Pelarasan Gamelan Jawa

Risnandar, Risnandar

doi:10.33153/dewaruci.v13i2.2508

Cited by 4 publications

(4 citation statements)

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“…Secara umum gamelan merupakan sebuah pernyataan musikal berupa kumpulan alatalat musik trasional dalam jumlah besar, terutama terdapat di Jawa dan Bali. Gamelan Jawa memiliki titilaras (sistem nada) slendro dan pelog yang dapat dibedakan berdasarkan jangkah atau jarak nada (Riskandar, 2018). Gamelan yang lengkap dapat dimainkan oleh 30 orang pemain disertai 10 vokalis swarawati dan wiraswara.…”

Section: Pendahuluanunclassified

PRIYANGGA: Sebuah Komposisi Karawitan dalam Perspektif Personal

Atmojo

Marsudi

Jatilinuar

2022

Resital

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Priyangga composition is a karawitan composition that has a specific concept of presentation which is individual presentation. A karawitan composition performance normally has a lot of supportive elements because of affected by the collective character of traditional music. Inspired by the case, the writer has an idea to create a Priyangga composition then embody it into a musical artwork. A performer will individually or simultaneously play and present all of the available musical ricikan including himself/herself as the singer. The place arrangement of the ricikan is based on function and purpose so that the performer can easily move around. The arrangement procedure to create Priyangga composition is through two steps which are (1) preparation and implementation to rehearse and improve in order to find a new musical and vocal arrangement in the karawitan sphere; (2) to create karawitan composition with the number of ricikan which will be utilized by the performer with high value musicality. ABSTRAK Komposisi Priyangga merupakan komposisi karawitan yang mempunyai spesifikasi konsep penyajian dengan penyajian oleh seorang diri. Pergelaran komposisi pada umumnya banyak melibatkan pendukung, hal tersebut dipengaruhi dari musik tradisonal yang bersifat kolektif. Berangkat dari hal tersebut maka, penulis tergugah untuk membuat komposisi Priyangga dalam bentuk perancangan karya seni. Pemain menyajikan semua ricikan yang ada, baik secara bersamaan untuk beberapa ricikan maupun satu ricikan dan sekaligus sebagai vokalis. Penataan ricikan ditata sesuai dengan fungsi dan peranannya agar pemain dapat leluasa berpindah tempat. Metode penelitian dalam menciptakan komposisi Priyangga melalui dua tahap yaitu tahap persiapan dan tahap pelaksanaan. Hasil karya menunjukkan bahwa berolah instrumen serta vokal dalam rangka mencari garapan baru dalam dunia karawitan serta menciptakan komposisi karawitan dengan menggunakan beberapa maupun banyak ricikan yang disajikan oleh seorang pemain yang terdapat rasa musikalitas dan nilai garap.

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Section: Pendahuluanunclassified

PRIYANGGA: Sebuah Komposisi Karawitan dalam Perspektif Personal

Atmojo

Marsudi

Jatilinuar

2022

Resital

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“…In addition, Supanggah, in Bothekan Karawitan II: Garap (Supanggah, 2009) and Sutton in Traditions of Gamelan Music in Java: Musical Pluralism and Regional Identity (Sutton, 1991) also have similar views about tumbuk. Ironically, these kinds of physical-aspects-only explanations are still being used by Risnandar in his book -"Pelarasan Gamelan Jawa" - (Risnandar, 2018).…”

Section: Tumbuk and Its Other Kinds In The Gamêlan Agêng Tuning Systemmentioning

confidence: 99%

The Concept of Tumbuk in Javanese Gamelan Tuning

Harmanto

Suyoto

Diamond³

2021

Dewa Ruci J. Pengkaj. dan Pencipta. Seni.

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This study aimed to reveal the concept of Tumbuk in Javanese gamelan tuning, namely gamêlan agêng with Sléndro and Pélog. This study used a qualitative method with an ethical emic perspective. The data collection was done by conducting literature review, observation, interviews, and studio work, then processed with data analysis. The data analysis then was followed up through data interaction by interpreting the relationship reactions of the three elements of analysis consisting of data collection, data reduction, and data presentation. The interpretation of the data was done inductively, so that the conclusion was drawn entirely from the development of the data according to the realities of the field. The results showed that tumbuk was not only limited to a note that has the same high and low, but it is a musical concept that integrates the Sléndro and Pélog scales in the tuning of a set of gamelans. There are basically only two types of tumbuk: nêm tumbuk and lima tumbuk. Other than those, it means that they are the strut. The thing is,tumbuk has a central tone that serves as a benchmark and a supporting tone whose position strengthens the integration of each type of tumbuk. As a concept, it was found that tumbuk plays several important roles including equalizing the highs and lows of certain notes, equalizing the range of certain notes, and conditioning the range of notes or the addition of the tune.

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“…During the performance, audience would be captivated by the Javanese gamelan's musical notes. The Javanese gamelan sound system is generally divided into laras slendro and pelog, which mainly differ in the number of notes: five and seven notes (Risnandar, 2018). Meanwhile, the overall composition of the musical performance in Pesarean Gunung Kawi is presented in the form of songs or instrumental music.…”

Section: Introductionmentioning

confidence: 99%

Uluk Gangsa, The Discourse of Glory in Pesarean Gunung Kawi-Style Karawitan

Romadhoni¹,

Yannuar²,

Sulistyorini³

et al. 2021

Proceedings of the Fifth International Conference on Language, Literature, Culture, and Education (ICOLLITE 2021)

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Karawitan, a traditional Javanese orchestra, is part of the ruwatan 'purification' ceremony in Pesarean Gunung Kawi for pilgrims and general spectators. Its repertoire includes gendhing giro-giroan, gendhing uyon-uyon, and lelagon, presented in Mataraman and East Javanese karawitan style. The performance also includes songs that symbolize glory, implied through the gamelan tones. This study aims to document the repertoire of the songs as literary objects and elements of the intangible cultural heritage. Data were collected from a karawitan performance in Gedong Wilis area on a Legi Sunday and Pahing Monday through observations and video recordings of the performance, and interviews with the composer. In addition, song lyrics and gendhing notations were gathered from a library at the Wiyaga Sasana Wilis community. Our research focuses on (1) the narrative of glory symbolism presented in the lyrics of the karawitan songs and (2) the narrative of glory symbolism conveyed through the image of instrumental gendhing musical presented during uluk gangsa procession. Our findings show that the narrative is intended to symbolize the prayers and hopes of the audience. The glory symbolism enables the gamelan players to guide the ceremony performers and the audience into the realm of rasa 'affect, feeling, intuition'.

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Pelarasan Gamelan Jawa

Cited by 4 publications

References 0 publications

PRIYANGGA: Sebuah Komposisi Karawitan dalam Perspektif Personal

PRIYANGGA: Sebuah Komposisi Karawitan dalam Perspektif Personal

The Concept of Tumbuk in Javanese Gamelan Tuning

Uluk Gangsa, The Discourse of Glory in Pesarean Gunung Kawi-Style Karawitan

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