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All Journal Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Nanang Bayu Aji
Institut Seni Indonesia Surakarta
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INTERPRETASI VOKALIS TERHADAP FRASA BALUNGAN CÉNGKOK MATI Nanang Bayu Aji; Bambang Sunarto
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 21, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i1.3679

Abstract

Tulisan ini mengungkap kasus frasa balungan céngkok mati di dalam karawitan gaya Surakarta. Permasalahan yang akan dipaparkan terkait interpretasi vokalis terhadap frasa balungan céngkok mati. Pengumpulan data diperoleh dengan cara studi pustaka, wawancara, dan juga laboratoris. Analisis dilakukan dengan cara menafsirkan kembali pemikiran serta pengalaman pêngrawit vokalis yang diperoleh melalui realitas pragmatik. Penafsiran menggunakan metode interpretasi dan analisis garap. Vokal dalam ensambel gamelan mempunyai cara untuk menginterpretasi frasa balungan céngkok mati. Interpretasi tersebut digunakan dalam rangka mengeksekusi frasa balungan céngkok mati dengan garap balungan céngkok mati. Hal tersebut dikarenakan tidak semua frasa balungan céngkok mati dieksekusi dengan garap balungan céngkok mati. Kehadiran vokal mempunyai peranan penting dalam karawitan, khususnya peranan terhadap gending dan garap gending. Peranan penting vokal dalam sajian karawitan tertentu memposisikan vokal menjadi lebih berwenang dalam menginterpretasi frasa balungan céngkok mati. Kata kunci : vokalis, balungan céngkok mati,  interpretasi, peran, eksekusi
GARAP GENDERAN DALAM GENDING LAMPAH TIGA Wahyu Thoyyib Pambayun; Nanang Bayu Aji
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 20, No 2 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v20i2.3569

Abstract

 Gending lampah tiga composed by Harjasubrata in the 1950s. At the very beginning of its existence, lampah tiga composition focused and working on vocals, so gending lampah tiga has not been equipped with settled garap instruments. Most pengrawits find it hard to present gending lampah tiga, especially on ricikan gender, this is because the information about genderan lampah tiga is still limited. This article is entitled “Garap Genderan in Gending Lampah Tiga”, the problem  described in this article is how to present garap genderan in gending lampah tiga. The method that used to solve the problem in this article is to analyze and transcribe the presentation of gending lampah tiga, then interpreted.The writer hopes to provide an offer about how to interpret genderan in gending lampah tiga and to give a “little” contribution of thoughts for the development of karawitan science.
MUSIK TONG-TONG SANGGAR SENI TARARA, BANGKALAN, MADURA Nanang Bayu 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.v23i1.5399

Abstract

Madura has a wealth of diverse traditional arts such as kejhungan, saronen, tong-tong, and gamelan. One of the interesting arts is tong-tong music. Tong-tong music is a musical ensemble dominated by wood percussion that used to function as sahur patrol music or music played to wake people up for suhoor in Ramadan. In addition, it isused to call pigeons home to return to their cages. The purpose of this study is to describe several patterns of music playing barrels of Sanggar Seni Tarara Bangkalan. This research is a qualitative research using a realist ethnographic approach. There are several repertoire of tong-tong music described in this study, including West Klapayan, East Klapayan, Ghul-ghul, and Rujurut.
Co-Authors Bambang Sunarto Wahyu Thoyyib Pambayun