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All Journal Grenek: Jurnal Seni Musik SELONDING Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik Journal of Urban Society´s Arts Jurnal Pendidikan dan Kajian Seni Panggung Pelataran Seni : Jurnal Pendidikan dan Kajian Seni Tamumatra : Jurnal Seni Pertunjukan Melayu Arts and Performance Journal IDEA: Jurnal Seni Pertunjukan Panggung Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Asep Saepudin
Institut Seni Indonesia Yogyakarta
Arts Humanities Computer Science & IT Education Languange, Linguistic, Communication & Media Social Sciences Other

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Nilai-Nilai Pendidikan Karakter dalam Tembang Campursari Vivin Ardianti; Asep Saepudin
Pelataran Seni Vol 5, No 2
Publisher : Program Studi Pendidikan Seni Pertunjukan FKIP ULM

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20527/jps.v5i2.9124

Abstract

MIDI SEBAGAI INOVASI DAN ALTERNATIF MUSIK IRINGAN TARI DI MASA PANDEMI Tri Sat Fitriani; Asep Saepudin
Melayu Arts and Performance Journal Vol 5, No 1 (2022): Melayu Arts and Performance Journal
Publisher : Pascasarjana Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/mapj.v5i1.2518

Abstract

This paper discusses MIDI innovation for dance accompaniment needs. MIDI or Musical Instrument (with) Digital Interface, is a revolution in the development of music. Presentation of dance accompaniment using MIDI has several advantages in a technological update. MIDI innovations in this study are discussed using descriptive analysis methods. The dance accompaniment in question is a dance accompaniment that usually uses gamelan devices can be denoted in software in a system called MIDI. This topic is taken from the phenomenon that occurs in the Pandemic period. With MIDI, a composer can relatively simple listen to his work that has been written using music notation software on his computer. The large number of choreographers who need accompaniment during working digitally, allows the availability of insufficient human resources. Therefore, MIDI can be an alternative innovation to fill or correct these deficiencies.AbstrakTulisan ini membahas tentang inovasi MIDI untuk kebutuhan iringan tari. MIDI atau Musical Instrument (with) Digital Interface, merupakan revolusi dalam perkembangan musik. Penyajian iringan tari menggunakan MIDI memiliki beberapa kelebihan dalam sebuah pembaharuan teknologi. Inovasi MIDI dalam kajian ini dibahas menggunakan metode deskriptif analisis. Iringan tari yang dimaksud adalah iringan tari yang biasanya menggunakan perangkat gamelan dapat dinotasikan pada software dalam sebuah sistem yang disebut MIDI. Topik ini diambil dari fenomena yang terjadi di masa Pandemi Covid-19. Dengan MIDI, seorang komposer bisa secara relatif sederhana mendengarkan hasil karyanya yang sudah ditulis memakai software music notation di komputernya. Banyaknya koreografer yang membutuhkan pengiring saat berkarya secara digital, memungkinkan ketersediaan sumber daya manusia yang tidak mencukupi. Oleh karena itu, MIDI dapat menjadi sebuah inovasi alternatif untuk mengisi atau memperbaiki kekurangan tersebut.Kata Kunci: MIDI; gamelan, software music notation; musik iringan; seni tari.
Penggalian Konsep-konsep “Wandali” Sebagai Upaya Melahirkan Model Penciptaan Karawitan Asep Saepudin; Ari Sahara; Subuh Subuh
Grenek: Jurnal Seni Musik Vol 11, No 2 (2022): Grenek: Jurnal Seni Musik
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v11i2.39021

