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All Journal Sorai: Jurnal Pengkajian dan Penciptaan Musik
Widianto, Suwandi
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Arts Humanities

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TRANSFORMASI KESENIAN POJHIÂN KE DALAM PENCIPTAAN KOMPOSISI MUSIK TRADISI INOVASI BERBASIS LOKAL WISDOM Sugmatimur, Yuddan Fijar; Widianto, Suwandi
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v16i2.5480

Abstract

The transformation of Pojian art into the creation of innovative music compositions can be an alternative to regenerate the existance of Pojhian art actors. This effort is to maintain the existence of Pojhian art in the midst of the onslaught of increasingly sophisticated technology, so that it can stimulate the attractiveness of the millennial generation to be proud and take part in the Pojian art which is full of noble values. The purpose of this research is to find out the extent to which the potential of the performance form and song material in Pojian can be exposed to be fresher through the novelty of original musical works. The method used in this research consists of 2 stages, namely; conceptual stage and operational stage. The conceptual stage con- sists of determining objectives, determining musical themes, gathering information, analyzing information, determining instruments, melodies and determining artistic design. The operational stage includes music exploration, notation modification, arrangement variation, music composition, song verse writing, notation writing, artistic design selection and artistic research. There are 3 types of data in this research that are used as measuring instruments, namely; validity, originality of artwork, and novelty. The test subjects in this study were two validators, namely validators of traditional art preservationists to measure the suitability of the appli- cation of the Pojhiân art presentation structure contained in the Gâdhisa ritual and validators of music experts (composers) to measure the originality of the work, and the novelty of the music composition presented.
CAOSAN DI PADEPOKAN TJIPTA BOEDAJA LERENG MERAPI: Bentuk Aktifitas Pembelajaran Karawitan Di tengah Sajian Ritual Persembahan Gending Bagi Leluhur Widianto, Suwandi; Sunarmi; Sarwanto
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 2 (2024): December
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v17i2.7249

Abstract

Makalah ini menguraikan pertunjukan gending (komposisi musik tradisional Jawa) yang diadakan di Padepokan Tjipta Boedaja di lereng Gunung Merapi di Magelang. Kegiatan ini dikenal sebagai Caosan, sebuah pertunjukan musik yang melibatkan permainan berturut-turut sekitar sepuluh hingga sebelas gending. Meskipun pada dasarnya merupakan praktik keagamaan, Caosan juga memiliki fungsi pendidikan dalam studi karawitan (musik tradisional Jawa), yang bermula dari niat untuk mencegah tidur siang di sore hari pada malam Kamis dan Selasa Kliwon—waktu yang dianggap sakral oleh anggota Padepokan. Untuk mencegah tidur selama periode ini, sebuah klenengan (pertemuan musik gamelan) diselenggarakan, yang sekaligus mengajarkan para anggota cara memainkan gamelan. Tersirat dalam acara tersebut adalah konsep “nggendong ngindit”, yang mengacu pada penyelesaian dua tugas yang saling berhubungan secara bersamaan—di sini, pembelajaran musik terjadi bersamaan dengan sebuah ritual. Caosan dapat dianggap sebagai acara keagamaan, meskipun pelaksanaannya tidak kaku atau khidmat seperti ibadah formal. Sebaliknya, ia memungkinkan suasana santai di mana kesalahan dalam bermain dapat diterima. Dalam keadaan darurat, seperti letusan gunung berapi atau grup musisi yang tidak lengkap, Caosan dapat dibatalkan. Namun, niat untuk tetap terjaga selama malam suci berlanjut melalui percakapan informal. Romo Yoso Sudarmo memanfaatkan Caosan sebagai platform untuk membentuk kelompok pangrawit (pemain gamelan), yang terutama diambil dari pemain wayang orang tradisional. Saat ini, Caosan telah berkembang menjadi praktik budaya yang menarik, meskipun jumlah penontonnya masih sedikit. Ini bukan acara wisata religi melainkan konser karawitan yang dimaksudkan sebagai persembahan kepada para leluhur, dengan harapan membawa kedamaian, keselamatan, dan kebahagiaan bagi masyarakat Padepokan. Kata Kunci : Caosan, Nggendong ngendit, Ritual, Pembelajaran Karawitan
TRANSFORMASI KESENIAN POJHIÂN KE DALAM PENCIPTAAN KOMPOSISI MUSIK TRADISI INOVASI BERBASIS LOKAL WISDOM Sugmatimur, Yuddan Fijar; Widianto, Suwandi
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 2 (2023): December
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v16i2.5480

Abstract

The transformation of Pojian art into the creation of innovative music compositions can be an alternative to regenerate the existance of Pojhian art actors. This effort is to maintain the existence of Pojhian art in the midst of the onslaught of increasingly sophisticated technology, so that it can stimulate the attractiveness of the millennial generation to be proud and take part in the Pojian art which is full of noble values. The purpose of this research is to find out the extent to which the potential of the performance form and song material in Pojian can be exposed to be fresher through the novelty of original musical works. The method used in this research consists of 2 stages, namely; conceptual stage and operational stage. The conceptual stage con- sists of determining objectives, determining musical themes, gathering information, analyzing information, determining instruments, melodies and determining artistic design. The operational stage includes music exploration, notation modification, arrangement variation, music composition, song verse writing, notation writing, artistic design selection and artistic research. There are 3 types of data in this research that are used as measuring instruments, namely; validity, originality of artwork, and novelty. The test subjects in this study were two validators, namely validators of traditional art preservationists to measure the suitability of the appli- cation of the Pojhiân art presentation structure contained in the Gâdhisa ritual and validators of music experts (composers) to measure the originality of the work, and the novelty of the music composition presented.
Co-Authors Sarwanto Sunarmi Timur, Yuddan Fijar Sugma Windrowati, Trinil