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GONDANG SITOLUPULUTOLU PADA UPACARA ADAT SAUR MATUA MASYARAKAT BATAK TOBA SILAHISABUNGAN Sopandu Manurung; Gabriel Roosmargo Lono Lastoro Simatupang; Aton Rustandi Mulyana
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 14, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v14i1.3715

Gondang Sitolupulutolu is a gondang ensemble that can only be found in the Toba Batak community. They are Silalahisabungan clan group. Gondang sitolupulutolu is very important in the Silahisabungan community because it can not be separeted from the traditional ceremonies. This study aims to determine how the use and function of the gondang sitolupulutolu in one of the traditional ceremonies of the Silahisabungan community, namely saur matua. This study use a qualitative method. Alan P. Meriam’s (1964) theory of use and function was chosen to see the use and function of the gondang sitolupulutolu. The results showed that the Gondang Sitolupulutolu was used at the opening ceremony during the manortor (ceremonial dance) and at the end of ceremony (closing ceremony). While the function of the gondang sitolupulutolu at the traditional ceremony of Saur Matua is as an expression of joy and sorrow, as entertainment, as a means of communication to convey prayers to God, as a symbol, and as a validation of the Saur Matua traditional ceremony.

KIPRAH DAN DAYA TARIK BAMBANG SP SEBAGAI MAESTRO KARAWITAN JAWATIMURAN Anbie Haldini Muhammad; G.R. Lono Lastoro Simatupang; Aton Rustandi Mulyana
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 13, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v13i1.3178

Bambang Sukmo Pribadi or known as Bambang SP is a developer-maestro of karawitan Jawatimuran. The record of maestro was found in International Gamelan Festival 2018, Surakarta. A maestro title is not something easy to earn, however it’s also need to be known particularly in which extent Bambang SP’s attraction as a maestro in karawitan Jawatimuran. Bambang SP has a few covered record as a maestro and the discourse of karawitan Jawatimuran also not widely known especially in karawitan Jawatimuran community. The aim of this study is to explore constellation paradigm between Bambang SP and karawitan Jawatimuran. This paper is describing how Bambang SP’s creativity expands karawitan Jawatimuran. This practice holds conclusion of the use of karawitan Jawatimuran’s idiom at any expanding works as Bambang SP’s innovation. In the other hand, Bambang SP doesn’t leave the existence of traditional art in karawitan Jawatimuran. This attractiveness indirectly followed by his fellows as well as next generations.

Strategi Menggerakkan Festival Warga Studi Kasus Penyelenggaraan Layang Lakbok Art and Culture Festival Asep Zery Kusmaya; Aton Rustandi Mulyana; St. Sunardi
Jurnal Kajian Seni Vol 7, No 2 (2021): Jurnal Kajian Seni Vol 7 No 2 April 2021
Publisher : Universitas Gadjah Mada

ABSTRACTA festival is a cultural event that all cultural communities in the world have. One of the festival's functions is to improve the life energy of the cultural community that organizes it. Layang Lakbok Art and Culture Festival is a festival organized by Lakbok residents, Ciamis Regency, West Java. This festival stems from the spirit of a group of young people who are members of the Pematang Sawah Association to develop the post-harvest celebration of Lakbok residents into a bigger event. This idea and spirit then invite all citizens to be involved in the festival production process. The process of spreading ideas, spirit, and the festival production is carried out using the social capital owned by the youth, in particular, and in general by all citizens. The social capital used covers all aspects that are owned by citizens, starting from kinship relations, friendship, habits, actions, conflict management, arts, culinary, and many others. Thus, Layang Lakbok Art and Culture can be said to be a citizen festival that is owned and produced independently by them. The citizen participation aspect is the key to organizing this festival. This research is an attempt to interpret the practices that the author has alone experienced, together with the residents, to be precise in the production process of the Layang Lakbok Art and Culture Festival. For this reason, the research method used was the action research method where the author is directly involved in the process of procuring the Layang Lakbok Festival. This paper is expected to reveal the various participation done by the residents in organizing Layang Lakbok so that how the Layang Lakbok Festival is developed can be better known. ABSTRAKFestival merupakan sebuah peristiwa budaya, yang dimiliki oleh seluruh komunitas budaya di dunia. Salah satu dari fungsi festival adalah memperbaiki energi kehidupan dari komunitas budaya yang menyelenggarakannya. Layang Lakbok Art and Culture Festival adalah Sebuah festival yang diselenggarakan oleh warga Lakbok, Kabupaten Ciamis, Jawa Barat. Festival ini berangkat dari semangat sekelompok anak-anak muda yang tergabung dalam Paguyuban Pematang Sawah dalam mengemas ulang perayaan pasca panen warga Lakbok menjadi eventyang lebih besar. Ide dan semangat ini kemudian dibagikan kepada seluruh warga untuk ikut terlibat dalam proses produksi festival. Proses penyebaran ide, semangat hingga proses produksi festival dilakukan dengan menggunakan modal sosial yang dimiliki oleh anak-anak muda tersebut pada khususnya dan pada umumnya oleh seluruh warga. Modal sosial yang digunakan mencakup seluruh aspek yang dimiliki oleh warga yaitu mulai dari relasi kekerabatan, pertemanan, kebiasaan, tindakan, manajemen konflik, kesenian, kuliner dan lain sebagainya. Jadi Layang Lakbok Art and Culture merupakan sebuah festival warga, yang dimiliki oleh warga dan diproduksi secara mandiri oleh warga. Aspek partisipasi warga menjadi kunci dalam penyelenggaraan festival ini. Penelitian ini adalah upaya memaknai praktik yang telah dialami sendiri oleh penulis bersama warga dalam proses pewujudan Layang Lakbok Art and Culture Festival. Jadi metode penelitian yang digunakan adalah metode penelitian bertindak, di mana penulis terlibat langsung dalam proses pewujudan Layang Lakbok Festival. Lalu tulisan ini diharapkan dapat meraba lapis-lapis partisipasi warga dalam penyelenggaraan Layang Lakbok sehingga dapat dilihat bagaimana sesungguhnya Layang Lakbok Festival digerakkan.