Abstract

Tujuan penulisan ini untuk menggali berbagai konsep yang terdapat dalam Gending Wandali sebagai upaya menelusuri sebuah model penciptaan dalam garap karawitan. Tulisan ini berawal dari perenungan penulis bahwa, sebuah gending tidak hanya berhenti pada bentuk abstrak yang hanya bisa didengarkan telinga dalam waktu yang singkat, akan tetapi di dalamnya penuh peasan dan makna yang ingin disampaikan penciptanya, baik tentang dirinya maupun tentang karya itu sendiri. Metode kualitatif digunakan dalam penelitian ini. Adapun teknik pengumpulan data dilakukan melalui observasi, wawancara, penelusuran dokumen, serta audiovisual. Wandali singkatan dari Jawa, Sunda dan Bali yaitu sebuah gending yang diciptakan oleh Nartosabdo pada tahun 1970-an yang bernuansa Jawa, Sunda, dan Bali. Gending ini sangat populer pada zamannya, juga masih sering dipentaskan pada masa sekarang di dalam budaya Jawa. Meskipun pencipta gending ini sudah meninggal, namun isi pesan melalui teks yang ingin dikomunikasikan oleh penciptanya masih sangat relefan untuk dibahas. Inilah apa yang dikatakan Roland Barthes sebagai mitos yakni teks-teks yang digunakan untuk menyampaikan pesan yang disampaikan melalui komunikasi. Pesan-pesan tersebut disampaikan melalui berbagai teks yang ada di dalam karya. Karya merekalah yang berbicara. Ketika teks-teks ini mapan, maka tidak menutup kemungkinan melahirkan sebuah model penciptaan karawitan yang baru. Model ini selanjutnya akan mudah dipalikasikan di dalam minat penciptaan karawitan. Analisis Wandali terfokus pada tafsir berbagai konsep yang diperoleh dari pencipta dan juga gendingnya. Berdasarkan konsep-konsep tersebut diperoleh kesimpulan bahwa wandali adalah salah satu model penciptaan karawitan yang bisa diterapkan oleh  siapapun,  termasuk  para  mahasiswa  di  Perguruan  Tinggi  Seni. 
BANDAKALA: TRANSFORMASI KARAKTER PEMBAYUN DALAM KOMPOSISI KARAWITAN Dedi Ahmad Fahrudin; Asep Saepudin; Setya Rahdiyatmi Kurnia Jatilinuar
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

Tujuan penelitian ini adalah mentransformasikan karakter Pembayun ke dalam karya komposisi karawitan yang berjudul Bandakala. Komposisi ini menggunakan konsep pathet dan teori “Rasa In Javanese Musical Aesthetics” Marc Benamou. Karya ini menggunakan metode penelitian kualitatif dengan pendekatan studi naratif. Tahapan perwujudan karya dilakukan melalui pra garap, garap, dan pasca garap. Adapun struktur dramatik yang digunakan dalam karya komposisi ini antara lain, eksposisi, komplikasi, konflik, dan reversal. Penelitian ini berangkat dari ketertarikkan penulis terhadap sosok Pembayun dalam naskah kethoprak. Pembayun merupakan anak dari seorang Raja Mataram yaitu Panembahan Senopati. Pembayun dalam cerita kethoprak yang populer di kalangan masyarakat adalah penari ledhek yang terkenal dengan kecantikannya. Karakter Pembayun yang umum diperlihatkan adalah karakter yang licik karena ia menyamar sebagai penari ledhek untuk memikat hati Ki Ageng Mangir IV yang merupakan musuh dari Panembahan Senopati yaitu Raja Mataram. Oleh karena itu, penulis menyimpulkan empat karakter dalam tokoh Pembayun, yaitu pemberani, lembut, labil, dan bijaksana. Karakter tersebut diperoleh melalui wawancara, bedah naskah, serta melihat pertunjukan kethoprak yang berkaitan dengan Pembayun. Hasil kesimpulan menujukkan bahwa karakter Pembayun dapat ditransformasikan melalui pendekatan konsep pathet dan struktur dramatik. Konsep pathet yang digunakan dalam komposisi ini antara lain pathet slendro sanga dan pathet pelog barang serta srtuktur dramatik yang bertujuan untuk memberikan alur dramatik agar keempat karakter tersebut menjadi satu kesatuan yang utuh.Bandakala: Transformation of the Character of Pembayun in Karawitan CompositionThe aim of this research is to transform Pembayun's character into a karawitan composition entitled Bandakala. This composition uses the concept pathetic and the theory of “Rasa In Javanese Musical Aesthetics” by Marc Benamou. This work uses qualitative research methods with a narrative study approach. The stages of embodiment of the work are carried out through pre-work, work on and post-work. The dramatic structures used in this composition include exposition, complication, conflict, and reversal. This research departs from the author's interest in the figure of Pembayun in the manuscript ketoprak Pembayun is the son of a Mataram king, Panembahan Senopati. Pebayun in the story ketoprak popular among the people are dancersled who is famous for her beauty. The Pembayun character that is commonly shown is a cunning character because he disguises himself as a dancerledto captivate Ki Ageng Mangir IV who was an enemy of Panembahan Senopati, the King of Mataram. Therefore, the writer concludes that there are four characters in Pembayun, namely brave, gentle, unstable, and wise. These characters are obtained through interviews, reviewing scripts, and watching performancesketoprakrelating to the Pembayun. The conclusion results show that Pembayun's character can be transformed through a conceptual approach pathetic and dramatic structure. Concept pathet icused in this composition include: pathetic slim branch and pathetic pelog oodsas well as a dramatic structure that aims to provide a dramatic plot so that the four characters become one unified whole.
Konsep dan Metode Garap dalam Penciptaan Tepak Kendang Jaipongan Asep Saepudin
PANGGUNG Vol 23 No 1 (2013): Strategi dan Transformasi Tradisi Kreatif: Pembacaan, Pemaknaan, dan Pembelajara
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v23i1.84

