ABSTRAKPenelitian ini bertujuan untuk mengidentifikasi pola permainan gamelan atau gender wayang pada pertunjukan wayang Bali. Gȇndér wayang terdiri dari dua pasang instrumen, sepasang gȇndér gede dan sepasang gȇndér barangan. Kedua pasang gender ini menghasilkan pola permainan yang saling mengunci (interlocking figuration) yang sangat khas. Pola permainan ini diberi nama ubitubitan atau cecandetan. Data diperoleh melalui pengamatan terhadap pertunjukan wayang Bali. Berdasarkan penelitian dapat disimpulkan bahwa terdapat 10 ubit-ubitan yaitu nyendhok, bolak-balik nuduk, tulak wali, bolak-balik ngutang, nyalud, uber-uberan, mulek, silih berganti, oles-olesan, dan nguluin. Sedang ritme terdapat 7 jenis, yaitu ngumad, ngambang, ngantung, kesiab, imbuh nada, imbuh gatra, dan salah gatra.Kata-kata kunci: gȇndér wayang; karawitan Bali; cecandetan; music wayang. ABTRACT Aspek Musikologis Gêndér Wayang dalam Karawitan Bali.Penelitian ini bertujuan untuk mengidentifikasi pola permainan gamelan atau gender wayang pada pertunjukan wayang Bali. Gȇndér wayang terdiri dari dua pasang instrumen, sepasang gȇndér gede dan sepasang gȇndér barangan. Kedua pasang gender ini menghasilkan pola permainan yang saling mengunci (interlocking figuration) yang sangat khas. Pola permainan ini diberi nama ubit-ubitan atau cecandetan. Data diperoleh melalui pengamatan terhadap pertunjukan wayang Bali. Berdasarkan penelitian dapat disimpulkan bahwa terdapat 10 ubit-ubitan yaitu nyendhok, bolak-balik nuduk, tulak wali, bolak-balik ngutang, nyalud, uberuberan, mulek, silih berganti, oles-olesan, dan nguluin. Sedang ritme terdapat 7 jenis, yaitu ngumad, ngambang, ngantung, kesiab, imbuh nada, imbuh gatra, dan salah gatra.
Gong Kebyar dewasa ini merupakan salah satu jenis gamelan Bali memiliki kedudukan yang sangat kuat atau dominan di antara perangkat gamelan Bali lainnya. Adapun angsel adalah bagian dari garap gending yang berupa garap khusus yang biasanya sebagai variasi atau tekanan untuk menghidupkan suasana garapan, juga bisa sebagai tanda peralihan, tanda berhenti sesaat ataupun tanda selesai (suwud). Hasil penelitian menunjukkan, bahwa di dalam Gong Kebyar ada beberapa jenis angsel, sembilan di antaranya yaitu 1) angsel Kempli, (2) angsel Kempul, (3) angsel Kemong, (4) angsel Gong, (5) angsel Tugak, (6) angsel Sigug/Ngandang, (7) angsel Bawak/Pendek, (8) angsel Lantang/Dawe/Panjang, dan (9) angsel Suwud/selesai. Motif angsel dapat dikelompokkan menjadi 11 kelompok menurut panjang pendeknya angsel berdasarkan ketukan-ketukan atau tabuhan Kajar yang terkandung dalam angsel itu sendiri. Ke 11 kelompok tersebut adalah dari kelompok satu birama sampai kelompok 12 birama. Terakhir fungsi angsel terutama dalam kelompok gending dapat dikelompokkan menjadi dua yakni kelompok gending petegak dan gending iringan tari.Gong Kebyar today holds a position as one of the dominant types of Balinese gamelan, standing out amongst other Balinese gamelan devices. Angsel is a part of garap gending in the form of a special work that is usually presented as a variation or tension to liven up the atmosphere of garapan. It can also take form as a sign of transition, a moment of pause or a sign of completion (suwud). The result of this research shows that in Gong Kebyar, there are several types of angsel, nine of which are (1) angsel Kempli, (2) angsel Kempul, (3) angsel Kemong, (4) angsel Gong, (5) angsel Tugak, (6) angsel Sigug / Ngandang, (7) Bawak/ short, (8) Angsel Lantang / Dawe / Long, and (9) angsel Suwud / finish. The motifs of the angsel can be grouped into 11 groups according to the shortness or length of the angsel based on the taps or the beat of the Kajar contained within the angsel itself. The 11 groups are from the group of one bar to the group of 12 bars. Lastly, the function of the angsel, especially in the group of gending can be grouped into two, namely pategak gending and dance accompaniment gending.
Baris Keraras Dance is a unique and sacred dance that is only found in Taman Ayun Temple, Mengwi Traditional Village in accordance with the original using traditional means. The formulation of the problem in this study is ( 1) how is the existence of the Baris Keraras Dance in the Aci Tulak Tunggul ceremony at Taman Ayun Temple? (2) how is the Semiotics of Communication in the performance of the Baris Keraras Dance in the Aci Tulak Tunggul ceremony? (3) What are the implications of performing the Baris Keraras Dance in the Aci Tulak Tunggul ceremony? This article borrows concepts and theories, such as religious theory, semiotics and symbolic interactionism. This study used qualitative research methods. Research finds. First, the existence of the Baris Keraras dance in the Aci Tulak Tunggul ceremony at Taman Ayun Temple is a tradition passed down from generation to generation from their ancestors, every Aci Tulak Tunggul ceremony at Taman Ayun Temple is equipped with a Baris Keraras dance performance. Second, regarding the performance of the Baris Keraras Dance in the Aci Tulak Tunggul ceremony at Taman Ayun Temple, Mengwi Traditional Village, Mengwi District, Badung Regency, there are several communication semiotics, namely (1) the Semiotics of the Baris Keraras Dance Performance, (2) Semiotics of the Aci Tulak Tunggul Ceremony, (3) Keraras Baris Dance Movement Semiotics, and (4) Keraras Baris Dance Costumes and Properties Semiotics. Third, the performance of the Baris Keraras Dance in the Aci Tulak Tunggul ceremony has implications: (1) Communication Implications, (2) Socio-Cultural Implications, (3) Sociological Implications, (4) Tri Hita Karana Implications, (5) Implications of the Balance of Bhuana Agung and Bhuana Alit, and (6) Economic Implications.
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