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    Musical Analysis of 'Perjumpaan' by Hazim Suhadi

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    Hazim Suhadi
    The document summarizes and analyzes the song "Perjumpaan" by Trisutji Kamal. It describes how the song musically depicts the narrator's complex feelings and memories surrounding an unexpected encounter with an ex-lover. The opening shifts ambiguously between major and minor keys, reflecting the narrator's uncertainty. The mood later changes to euphoria but ends quickly. The return of the opening motif presents further ambiguity as the narrator struggles with being bound by past memories versus reclaiming autonomy, ultimately resigning to fate. The song concludes with a shift from hopeful to dispirited tone as the narrator cannot escape being trapped by time and the constraints of the music.

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    © All Rights Reserved
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    Musical Analysis of 'Perjumpaan' by Hazim Suhadi

    Uploaded by

    Hazim Suhadi
    362 views3 pages
    The document summarizes and analyzes the song "Perjumpaan" by Trisutji Kamal. It describes how the song musically depicts the narrator's complex feelings and memories surrounding an unexpected encounter with an ex-lover. The opening shifts ambiguously between major and minor keys, reflecting the narrator's uncertainty. The mood later changes to euphoria but ends quickly. The return of the opening motif presents further ambiguity as the narrator struggles with being bound by past memories versus reclaiming autonomy, ultimately resigning to fate. The song concludes with a shift from hopeful to dispirited tone as the narrator cannot escape being trapped by time and the constraints of the music.

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    The document summarizes and analyzes the song "Perjumpaan" by Trisutji Kamal. It describes how the song musically depicts the narrator's complex feelings and memories surrounding an unexpected encounter with an ex-lover. The opening shifts ambiguously between major and minor keys, reflecting the narrator's uncertainty. The mood later changes to euphoria but ends quickly. The return of the opening motif presents further ambiguity as the narrator struggles with being bound by past memories versus reclaiming autonomy, ultimately resigning to fate. The song concludes with a shift from hopeful to dispirited tone as the narrator cannot escape being trapped by time and the constraints of the music.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    362 views3 pages

    Musical Analysis of 'Perjumpaan' by Hazim Suhadi

    Uploaded by

    Hazim Suhadi
    The document summarizes and analyzes the song "Perjumpaan" by Trisutji Kamal. It describes how the song musically depicts the narrator's complex feelings and memories surrounding an unexpected encounter with an ex-lover. The opening shifts ambiguously between major and minor keys, reflecting the narrator's uncertainty. The mood later changes to euphoria but ends quickly. The return of the opening motif presents further ambiguity as the narrator struggles with being bound by past memories versus reclaiming autonomy, ultimately resigning to fate. The song concludes with a shift from hopeful to dispirited tone as the narrator cannot escape being trapped by time and the constraints of the music.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 3

    Slide 1:

    Slide 2:

    Slide 3:
    Analysis:
    As Trisutji Kamal recounted in​ Trisutji Kamal Tembang Puitik​ (Setiadi and Suhadi, 10-11):

    "This work is quite personal for me. There was an unexpected moment when I was mourning
    Tamara Damais at the Damais family's house on Jalan Sunda, Menteng. In an atmosphere
    charged with grief and sorrow, I accidentally bumped into one of the mourners, a man who had
    filled the recesses of my heart in the past. We became romantically involved before I went to
    school in Italy in the mid-1950s, and ultimately, we were forced to end the relationship for one
    reason or another.

    Since then, we never exchanged greetings or news until fate brought us together decades later
    at the Damais’s. The situation was certainly different because at that time I already had a family
    of my own and a career as a composer, while he—a writer and a historian—also had a
    distinguished career as a cabinet minister in the Soeharto era. Even so, the memory of him
    leaves a deep impression: He was once a part of my life's journey.

    The song opens with an interplay between major and minor harmonies, which symbolizes a
    two-sided surprise as I locked eyes with him: both sweet and bitter. The seemingly unexpected
    minor chord at the end illustrates a weary sigh. After the initial euphoria of meeting your ex-lover
    at an unexpected moment, all the pleasant memories burst out, but those moments in the end
    culminated in a manner I resigned myself to: ​in memorium​."

    Reference:
    Setiadi, Aditya, and Hazim Suhadi. ​Trisutji Kamal Tembang Puitik: Komposisi Untuk Vokal Dan
    Piano.​ Gramedia, 2020.
    Analysis:

    “Perjumpaan” opens with a declamatory-recitative in the piano part, shrouded in a veil of


    uncertainty as the tonality shifts between A-flat major and its parallel minor. This curious
    ambiguity reflects the narrator’s lack of resolve in their feelings toward a serendipitous
    encounter, which permeates throughout the text and music.

    The gentle ebb and flow of tempo also allows for unhurried contemplation despite the ​Allegretto
    indication. Not only this helps provide room for the singer to breathe but also to change
    character midstream through a complexity of thoughts.

    The mood however changes uninhibitedly in bar 26 from a melancholy-tinged nostalgia to a


    burst of euphoria that ends quickly as it starts. The animated triple time motive, reminiscent of a
    waltz, demarcates a break of consciousness where the narrator covets memories stolen by time
    (“Mencoba meraba kisah kian lama terselubung debu”).

    The return to the opening motif also presents an ambiguity in itself. As the piano segues back to
    the familiar tune in bar 37 in the key of A minor, the narrator spontaneously breaks free from the
    chains of the past by reclaiming their autonomy in the relative major key. However, they are
    interrupted again by a sudden realization that only God Almighty can seal their fate (“Semua itu
    atas kehendak Tuhan Maha Esa”), which signals an inexorable resolution to which the narrator
    acquiesce.

    The piece ends with, in Trisutji Kamal’s words, a weary sigh that dashes all hopes and dreams.
    The ending curiously serves as a juxtaposition in which the text conflicts directly with the music.
    As the narrator is grasping at straws, trying to hold on to what little memory is left (“...yang
    belum tersapu oleh waktu.”), the music shifts from a hopeful key of A-flat major to a lone
    dispirited chord of A-flat minor. The narrator indeed cannot escape from the prison of time and,
    even more so, of music.

    Reference:
    Setiadi, Aditya, and Hazim Suhadi. ​Trisutji Kamal Tembang Puitik: Komposisi Untuk Vokal Dan
    Piano.​ Gramedia, 2020.

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