Abstract

ABSTRACT This article aims to explore the process of creation of Tepak Kendang Jaipongan by Suwanda. The idea of Tepak Kendang was obtained through four processes: 1) the direct participation of the creator (Suwanda) into the popular arts; 2) the appreciation results of various kinds of art; 3) the stimulation of various kinds of dance movement; and 4) the inspiration of the songs which are sung by the singers (Sinden). Tepak Kendang Jaipongan was sourced from various kinds of genre, namely Ketuk Tilu, Topéng Banjét, Wayang Golék, Kiliningan, Bajidoran, Pencak Silat and Tarling. The many kinds of Sundanese Tepak Kendang were arranged with the concept of ‘freedom’ and ‘novelty’. The method which is used to create Tepang Kendang Jaipongan is ‘ngolah nu aya maké cara: salambar langsung saayana tinu heubeul, ‘janten ku nyalira’, ngarobah nu aya (‘ditambah’, ‘dikurangan’, ‘dipotong’,‘dikerepan’, ‘dicarangan’). Keywords: Method of creation, Tepak Kendang Jaipongan  ABSTRAK Tulisan ini bertujuan untuk menggali proses penciptaan tepak kendang jaipongan dari kreatornya yakni Suwanda. Ide tepak kendang diperoleh melalui empat proses yaitu Suwan- da terjun langsung ke dalam jenis kesenian yang sedang populer, hasil apresiasi terhadap berbagai jenis kesenian, terangsang oleh ragam gerak tari, serta karena terinspirasi lagu yang dibawakan oleh pesindén. Tepak kendang jaipongan bersumber dari berbagai jenis ke- tsenian seperti Ketuk Tilu, Topéng Banjét, Wayang Golék, Kiliningan, Bajidoran, Penca Silat dan Tarling. Kekayaan ragam tepak kendang Sunda digarap dengan konsep “kebebasan dan ‘ke- baruan’. Metode yang digunakan untuk menciptakan tepak kendang jaipongan adalah “ngo­ lah nu aya maké cara: salambar langsung saayana tinu heubeul, ‘janten ku nyalira’, ngarobah nu aya (‘ditambah’, ‘dikurangan’, ‘dipotong’, ‘dikerepan’, ‘dicarangan’)”. Kata kunci: Metode garap, Tepak Kendang Jaipongan Konsep dan Metode Garap dalamPenciptaan Tepak Kendang Jaipongan
Tepak Kendang Jaipong dalam Kesenian Campursari Asep Saepudin Saepudin; Ela Yulaeliah
PANGGUNG Vol 31 No 2 (2021): Estetika Dalam Keberagaman Fungsi, Makna, dan Nilai Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v31i2.1544

