Article Per Year (5 Year)
p-Index From 2021 - 2026
0.61
P-Index
This Author published in this journals
All Journal Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Bayu Wijayanto
Institut Seni Indonesia Yogyakarta
Arts Education Languange, Linguistic, Communication & Media Other

Published : 2 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 2 Documents
Search

 1 
ANALISIS GARAP LANCARAN GAGAK SETRA DALAM PAKELIRAN GAYA YOGYAKARTA Amrih Tuti Lestari; Bayu Wijayanto; R. Bambang Sri Atmojo
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 21 No. 2 (2021)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i2.3914

Abstract

The research entitled Lancaran Gagak Setra in Pakeliran Gaya Yogyakarta discusses pathet, garap, presentation structure, performance structure, and the transition of pathet Lancaran Gagak Setra in the budhalan scene in pakeliran style in Yogyakarta. This study uses a qualitative research approach with descriptive analysis research methods by analyzing in two contexts, namely textual and contextual. The textual analysis in this study analyzes the pathet, the transition of Lancaran Gagak Setra in the Yogyakarta style pakeliran, the musical factors considered in the pathet transition, and the structure of the Lancaran Gagak Setra presentation in the Suryatmaja Krama theater play by analyzing the work of several ricikan. Contextual analysis analyzes the structure of the Lancaran Gagak Setra performance in the budhalan scene in the Suryatmaja Krama play. Gagak Setra is one of the genres used in the budhalan scene with calluses or jaranan in the Yogyakarta style pakeliran. Lancaran Gagak Setra in the Yogyakarta style pakeliran is presented in the realm of pathet nem time, however, the balungan gending Lancaran Gagak Setra focuses more on pathet sanga. The difference in pathet in the realm of presentation time results in differences in the perception of pathet in Lancaran Gagak Setra. The presentation of the Lancaran Gagak Setra in different packages, of course, has a pathet transition. There are musical factors to consider in this pathet transition. Bendhe Tengara is the transition from pathet manyura to pathet sanga, and grambyangan is the transition from pathet sanga to pathet nem. These two musical factors will make the transition between pathet nem, manyura, sanga, and nem happen slowly or gradually. A sense of pathet is achieved from Lancaran Gagak Setra, which supports the dramatic atmosphere in the budhalan scene with calluses in the Yogyakarta-style pakeliran.
Musical coexistence of gendhing gati mardawa in the accompaniment of bedhaya sang amurwabumi dance Raden Mas Surtihadi; Bayu Wijayanto
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 21 No. 1 (2026)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v21i1.7257

Abstract

This study discusses the musical coexistence in Gendhing Gati Mardawa as an accompaniment to the Bedhaya Sang AmurwabumiDance, by highlighting how the musical construction of Javanese tradition negotiates with the aesthetic context, history, and cultural representation in the contemporary era. This study uses a qualitative method with a case study approach, the research analysis combines three main perspective lenses: postcolonial, hybridity, and musicology. Through a postcolonial perspective, this study examines how traces of power discourse, palace cosmology, and Javanese cultural narratives are rearticulated through the structure of the gendhing. The hybridity perspective is used to examine the mixture of traditional musical elements, such as the balungan pattern, the accompaniment work, and the relationship of the gendhing structure with the aesthetic needs of palace performances, resulting in a musical form that is not entirely traditional but still maintains its cultural legitimacy. Meanwhile, the musicological perspective provides a foundation for reading the relationship between musical structure, ritualistic function, and the embodied experience of gamelan musicians, musicians, and dancers. The results of this study indicate that Gendhing Gati Mardawa displays a coexistence between the harmony of gamelan instruments and European musical instruments, never in harmony, in the accompaniment to the Bedhaya Sang Amurwabumi Dance. This coexistence not only enriches the aesthetic experience but also offers new insights into how the karawitan tradition transforms through a dialogue between cultural continuity and contemporary artistic demands. This research contributes to the study of dance accompaniment music, demonstrating that musical hybridity should not be understood as deviation, but rather as an adaptive expression that maintains cultural relevance in the context of court performances.
Co-Authors Amrih Tuti Lestari R. Bambang Sri Atmojo Raden Mas Surtihadi