Ananto Sabdo Aji
Institut Seni Indonesia Surakarta

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The The Musical Performance Identity of Ayak Gedhog in the Siswa Laras Tayub Ensemble, Trenggalek Regency, East Java Martha Ranty Nurvika; Ananto Sabdo Aji; Win Maw Oo
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 26 No. 1 (2026): 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.v26i1.6990

Abstract

This article, titled “The Musical Performance Identity of Ayak Gedhog in the Siswa Laras Tayub Ensemble, Trenggalek Regency, East Java,” investigates the unique musical and cultural characteristics of this specific repertoire. Utilizing Martin and Nakayama's theory of ethnic and cultural identity, alongside George M.'s identity framework, this study aims to dissect the elements shaping the ensemble's distinct musical treatment. Data were systematically collected through observation, in-depth interviews, and literature studies focusing on the garap (musical treatment) of the Ayak Gedhog by the Siswa Laras ensemble. The findings reveal four key points. First, Ayak Gedhog possesses a specific musical form and an ayak-ayakan structural framework, with a presentation sequence flowing from the bukå (opening), to the main balungan (skeletal melody), and ending with the suwuk (conclusion). Second, the repertoire serves three primary functions: as the opening piece for the tayub performance, as a dance accompaniment for the gedhog tayub, and as a welcoming tribute for distinguished guests. Third, the identity-forming elements of Ayak Gedhog are categorized into stable garap elements (encompassing performance material, performers, facilities, and tools) and situational garap elements (comprising performance determinants and considerations). Finally, the performance identity of the Tulungagungan tayub plays a pivotal role in formulating the garap identity developed by the Siswa Laras ensemble in Trenggalek.
Interpretasi Hening Sesanti Niskala sebagai Janturan menjadi Karya Musik Panji Probo Asmoro; Ananto Sabdo Aji; Dian Nastiti
Ekspresi Vol 14, No 2 (2025)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ekspresi.v14i2.17514

Abstract

AbstrakHening Sesanti Niskala adalah komposisi musik yang terinspirasi dari kedalaman makna filosofis janturan. Karya ini bertujuan merepresentasikan substansi janturan secara musikal sebagai pesan spiritual. Konsep karya dibangun atas tiga elemen: Hening (ketenangan), Sesanti (doa), dan Niskala (keselamatan), yang dimaknai sebagai kekhusukan manusia saat berdoa kepada Tuhan. Metode penciptaan meliputi tiga tahapan utama: persiapan, observasi, dan tafsir garap yang melibatkan eksplorasi bunyi serta teknik instrumen. Karya ini diharapkan menjadi referensi alternatif dalam metode penciptaan musik baru, khususnya bagi akademisi karawitan. Kata kunci: Janturan, Suasana Musikal, Doa, Makna, dan Eksplorasi AbstractInterpreting Hening Sesanti Niskala as Janturan into a Musical Composition. Hening Sesanti Niskala is a musical composition inspired by the profound philosophical meaning of janturan. This work aims to represent the substance of janturan musically as a spiritual message. The concept is built upon three elements: Hening (stillness), Sesanti (prayer), and Niskala (salvation), which are interpreted as the solemnity of human devotion to God. The creation method comprises three main stages: preparation, observation, and tafsir garap (musical interpretation), involving the exploration of sounds and instrumental techniques. This work is expected to serve as an alternative reference for new music creation methods, particularly for Karawitan scholars. Keywords: Janturan, Musical Atmosphere, Prayer, Meaning, and Exploration