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All Journal Harmonia: Journal of Research and Education Acintya
Muriah Budiarti
Jurusan Karawitan ISI Surakarta, Jalan Ki Hajar Dewantara Surakarta
Arts Humanities Education

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MENGUBAH CITRA LENGGER MENJADI MEDIA EKSPRESI ESTETIS  (To Change the Image of Lengger Into Esthetic Medium of  Expression) Budiarti, Muriah
Harmonia: Journal of Arts Research and Education Vol 4, No 2 (2003)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v4i2.708

Abstract

Persepsi masyarakat terhadap kesenian rakyat Lengger telah berubah. Lengger pada awal kemunculannya dianggap selalu berkonotasi dengan prostitusi sekarang lengger merupakan media ekspresi estetis. Perubahan citra Lengger disebabkan oleh beberapa faktor diantaranya oleh seniman penyaji, sajian kesenian Lengger itus endiri dan masyarakat pendukung sedangkan perilaku senimannya adalah faktor terpenting. Diantara seniman lengger di wilayah Banyumas dan sekitarnya yang terkenal adalah Kampi yang banyak mempengaruhi perubahan citra Lengger sehingga dapat disebut sebagai agen perubahan. Orientasi Kampi yang didorong oleh kemampuan menari, olah vokal tata rias busana serta visi misi sebagai wujud penjelmaan diri, melalui “panembahan” tempat “ngalap berkah” telah memperoleh simpati masyarakat umum. Berubahnya kondisi mengakibatkan bertambahnya volume pentas, baik dalam rangka diundang hajatan perkawinan, rekaman studio dan acara­acara lain. Kesenian Lengger sekarang menjadi slah satu kesenian yang populer di Banyumas dan sekitarnya.Kata Kunci: Lengger, Perubahan, Ekspresi estetik.
KONSEP KEPESINDENAN DAN ELEMEN-ELEMEN DASARNYA Budiarti, Muriah
Harmonia: Journal of Arts Research and Education Vol 13, No 2 (2013): (DOI & DOAJ Indexed, December 2013)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v13i2.2781

Abstract

Sindhenan merupakan bagian kesatuan dengan karawitan dalam rangka meningkatkan rasa estetik. Sindhenan adalah olah vokal mengikuti  irama musik gamelan dengan teknik penyuaraan yang khas  yang didasarkan konsep  estetika  Jawa. Teknik penyuaraan meliputi,  teknik luk, wiled, gregel, angkatan, seleh dan teknik pernafasan. Konsep sindhenan  yang berkualitas dikenal dengan sebutan nggendingi, mencakup mungguh, ngledheki, lelewa, pas, ngenongi, nggandhul, selingan, dan andhegan. Olah vokal yang dilakukan pesinden melalui pelatihan yang lama berulang-ulang menyesuaikan dengan laras gamelan yang dibunyikan. Beberapa pesinden adakalanya melakukan gerak serta sikap yang menarik. Pesinden untuk asambel dan  iringan pakeliran lazimnya mengutamakan warna suara, teknik penyuaraan dan vokabuler penguasaan kalimat lagu. Pesinden dituntut selalu dalam kondisi prima dalam penampilan oleh karena  menjadi perhatian penikmat. Fungsi utama sindhenan  adalah memperkaya nilai estetik dalam pertunjukan. Sindhenan is a part of karawitan in order to enhance the sense of aesthetics. It is a voice of pesinden following the rhythm of gamelan music with a distinctive voicing technique according to aesthetic concepts of Java. The voicing technique includes luk technique, wiled, gregel, angkatan, seleh, and respiratory techniques. The concept of qualified sindhenan is known as nggendingi, including mungguh, ngledheki, lelewa, pas, ngenongi, nggandhul, andhegan, and selingan. The vocal training has been through a long process of training adjust with the rhythm of gamelan music. Some of the pesindens sometimes do some interesting motions. Pesinden for ansambel and pakeliran performances often give priority to the accompaniment of voice colors, voicing techniques, pronuncing technique of song lyrics. Pesinden is demanded in good condition in their performances as they are the main attention of the audience. The main function of sindhenan is to enrich the value of aesthetics in the show.
KONSEP KEPESINDENAN DAN ELEMEN-ELEMEN DASARNYA Budiarti, Muriah
Harmonia: Journal of Arts Research and Education Vol 13, No 2 (2013): December 2013
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v13i2.2781

