Garuda - Garba Rujukan Digital

Pengembangan website berbasis Google Site sebagai media pembelajaran blended learning Karawitan melalui fitur interaktif Jatilinuar, Setya Rahdiyatmi Kurnia; Widyastuti, Ipuk
INOTEKS: Jurnal Inovasi Ilmu Pengetahuan,Teknologi, dan Seni VOL 27, No 1 (2023)
Publisher : Universitas Negeri Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21831/ino.v1i2.64384

The development of technology that presents a 'new era', namely the digital era, is one of the aspects driving blended learning, especially in karawitan practice courses. Of course, this change in learning methods raises various kinds of efforts and new challenges that must be faced, one of which is in choosing appropriate learning methods and media. This research is an effort to develop the use of blended learning media by utilizing google sites. Google site was developed by referring to smartphone-based learning media to be 'user-friendly', meaning that it can be easily used or accessed by students and lecturers. Google site is an alternative to online learning media, especially in practical lectures because it is 'user-friendly' (flexible, easy to access/operate, smartphone-based), has adequate features, has an attractive-systematic design, and does not require large costs (free access). The method used in this study is a qualitative method with data collection techniques through observation, literature studies, and questionnaires. The type of data is quantitative data that is processed using survey, comparative, and descriptive methods. The population of this study are students and lecturers of the Karawitan Department of ISI Yogyakarta. This research uses symbol system theory, e-learning, and blended learning in the development of google sites. The results of this study are in the form of blanded learning media using google sites that have been developed by adding interactive features.

PRIYANGGA: Sebuah Komposisi Karawitan dalam Perspektif Personal Atmojo, R. Bambang Sri; Marsudi, Marsudi; Jatilinuar, Setya Rahdiyatmi Kurnia
Resital: Jurnal Seni Pertunjukan Vol 23, No 3 (2022): Desember 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v23i3.6405

ABSTRACT Priyangga composition is a karawitan composition that has a specific concept of presentation which is individual presentation. A karawitan composition performance normally has a lot of supportive elements because of affected by the collective character of traditional music. Inspired by the case, the writer has an idea to create a Priyangga composition then embody it into a musical artwork. A performer will individually or simultaneously play and present all of the available musical ricikan including himself/herself as the singer. The place arrangement of the ricikan is based on function and purpose so that the performer can easily move around. The arrangement procedure to create Priyangga composition is through two steps which are (1) preparation and implementation to rehearse and improve in order to find a new musical and vocal arrangement in the karawitan sphere; (2) to create karawitan composition with the number of ricikan which will be utilized by the performer with high value musicality. ABSTRAK Komposisi Priyangga merupakan komposisi karawitan yang mempunyai spesifikasi konsep penyajian dengan penyajian oleh seorang diri. Pergelaran komposisi pada umumnya banyak melibatkan pendukung, hal tersebut dipengaruhi dari musik tradisonal yang bersifat kolektif. Berangkat dari hal tersebut maka, penulis tergugah untuk membuat komposisi Priyangga dalam bentuk perancangan karya seni. Pemain menyajikan semua ricikan yang ada, baik secara bersamaan untuk beberapa ricikan maupun satu ricikan dan sekaligus sebagai vokalis. Penataan ricikan ditata sesuai dengan fungsi dan peranannya agar pemain dapat leluasa berpindah tempat. Metode penelitian dalam menciptakan komposisi Priyangga melalui dua tahap yaitu tahap persiapan dan tahap pelaksanaan. Hasil karya menunjukkan bahwa berolah instrumen serta vokal dalam rangka mencari garapan baru dalam dunia karawitan serta menciptakan komposisi karawitan dengan menggunakan beberapa maupun banyak ricikan yang disajikan oleh seorang pemain yang terdapat rasa musikalitas dan nilai garap.

Hop: Interpretasi Suwuk Dalam Komposisi Karawitan wisesa, Wiku; Jatilinuar, Setya Rahdiyatmi Kurnia; Suhardjono, Suhardjono
IDEA: Jurnal Ilmiah Seni Pertunjukan Vol 17, No 2 (2023): Vol 17, No 2 (2023)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/idea.v17i2.10727

