of placement of instruments, tuning system, the sources of stories, the names of the musical compositions, the names of the musicians, the dhalang (narrator-puppeteer) and his assistants, and their age. On the other hand, the latter only includes the time and date of the recording and two sentences of comment. With so much information cramped on so few pages the book resembles a rather extensive recording liner notes or well organized, if somewhat incomplete, field notes. To enable the reader to make maximum use of the book, he would need to review the recording for which this book seems to be written. In addition, as frequent reference to Balinese music is made, a good background knowledge of this tradition would be very helpful. The latter may be acquired by reading Colin Mcf'hee's voluminous work, Music in Bali. At this time information regarding the musical traditions of Indonesia outside the island of Bali and Java is difficult to obtain. Viewed in this light the publication of a survey of the music of Lombok is a positive contribution to the field of ethnomusicology. It provides us with a glimpse of the rich, unexplored musical activities in this small island east of Bali. For ethnomusicologists the book suggests at least sixteen possible thesis topics.