Suhardjono
Institut Seni Indonesia Yogyakarta

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Karawitan Pakeliran Gaya Kedu Bagelen Suhardjono Suhardjono; Trikoyo Trikoyo
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 12, No 1 (2011): Juni 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v12i1.464

Abstract

Karawitan pakeliran gaya Kedu Bagelen merupakan salah satu gaya Kedu yang berkembang di wilayahPurworejo. Fungsi karawitan tertuang dalam sajian-sajian gending yang disesuaikan dengan adegan-adeganpakeliran. Karawitan berfungsi membantu menciptakan suasana adegan dan karakter tokoh wayang. Strukturpenyajian gending terdiri dari gending Pengawe-awe yang berbentuk ladrang dilanjutkan dengan bagian gendingGagalan berbentuk ketuk 2 kerep minggah ketuk 4 kerep. Gending tersebut laras slendro patet sanga. Bagian gendingpakeliran terangkai dari awal pertunjukan atau bedhol kayon sampai akhir pertunjukan atau tancep kayon. Metodedeskriptif analisis digunakan dalam penelitian ini untuk mengungkap penyajian gending-gending dalam karawitanpakeliran gaya Kedu Bagelen. Ciri khas yang membedakan dengan karawitan pakeliran yang lain terletak pada garapbalungan gending.Kata kunci: karawitan, pakeliran, wayang Kedu, BagelenABSTRACTGammelan Music for Wayang of Kedu Bagelan Style. The Javanese musical functions are expressed in gendinginstruments adjusted into pakeliran scenes; the instrument helps in creating the scene atmosphere and puppet characters.Kedu Bagelen musical style has its own characteristics which are different from other styles. The structure of gendinginstrument presents gending Pengawe-awe in ladrang notation followed by parts of gending Gagalan which consists of 2 kerepminggah rhythms and 4 kerep rhythms. Gending instrument applies the notation of laras slendro patet sanga. The seriesof gending pakeliran are sequenced from bedhol kayon / opening scene until tancep kayon/ending scene of the puppet show. The research applied descriptive method of analysis in revealing the presentation of gending in Kedu Bagelen pakeliran musical style. There were several characteristics that distinguished it from other pakeliran music. The most prominent specifi cation of pakeliran work on Bagelen Kedu musical styles lied on the work of balungan gendingKeywords: gamelan music, wayang performance, Kedu Bagelen
Klambi Lurik Compang-Camping: Sebuah Komposisi Karawitan SUHARDJONO -
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 10, No 1 (2009): Juni 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v10i1.469

Abstract

Klambi Lurik Compang-Camping Karawitan Composition. This article discusses the creation process ofKlambi Lurik Compang Camping karawitan composition. This composition is inspired by Jineman Klambi Lurik,penned by Wasiran –a traditional artist and teaching staff in Karawitan study programme in ISI Yogyakarta. Thisjineman is favoured by both laypeople and karawitan traditional artists. This composition consists of eight parts,united as one full composition. The creation methods are exploration, improvisation, and shaping.
GARAP GENDERAN GENDING GENDHIYENG LARAS SLENDRO PATHET MANYURA KENDHANGAN CANDRA tri yuni astuti; Suhardjono Suhardjono; Subuh Subuh
IDEA: Jurnal Ilmiah Seni Pertunjukan Vol 17, No 1 (2023): Vol 17, No 1 (2023)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

“Garap Genderan Gending Gendhiyeng Laras Slendro Pathet Manyura Kendhangan Candra” membahas cengkok genderan yang tepat untuk diaplikasikan bagi Gending Gendhiyeng laras slendro sesuai dengan pathetnya. Gender barung memiliki peran yang signifikan dalam sajian karawitan, yakni sebagai pamangku lagu. Oleh sebab itu, ketepatan tafsir garap akan sangat mempengaruhi baik dan tidaknya sebuah penyajian gending.Penelitian tentang kajian garap penyajian Gending Gendhiyeng gaya Yogyakarta merupakan upaya memperkaya khasanah garap dalam gending-gending tradisi gaya Yogyakarta, khususnya garap lirihan. Berdasarkan hasil penelitian, Gending Gendhiyeng sebagai objek analisis dalam konteks kajian garap balungan Gending Gendhiyeng mempunyai spesifikasi balungan tersendiri sehingga menarik untuk diteliti dan digarap.Metode yang digunakan dalam penelitian ini adalah metode deskripsi tafsir dari balungan gending. Tafsir dilakukan terhadap berbagai masalah yang berkaitan dengan garap musikal, antara lain pathet, ambah-ambahan, serta cengkok genderan barung yang akan dipergunakan. Agar tafsir yang didapat memenuhi harapan, maka penulis melengkapinya dengan memperbanyak referensi baik berupa data tertulis, audio, maupun wawancara. Dengan modal berbagai cara tersebut diharapkan penyajian Gending Gendhiyeng Laras Slendro Pathet Manyura dapat memenuhi kwalitas yang ideal.Garap Genderan Gending Gendhiyeng Laras Slendro Pathet Manyura Kendangan Candra "Garap Genderan Gending Gendhiyeng Laras Slendro Pathet Manyura Kendhangan Candra" discusses the correct gender bend to be applied to Gending Gendhiyeng slendro tunings according to the pathet. Gender barung has a significant role in karawitan presentations, namely as pampangku song. Therefore, the accuracy of working on interpretation will greatly affect whether or not a piece of music is presented.Research on the study of working on the presentation of Yogyakarta-style Gending Gendhiyeng is an effort to enrich the repertoire of works on traditional Yogyakarta-style repertoires, especially those of lyrical compositions. Based on the research results, Gending Gendhiyeng as an object of analysis in the context of the study of working on balungan Gending Gendhiyeng has its own balungan specifications so it is interesting to study and work on.The method used in this study is the method of interpreting the description of balungan gending. Interpretation is carried out on various issues related to musical work, including pathet, ambah-ambahan, and crooked genderan barung which will be used. In order for the interpretation obtained to meet expectations, the author completes it by adding more references in the form of written data, audio, and interviews. With these various methods, it is hoped that the presentation of Gending Gendhiyeng Laras Slendro Pathet Manyura can meet the ideal quality.
SWARA SARONDER: SEBUAH KOMPOSISI KARAWITAN INTERPRETASI UNSUR TIGA DALAM INSTRUMEN GAMELAN JAWA Suhardjono; Aji Santoso Nugroho
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.v24i2.6567

Abstract

Swara Saronder is a work of musical composition inspired by observations of Javanese gamelan and the triple phenomenon of the dominance of pencon-shaped instruments which form tiered strata sequentially from largest to smallest. Each of these instruments has different functions and tasks but forms a unified whole. The existence of three instrumental elements that dominate Javanese gamelan is a source and basis for the creation of musical compositions. Swara Saronder is a musical work that originates from the drumming techniques of the gender and saron groups. Personal experience as a gamelan composer (musician) was the inspiration for this musical composition. Because the technique of playing blade group instruments is interesting to study and develop as a reference for creating a musical composition work. The purpose of creation is to try to express musical anxiety towards Javanese gamelan in the form of interpretations of musical compositions that are not always bound by the rules of conventional musical form. The creation method/process is carried out through several stages, namely observing the source object, processing ideas and the process of pouring out the results.