Garuda - Garba Rujukan Digital

Sholawat Global: Jalinan Makna Lintas Iman Nurvijayanto, Ribeth; Kiswanto, Kiswanto
SELONDING Vol 20, No 1 (2024): : Maret 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/sl.v20i1.12411

Sholawat Global adalah karya seni musik yang merepresentasikan sikap toleransi praktik keberagamaan. Karya ini menyimpan pelbagai makna-makna yang mendalam. Penelitian ini dikerjakan dengan pendekatan kualitatif eksplanatoris dengan mewacanakan analisis semiotika yang ditawarkan Umberto Eco yang ditinjau dari kesatuan teks dan konteks Etnomusikologis. Penggalian makna dalam Sholawat Global dianalisis menggunakan perspektif semiotika yang ditawarkan oleh Umberto Eco yaitu pemaknaan konotatif dan denotatif. Makna denotatif dalam karya ini ditinjau dari simbol-simbol hasil manifestasi agama dunia yaitu kristen, Yahudi, dan Islam berupa lagu-lagu yang disajikan. Lagu-lagu yang dibawakan mengandung ekspresi yang menyuarakan perdamaian dalam konteks kehidupan sosial agama-agama dunia. Ekspresi musikal dan non musikal dalam karya ini merepresentasikan sebuah konten berupa kontruksi budaya dan konflik sosial yang hadir dalam persinggungan antar agama-agama dunia tersebut. Sholawat Global memiliki makna konotasi yang memposisikan lagu tersebut sebagai media komunikasi masyarakat. Pemaknaan denotasi dan konotasi mencerminkan kesatuan makna yang saling menguatkan. Lewat ekspresi musikal dan non musikal, pesan dari perdamaian yang memberikan efek keselamatan dan kesejahteraan bagi umat manusia yang dikumandangkan. Kata kunci: Sholawat Global, Semiotika, Etnomusikologis

PEMBERDAYAAN PEREMPUAN MELALUI KESENIAN GEJOG LESUNG PADA KOMUNITAS SANGGAR SANGIR DI KABUPATEN SRAGEN Indriani, Novita; Kiswanto, Kiswanto; Utami, Fawarti Gendra Nata
Acintya Vol. 15 No. 2 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i2.5489

Gejog Lesung is folk traditional music that still survives and develops in various rural agricultural areas in Java. The research aims to look at the relationship or connection between the existence of women, gejog dimples, and the Sanggar Sangir group in Sragen, as well as the role and contribution of the three in maintaining traditions passed down from ancestors for more diverse development purposes. This research uses a qualitative approach, which is carried out through data collection stages, including observation, interviews and literature study, as well as data analysis stages through descriptive and analytical interpretation methods to end with drawing conclusions. The results of this research show that the art of gejog mortar in the Sanggar Sangir group has (1) become a forum for expression and self-actualization for women to appear in public; (2) provided a forum for women, especially mothers, and teenagers, to interact with each other and exchange information that is useful in maintaining close social relations; and (3) become a means of empowering women in their participation to increase progress in the economic, social and cultural fields.

Suara Genta dalam Ritual Persembahyangan Melasti oleh Umat Hindu di Blitar, Jawa Timur Wahyuningsih, Indah; Kiswanto
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 5 No. 1 (2025)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/mebang.v5i1.165

This study aims to determine the use and function of the bell in the Melasti prayer of Hindus in Blitar Regency. The bell in the Melasti prayer has an important role. The role of the bell in the series of Melasti prayers includes making tirta, eteh-eteh, nglarung sesaji, and sembahyang tri sandya. This study uses a qualitative method with an ethnographic approach. Alan P. Merriam in the Anthropology of Music, said that the use and function are references to examine the issue of how to use the bell, and its function in the Melasti prayer. Through the opening of the anthropological glasses, Merriam produced the use of the bell in the Melasti Prayer as an accompaniment to the Pandita's mantram and the five main functions of the bell in the Melasti Prayer, namely the Emotional Expression Function, Communication Function, Social and Religious Institution Validation Function, Physical Reaction Function, Hindu Community Integration Function. So that the bell in the Melasti prayer is not only religious music, but is able to create more space so that the bell can convey solemnity, human unity to communicate with Sang Hyang Widhi and culture.