Konstruksi Musikal Sekar Anyar dalam Tembang Sunda Cianjuran: Analisis Struktur Dongkari dan Formula Ornamen pada Lagu “Wegah”-“Sajeroning Sindang” Dika Dzikriawan; Wiwik Sushartami; Aton Rustandi Mulyana
Jurnal Kajian Seni Vol 7, No 2 (2021): Jurnal Kajian Seni Vol 7 No 2 April 2021
Publisher : Universitas Gadjah Mada

ABSTRACTSekar anyar is tembang sunda cianjuran innovation who created by Ubun Kubarsah. The term of serkar anyar in tembang sunda cianjuran first appeared in the XIX Pasanggiri Tembang sunda cianjuran (PTSC) Daya Mahasiswa Sunda (DAMAS) that goes on Graha Sanusi Universitas Padjadjaran (UNPAD) Bandung in December 2009. During this time, sekar anyar in tembang sunda cianjuran is still a debate among the tembang sunda cianjuran community. The discourse that appears in the sekar anyar is basically debating about the terminology itself, the problem of characteristics (in this case, the issue of musical and non-musical), the issue of character assassination, to the issue of whether sekar anyar is fit to be included in the category of the tembang sunda cianjuran genre. The following resarch aims to explain how the musical construction of sekar anyar in the tembang sunda cianjuran from the perspective of using the dongkari structure and the formula ornamen in the song "Wegah" - "Sajeroning Sindang".This research employs the ethnographic method with the theoretical framework of Bruno Nettl's selective approach to musical descriptions. The average use of dongkari and the use of ornaments in the sekar anyar song tends to be minimal. The lack of dongkari and ornamentation in the sekar anyar greatly influenced the achievement of the nuances of character that usually apply to tembang sunda cianjuran. ABSTRAKSekar anyarmerupakan karya inovasi dalam tembang sunda cianjuranyang digagas oleh Ubun Kubarsah. Istilah sekar anyardalam tembang sunda cianjuranpertama kali muncul pada Pasanggiri Tembang Sunda Cianjuran(PTSC) Daya Mahasiswa Sunda (DAMAS) ke-XIX yang berlangsung di gedung Graha Sanusi Universitas Padjadjaran (UNPAD) Bandung pada bulan Desember 2009. Keberadaan sekar anyardalam tembang sunda cianjuranhingga saat ini masih menjadi perdebatan di kalangan masyarakat tembang sunda cianjuran. Wacana yang muncul pada fenomena sekar anyarpada dasarnya memperdebatkan soal peristilahannya itu sendiri, masalah ciri-ciri mandiri (dalam hal ini adalah persoalan musikal dan non musikal), issue pembunuhan karakter, sampai pada persoalan apakah laik sekar anyardimasukkan ke dalam kategori genre tembang sunda cianjuran. Penelitian ini difokuskan untuk melihat bagaimana konstruksi musikal sekar anyardalam tembang sunda cianjurandari perspektif penggunaan struktur dongkaridan formula ornamen pada lagu “Wegah”-“Sajeroning Sindang”. Penelitian dilakukan menggunakan metode etnografi dengan kerangka teori pendekatan selektif deskripsi musikal Bruno Nettl. Hasil yang didapatkan rata-rata penggunaan dongkaridan penggunaan ornamen pada lagu sekar anyarcenderung minim. Minimnya dongkaridan ornamen pada sekar anyarsangat berpengaruh terhadap pencapaian nuansa karakter yang biasa berlaku pada lagu-lagu tembang sunda cianjuran.