Abstract

Sindhenan merupakan bagian kesatuan dengan karawitan dalam rangka meningkatkan rasa estetik. Sindhenan adalah olah vokal mengikuti  irama musik gamelan dengan teknik penyuaraan yang khas  yang didasarkan konsep  estetika  Jawa. Teknik penyuaraan meliputi,  teknik luk, wiled, gregel, angkatan, seleh dan teknik pernafasan. Konsep sindhenan  yang berkualitas dikenal dengan sebutan nggendingi, mencakup mungguh, ngledheki, lelewa, pas, ngenongi, nggandhul, selingan, dan andhegan. Olah vokal yang dilakukan pesinden melalui pelatihan yang lama berulang-ulang menyesuaikan dengan laras gamelan yang dibunyikan. Beberapa pesinden adakalanya melakukan gerak serta sikap yang menarik. Pesinden untuk asambel dan  iringan pakeliran lazimnya mengutamakan warna suara, teknik penyuaraan dan vokabuler penguasaan kalimat lagu. Pesinden dituntut selalu dalam kondisi prima dalam penampilan oleh karena  menjadi perhatian penikmat. Fungsi utama sindhenan  adalah memperkaya nilai estetik dalam pertunjukan. Sindhenan is a part of karawitan in order to enhance the sense of aesthetics. It is a voice of pesinden following the rhythm of gamelan music with a distinctive voicing technique according to aesthetic concepts of Java. The voicing technique includes luk technique, wiled, gregel, angkatan, seleh, and respiratory techniques. The concept of qualified sindhenan is known as nggendingi, including mungguh, ngledheki, lelewa, pas, ngenongi, nggandhul, andhegan, and selingan. The vocal training has been through a long process of training adjust with the rhythm of gamelan music. Some of the pesindens sometimes do some interesting motions. Pesinden for ansambel and pakeliran performances often give priority to the accompaniment of voice colors, voicing techniques, pronuncing technique of song lyrics. Pesinden is demanded in good condition in their performances as they are the main attention of the audience. The main function of sindhenan is to enrich the value of aesthetics in the show.
ESTETIKA SINDHENAN KULONAN SURYATI DALAM GENDHING BANYUMASAN Budiarti, Muriah
Acintya Vol. 13 No. 1 (2021)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v13i1.3821

Abstract

This research is motivated by a unique phenomenon about Sindhenan which has a unique aesthetic, namely Pesindhen Suryati. As a singer, Suryati represents the aesthetic of kulonan (Banyumasan with Pasundan style) especially in gending Banyumasan. The concept of kulonan aesthetics is a new kind of aesthetic which has never been definitively revealed what are the elements that make up the aesthetic. The problems of this research are 1) What is the background of the Suryati’s sindhenan style so that it can represent the kulonan aesthetic? 2) How is the practice of kulonan aesthetics in Suryati’s sindhenan? 3) what are the elements that make up the kulonan aesthetics of Suryati’s sindhenan?This research was conducted qualitatively, with the stages: observation, literature study, interviews, conceptual determination, data analysis, and report writing. To reveal the problems, this study uses the theory of Lono Lastoro SimatupangThe conclusions of this research are 1) the Suryati’s sindhenan of kulonan aesthetics is formed by: bodily experiences influenced by genes, environment and social culture. 2) The constituent elements of Suryati’s kulonan aesthetics are recitation techniques, vocal ornamentation, and musical taste as well as impression.Keyword: Aeshtetics, sindhenan, kulonan, Suryati, Banyumas
ESTETIKA SINDHENAN KULONAN SURYATI DALAM GENDHING BANYUMASAN Budiarti, Muriah
Acintya Vol. 13 No. 1 (2021)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v13i1.3821

Abstract

This research is motivated by a unique phenomenon about Sindhenan which has a unique aesthetic, namely Pesindhen Suryati. As a singer, Suryati represents the aesthetic of kulonan (Banyumasan with Pasundan style) especially in gending Banyumasan. The concept of kulonan aesthetics is a new kind of aesthetic which has never been definitively revealed what are the elements that make up the aesthetic. The problems of this research are 1) What is the background of the Suryati’s sindhenan style so that it can represent the kulonan aesthetic? 2) How is the practice of kulonan aesthetics in Suryati’s sindhenan? 3) what are the elements that make up the kulonan aesthetics of Suryati’s sindhenan?This research was conducted qualitatively, with the stages: observation, literature study, interviews, conceptual determination, data analysis, and report writing. To reveal the problems, this study uses the theory of Lono Lastoro SimatupangThe conclusions of this research are 1) the Suryati’s sindhenan of kulonan aesthetics is formed by: bodily experiences influenced by genes, environment and social culture. 2) The constituent elements of Suryati’s kulonan aesthetics are recitation techniques, vocal ornamentation, and musical taste as well as impression.Keyword: Aeshtetics, sindhenan, kulonan, Suryati, Banyumas
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