Abstract

This paper aims to determine the causes of changes in the Jaipong kendang motifs and analyze its motifs in Campursari. This writing uses the method of descriptive analysis. The entry of the Jaipong kendang in Campursari led to various changes from the original kendang. The conclusions obtained were changes in the multiple motifs of Jaipong kendang as a result of adjusting the Jaipong kendang to the Campursari performance. The Campursari players, who are predominantly Javanese and have traditional values, cannot be separated when they play the Jaipong kendang. The sense of tradition of the artists in playing the Javanese kendang, of course, indirectly channeled in the Jaipong kendang. The result is that new motifs of Jaipong kendang are the result of the artists’ creativity. Jaipong kendang motifs contained in Campursari, in general, are mincid motifs. It is found in almost every song accompanied by the Jaipong kendang. The other motifs are in the form of codes or accents made by artists as a unique feature in every Campursari song. Keywords: tepak, jaipong, mincid, campursari  ABSTRAK Tulisan ini bertujuan untuk mengetahui penyebab terjadi perubahan motif kendang jaipong serta menganalisis motif-motif kendang jaipong dalam Campursari. Metode deskriptif analisis digunakan dalam penulisan ini. Masuknya kendang jaipong dalam Campursari, menimbulkan berbagai perubahan dari kendang aslinya. Hasil kesimpulan diperoleh bahwa terjadinya perubahan beragam motif kendang jaipong sebagai akibat disesuaikannya kendang jaipong dengan sajian Campursari. Pemain Campursari yang mayoritas orang Jawa dan telah memiliki nilai tradisi, tidak lepas begitu saja ketika mereka memainkan kendang jaipong. Rasa tradisi para seniman dalam bermain kendang Jawa, tentunya secara tidak langsung tersalurkan di dalam kendang jaipong. Hasilnya adalah motif-motif baru kendang jaipong hasil kreativitas para seniman. Motif-motif kendang jaipong yang terdapat di dalam Campursari secara umum adalah motif mincid. Motif mincid ini terdapat hampir di setiap lagu yang diiringi kendang jaipong. Adapun motif lainnya adalah berupa kode atau aksen-aksen hasil karya seniman sebagai ciri khusus dalam setiap lagu Campursari.   Kata kunci: tepak, jaipong, mincid, campursari
PERUBAHAN MOTIF KENDANGAN JAIPONG PADA PERTUNJUKAN WAYANG KULIT KI SENO NUGROHO Asep Saepudin; Sigit Setiawan
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 19 No. 2 (2019)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v19i2.3077

Abstract

Acculturation of Sundanese and Javanese culture one of which appears in the Sundanese jaipong kendang motif that is adapted so that it becomes Javanese in character. This can be seen in the appearance of Wayang Kulit Ki Seno Nugroho. This study aims to analyze changes in kendang jaipong’s motives using the observation methode. Observation was carried out by revealing a systematic picture of the shadow puppet show, the player’s behavior, and paying attention to the space, place, actors, activities, time, and events. From the observation, it was found that there was a change in the jaipong drum construction on the improvisation, ayak-ayak patterns, various pangjadi motives, bukaan, mincid, ngala, and tepak ngeureunkeun. The results of this study concluded that althought the presentation of jaipong drums imitated the Sundanese style, the resulting motives were generally not Sundanese motifs. All jaipong kendang motifs are responded creatively to new motifs by Seno Nugroho drummer so that the results of their work are not Sundanese but Javanese.Keywords: tepak, jaipong, mincid, seno.
GAMBIR SAWIT SEMBUNG GILANG VERSI NYI M.M RUBINEM Sutrisni; Siswati; Asep Saepudin
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.v24i2.6977

