Wahyu Thoyyib Pambayun
Institut Seni Indonesia Surakarta

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“Kalatidha” : Sebuah Komposisi Musik Program Wahyu Thoyyib Pambayun
Gelar : Jurnal Seni Budaya Vol 17, No 1 (2019)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (855.192 KB) | DOI: 10.33153/glr.v17i1.2602

Abstract

ABSTRAK Karya “Kalatidha” adalah pertunjukan komposisi musik yang mengangkat isi Serat Kalatidha sebagai ide gagasannya. Terciptanya karya “Kalatidha” dilatarbelakangi oleh kegundahan hati melihat keadaan sekitar yang mengalami kemerosotan di berbagai bidang. Karya sastra Serat Kalatidha dianggap mampu untuk mewadahi kegundahan hati karena substansinya masih aktual dan  apresiatif hingga sekarang. Tujuan penyusunan karya “Kalatidha” adalah dapat menyampaikan dan menggambarkan secara musikal isi substansi Serat Kalatidha. Hasil dari pengamatan mendalam terhadap Serat Kalatidha, dapat ditangkap bahwa inti dari isi Serat Kalatidha ada lima butir. Adapun kelima butir tersebut sebagai berikut: (1) Keadaan negara yang penuh keraguan karena tidak adanya tauladan dari pemimpin. (2) Boleh merasa sedih ketika mendapatkan cobaan, namun harus segera bangkit dan menyadari bahwa semua cobaan yang dialami sudah ditakdirkan. (3) Kepandaian dan kedudukan yang didapatkan akan mengakibatkan datangnya petaka jika seseorang tidak mempunyai moral yang baik. (4) Mawas diri, berserah dan berdoa kepada Sang Pencipta, karena Dialah yang menentukan segalanya. (5) Harus tetap semangat untuk berpegang teguh pada kebenaran walaupun dikelilingi perbuatan yang angkara dengan tetap menganggap bahwa seuntung-untungnya orang yang lalai, masih beruntung yang selalu ingat dan waspada. Butir-butir tersebut digunakan sebagai titik pijak tema cerita atau penggambaran situasional untuk menyusun materi musikal dan garap masing-masing komposisi musik dalam karya “Kalatidha”. Adapun komposisi musik tersebut sebagai berikut: Aruhara”, “Kantaka”, “Awignya Angkara”, “Pamuja Pujastawa” dan “Pramana Prayitna”. Penyusunan karya “Kalatidha” menggunakan tiga tahapan, yaitu: penyusunan gagasan isi, penyusunan ide garapan dan penuangan ide garapan. Tahapan dalam penuangan ide meliputi eksplorasi teknik, eksplorasi pola permainan instrumen, pencarian melodi melalui eksplorasi, penyusunan bagian komposisi, penyambungan antara bagian komposisi, pengolahan volume, tempo sajian dan  evaluasi. Hasil dari penyusunan karya dan tesis karya seni “Kalatidha” diharapkan dapat menjadi salah satu alternatif rujukan untuk menyusun karya musik baru bagi mahasiswa penciptaan musik, khususnya mahasiswa karawitan. Kata Kunci: “Kalatidha”, Serat Kalatidha, Komposisi Musik, Penciptaan Musik, Eksplorasi.  ABSTRACT The work “Kalatidha” is a musical composition performance that elevates the contents of Serat Kalatidha as an idea. The creation of the work “Kalatidha” was motivated by the anxiety of seeing a deteriorating situation in various fields. The literary work of Serat Kalatidha is considered capable to accommodate the anxiety for the substance is still actual and appreciative until now. The purpose of the work “Kalatidha” is to convey and to describe musically the substance of Serat Kalatidha. The in-depth observations of Serat Kalatidha shows that Serat Kalatida contains five points as follows: it can be captured that the core of the Kalatidha Fiber contents is five points. The five points are as follows: (1) A state is full of doubts because there is no guidance from the leader. (2) One may feel sad when getting a trial but he must immediately get up and realize that all that happened are destined. (3) Intelligence and position obtained will result in disaster if someone does not have good morals. (4) To be introspective, surrender and pray to the God because He is the one who determines everything. (5) Keeping the spirit to hold the truth even surrounded by insolent actions and keeping assuming that someone must always remember and alert in order to get safe in his life. These items are used to be a starting point for the themes or situational portrayals to arrange the musical material and the works on each musical composition in “Kalatidha”. The composition of the music is as follows: Aruhara “,” Kantaka “,” Awignya Angkara “,” Pamuja Pujastawa “and” Pramana Prayitna “. The preparation of the work “Kalatidha” uses three stages, namely: the preparation of content ideas, compilation of ideas and conveying the ideas. The stages in conveying ideas include technical exploration, exploration of instrument playing patterns, searching the melodies through exploration, compilation of composition parts, splicing the parts of composition, processing volume, tempo of presentation and evaluation. The results of the works and the thesis of “Kalatidha” are expected to be one of the alternative references for composing new musical works for students of music creation, especially musical students. Keywords: “Kalatidha”, Serat Kalatidha, Music Composition, Music Creation, Exploration.
PROSES PENYUSUNAN KOMPOSISI GAMELAN "ARUHARA" Wahyu Thoyyib Pambayun
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 21, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i1.3622

