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All Journal Paradigma : Journal of Science, Religion and Culture Studies Grenek: Jurnal Seni Musik PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik Gondang: Jurnal Seni dan Budaya Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Gelar : Jurnal Seni Budaya Journal of Music Science, Technology, and Industry (JOMSTI) Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Virtuoso: Jurnal Pengkajian dan Penciptaan Musik Nusantara: Jurnal Pendidikan Indonesia LEARNING : Jurnal Inovasi Penelitian Pendidikan dan Pembelajaran Kajian Linguistik dan Sastra Jurnal Ilmu Pendidikan dan Pembelajaran Jurnal Damar Pedalangan
Maulana, Marsel Ridky
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Religion Arts Humanities Computer Science & IT Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Mathematics Social Sciences Other

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Digitalization of Tradition: An Android-Based Gamelan Degung Sundanese Application to Improve Musicianship Skills is Higher Education Maulana, Marsel Ridky; Sukmayadi, Yudi; Sunaryo, Ayo; Tresnadi, Soni
PROMUSIKA Vol 13, No 1 (2025): April 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v13i1.15712

Abstract

Using the Gamelan Degung Sunda application as an alternative instructional medium has proven effective in addressing the challenges posed by the limited availability of gamelan instruments in higher education settings. The demand for flexible and efficient solutions in developing performance skills for Gamelan Degung has driven the integration of digital technology into arts education. This study adopts a qualitative approach using a case study method, employing direct observation and in-depth interviews with students who engaged with the application as part of their learning process. The findings indicate that the Gamelan Degung Sunda application effectively enhances students' understanding of musical structure and fundamental techniques in playing Gamelan Degung Sunda. It also significantly improves accessibility by enabling students to practice independently outside formal classroom sessions. Moreover, the application fosters active learning, despite its limited content scope, which does not fully represent the complexity of karawitan (Sundanese classical music). These findings underscore that integrating digital technology into arts education is not merely a short-term solution to infrastructural constraints but represents an innovative approach to cultivating adaptive and participatory learning experiences. The practical implication lies in the application's role as a pedagogical aid within academic environments that lack adequate facilities. Academically, the study opens avenues for developing digitally-based arts curricula and further investigating the effectiveness of application-based instructional media within the context of arts education in the digital transformation era. Future application developments are recommended to include more complex instructional content and comprehensive integration within technology-oriented arts study programs.Digitalisasi Gamelan Degung: Aplikasi Berbasis Android untuk Meningkatkan Kemampuan Musikal di Pendidikan TinggiAbstrakPemanfaatan aplikasi Gamelan Degung Sunda sebagai media pembelajaran alternatif terbukti mampu menjawab tantangan keterbatasan instrumen gamelan di lingkungan perguruan tinggi. Kebutuhan akan solusi yang fleksibel dan efisien dalam mengembangkan keterampilan memainkan Gamelan Degung mendorong integrasi teknologi digital dalam proses pendidikan seni. Studi ini menggunakan pendekatan kualitatif dengan metode studi kasus, melalui observasi langsung dan wawancara mendalam terhadap mahasiswa yang menggunakan aplikasi tersebut dalam pembelajaran. Hasil menunjukkan bahwa aplikasi Gamelan Degung Sunda efektif dalam mendukung pemahaman struktur musikal dan teknik dasar dalam bermain Gamelan Degung Sunda, sekaligus meningkatkan aksesibilitas mahasiswa untuk berlatih secara mandiri di luar kelas formal. Aplikasi ini juga memotivasi proses belajar secara aktif, meskipun masih memiliki keterbatasan dalam cakupan materi yang belum merepresentasikan keseluruhan kompleksitas karawitan Sunda. Temuan ini menunjukkan bahwa integrasi teknologi digital dalam pembelajaran seni bukan hanya solusi jangka pendek atas keterbatasan sarana, tetapi juga pendekatan inovatif dalam menciptakan pengalaman belajar yang adaptif dan partisipatif. Implikasi praktisnya terletak pada pemanfaatan aplikasi ini sebagai alat bantu pedagogis dalam lingkungan akademik yang memiliki keterbatasan fasilitas. Sementara itu, implikasi akademiknya membuka peluang untuk pengembangan kurikulum seni berbasis digital serta kajian lebih lanjut mengenai efektivitas media pembelajaran berbasis aplikasi dalam konteks pendidikan seni di era transformasi digital. Disarankan pengembangan lanjutan terhadap konten aplikasi dengan materi yang lebih kompleks, serta integrasi menyeluruh dalam program studi seni berbasis teknologi.Kata kunci:  media pembelajaran; aplikasi musik; gamelan degung Sunda; aplikasi digital gamelan degung.
The Gending “Gorompol” in the Sundanese Wayang Golek Purwa Performance: Analysis of Structure and Function Maulana, Marsel Ridky; Tresnadi, Soni; Narawati, Tati; Budiman, Agus; Suwandi, Miranto
Virtuoso: Jurnal Pengkajian dan Penciptaan Musik Vol. 8 No. 1 (2025)
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/vt.v8n1.p87-104

