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Kajian Garap Kendang Pada Gending Kagok Respati Harun Isma'il
DESKOVI : Art and Design Journal Vol 5, No 2 (2022): DESEMBER 2022
Publisher : Universitas Maarif Hasyim Latif

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51804/deskovi.v5i2.1845

This research is entitled "Study of Garap Kendang on Gending Kagok Respati". The research aimsto explain and analyze in depth one musical case of garap kendangan. The garap kendangan is focused on the gending of Kagok Respati. The problems revealed are related to the way of serving gending and the application of kendang instrument play to the Kagok Respati gending. Both problems were studied using the concept of garap. To obtain results that were as expected, this study used qualitative research methods with a discriptive analysis approach. A discriptive approach to analysis is used to explain the shape and structure of the kagok respati gending kendangan pattern. Based on the results of the analysis, it was concluded that the road of serving gending Kagok Respati starts from buka, merong, umpak inggah, inggah, and suwuk. The pattern of the kendangan gending Kagok Repati part of the merong uses a kendangan setunggal merong kethuk 2 (loro) laras pelog. In the inggah section, it uses a Surakarta-style ciblon kendangan.

GARAP GENDING ALIH PATHET DALAM LARAS SLÈNDRO GAYA SURAKARTA Harun Isma'il; Bambang Sunarto
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 22, No 1 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i1.4414

This paper contains an explanation of the garap gending alih pathêt. The problems revealed are related to changes of the system garap gending and considerations for doing of alih pathêt. The two problems are studied using the concept of garap and supported by other concepts including: balungan, sèlèh, and phrase. The garap alih pathêt is focused in the gending-gending laras slèndro. The gending used as the analysis material was selected based on the phenomenon of presentation carried out by pêngrawit. This study uses a qualitative research method with a descriptive analysis approach. The results showed that there were several categories of changes system garap gending in the laras sléndro. First, the change of the system garap gending by raising or lowering (N/T) one note bar in the case of Sinom Parijatha pathêt manyurå to pathêt sångå. Second, the change of the system garap gending by raising or lowering (N/T) two tone bars in the case of the Mugirahayu pathêt manyurå to Grompol pathêt nêm. One element of consideration for garap gending alih pathêt is the similarity of the contours of the balungan melody. Garap gending alih pathêt cannot occur when the contour elements of the balungan melody are not the same.

Kajian Garap Kendang Pada Gending Kagok Respati Harun Isma'il
DESKOVI : Art and Design Journal Vol. 5 No. 2 (2022): DESEMBER 2022
Publisher : Universitas Maarif Hasyim Latif

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51804/deskovi.v5i2.1845

This research is entitled "Study of Garap Kendang on Gending Kagok Respati". The research aimsto explain and analyze in depth one musical case of garap kendangan. The garap kendangan is focused on the gending of Kagok Respati. The problems revealed are related to the way of serving gending and the application of kendang instrument play to the Kagok Respati gending. Both problems were studied using the concept of garap. To obtain results that were as expected, this study used qualitative research methods with a discriptive analysis approach. A discriptive approach to analysis is used to explain the shape and structure of the kagok respati gending kendangan pattern. Based on the results of the analysis, it was concluded that the road of serving gending Kagok Respati starts from buka, merong, umpak inggah, inggah, and suwuk. The pattern of the kendangan gending Kagok Repati part of the merong uses a kendangan setunggal merong kethuk 2 (loro) laras pelog. In the inggah section, it uses a Surakarta-style ciblon kendangan.

KONSEP GARAP NGGANTUNG DALAM KARAWITAN GAYA SURAKARTA Leica De lovi Mistortoify; Muhammad Nur Salim; Harun Isma'il
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 25 No. 1 (2025): 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.v25i1.6773

This study discusses the phenomenon, symbols, and meaning of garap nggantung in the context of Surakarta-style gamelan performances. Data were collected through observation, interviews, and literature studies. The method used is qualitative descriptive analysis. In this study, the focus of the analysis is on the phenomenon, symbols, and meanings related to garap nggantung. This study reveals that garap nggantung is the result of a complex creative process, involving balungan notation, interaction between instruments, and individual interpretations of the gamelan player. Garap nggantung is not only a technique, but also a symbol that contains deep meaning. This finding has important implications for the teaching and preservation of Surakarta-style gamelan. By understanding the meaning behind garap nggantung, gamelan learners can better understand the aesthetic richness of gamelan art. In addition, this study also opens up opportunities for further research on other garaps in gamelan texts in depth.

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