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All Journal PARAGUNA : Jurnal Ilmiah Pengetahuan, Pemikiran dan Kajian Tentang Seni Karawitan
Caca Sopandi
ISBI Bandung
Arts Humanities Education Environmental Science Social Sciences Other

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KONSTRUKSI MAKNA ISTILAH DALAM GARAP REBAB SUNDA Caca Sopandi
Paraguna Vol 4, No 1 (2017): TOKOH, HUKUM, DAN PENDIDIKAN KARAWITAN
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (11355.327 KB) | DOI: 10.26742/jp.v4i1.1873

Abstract

The terms  applied in working  on playing the rebab  in Sunda certainly  appear after the musical form.  In fact,  the terms  also mostly use terms  that are considered to be the  closest to reality  both audio  and  visual.  However,  there  are a number of other terms  which  are based more on things  outside of reality,  so that  the construction of the  meaning   of these  terms   contains   messages far  beyond  the  technique.  The problems  in  this  study are:  (1)  What  are  the  meaning  constructions  that  underlie the  creation  of terms  in  the  Sundanese rebab  work?  (2) What  is  the  correlation between the terms  that are built with  the form of Sundanese rebab  musicality? The purpose of this study is to find out,  understand and  explain:  (1) the construction  of the meaning  of terms  in the Sundanese rebab,  (2) the correlation of terms  with  their musicality.  Data collection techniques used were participant observation,  interview and  documentation study.  Data  analysis is  carried  out  by  identifying,  reducing, clarifying,  describing,  interpreting and  concluding  all information selectively.  The results   of the  research show  that:  (1)  the  terms  used in the  rebab  play are  two categories   of terms,  including   terms  with   denotative  conceptual  meanings,  and terms  with  connotative meaning  concepts,  (2) The  technique  of playing  the  rebab requires  accuracy, precision, and  interpretation. Therefore these terms  are used as methods and strategies in the process ofinheritance.
GAMELAN SELAP - PADA WAYANG GOLEK SUNDA Caca Sopandi
Paraguna Vol 2, No 1 (2015): FENOMENOLOGI KARAWITAN
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1372.544 KB) | DOI: 10.26742/jp.v2i1.1860

Abstract

The show of wayang golek purwa in Sunda has under gone considerable creativities by using gamelan selap as  the karawitan element. The use  of gamelan selap by the puppeteers  in the show of   waang  golek purwa becomes so phenomena that its background  needs to be known. Gamelan selap is created as  the fulfillment of laras/surupan  which  has not been fulfilled so that there  is an innovation  in  the instruments  which produce several series of tones as  the  new formation. Gamelan selap  is also used as  the puppeteer 's attraction to get market opportu nities.  This is proven by the  increase  ownership of gamelan selap by the groups  of wayang golek purwa   in   West  Java.    Nevertheless, the   use  of  gamelan  selap   has weakness  on  percussion   technique  problems, especially   on  the   bar instrument.  At Gamelan   selap  the  tones   can  be automatically  stepping passes through  three or even four tones.  The organological improvements are  therefore  required   in  order  the  use gamelan  selap  really  brings significant changes, not only for  the  benefit of working on the  composition but also for the sake of aesthetics.
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