Abstract

Gorompol is one of the sekar-gending repertoires that plays a significant role in Sundanese wayang golek purwa performances, particularly in the scenes of cabut kayon/gunungan, ibingan wayang, and murwa dalang. This study aims to examine the role, structure, and musical complexity of Gorompol within the context of wayang golek performances. The research employs content analysis with data collected through direct observation, audio-visual documentation, and interviews with both puppeteers (dalang) and musicians (wiyaga). The findings reveal that Gorompol is a distinctive piece commonly performed during daytime performances, characterized by a concise yet intricate musical structure. Its complexity is reflected in the flexibility of combining salendro and madenda laras systems during the murwa scene, the dynamic interaction among the puppeteer, musicians, singers (sinden), and vocal exclamations (alok), as well as the tightly regulated structural patterns despite its function as accompanying music. These findings highlight that Gorompol is not merely background music but a medium of expression that enhances the dramaturgy of the performance. The relevance of this study to contemporary performing arts lies in how Gorompol exemplifies collective creativity in preserving traditional continuity while simultaneously opening pathways for musical innovation in modern performance practices.
TWELVE ASPECTS OF PAKEM PADALANGAN WAYANG GOLEK PURWA SUNDA: CONCEPTUAL FOUNDATIONS ACCORDING TO MAS ATJE SALMOEN Maulana, Marsel Ridky
JURNAL DAMAR PEDALANGAN Vol 5 No 2 (2025): Oktober
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v5i2.5634

Abstract

This study aims to examine the pakem of Sundanese wayang golek purwa as formulated and documented by Mas Ace Salmun, a prominent figure in the codification of this traditional art form. As a cultural heritage of the Sundanese people, wayang golek purwa embodies profound philosophical values, with the pakem serving as the primary guideline in its performance. This research explores the principles of pakem in the art of padalangan according to Ace Salmun’s perspective on wayang golek purwa performances. The study employs a qualitative approach with a literature review method, tracing classical sources and textual documentation that specifically discuss pakem in wayang golek purwa. The findings reveal that Ace Salmun identifies twelve fundamental aspects of pakem padalangan, namely: Awi-Carita, Amardi-Basa, Anta-Wacana, Amardawa-Lagu, Parama-Kawi, Parama-Sastra, Kawi-Radya, Renggep, Sabet, Banyol, Engés, and Tutug. These twelve aspects function as a conceptual foundation that enables a structured analysis of Sundanese wayang golek purwa padalangan practice. This research is expected to enrich the body of literature on cultural and traditional performing arts studies while also contributing to the preservation of Sundanese wayang golek purwa. Accordingly, the study holds significance not only for academics but also for practitioners particularly dalang and broader communities concerned with safeguarding Sundanese cultural heritage.
Laras and Surupan in the Song Panghudang Rasa by Eutik Muchtar: a Study of Sundanese Kepesindenan Maulana, Marsel Ridky; Sutanto, Toni Setiawan
Gondang: Jurnal Seni dan Budaya Vol. 8 No. 2 (2024): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2024
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v8i2.64560