The ethical dimensions of Mong Kinemong in music performance in catholic worship: a phenomenological analysis of first Friday night eucharist musicians at Ganjuran Church Tony Anwar Rosidy; Aton Rustandi Mulyana; Yayi Suryo Prabandari
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 18 No. 2 (2023)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v18i2.4723

In the context of Catholic worship at Ganjuran Church, music and musicians play vital roles in enhancing the spiritual experience of worshippers. This research employs a qualitative and phenomenological approach to explore the ethical aspects related to musical performances during the First Friday Night Eucharist. Through careful observation, interviews, and documentation, the study analyzes the musicians' practices using Marc Benamou's theory of Rasa and Keontjoroningrat's insights on religious emotion. The findings reveal that musicians at Ganjuran Church embody the ethical principle of 'Mong Kinemong,' demonstrating a profound ethos of mutual care deeply embedded in their musical practice. This ethical commitment is bolstered by the musicians' intense experience of religious emotion, evoking feelings of majesty and serenity among choir members. Additionally, instrumentalists, referred to as 'pengrawit,' express heightened veneration, describing their peak moments as 'semu' (joyful), 'nges' (serene and good), and 'dados' (fulfilling expectations). Importantly, this 'Mong Kinemong' ethos harmoniously integrates with musical elements, enhancing the overall worship experience. This study contributes to a deeper understanding of ethics in musical performance within the Catholic liturgy context, shedding light on the significance of mutual care, emotional resonance, and harmonious musical expression in enriching the spiritual dimension of worship.

ORGANOLOGI INSTRUMEN GAMBANG DALAM KESENIAN GAMBANG KROMONG PRODUKSI TOTONG DI RAWA KUCING, TANGERANG Setyatama, Agung; Rustandi Mulyana, Aton
Jurnal Penelitian Musik Vol 5 No 2 (2024): August 2024
Publisher : Program Studi Pendidikan Musik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JurnalPenelitianMusik.52.06

This research discusses the study of gambang organology in the art of Gambang Kromong through the production of the Totong version of the gambang. Gambang is a Betawi traditional musical instrument in the form of a xylophone with a special wood called Merawan wood. This study aims to examine the organology of gambang based on observations, descriptions, and analysis of the aspects involved in it. The term organology comes from the ancient Greek "organon" which means tool, or in this case the manufacture of musical instruments, and "logos" science. So in simple terms orgonology is the study or science that studies musical instruments. In the production itself there are 4 things that must be considered, namely material, manufacture, adjustment, and maintenance. This Research was conducted using a qualitative descriptive analysis method, by presenting the facts that were then followed by analysis. The method used in this study was divided into four stages, namely data collection, data processing, data analysis, and drawing conclusions. Totong is one of the gambang craftsmen in the Tangerang area. The assembly stage itself goes through several stages, namely the preparation of tools and materials, design and formation, adjustment, until entering the finishing stage. In Organology we can study and analyze the relationship between organology (construction forms and production stages) and instruments when musical performances are used, of course there will be adjustments to improve the production quality of these musical instruments.

PERAN PUSAT PELATIHAN SENI BUDAYA (PPSB) JAKARTA SELATAN DALAM REPRODUKSI KESENIAN GAMBANG KROMONG Suseno, Dava Widyanti; Mulyana, Aton Rustandi
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v16i2.5266

Along with the development of the capital city, the Betawi people and their culture have faced various challenges related to their identity and existence as “natives”. This condition has had a lot of influence on the condition where traditional arts are no longer alive and developing, one of which is Gambang Kromong. The Provincial Government of DKI Jakarta with various other interests, then carried out cultural preservation through the Cultural Arts Training Center (PPSB). This study describes how the Gambang Kromong Training Program is organized by PPSB, through the ethnographic method which has been carried out since 2018, then by data collection techniques through observation, interviews, and literature review related to the research object. The results of the collected data are then analyzed through the perspective of the theory of cultural reproduction and the theory of hegemony. The PPSB Gambang Kromong Training Program in the 2016-2019 period has succeeded in forming an ideal cultural reproduction system. The stages of the program cover quite a lot of aspects and various factors that also support a cultural reproduction effort, especially for the Gambang Kromong traditional arts in DKI Jakarta. Unfortunately this program had to stop due to policies that forced restructuring. The role of PPSB, which is part of a political society, unfortunately has to lose in the hegemony game of the institution above it, and this also has an impact on civil society which includes art galleries, schools, traditional arts practitioners, and the Betawi community in general. Policies that show the government’s inconsistency in carrying out the preservation and reproduction of culture, eventually add to the question in terms of cultural programs to the interests of the institution alone.

