Article Per Year (5 Year)
p-Index From 2020 - 2025
1.784
P-Index
This Author published in this journals
All Journal Ekspresi: Indonesian Art Journal Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Harmonia: Journal of Research and Education Jurnal Kawistara : Jurnal Ilmiah Sosial dan Humaniora Jurnal Kajian Bali MUDRA Jurnal Seni Budaya Panggung Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Gelar : Jurnal Seni Budaya Paradigma: Jurnal Kajian Budaya IDEA: Jurnal Seni Pertunjukan Jurnal Kawistara Panggung Open Access DRIVERset Dinamika Kerajinan dan Batik: Majalah Ilmiah
St. Hanggar Budi Prasetya
Institut Seni Indonesia Yogyakarta
Religion Arts Humanities Decision Sciences, Operations Research & Management Education Engineering Environmental Science Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Library & Information Science Social Sciences Other

Published : 23 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 23 Documents
Search

 1   2   3 
Konsep "Badar" Dalam Lakon Carangan Pewayangan Tradisi Yogyakarta (he Concept of "Badar" in Yogyakarta Pupettry Tradition Branch Story) Prasetya, Hanggar Budi
Harmonia: Journal of Arts Research and Education Vol 6, No 3 (2005)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v6i3.814

Abstract

Tulisan ini bertujuan untuk (1) Memahami lakonlakon Semar dalam pewayangantradisi Yogyakarta dan keterkaitannya dengan peristiwa Baratayuda dan (2) Memahamikonsep "badar" dalam pewayangan tradisi Yogyakarta. Wayang, seperti halnya jenisfolklor yang lain memiliki logika tersendiri yang berbeda dengan logika umum. Salahsatu logika itu terlihat dari munculnya konsep"badar" dalam hampir seluruh ceritapewayangan, terutama pada lakonlakon carangan. Konsep "badar" ini berasal darimitologi Jawa, bahwa seseorang yang memiliki ilmu dapat berubah menjadi bentuklain, dan pada saatnya bisa kembali atau badar seperri aslinya. Biasanya "badar"mengakhiri sebuah pertunjukan wayang.Kata Kunci: konsep badar, lakon carangan, lakon Semar
Pathêt: Ruang Bunyi dalam Karawitan Gaya Yogyakarta Budi Prasetya, Hanggar
PANGGUNG Vol 22, No 1 (2012): Menggali KEkayaan Bentuk dan Makna Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v22i1.36

Abstract

This research aims to answer a question of why two Javanese gamelan pieces (gending) of differ- ent pathêt (modes) cannot be performed consecutively without grambyangan lead. The data of this research were obtained from in-depth interview and observation of karawitan (gamelan performanc- es), focusing on karawitan training process, wayang performances, and karawitan performances for pleasure or uyon-uyon. Using phenomenology method, it can be concluded that pathêt is a space of sound. Two gamelan pieces having different modes are similar to two gamelan pieces in different spaces. There is a link between spaces that can be opened by the sound of gender or grambyangan. As a space, karawitan has three spaces of sound, i.e. space of pathêt nem, space of pathêt sanga, and space of pathêt manyura. Keywords: gending, pathêt, ruang bunyi, karawitan Jawa.
Konsep "Badar" Dalam Lakon Carangan Pewayangan Tradisi Yogyakarta (he Concept of "Badar" in Yogyakarta Pupettry Tradition Branch Story) Prasetya, Hanggar Budi
Harmonia: Journal of Arts Research and Education Vol 6, No 3 (2005)
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v6i3.814

Abstract

Tulisan ini bertujuan untuk (1) Memahami lakonlakon Semar dalam pewayangantradisi Yogyakarta dan keterkaitannya dengan peristiwa Baratayuda dan (2) Memahamikonsep "badar" dalam pewayangan tradisi Yogyakarta. Wayang, seperti halnya jenisfolklor yang lain memiliki logika tersendiri yang berbeda dengan logika umum. Salahsatu logika itu terlihat dari munculnya konsep"badar" dalam hampir seluruh ceritapewayangan, terutama pada lakonlakon carangan. Konsep "badar" ini berasal darimitologi Jawa, bahwa seseorang yang memiliki ilmu dapat berubah menjadi bentuklain, dan pada saatnya bisa kembali atau badar seperri aslinya. Biasanya "badar"mengakhiri sebuah pertunjukan wayang.Kata Kunci: konsep badar, lakon carangan, lakon Semar
Gembyang dan Kempyung dalam Karawitan Gaya Yogyakarta: Tinjauan Fisika Bunyi Hanggar Budi Prasetya
EKSPRESI Vol 6, No 1 (2006)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1745.879 KB) | DOI: 10.24821/ekp.v6i1.1685