Abstract

 This article contains the author’s experience in composing gamelan composition, “Aruhara”. In the composing process of “Aruhara”, the author was inspired by the Genderan of Ada-ada Ngobong Dupa presented by Sumiyati. In order to create the gamelan composition “Aruhara”, the author uses reinterpretation approaches. The steps of composing the piece are: observation, exploration, elaboration, rehearsal, and finalization. The process that has been passed has resulted new offers in addressing the gender instrument, such as  the use of patterns, techniques, musical scales and the connection between the instruments. The author hopes this article can be useful as an alternative source to learn gamelan compositions for gamelan composition learners, and it can provides an overview about the discourse, also the performance of Indonesian composers.Keywords::Composition, Gamelan, Gender, Aruhara, Karawitan
PEMANFAATAN AUDIO RECORDING EQUIPMENT DALAM PEMBELAJARAN PRAKTIK INSTRUMEN REBAB, KENDANG DAN GENDER Wahyu Thoyyib Pambayun
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 21, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i2.4119

Abstract

This research is entitled "Utilization of Audio Recording Equipment in Practical Learning of Rebab, Kendang and Gender Instrument." The problems described in this study are: how are the types of audio recording equipment that can be used in learning the practice of fiddle, drum, and gender instrument, how to set and use audio recording equipment, and how to use audio recording equipment in learning the practice of fiddle, drums, and gender instrument. This research is qualitative research that uses descriptive analysis research methods. Data were collected by means of observation, literature study, and interviews. The data analysis technique used includes four stages: data collection, data reduction, data display, and concluding. The purpose of this study is to provide recommendations for types of audio recording equipment that can be used in learning the practice of fiddle, drum, and gender instrument, provide an understanding of how to set and use audio recording equipment, as well as provide an understanding of how to use audio recording equipment in learning the practice of the fiddle instrument. Drums and gender.
GARAP GENDERAN DALAM GENDING LAMPAH TIGA Wahyu Thoyyib Pambayun; Nanang Bayu Aji
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 20, No 2 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v20i2.3569

Abstract

 Gending lampah tiga composed by Harjasubrata in the 1950s. At the very beginning of its existence, lampah tiga composition focused and working on vocals, so gending lampah tiga has not been equipped with settled garap instruments. Most pengrawits find it hard to present gending lampah tiga, especially on ricikan gender, this is because the information about genderan lampah tiga is still limited. This article is entitled “Garap Genderan in Gending Lampah Tiga”, the problem  described in this article is how to present garap genderan in gending lampah tiga. The method that used to solve the problem in this article is to analyze and transcribe the presentation of gending lampah tiga, then interpreted.The writer hopes to provide an offer about how to interpret genderan in gending lampah tiga and to give a “little” contribution of thoughts for the development of karawitan science.
GADHON SALIN SWARA: INTERPRETASI GAMELAN GADHON Hanan, Laurentius; Pambayun, Wahyu Thoyyib
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 2 (2023): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v23i2.5991