Aesthetic Transformation of Javanese Wayang Performances in the Digital Era Sunardi, Sunardi; Saka, Putri Ananda; Sulastuti, Katarina Indah; Mulyana, Aton Rustandi; Ansari, Isa; Novianto, Wahyu; Kiswanto, Kiswanto; Putro , Renaldi Lestianto Utomo
Harmonia: Journal of Arts Research and Education Vol. 25 No. 1 (2025): June 2025
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v25i1.11320

This study examines how technological advancements have transformed the aesthetics of wayang performances in Java. Data collection methods include observations of wayang performances, interviews, literature reviews, and internet searches to capture the aesthetic transformation of wayang performances in the digital age. Given the existing literature’s tendency to discuss wayang performances within a limited scope, this research provides a more comprehensive contribution by positioning wayang performances as an integrated entity encompassing dalang creativity and audience response. Through the analysis of diverse wayang performances, the study demonstrates that aesthetic transformation is evidenced by the dalang’s hybrid presentation techniques, the emergence of novel story repertoires, and increased audience engagement. Significant findings from this study include the growth of dalang’s creative and adaptive capabilities, enhanced interpretative approaches in composing wayang stories, and the audience’s influence in shaping mass aesthetic trends. This study provides important contributions to the pedalangan (puppetry) and the relations of wayang, dalang, audience, and technology. Furthermore, this study contributes to the academic discourse on cultural adaptation in the digital age and provides pragmatic resources for the artistic development of Javanese puppetry.

PEMBERDAYAAN PEREMPUAN MELALUI KESENIAN GEJOG LESUNG PADA KOMUNITAS SANGGAR SANGIR DI KABUPATEN SRAGEN Indriani, Novita; Kiswanto, Kiswanto; Utami, Fawarti Gendra Nata
Acintya Vol. 15 No. 2 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i2.5489

Gejog Lesung is folk traditional music that still survives and develops in various rural agricultural areas in Java. The research aims to look at the relationship or connection between the existence of women, gejog dimples, and the Sanggar Sangir group in Sragen, as well as the role and contribution of the three in maintaining traditions passed down from ancestors for more diverse development purposes. This research uses a qualitative approach, which is carried out through data collection stages, including observation, interviews and literature study, as well as data analysis stages through descriptive and analytical interpretation methods to end with drawing conclusions. The results of this research show that the art of gejog mortar in the Sanggar Sangir group has (1) become a forum for expression and self-actualization for women to appear in public; (2) provided a forum for women, especially mothers, and teenagers, to interact with each other and exchange information that is useful in maintaining close social relations; and (3) become a means of empowering women in their participation to increase progress in the economic, social and cultural fields.

Model Pengembangan Iringan Tari Jaran Kepang Kiswanto, Kiswanto; Nugroho, Wahyu; Prihatin, Wahyu
PANGGUNG Vol 34 No 3 (2024): Kreativitas, Seni Kontemporer, dan Pariwisata Berkelanjutan
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v34i3.3216

ABSTRAK Penelitian ini bertujuan untuk mengkonseptualisasikan dan memformulasikan karakteristik bentuk pola ke dalam suatu model yang merepresentasikan mengenai bangunan sistem musikal gending jaranan, metode (tahapan dan strategi) pengembangannya, serta hasil karya dari pengembangan itu sendiri. Penelitian dilakukan melalui pendekatan etnografi yang berlatar kegiatan partisipatif dan kolaboratif dengan teknik pengumpulan data melalui aktivitas pengamatan, wawancara, dokumentasi, dan studi pustaka. Penelitian ini menghasilkan temuan berupa model pengembangan sajian gending jaranan yang mengacu pada aspek penataan dan penggarapan sajian gending (musik). Model pengembangan sajian gending jaranan dapat diidentifikasi dan dijelaskan berdasarkan (1) pola dasar sajian gending jaranan, (2) metode pengembangannya, serta (3) bentuk dari hasil pengembangan tersebut. Tulisan ini didasarkan pada suatu argumen bahwa seni pertunjukan rakyat Jawa yang dahulu sering diremehkan dan dipandang sebelah mata, kini telah bertransformasi menjadi sebuah kekuatan budaya yang adaptif dan dinamis untuk menyesuaikan diri terhadap konteks kebutuhan serta perkembangan estetika dan selera masyarakat. Kata kunci: Jaran Kepang, Model Pengembangan Kesenian, Gending Jaranan, Seni Kerakyatan

LAGU SETIA JANJIKU: BENTUK PEMBARUAN MUSIK KERONCONG GAYA ISMANTO Soladi, Soladi; Mintargo, Wisnu; Kiswanto, Kiswanto
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 13 No. 1 (2020)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v13i1.2841

Songs that develop in keroncong music have been classified strictly based on their form, including the keroncong asli, langgam, stambul, and several other forms. The classification has become a very chain rule, as a result the creativity that emerges among keroncong musicians is often considered to be incompatible with the standards or parameters aesthetic of keroncong music by most keroncong music performers. These conditions do not always limit the composers and / or creators of keroncong songs to be creative in producing new products with different styles. One of them can be found in Ismanto's artworks around the 1960s. In one of his songs entitled Keroncong Setia Janjiku, Ismanto seems to have hit the boundaries that have been applied, but has a novelty with a strong character. The findings of this study indicate that the Song Setia Janjiku is a song keroncong asli that nglanggami.