Abstract

Gembyang dan kempyung merupakan konsep yang sangat penting dalam karawitan. Bunyi gembyang dan kempyung dalam gamelan sangat indah dirasakan. Satu gembyang, mirip dengan satu oktaf dalam musik barat. Tujuan penelitian ini untuk memahami konsep gembyang dan kempyung dari perspektif fisika bunyi. Data diperoleh dengan melakukan pengukuran frekuensi fundamental gamelan. Berdasarkan pengukuran dan perhitungan, bunyi gembyang dirasa enak karena menghasilkan pelayangan orde dua, sementara bunyi kempyung menghasikan pelayangan orde pertama. Bunyi pelayangan ini secara auditif nyaman didengarkan oleh seseorang yang terbiasa mendengarkan suara gamelan.
Rama sebagai penjaga kehidupan dalam relief Ramayana Prambanan Hanggar Budi Prasetya; Wisma Nugraha Christianta
Jurnal Kawistara Vol 6, No 3 (2016)
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1404.049 KB) | DOI: 10.22146/kawistara.22991

Abstract

This study describes four reliefs of Ramayana Prambanan which depicts the event that Ade beenexperienced and performed by Rama as affirmation that he is the incarnation of Vishnu ―the god of thepreserver. The designer and sculptor of those reliefs considered that this event was important. Fromthe twenty-four of Ramayana’s relief panels, there are four relief panels which depict this event. Datawas collected by observing the entire Ramayana reliefs in Shiva temple and Brahma, in the Prambanancomplex. Relief was read by using the Flat Time Space (RWD) theory and compared with the textof the Old Javanese Ramayana (RJK). RJK text was used as a comparison, because the manufactureand the writings of RJK relief were made in the same period in nine centuries. It was conceivable thatboth of them were made from the same source. Based on the result, it can be concluded that the eventperformed by Rama asserts that he is the incarnation of Vishnu. As the incarnation of Vishnu, Rama isable to purify and to preserve life.
TUBUH, HABITUS, DAN NGENG DALANG DAN PENGRAWIT WAYANG St. Hanggar Budi Prasetya
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 5, No 2 (2008)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (988.784 KB) | DOI: 10.33153/dewaruci.v5i2.777

Abstract

Body, Habitus, and Bourdieu’s theory have long been a topic of research in sociol- ogy of art.  Pierre Bourdieu’s work is widely viewed as a fruitful approach to both theory and  research on the body as Bourdieu links agency with structure through the process of habitus.  Bourdieu’s concept of habitus illuminates the circular pro- cess whereby practices are incorporated within the body, only then to be regener- ated through the embodied  work and competence of the body.   This research explores the process embodiment on puppet master and gamelan musicians.  Ngeng is the most important concept for gamelan musician to play and appreciate gamelan music.   The disciplined and rehearsed body of  the puppet master and gamelan musician is one of the most significant resources in the conduct of gamelan music. In this paper I explore some of these issues to make sense of  embodied work or ngeng of gamelan music performance drawing on my ethnography of  the shadow puppet theatre. Key words: ngeng, habitus, mlèsèd, nggandhul.
MLESET DALAM KARAWITAN: KASUS PADA GENDING PANGKUR Hanggar Budi Prasetya; Adhi Susanto
Gelar : Jurnal Seni Budaya Vol 8, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4915.735 KB) | DOI: 10.33153/glr.v8i2.1327

Abstract

This article discusses rnleset phenomena in gamelan music. The main research question is why kenong and kempul instruments are played inmleset style. Acoustic and karawitanology approaches were used to analyze the problem. Two data type, qualitative and quantitative, were employed in this research. The recording of each gamelan pieces and the common gending (gamelan piece) constituted the quantitative data. These recordings were then analyzed through a computer  program, Wavelab 7. The qualitative data-experiences of the musicians were obtained through in-depth interview and observation done to the informants. The research revealed that rnleset is  classified as mleset nuntuni and mleset ngempyungi. Mlasat nuntuni is determined by the melody, while mleset ngempyungi is determined by patet(mode) and fundamental frequency of gamelan  instruments. Common instruments for plesetan are kenong and kempul, both with their unique sound frequency. Each of the instruments possesses fundamental frequency producing main  tone and overtone frequency, resulting in kernpyunq (kwint) orgembyang (octave) specific tone. The overtone frequency results in tonal interference which is culturally accepted as nice melody  by the listeners and the musicians.Key words: mleset, karawitan, gamelan, overtone
Pathêt: Ruang Bunyi dalam Karawitan Gaya Yogyakarta Hanggar Budi Prasetya
PANGGUNG Vol 22, No 1 (2012): Menggali KEkayaan Bentuk dan Makna Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (215.151 KB) | DOI: 10.26742/panggung.v22i1.36