Abstract

This article recounts the author's experience in the process of composing "Gadhon Salin Swara." The composition is inspired by the gadhon gamelan. Drawing from the gadhon gamelan, the author is motivated to interpret rhythmic patterns that encompass cengkok, sekaran, gerongan, balungan, and the relationships between instruments. The stages of composition include orientation, observation, exploration, composition, and evaluation. Through this process, the author generates new approaches to approaching instrument crafting, particularly within the context of the gadhon gamelan. The author's approach involves developing patterns, maximizing traditional techniques to create dynamics in the composition, and fostering connections between instruments. It is expected that this article will be useful in understanding the author's creative process in composing "Gadhon Salin Swara."
PROSES PENCIPTAAN KOMPOSISI KRAAAK! OLEH GRUP EKLIPTIKLANG COLLECTIVE Hanuraga, Sri; Pambayun, Wahyu Thoyyib; Sukawiadnyana, I Gede Yogi; Srayamurtikanti, Ni Nyoman
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 24 No. 2 (2024): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v24i2.6453

Abstract

The creation of musical compositions can be inspired by various motives, both internal and external. The composition titled “Kraaak!” is a work by the music group Ekliptiklang Collective, commissioned by MelatiSuryodarmo and Rebecca Kezia as curators for the Ekayana program of the Indonesia Bertutur Festival in 2024. Thiscommission required the Ekliptiklang Collective to incorporate the intangible cultural heritage of Bali, specifically theSubak Bali concept. Through the dissertation by Mawiti Infantri Yekti, titled “Role of Reservoir Operation inSustainable Water Supply to Subak Irrigation Schemes in Yeh Ho River Basin,” Ekliptiklang Collective discoveredthat Subak is an organization of water users for fields of its members to obtain water from the same source, which hasa complex structure that ensures both autonomy and, at the same time, interdependence among its members. Thisstructure was then adapted by Ekliptiklang Collective to create a long-duration composition that integrates threedifferent musical traditions and four personal reflections on water from the regions of each member of the group.
KEPLOK DAN ALOK DALAM KLENENGAN KARAWITAN GAYA SURAKARTA Suryani, Indah Tri; Pambayun, Wahyu Thoyyib
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 25 No. 1 (2025): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v25i1.6833

Abstract

This paper reveals the expressionist aesthetic problem of keplok alok in Surakarta style karawitan based on the forming factors of musical expressionist aesthetics. Data collection is obtained by means of literature studies, observations, and interviews. Using qualitative research methods with descriptive research types and the theoretical foundation of Theodore Adorno (1948) that the factors forming musical expressionist aesthetics, namely emotion, material formation, contrast, and darkness. In depth, the definition of aesthetics is not only a matter of beauty but comes to the problem of taste. A taste will produce an expression which can produce an impression or character in the presentation of gending karawitan. Keplok and alok are the main musical elements in the smallest character and are not standard, but have a major influence on the taste, beauty, character, purpose or expression created from a gending dish.
GADHON SALIN SWARA: INTERPRETASI GAMELAN GADHON Hanan, Laurentius; Pambayun, Wahyu Thoyyib
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 2 (2023): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v23i2.5991

Abstract

This article recounts the author's experience in the process of composing "Gadhon Salin Swara." The composition is inspired by the gadhon gamelan. Drawing from the gadhon gamelan, the author is motivated to interpret rhythmic patterns that encompass cengkok, sekaran, gerongan, balungan, and the relationships between instruments. The stages of composition include orientation, observation, exploration, composition, and evaluation. Through this process, the author generates new approaches to approaching instrument crafting, particularly within the context of the gadhon gamelan. The author's approach involves developing patterns, maximizing traditional techniques to create dynamics in the composition, and fostering connections between instruments. It is expected that this article will be useful in understanding the author's creative process in composing "Gadhon Salin Swara."