Eksperimentasi dan Eksplorasi Instrumen Tiup Bayu Akasa Oleh Mugiyono Kasido Ananda Tri Ariska; Kiswanto Kiswanto
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 4 No. 1 (2025): April : Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Lembaga Pengembangan Kinerja Dosen

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v4i1.8113

This study aims to reveal the creative process behind the creation of the Bayu Akasa instrument, an organological innovation based on bamboo by contemporary artist Mugiyono Kasido. Through a qualitative approach using case study methods, this study examines two crucial stages in the creation of the work, namely the material exploration phase and the experimentation with physical techniques. Data was collected through in-depth observation of the subject's performance, documentation of the rehearsal process, and interviews regarding the philosophical and technical aspects of sound production. The results of the study show that: (1) The material exploration stage produced a 2-meter-long aerophone instrument made of petung bamboo with a diameter of 5.9–7.9 inches, designed with an integral three-part system; (2) The experimentation with playing techniques focused on mastering circular breathing or ngunjal, which enables the production of continuous meditative drone sounds without pause; (3) This innovation represents a blurring of the boundaries between choreographic and musical aspects, in which the instrument is no longer treated as a static object but as a somatic extension of the artist's body. These findings confirm that Bayu Akasa is not just an ordinary wind instrument, but a representation of space (Akasa) and breath (Bayu) manifested in a radical performative unity. This research contributes to the development of contemporary organology based on local materials in Indonesia.

ORKES KERONCONG ALUNAN SEMUT IRENG SEBAGAI REPRESENTASI BUDAYA PURA MANGKUNEGARAN Amurwaningtyas, Allya Dwi Melati; Kiswanto, Kiswanto
Boting Langi: Jurnal Seni Pertunjukan Vol 4, No 4 (2025): Oktober-Desember
Publisher : Universitas Negeri Makassar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26858/bl.v4i4.82062

Penelitian ini membahas Orkes Keroncong Alunan Semut Ireng sebagai representasi budaya Pura Mangkunegaran. Latar belakang penelitian berangkat dari fenomena bahwa kelompok musik ini tidak hanya hadir sebagai wadah hiburan, tetapi juga menjadi bagian dari upaya pelestarian tradisi dan nilai-nilai kadipaten. Tujuan penelitian adalah untuk mengungkap bagaimana musik, repertoar, kostum, serta sikap para musisi dipakai sebagai medium representasi budaya. Penelitian ini menggunakan metode kualitatif deskriptif dengan teknik observasi, wawancara, dan dokumentasi. Hasil penelitian menunjukkan bahwa Orkes Keroncong Alunan Semut Ireng menampilkan identitas budaya Mangkunegaran melalui repertoar yang sarat makna historis, kostum yang mencerminkan filosofi kadipaten, serta tata krama musisi yang menegaskan posisi mereka sebagai abdi dalem. Selain itu, inovasi pertunjukan dan kolaborasi musikal memperlihatkan strategi adaptasi agar tetap relevan dengan audiens lintas generasi. Dengan demikian, Orkes Keroncong Alunan Semut Ireng dapat dipahami sebagai medium penting dalam menjaga keberlanjutan tradisi sekaligus memperkuat representasi budaya Pura Mangkunegaran di ruang publik.

Kajian Organologi Pembuatan Gitar Akustik Solid Steel String Model Dreadnought Produksi GuitarUs Klaten Dwi Setyawan; Kiswanto
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol. 5 No. 2 (2023)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v5i2.131

Purpose: This study aims to describe the process of making a solid steel string Dreadnought acoustic guitar produced by GuitarUs and describe the characteristics of this acoustic guitar based on three aspects of sound, playability and craftsmanship, which later this data can be used as a reference in choosing a good quality steel string acoustic guitar. Method: this research uses qualitative research with a grounded theory approach, namely valid, objective and reliable research results presented by researchers based on a combination of observational data extracted from several GuitarUs luthier partners with observational data obtained from GuitarUs. Results and Discussion: The results of the research obtained are that a good, quality Dreadnought solid steel string acoustic guitar must meet the requirements for the three aspects of sound, playability and craftsmanship, which requirements can be fulfilled if in carrying out the production process, a luthier must apply the knowledge of organology and steel string acoustic guitar acoustics.

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