Abstract

Nyi Maria Mahdalena Rubinem is a professional singer from the city of Yogyakarta before 1945 and experienced her heyday in 1955-1973. Nyi Rubinem is the only singer from the city of Yogyakarta who received the title of Maestro Sinden. This is interesting to research to find out how to work on Nyi Rubinem's sinden in more depth.  The discussion in this research is focused on Nyi Rubinem's version of working on sinden in relation to conventional working on sinden norms with the aim of knowing and describing the characteristics of working on sinden and Nyi Rubinem's strengths as a singer. To solve the problems in this research, the descriptive analysis method was used, namely a research method carried out by describing the data that has been collected, then continuing with analysis of working on sindenan. The data analyzed includes: the application of lyrics to the piece, cengkok sindenan, the generation of sinden and the presentation of sinden. The results obtained from the research show that Nyi Rubinem, in working on her sindenan, has distinctive characteristics, including the crooked sindenan srambahan seleh notes 1, 2 and 5. A striking characteristic is the color of her voice which is very shrill and tends to be kêmèng, a characteristic is also found in the repetition of the sindenan Isen-isen with a feminine, feminine accent. Nyi Rubinem's strength as a singer can be seen in her total appearance, both physically and in terms of potential/skills.
LELAGON LESTARI BUDAYAKU: GENDING PROPAGANDA BERBASIS SLOGAN Raharja; Asep Saepudin; Siswati Siswati
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.v25i1.7626

Abstract

Lelagon Lestari Budayaku  is a musical composition created as one of the selected pieces for the “2023 Inter-Regency/City Yogyakarta Women's Karawitan Festival". The idea is based on the slogan "building a spirit of togetherness in cultural preservation". Based on the function and meaning contained in its lyrics, it falls into the category of propaganda music/songs. This research aims to uncover the background of its creation, methods, strategies, and stages in the process. As implied by the title of the piece, its compositional method prioritizes the aesthetics of traditional karawitan. A common challenge composers face in arranging musical pieces is the opportunity for development. A given musical form is sometimes considered fixed, making it difficult for composers to innovate creatively. For this reason, the lelagon was created in a simple form, allowing festival participants to develop a number of musical innovations. The strategic analysis applied to predict its success used the reception method. Success indicators can be seen from the percentage of participants who preferred the song and the number of views on various platforms where the video recordings were uploaded.
PENCIPTAAN KOMPOSISI MISINDHANDHANG BERBASIS BENTUK GENDING DAN SEKAR MACAPAT Sutrisni; asep saepudin -
TAMUMATRA Vol 7 No 2 (2025): Tamumatra
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v7i2.27925

Abstract

This writing aims to provide an overview of Misindhandhang's compositional work in the realm of Javanese karawitan tradition. Compositional works can create new works that are different from traditional patterns, especially in the form of gending. The creation method in this composition uses Alma W Hawkins' concept, namely exploration, improvisation, and composition. The arrangement of the source of the work uses Western music techniques and harmonized karawitan. Misindhandhang is a karawitan composition work that is not bound by the form of gending, both gatra and chotomic beating. Misindhandhang is the name of a karawitan composition; this name is an acronym from the word Mi=Mijil, Si=Sinom, and Dhandhang comes from the word Dhandhanggula. All three are the names of pupuh sekar Macapat. These three sekar macapat became the primary material, which was then worked on and processed, and finally, works were produced in a new form. The creation of the composition Misindhandhang is intended to open the perception that traditional arts, especially sekar macapat,  can be worked on, developed and given different variations from the original to adapt to the changing times. Misindhandhang's compositional work takes the theme of the phases of human life from birth to youth and adulthood. This research produces new works in the realm of tradition. This work processes the source of the existing work to be different from the original tradition. This process resulted in a karawitan composition work entitled Misindhandhang, with a vocal karawitan presentation with a new form and melody, unlike the original macapat song.  Although the tune is the same, namely the slendro barrel, after processing, it is worked on based on the technique used by the author, resulting in a slendro barrel song like the nuances of a Chinese song. This research concludes that the Javanese tradition is a source of creativity when creating new works.
Co-Authors Andyarini Hibatussyam Ari Sahara Dedi Ahmad Fahrudin Djoko Nursanto ELA YULAELIAH Japar Rohimat Joni Rahmat Pramudia Maspupah, Siti Mustofa Kamil Raharja Sabatinus Prakasa Samuel Gandang Gunanto Setya Rahdiyatmi Kurnia Jatilinuar Sigit Setiawan Siswati Siswati Siswati Siswati Subuh Subuh Subuh, Subuh Sutrisni Sutrisni Tri Astari Tri Sat Fitriani Vivin Ardianti Yanti Shantini, Yanti yuwono prastyo