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Konsep Mandheg dalam Karawitan Gaya Surakarta Ananto Sabdo Aji
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 20, No 2 (2019): Agustus 2019
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v20i2.3219

Tulisan ini mengungkap mandheg sebagai salah satu konsep lokal di dalam karawitan Jawa gaya Surakarta. Penelitian ini bertujuan untuk menggali persoalan yang terkait dengan pengertian mandheg, proses terjadinya mandheg, hal-hal yang berhubungan dengan pemaknaan, elemen pembentuk, dan fungsi mandheg di dalam proses penggarapan gending. Data dikumpulkan melalui studi pustaka, wawancara, dan pengamatan pertunjukan. Analisis dilakukan dengan menafsirkan kembali pemikiran dan pengalaman pengrawit yang diperoleh melalui realitas pragmatik. Berdasarkan penelitian disimpulkan bahwa mandheg dimaknai sebagai sajian gending yang berhenti sejenak pada sebuah titik dengan ciri pola kendangan mandheg dan alur yang spesifik setelah mandheg. Mandheg dibagi menjadi dua yaitu mandheg kedah dan mandheg pasrèn, dengan elemen pembentuk, antara lain andhegan gawan, kalimat lagu, variabel melodi balungan, dan sekar. Mandheg bersifat wajib dan fakultatif. Andhegan dan variabel yang spesifik membuat mandheg sebagai pembentuk sajian gending menjadi dinamis. The Concept of Mandheg in Karawitan of Surakarta Style. This research reveals mandheg as one of the local concepts of Javanese music, especially the Surakarta style. Generally, some issues are explored in this research are related to the definition of mandheg and the process of mandheg itself. In more depth, this paper also discusses some point relating to the meaning, forming elements, and functions of mandheg in the process of gending work. These points are explained based on data on the presentation of a musical instrument as a factual data exploration media. The data collection was carried out by literature study, interviews, and also as a participant-observer. The analysis is carried out by reinterpreting the thoughts and experience of the pengrawit through practical reality. The interpretation uses the interpretation method and garap analysis. The explanation and getting conclusions are carried out by the inductive method. The mandheg is interpreted as a gendhing presentation that pauses at a point with the characteristic of the pattern of the kendhangan and the spesific flow after mandheg. The mandheg is divided into two, namely the mandheg kedah and mandheg pasrèn, with the elements of forming andhegan gawan, song sentences, balungan melodic variables, and sekar. The tend of mandheg are mandatory and facultative. Andhegan and specific variables make mandheg as forming a dynamic presentationKeyword: mandheg; javanese gamelan; pasrèn

GARAP KARAWITAN PAKELIRAN; PAKELIRAN SANDOSA LAKON KEMBANG KUDHUP PUPUS (Perspektif Estetika Pakeliran Nuskma dan Mungguh) Catur Nugroho; Ananto Sabdo Aji
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 21, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i2.4118

This research discusses the work of karawitan pakeliran in a Pakeliran Sandosa with story Kembang Kudhup Pupus, which is explored through the basic aesthetic perspective of pakeliran, namely the concept of nuksma and respectively. The purpose of this discussion is to understand the extent to which an element of performing karawitan pakeliran can determine the achievement of an aesthetic puppet show. The results of the analysis show that the work of karawitan pakeliran in Pakeliran Sandosa Lakon Kembang Kudhup Pupus can be understood to reach the aesthetic level of pakeliran respectively. This can be seen through the creation of accuracy, harmony, and appropriateness between the composition of the performance karawitan pakeliran including gendhing and tembang to the needs of the events of the play and the inner atmosphere experienced by the puppet. As for the achievement of the aesthetics of pakeliran nuksma which is able to motivate the effect of catharsis for the admirer in the framework of karawitan pakeliran can be felt through the pattern of melody and gendhing songs and songs arranged in such a way; by paying attention to the compatibility between vocal techniques, beats, and musical graphic arrangements that are oriented to the dynamics of the gendhing sense.

JINGLE TRANSFORMASI PEGADAIAN (STUDI TENTANG PERAN MUSIK DALAM PEMBENTUKAN BUDAYA PERUSAHAAN PT. PEGADAIAN) Harimas Jati Wikananta; Ananto Sabdo Aji; Purwa Askanta
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 21, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i2.3817

"Jingle Transformasi Pegadaian” is the title of a song that was employed as one of many transformation tools in PT Pegadaian (Persero). This study aims to determine the existence of “power” that helped the transformation process in PT Pegadaian (persero). To study the phenomenon this research applies mixed methods research design, which consists of ethnographic and quantitative methods. The research data were derived from in-depth interviews and random sampling questionnaire which was distributed to 390 employees in all work units. The process of jingle composing and the elements in the jingle, such as arrangement, genre, lyrics, and vocals were reviewed and perceived as an interpretation of the transformation process that happened in PT Pegadaian (Persero). Messages related to transformation that is contained in the jingle’s lyrics were accepted, and used as an affirmation of the transformation process by all employees. The jingle internalization process is carried out by playing it continuously in all work units’ corporate activities, both routinely and incidentally. The result of this research shows that by playing the jingle continuously forms a “power” that affects the emotional response of employees, and evoke positive reactions, such as: a sense of enthusiasm, awareness of the transformation process, sense of pride, and sense of belonging.

