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All Journal Tamumatra : Jurnal Seni Pertunjukan Ghurnita: Jurnal Seni Karawitan Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Sutrisni
Institut Seni Indonesia Yogyakarta
Arts Humanities Education Social Sciences

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Aswamedha: A Legitimation of Leadership Based on The Kitab of Aswamedha Parwa | Aswamedha: Sebuah Legitimasi Kepemimpinan Berbasis Kitab Aswamedha Parwa Bagas Sukma Priyambodo; I Ketut Ardana; Sutrisni -
GHURNITA: Jurnal Seni Karawitan Vol 2 No 2 (2022): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

The legitimacy model with ceremonial means is rarely done nowadays, therefore it is necessary to re-narrate the legitimacy model with ceremonial means. The purpose of this creation research is to reveal the content and interpret the leadership legitimacy model in the Aswamedha Parwa book through musical compositions. This creation research uses Art Transformation Theory, which is to transform original works (literature) into new works (karawitan composition). The research method used is Practice as Research through Performance. This practice is analogous to a representation of the musical context, namely the analogy of leadership using the pathetan form, the analogy of sadness using the sendhon, the analogy of legitimate leadership using the ada-ada form. The stages that must be passed are, Pre-Working, Working on, Post-Working. The results of the analysis related to the content of the composition are the values that a leader must have so that his leadership becomes legitimate. These values have implications for an interpretation of a compositional model that prioritizes beauty as a means of representation of the musical context.
GAMBIR SAWIT SEMBUNG GILANG VERSI NYI M.M RUBINEM Sutrisni; Siswati; Asep Saepudin
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 24 No. 2 (2024): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v24i2.6977

Abstract

Nyi Maria Mahdalena Rubinem is a professional singer from the city of Yogyakarta before 1945 and experienced her heyday in 1955-1973. Nyi Rubinem is the only singer from the city of Yogyakarta who received the title of Maestro Sinden. This is interesting to research to find out how to work on Nyi Rubinem's sinden in more depth.  The discussion in this research is focused on Nyi Rubinem's version of working on sinden in relation to conventional working on sinden norms with the aim of knowing and describing the characteristics of working on sinden and Nyi Rubinem's strengths as a singer. To solve the problems in this research, the descriptive analysis method was used, namely a research method carried out by describing the data that has been collected, then continuing with analysis of working on sindenan. The data analyzed includes: the application of lyrics to the piece, cengkok sindenan, the generation of sinden and the presentation of sinden. The results obtained from the research show that Nyi Rubinem, in working on her sindenan, has distinctive characteristics, including the crooked sindenan srambahan seleh notes 1, 2 and 5. A striking characteristic is the color of her voice which is very shrill and tends to be kêmèng, a characteristic is also found in the repetition of the sindenan Isen-isen with a feminine, feminine accent. Nyi Rubinem's strength as a singer can be seen in her total appearance, both physically and in terms of potential/skills.
PENCIPTAAN KOMPOSISI MISINDHANDHANG BERBASIS BENTUK GENDING DAN SEKAR MACAPAT Sutrisni; asep saepudin -
TAMUMATRA Vol 7 No 2 (2025): Tamumatra
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v7i2.27925

Abstract

This writing aims to provide an overview of Misindhandhang's compositional work in the realm of Javanese karawitan tradition. Compositional works can create new works that are different from traditional patterns, especially in the form of gending. The creation method in this composition uses Alma W Hawkins' concept, namely exploration, improvisation, and composition. The arrangement of the source of the work uses Western music techniques and harmonized karawitan. Misindhandhang is a karawitan composition work that is not bound by the form of gending, both gatra and chotomic beating. Misindhandhang is the name of a karawitan composition; this name is an acronym from the word Mi=Mijil, Si=Sinom, and Dhandhang comes from the word Dhandhanggula. All three are the names of pupuh sekar Macapat. These three sekar macapat became the primary material, which was then worked on and processed, and finally, works were produced in a new form. The creation of the composition Misindhandhang is intended to open the perception that traditional arts, especially sekar macapat,  can be worked on, developed and given different variations from the original to adapt to the changing times. Misindhandhang's compositional work takes the theme of the phases of human life from birth to youth and adulthood. This research produces new works in the realm of tradition. This work processes the source of the existing work to be different from the original tradition. This process resulted in a karawitan composition work entitled Misindhandhang, with a vocal karawitan presentation with a new form and melody, unlike the original macapat song.  Although the tune is the same, namely the slendro barrel, after processing, it is worked on based on the technique used by the author, resulting in a slendro barrel song like the nuances of a Chinese song. This research concludes that the Javanese tradition is a source of creativity when creating new works.
Co-Authors Asep Saepudin Bagas Sukma Priyambodo I Ketut Ardana Siswati