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All Journal Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Jurnal Kajian Seni Paradigma: Jurnal Kajian Budaya
Suyoto Suyoto
Program Pasca Sarjana Institut Seni Indonesia (ISI) Surakarta
Arts Humanities Education Languange, Linguistic, Communication & Media Library & Information Science Social Sciences Other

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The Concept of Tumbuk in Javanese Gamelan Tuning Harmanto Harmanto; Suyoto Suyoto; Jody Diamond
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 16, No 2 (2021)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v16i2.3794

Abstract

This study aimed to reveal the concept of Tumbuk in Javanese gamelan tuning, namely gamêlan agêng with Sléndro and Pélog. This study used a qualitative method with an ethical emic perspective. The data collection was done by conducting literature review, observation, interviews, and studio work, then processed with data analysis. The data analysis then was followed up through data interaction by interpreting the relationship reactions of the three elements of analysis consisting of data collection, data reduction, and data presentation. The interpretation of the data was done inductively, so that the conclusion was drawn entirely from the development of the data according to the realities of the field. The results showed that tumbuk was not only limited to a note that has the same high and low, but it is a musical concept that integrates the Sléndro and Pélog scales in the tuning of a set of gamelans. There are basically only two types of tumbuk: nêm tumbuk and lima tumbuk. Other than those, it means that they are the strut. The thing is,tumbuk has a central tone that serves as a benchmark and a supporting tone whose position strengthens the integration of each type of tumbuk. As a concept, it was found that tumbuk plays several important roles including equalizing the highs and lows of certain notes, equalizing the range of certain notes, and conditioning the range of notes or the addition of the tune.
KENDHANGAN NARTOSABDAN PEMBENTUK KARAKTERISTIK GENDING SEMARANGAN Risqia, Nanda Indah Nur; Suyoto, Suyoto
Paradigma: Jurnal Kajian Budaya
Publisher : UI Scholars Hub

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

The research aims to reveal the factors which contribute to the unique characteristics of Semarangan gending. Analysis involved four theories: Rahayu Supanggah’s garap theory, Stenberg’s creativity theory, C. A. van Peursen’s cultural development theory, and Marc Benamou’s rasa theory. There were three stages of data collection: literature study, observation, and interview. Results show three main characteristics of Semarangan gending: irama and laya, garap ricikan, and vocal garap. The tabuhan from this ricikan shows integration of musical styles from other areas, such as Yogyakarta, Banyumas, Surakarta, and East Java. In Semarangan gending, there are rasa of sigrak, prenès, and gobyog because of the support of gérong, keplok, and alok. To sum up, Semarangan gending has a high cultural value because it is widely enjoyed by both the art community and art consumers in general.
PEMBACAAN ULANG SINGGÊTAN DALAM KARAWITAN JAWA GAYA SURAKARTA Putro, Galuh Argo; Suyoto, Suyoto; Setiawan, Aris
Jurnal Kajian Seni Vol 11, No 2 (2025): Jurnal Kajian Seni Vol 11 No 2 April 2025
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/jksks.103588

Abstract

Penelitian ini bertujuan mengungkap singgêtan sebagai salah satu bagian penting dalam karawitan Jawa gaya Surakarta. Fokus utama meliputi analisis singgêtan dalam sajian gending gaya Surakarta. Singgêtan memiliki beragam jenis dan setiap jenis singgêtan memiliki tempat serta fungsi  yang berbeda. Penelitian ini menggunakan teori garap dengan pendekatan emic etic. Teori garap digunakan untuk menganalisis singgêtan dalam sajian gending gaya Surakarta. Pendekatan emic etic  digabungkan untuk memahami dan mandapat kejelasan mengenai objek penelitian secara tuntas. Penelitian ini menggunakan metode penelitian kualitatif deskriptif. Data dikumpulkan melalui studi pustaka dan pengamatan pertunjukan. Analisis dilakukan dengan menafsirkan kembali pemikiran dan pengalaman pengrawit yang diperoleh melalui realitas pragmatik. Berdasarkan penelitian disimpulkan bahwa singgêtan dimaknai sebagai pembatas sêkaran pada pola kendhangan ciblon gaya Surakarta. Singgêtan bersifat wajib ada dan merupakan salah satu penciri bentuk gending. Elemen pembentuk singgêtan frasa padhang ulihan lagu balungan, frasa padhang ulihan lagu vokal, dan jumlah gåtrå dari suatu bentuk gending.
Co-Authors Aris Setiawan Harmanto Harmanto Jody Diamond Putro, Galuh Argo Risqia, Nanda Indah Nur