GARAP LAGU BAJU HÉJO: DAMPAK ADAPTASI SALENDRO 15 NADA PADA ANGKLUNG PENTATONIS RAGAM LARAS Ega Fausta; Ananto Sabdo Aji
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 22, No 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i2.4796

Angklung Pentatonic Ragam Laras (APRL) is one of the innovative angklung products created in 2017 through an experimental process by Endah Irawan et al. A variety of tunings pentatonic angklung (APRL) is a musical ensemble consisting of several types of instruments made of bamboo material that apply the concept of collaborative instrumentation between gamelan orchestration and Western music. This ensemble is a new innovation in the world of traditional Sundanese art because it has a distinctive tuning pattern/scale system that collects several tuning patterns in Sundanese karawitan, namely Salendro, Degung and Madenda in different ensembles. The concept of the scale system is adapted from the concept of the Salendro 15 tone scale by R.M.A. Koesoemadinata.This study uses a mixed convergent parallel type method by obtaining both qualitative and quantitative data in order to answer the problem formulation comprehensively. The research results show that the adoption of the 15-tones saléndro tuning by Koesoemadinata R.M.A. affects the musikal work on Baju Hejo song that have been re-arranged especially in terms of the development of percussion and melodic patterns, tuning modulation and surupan, as well as the application of insert tones (miring and malang).

GÊTHINI : SAJIAN MRABOT DAN KAJIAN GARAP SINDHÈN Sri Wahyuni; Ananto Sabdo Aji
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 23, No 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v23i1.4858

This research examines the work on sindhenan gendhing Gêthini kethuk kalih kerep minggah sekawan laras slendro pathet sanga and its seies, namely work on mrabot with innovations on sindhenan style Surakarta. In working on musicality in the world of karawitan, the author uses concepts namely the mungguh concept by Bambang Sosodoro, the mandheg concept by Ananto Sabdo aji and the concept worked on by Rahayu Supanggah. The method used is qualitative by way of studying book literature or making observations directly or indirectly in order to broaden knowledge to obtain the history of gending and work on musical performances. As well as need interviews with karawitan experts as inputs, ideas and suggestions for conducting this research. The innovations for working on sindhenan lies in the merong kenong parts one and two in balungan seleh ro can be worked on minir pasren, the ngelik kenong two seleh nem part are also worked on minir, because there are balungan melodies that minir can work on. Innovations made by sindhenan on the inggah section can also be worked on by mandheg on the first kenong seleh ji andegan kinanthi and the second kenong seleh nem mandheg andhegan kacaryan, on kenong lu mandheg you can add amdhegan sekar tengahan bawaraga, that’s where sinden has different variations of andegan and gets innovative ideas work on adding a distraction, because in this innovation work on sindhen can show its potential and expertise when the piece is presented.

Garap Kendhangan in Gendhing Lampah Tiga Ananto Sabdo Aji
International Journal of Visual and Performing Arts Vol 5, No 1 (2023)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v5i1.825

This research plan intends to study, analyze, and explain comprehensively but in a more practical format regarding the interpretation and working of kendhang on the structure lampah tiga. Gendhing with the lampah tiga structure is one of the special gendhing structures because it has a bar where not many gendhing repertoires have this bar, so, of course, there are many problems for the composer, especially the ricikan kendang to present this gendhing structure, knowledge is needed to determine the interpretation and garap variant so that it can identify and present gendhing with structure. The method used is a descriptive analysis based on empirical knowledge. Empirical knowledge will help in analyzing the variety and interpretation of the lampah tiga structure, while the garap approach is used as a tool to dissect the musical situation in the intended gendhing structure. The qualitative descriptive data analysis method is carried out by observing the validity of the data through data triangulation. Accurate data collection through library research, interviews, and observations is expected to be able to explore the work on kendhangan gendhing lampah tiga. It is hoped that this research will be able to support teaching and learning activities in the form of textbooks, and it is hoped that it can add references to karawitan knowledge books.

MODIFIKASI GARAP GENDHING OREK-OREK GAYA REMBANG Prayugalihingtyas Dwi Hapsari; Muhammad Nur Salim; Ananto Sabdo Aji
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 25 No. 2 (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.v25i2.7394

The research entitled "Modification garap of Gendhing Orek-Orek gaya Rembangan" aims to analyse the modification that occur in Gendhing Orek-Orek gaya Rembangan, as well as describe the factors that influence the modification. Analyzing the modification that occur in Gendhing Orek-Orek gaya Rembangan uses the theory offered by Supandi and Rahayu Supanggah. To describe the modification factors using the theory offered by Shils and Rahayu Supanggah. The metode used in the research is a qualitative research method with the stages carried out, namely data collection and data analysis. The modification that occurs in Gendhing Orek-Orek gaya Rembangan is done by a process that produces a new Gendhing Orek-Orek by changing the structure and performance. The structure has the addition of suwuk gropak and buka celuk. Garap experienced changes and additions to the materi garap, sarana garap, and prabot garap. The occurrence of modifications is caused by factors such as the awareness of the performer, the quality of the individual, and other driving factors such as garap considerations, public tastes, and revitalization of the arts.

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