HIERARKI ORGANISASI & TRANSMISI PENGETAHUAN HASIL PRODUKSI PERTUNJUKAN PADA MANAJEMEN YOGYAKARTA ROYAL ORCHESTRA (STUDI KASUS: PERTUNJUKAN RARÉ RUMPAKA YOGYAKARTA ROYAL ORCHESTRA) Setianjaya, Iwan; Dyah Fitriasari, Rr. Paramitha; Mulyana, Aton Rustandi
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v16i2.5704

This research aims to reassemble the presence of hierarchical sketches in the work scheme that applies in the performance management of the Yogyakarta Royal Orchestra through a case study of the Raré Rumpaka 2023 performance. The study of performance management at the Yogyakarta Royal Orchestra is researched through the approach of management and bureaucracy. The effort was made to see the depth of the relationship that can be found between the orchestra’s performance governance and the royal bureaucracy. Another research focus is to see the extent to which knowledge transmission can be found from the journey of performance activities consisting of the preparation process, implementation to closing. This research uses a descriptive qualitative method to look at the phenomena of problems and events that occur in the research arena. The data was collected through interpersonal interview procedures with resource persons with research schemes including observation, field notes and processing of field documentation results. The data analysis process is carried out based on four stages, namely data collection, data reduction, data presentation and conclusion making. The results of the research attempt to reveal the openness of information in the implementation of the Raré Rumpaka performance, which focuses on the managerial management system of the Yogyakarta Royal Orchestra consisting of the existence of the royal bureaucratic system, the hierarchical work scheme that applies, and the results of knowledge transmission generated after the performance.

ORGANOLOGI INSTRUMEN GAMBANG DALAM KESENIAN GAMBANG KROMONG PRODUKSI TOTONG DI RAWA KUCING, TANGERANG Setyatama, Agung; Rustandi Mulyana, Aton
Jurnal Penelitian Musik Vol 5 No 2 (2024): August 2024
Publisher : Program Studi Pendidikan Musik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JurnalPenelitianMusik.52.06

This research discusses the study of gambang organology in the art of Gambang Kromong through the production of the Totong version of the gambang. Gambang is a Betawi traditional musical instrument in the form of a xylophone with a special wood called Merawan wood. This study aims to examine the organology of gambang based on observations, descriptions, and analysis of the aspects involved in it. The term organology comes from the ancient Greek "organon" which means tool, or in this case the manufacture of musical instruments, and "logos" science. So in simple terms orgonology is the study or science that studies musical instruments. In the production itself there are 4 things that must be considered, namely material, manufacture, adjustment, and maintenance. This Research was conducted using a qualitative descriptive analysis method, by presenting the facts that were then followed by analysis. The method used in this study was divided into four stages, namely data collection, data processing, data analysis, and drawing conclusions. Totong is one of the gambang craftsmen in the Tangerang area. The assembly stage itself goes through several stages, namely the preparation of tools and materials, design and formation, adjustment, until entering the finishing stage. In Organology we can study and analyze the relationship between organology (construction forms and production stages) and instruments when musical performances are used, of course there will be adjustments to improve the production quality of these musical instruments.

DAPUR KE PANGGUNG: BENTUK DAN MODA PERTUNJUKAN TALEMPONG GANDANG LASUANG Ananda, Tri; Sushartami, Wiwik; Mulyana, Aton Rustandi
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 1 (2023): July
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v16i1.5005

Talempong Gandang Lasuang Talempong Gandang Lasuang is one of the Minangkabau women's talempong music ensembles in Sikapak Timur Village, Pariaman City. This art had disappeared in Sikapak in the 1980s and reappeared in 2010 with a different performance space, from the kitchen to the stages of the performing arts realm followed by changes in its formal elements. This study aims to determine changes in the form and mode of TGL performances in the kitchen and on stage. This research is a qualitative research. The results of this study show that, TGL kitchen and stage are performance events with different forms and modes of performance. As a talempong music ensemble, the change of TGL from the kitchen to the stage is related to six basic elements of music namely transition, style, genre, text, movement and composition. The formal elements are presented in two modes of performance according to the space; kitchen and participatory mode which contains the idea of play; stage and presentational mode which contains the idea of display.

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