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All Journal Haluan Sastra Budaya Sorai: Jurnal Pengkajian dan Penciptaan Musik Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni PARAGUNA : Jurnal Ilmiah Pengetahuan, Pemikiran dan Kajian Tentang Seni Karawitan Awilaras
Primamona, Dea Lunny
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Arts Humanities Education Environmental Science Languange, Linguistic, Communication & Media Social Sciences Other

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Ledhug: Syncretic Music Culture in Magetan Dea Lunny Primamona; Dolly Nofer
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 14, No 2 (2019)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (204.574 KB) | DOI: 10.33153/dewaruci.v14i2.2806

Abstract

In Magetan, East Java, Indonesia, the turn of the Javanese and Islamic years is marked by the celebration of Ledhug Sura. The celebration consisted of various events such as the Ledhug music festival, the people's market, the carnival, the night of repentance and the climax at the Andum Berkah Bolu Rahayu procession. This is a carnival for cakes and agricultural products which are considered to bring blessings to the community. This research focuses on the ledhug (lesung and bedhug, which means a combination of mortar and drum) music festival. Mortar and bedhug are the main focus of this article. The purpose of this study is to (1) reveal the form of the conception of ledhug music and (2) recognize the concepts contained in the ledhug music. Data mining methods include fieldwork using observation and interview techniques; literature review; and data presentation methods using descriptive-interpretative techniques. Based on the results of fieldwork and reading or interpretation of the ledhug music culture, it was concluded that the ledhug music performance was the result of a process of cultural syncretism. Ledhug music culture exists as a blend of musical elements from Javanese and Islamic music culture. Cultural syncretism in the context of ledhug is a deliberately produced discourse building, namely as a form of resolution of the reality of cultural contestation between the two ideologies that existed in Magetan.
TRADISI LEDUG (LESUNG BEDUG) SURA DALAM PERSPEKTIF STRATEGI KENUSANTARAAN DI MAGETAN Dea Lunny Primamona
Haluan Sastra Budaya Vol 6, No 1 (2022)
Publisher : Universitas Sebelas Maret

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20961/hsb.v6i1.58253

Abstract

This article aims to read the annual tradition of Ledug Sura in Magetan from an archipelagic strategy perspective. This study uses an archipelagic strategy perspective derived from a historical approach and a critical paradigm of cultural studies. The research uses several methods including: observation, interviews, archive studies, and literature studies. The results of this study indicate that the Ledug Sura tradition in Magetan was built by the history of Nusantara culture in Magetan and the process of revivalization. The layers of Magetan cultural history consist of three dimensions, namely: 1) Era of Civilization before and after Majapahit: 2) Mataram era civilization and colonialism; and 3) The era before independence until now. The reality of globalization has led to a process of revivalization of art which is expressed in a complex manner in the annual Ledug Sura ritual in Magetan. The revivalization is based on: 1) The spirit of cultural heritage as a form of respect for ancestral traditions; 2) The ideals of community unity and harmony; and 3) Construction of local cultural identity in the midst of globalization challenges.
PEMAHAMAN ASPEK METAFORA MUSIK LESUNG DALAM GENDHING KUPU TARUNG DI MAGETAN Dea Lunny Primamona
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 13, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v13i1.2846

Abstract

The uniqueness of the rhytm pattern (gendhing) of the mortar in Magetan lies on the title of the gendhing-gendhing adopted from the name and behavior of the animal. This study focuses on the analysis of metaphorical aspects in the gendhing entitled Kupu Tarung. In this study, metaphor serves as a bridge that communicates certain messages contained in the gendhing Kupu Tarung. One of the results of this analysis is the name of gendhing Kupu Tarung originating from the moment of a mating butterfly, which is then captured in the image scheme, and represented by the creative power (fantasia power) of the community. The collision between the two types of butterfly genitals, which are the essence of the butterfly mating moment, is interpreted in the form of a link between pestles facing each other. Through this mortar gendhing, ancestors transmit the value of fertility (in terms of agriculture and also sexuality) to agrarian communities in the language of art.
SISTEM PELARASAN PADA DUA PERANGKAT GAMELAN JAWA DI DESA PLANGKRONGAN MAGETAN Primamona, Dea Lunny
Paraguna Vol 8, No 1 (2021): BUNYI DAN EKOLOGI I
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1002.047 KB) | DOI: 10.26742/jp.v8i1.1893

Abstract

Javanese gamelan music is an integral part of society's lives in Plangkrongan Village, Poncol, Magetan, but musical data records on tuning have never existed. Musical data records can be used as an archipelagic strategy for today's millennial generation to introduce the sound heritage of the archipelago's civilization to the next generation. Therefore, this study aims to determine: 1) knowing the tuning system, and 2) the embat used on several gamelan devices in the village.This study uses an ethnomusicological approach. The methods used include: 1) interviews and measurements; 2) comparative analysis and inductive inference; and 3) narrative descriptions with pictures and tables. This study collects musical data such as the tone, range, and embat systems of the gamelan Nugroho Mulyo and Gong Mbarang belonging to two well-known artists in Plangkrongan Village. Based on the data, it can be concluded that: 1) Gamelan is tuned in one gembyang from low nem to high nem; 2) Gamelan is tuned in the middle register so that it is easy to voice and listen; 3) The pelog barrel has the longest range of 486 cents, while the shortest range is 99 cents. While the slendro barrel has the longest range of approximately 310 cents, the average range is between 243 to 260 cents and the shortest range is 206 cents; and 4) The term structure states that the embat used is Sundari embat so as to produce a complete musical sense. This musical data record can be an important archive for ethnomusicologists, musicians and musicians, and observers of musical art in the archipelago in general and in Magetan in particular.
Sistem Nada Atau Tuning System pada Perangkat Gamelan Sekaten DI Surakarta, Yogyakarta, dan Cirebon Primamona, Dea Lunny
Awilaras Vol 11 No 1 (2024): Memahami Distingsi Budaya Melalui Musik Tradisional
Publisher : LPPM ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/jal.v11i1.3315

Abstract

Sekaten atau Muludan merupakan peringatan hari kelahiran Nabi Muhammad SAW. Bunyi gamelan dikumandangkan di tiga kota yang memiliki sejarah kerajaan bercorak Islam-Jawa seperti Surakarta, Yogyakarta, dan Cirebon. Semua perangkat gamelan di ketiga kota tersebut menggunakan sistem nada mirip laras pelog pada karawitan Jawa pada umumnya. Meskipun terdengar seperti laras pelog, nada-nada yang ada di setiap perangkat gamelan tersebut sama sekali berbeda. Oleh karena itu, diperlukan sebuah kajian khusus tentang pengukuran frekuensi dan jangkah nada yang dilakukan dengan metode deskripsi analitis dan pendekatan etnomusikologi. Hasil pengukuran frekuensi dan jangkah nada menghasilkan pengetahuan bahwa: (1) Perbedaan sistem nada mirip laras pelog terletak pada karakteristik, rasa, dan nuansa yang dihasilkan; (2) Ada beberapa perangkat gamelan yang rentang nada atau ambitusnya sangat sulit ditirukan oleh suara sopran manusia; dan (3) Pada sepasang gamelan di tiap kota yang sama, memiliki karakteristik, rasa, dan nuansa yang berbeda juga yang diakibatkan oleh adanya perbedaan frekuensi nada dari masing-masing instrumen. Catatan mengenai data musikal ini merupakan arsip penting bagi peneliti dan praktisi di bidang ilmu Etnomusikologi, Karawitan, maupun Musikologi di Nusantara.
Co-Authors Dolly Nofer