Abstract

This research aims to answer a question of why two Javanese gamelan pieces (gending) of differ- ent pathêt (modes) cannot be performed consecutively without grambyangan lead. The data of this research were obtained from in-depth interview and observation of karawitan (gamelan performanc- es), focusing on karawitan training process, wayang performances, and karawitan performances for pleasure or uyon-uyon. Using phenomenology method, it can be concluded that pathêt is a space of sound. Two gamelan pieces having different modes are similar to two gamelan pieces in different spaces. There is a link between spaces that can be opened by the sound of gender or grambyangan. As a space, karawitan has three spaces of sound, i.e. space of pathêt nem, space of pathêt sanga, and space of pathêt manyura. Keywords: gending, pathêt, ruang bunyi, karawitan Jawa.
Wayang Beber Priangan: Alih Wahana Cerita Lutung Kasarung ke dalam Wayang Beber Hanggar Budi Prasetya; Haryanto Haryanto; Retno Dwi Intarti; Ignasius Krisna Nuryanta Putra; Fujidiana Ignaningratu
PANGGUNG Vol 33, No 1 (2023): Nilai-Nilai Seni Indonesia: Rekonstruksi, Implementasi, dan Inovasi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1601.398 KB) | DOI: 10.26742/panggung.v33i1.2473

Abstract

Wayang beber merupakan salah satu genre wayang yang telah lama ada di Indonesia. Dibandingkan dengan genre wayang yang lain, wayang ini tergolong kurang berkembang. Sebagian besar literatur wayang beber membahas wayang beber Remeng Mangunjaya dan Jaka Kembang Kuning. Wayang beber masih memungkinkan dikembangkan dengan mengalihwahanakan cerita atau folklor lokal yang berkembang, salah satunya folklor Arya Kamandaka atau Lutung Kasarung. Tulisan ini bertujuan untuk menunjukkan proses alih wahana dari buku cerita Lutung Kasarung ke dalam wayang beber priangan dengan lakon Arya Kamandaka. Untuk mewujudkan ini, pengkarya menggunakan teori alih wahana dan teori ruang waktu datar (RWD). Teori alih wahana diterapkan untuk mengalihwahanakan cerita dari (wahana) buku ke dalam (wahana) wayang. Teori ruang waktu datar (RWD) diterapkan dalam mewujudkan cerita ke dalam bentuk wayang beber. Berdasarkan kedua teori ini telah berhasil dibuat wayang beber yang menceritakan kisah Arya Kamandaka kedalam tiga gulungan, setiap gulungan terdiri atas 4 sekuen. Cerita yang ditampilkan dalam wayang beber ini terlalu datar, kurang ada konflik, sehingga kurang menarik untuk dipertunjukkan. Penelitian ini menyarankan untuk dilakukan penelitian lanjutan untuk memperbaiki kelemahan-kelemahan ini. Kata kunci: Wayang Beber Priangan, Arya Kamandaka, ruang waktu datar
Habitus, Ngêng, dan Estetika Bunyi Mlèsèt dan Nggandhul pada Karawitan Prasetya, Hanggar Budi; Haryono, Timbul; L. Simatupang, Lono L.
Paradigma: Jurnal Kajian Budaya Vol. 1, No. 2
Publisher : UI Scholars Hub

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

Abstract

The paper explains about mlèsèt and nggandhul phenomena in the Javanese Karawitan in the perspective of Piere Bourdieu’s sociology of arts. The datas were collected through interviews with pengrawit,or gamelan players, and observation of gamelan played during the performance of Yogyakarta wayang. The research shows that mlèsèt and nggandhul aresound aesthetics for the listeners and habitus of the gamelan players. Therefore, a gamelan player should possess his ngêng in order to precisely play the correct rhythm of mlèsèt and nggandhul.
Co-Authors Adhi Susanto Agustin Anggraeni Cahyani, Isma Awal Fitroh Dayani, Elin Siska Ediantes, Ediantes Endah Budiarti Fujidiana Ignaningrattu Fujidiana Ignaningratu Hariyanto Hariyanto Haryanto Haryanto Hinzler , Hedwig Ingrid Rigmodis I Dewa Ketut Wicaksana, I Dewa Ketut I Dewa Ketut Wicaksandita I Wayan Dana Ign. Krisna Nuryanta Putra Ignaningratu, Fujidiana Iwan Pranoto Koes Yuliadi L. Simatupang, Lono L. Lono L. Simatupang M Agus Burhan M. Dwi Marianto Mita Purbasari Wahidiyat Nugraha, Wisma Ch. R. Putra, Ignasius Krisna Nuryanta Retno Dwi Intarti Retno Dwi Intarti Retno Dwi Intarti Ria Rahmawati Rob Goodfellow Sawitri, Rahmarni Shiba, Asyfa Putri Siswadi Siswadi Suastiwi Suastiwi Timbul Haryono Timbul Haryono Tri Wahyu Widodo Tsai, Ted Tsung-te