Abstract

The song “Panghudang Rasa” is one of the musical repertoires in the form of sekar-gending that is often presented in Kliningan and Wayang Golek performances. Eutik Muchtar's work is known to have a high level of musical difficulty, especially in the kepesindenan genre. This research aims to uncover the song's musical uniqueness, which includes the use of multi-laras, complex surupan variations, and deep poetic meanings. Using a descriptive qualitative method, this research analyzes audio and video recordings to identify its musical structure. The results show that this song uses Dwi-Laras, namely Degung and Madenda laras, with nine surupan: Madenda 4= Tugu, Madenda 4= Panelu, Madenda 5= Tugu, Madenda 2= Tugu, Madenda 5= Galimer, Madenda 2= Galimer, Degung 2= Tugu, Degung 3= Panelu, and Degung 5= Tugu. The song combines vocal and musical aspects, resulting in a complex and aesthetic structure. This finding confirms that “Panghudang Rasa” is a work that is not only beautiful in terms of musical aesthetics, but also rich in philosophical values.
Karawitan analytical study: sekar-gending “Sungsang” as the jejer ngawitan in Sundanese wayang golek purwa performances Maulana, Marsel Ridky; Karwati, Uus
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 20 No. 2 (2025)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v20i2.7339

Abstract

Gending “Sungsang” is one of the gending sekar ageng commonly performed in Sundanese wayang golek purwa productions. It is typically presented at the beginning of the performance, earning its designation as gending jejer ngawitan. This study aims to examine the presentational form of gending “Sungsang” within the wayang golek purwa context, while also analyzing its musical composition and its functional role within the overall dramaturgical structure of the performance. The research employs a qualitative approach using content analysis. The findings reveal that gending “Sungsang” demonstrates notable flexibility in its structural presentation. Its distinctiveness lies in its two-goongan structure, which has long served as a defining characteristic of this piece. Initially, the gending functioned exclusively as an accompaniment for murwa or the dalang’s haleuang. However, its usage has since expanded, and it is now also performed to accompany wayang dance or ibingan. Consequently, gending “Sungsang” fulfills multiple functions as a gending jejer ngawitan acting as the musical prelude to the performance, the accompaniment for the movement of the kayon/gunungan, the dance sequences, and the dalang’s murwa. These variations in presentation enrich the artistic landscape of Sundanese padalangan. Therefore, it is essential for artists and scholars to continue exploring this gending through research that further investigates its specific musical and performative dimensions.
Revisiting the theory of patet in Sundanese karawitan: between academic theory and artistic practice Maulana, Marsel Ridky; Darmawanti , Regina
Gelar: Jurnal Seni Budaya Vol. 23 No. 2 (2025)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v23i2.7806

Abstract

The ongoing debate surrounding patet theory in Sundanese karawitan reveals a clear divergence in epistemic perspectives between formal music education and artistic practice. Within academic settings, patet is positioned as a theoretical foundation for performing the pelog-salendro gamelan system. However, many practitioners argue that the concept does not manifest explicitly in lived musical practice. This study re-examines the theoretical construction of patet through an ethnomusicological lens, drawing on practice theory (Bourdieu; Reckwitz) and the concept of embodied musical knowledge (Brinner; McKerrell). Findings demonstrate significant differences regarding nada pangaget and pancer: academics tend to codify both as fixed elements, whereas artists interpret them relationally, guided by musical intuition and performative context. The analysis confirms that patet continues to shape tonal orientation, dominant tones, and affective musical space. This study argues that patet should be understood as a dual concept normative in academic discourse yet flexible in artistic practice bridging theoretical frameworks and Sundanese karawitan performance.
Co-Authors Agus Budiman Darmawanti , Regina Iwan Gunawan Kartono P, Alfin Pradinata Mugiyat , Arellya Muqri, Al Nandang Budiman Nurfalah, Asep Rizwan Rita Milyartini Romadlana, Rifani Syahru sandie gunara, sandie Saputra , Raffa Arya Sembiring, Piter Sunaryo, Ayo Surya, Dhea Elvionita Sutisna , Diynan Prayuga Suwandi, Miranto Taswadi Taswadi, Taswadi Tati Narawati Toni Setiawan Sutanto Tresnadi, Soni Tri Karyono uus karwati Yudi Sukmayadi