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All Journal Sorai: Jurnal Pengkajian dan Penciptaan Musik Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Sigit Astono
Institut Seni Indonesia Surakarta
Arts Humanities

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FUNGSI SHOFAR DALAM PERIBADATAN DI GJKI MILLENIUM DAMAI MINISTRI SURAKARTA Yona Ari Prihandhini; Sigit Astono
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 14, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v14i2.3982

Abstract

This paper describes the function of shofar at GJKI Millennium Damai. This qualitative research generally based on Malinowski's theory, and contextually based on Merriam’s theory. Qualitative research data were collected through interviews, literature studies, and observations of the previous worship documentation videos. The results of the study show that, spiritual needs of GJKI Millennium Damai’s concegeration which embrace the tabernacle of Mose is an impulse, then the act is using shofar, the result is spiritual satisfaction. Contextually function of shofar first, that the function of the Shofar in worship is as as a vertical communication medium between the servant and the God. Second, the function of the Shofar plays, believed that the sound of the Shofar makes God's presence more pronounced, so the concegration responded such as crying, clapping, dancing and so on. Third, shofar as a validation of religious rituals, in accordance with the recommendations of the Exodus Bible, which contains the concept of Mose’s tabernacle and is believed to be true by the GJKI Millennium Damai.
SITER BARUNG GAYA SURAKARTA TEKNIK DAN PENERAPANNYA Sigit Astono
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.v22i1.4302

Abstract

Siter Barung is one of the instruments (ricikan) found in Javanese Gamelan. Siter Barung is increasingly being marginalized by Siter Successor due to the increasing popularity of the Campursari genre and its accompaniments. This is solely due to the choice of recording production, which is more concerned with the variation of the high (small) sound contained in the Siter Penerus ricikan. On the other hand, the sound produced by Siter Barung tends to be softer and lower pitched (more significant) than Siter Successor. If faced with Siter barung, then, of course, the choice fell on Siter Successor because his voice was louder, higher, and more prominent. Inside the keyboard, musical instruments can be played similarly to the sound of the Keroncong musical instrument Cak. This phenomenon causes the younger generation to lack attention and enthusiasm to learn Siter Barung because they are not appreciated in the industrial world or performances. To anticipate the extinction of Siter Barung's ricikan, the author tries to convey the technique, twist, and its application in a gending, so that Siter Barung gets more attention from the next generation.
Co-Authors Yona Ari Prihandhini