Pada suatu urutan atau struktur penyajian gending dalam karawitan jawa terdapat istilah yaitu suwuk. Suwuk merupakan bagian terakhir pada struktur penyajian gending yang berfungsi untuk menghentikan lagu atau gending. Selain itu juga merupakan kode atau aksen yang disepakati untuk menghentikan lagu. Suwuk ini memiliki pola kendhangan yang menonjol yang merupakan pola kendhangan yang berbeda dari kendhangan gendingnya, pola tersebut seperti kode yang diberikan oleh ricikan pamurba irama kepada ricikan lain sebagai tanda untuk berhenti. Metode yang digunakan dalam penelitian ini ialah practice as research trough performance (Praktik sebagai Penelitian melalui Pertunjukan), yang terdiri dari pra garap (observasi, studi Pustaka, wawancara, diskografi, analisis sumber terkait), garap (instrumentasi, tafsir garap, ekplorasi, penotasian, tahap latihan, presentasi musikal), dan pasca garap. Karya ini menggunakan medium tradisi dan idiom baru. Tujuan karya ini adalah menafsirkan dan mengembangkan kendhangan suwuk ladrang, ketawang, lancaran dan bubaran dalam karya komposisi karawitan. Karya komposisi “Hop” merupakan karya komposisi karawitan yang mengambil subtansi dasar karawitan tradisi sebagai ide dasar penciptaan komposisi karawitan. Karya ini menginterpretasi dan mengembangakan kendhangan suwuk sebagai tema penciptaan dengan mengolah unsur musikal seperti melodi, ritme, dan dinamika.HOP: INTERPRETATION OF SUWUK IN KARAWITAN COMPOSITION In a sequence or structure for the presentation of gending in Javanese karawitan, there is a term, namely suwuk. Suwuk is the last part of the musical presentation structure which functions to stop the song or piece. Besides that, it is also the agreed code or accent to stop the song. This suwuk has a prominent kendhangan pattern which is a different kendhangan pattern from the kendhangan gending, this pattern is like the code given by ricikan pamurba rhythm to other rickan as a sign to stop. The method used in this study is practice as research through performance (Practice as Research through Performance), which consists of pre-work (observation, literature study, interviews, discography, analysis of related sources), work on (instrumentation, interpretation, exploration, notation , rehearsal stages, musical presentations), and post-work. This work uses the medium of tradition and new idioms. The purpose of this work is to interpret and develop the kendhangan suwuk ladrang, ketawang, smoothness and dissolution in musical composition works. The compositional work "Hop" is a musical composition work that takes the basic substance of traditional karawitan as the basic idea for the creation of musical compositions. This work interprets and develops kendhangan suwuk as a theme of creation by processing musical elements such as melody, rhythm and dynamics.

PEMBUATAN GAMELAN MOULDING JENIS BONANG BARUNG DI PT. YPTI KALASAN YOGYAKARTA Rahman, Nur Setyo; Jatilinuar, Setya Rahdiyatmi Kurnia; Marsudi, Marsudi
IDEA: Jurnal Ilmiah Seni Pertunjukan Vol 17, No 2 (2023): Vol 17, No 2 (2023)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/idea.v17i2.10717

Penelitian ini berjudul “Pembuatan Gamelan Moulding Jenis Bonang Barung. Gamelan moulding adalah gamelan yang menggunakan teknik moulding (cor) dalam pembuatannya sehingga memiliki rangkaian khusus pada proses pembuatan maupun pelarasan yang berbeda dengan gamelan pada umumnya. Berdasarkan latar belakang tersebut penelitian ini bertujuan untuk mengetahui proses pembuatan dan pelarasan bonang barung moulding di PT. YPTI Kalasan Yogyakarta. Metode penelitian yang digunakan adalah penelitian kualitatif dengan pendekatan deskriptif analisis. Data penelitian didapatkan dari observasi dan praktik langsung di lapangan maupun wawancara dengan narasumber. Data yang didapatkan kemudian dianalisis dan dideskripsikan secara rinci. Hasil penelitian ini antara lain 1) bonang barung moulding di PT. YPTI menunjukkan produktivitas dan efisiensi dalam pembuatan gamelan, baik dari aspek bahan maupun waktu; 2) bahan yang digunakan untuk membuat bonang barung moulding berupa perunggu dan kuningan dengan ketebalan 3ml; 3) pembuatan gamelan moulding jenis bonang barung di PT. YPTI menggunakan teknik cor atau gravity casting yang didukung penggunaan alat modern; 4) metode dalam pelarasan bonang barung hanya diatur ketebalannya menggunakan gerinda untuk meninggikan maupun merendahkan disesuaikan frekuensi nada yang sudah ditentukan. Untuk mengetahui nadanya frekuensi sebagai tolak ukur melalui proses perekaman terlebih dahulu.MAKING OF BONANG BARUNG GAMELAN MOULDING AT PT. YPTI KALASAN YOGYAKARTAThis research is entitled "Making Gamelan Molding Bonang Barung Type. Gamelan molding is a gamelan that uses molding techniques (casting) in its manufacture so that it has a special sequence in the manufacturing process and tuning that is different from gamelan in general. Based on this background, this study aims to determine the process of making and adjusting bonang barung molding at PT. YPTI Kalasan Yogyakarta. The research method used is qualitative research with a descriptive analysis approach. Research data were obtained from direct observation and practice in the field as well as interviews with informants. The data obtained is then analyzed and described in detail. The results of this study include 1) bonang barung molding at PT. YPTI shows productivity and efficiency in making gamelan, both from the material and time aspects; 2) the materials used to make bonang barung molding are bronze and brass with a thickness of 3 ml; 3) making gamelan molding of the bonang barung type at PT. YPTI uses cast or gravity casting techniques supported by the use of modern tools; 4) the method of tuning the bonang barung is only to adjust the thickness using a grinder to raise or lower it according to a predetermined tone frequency. To find out the tone frequency as a benchmark through the recording process first. YPTI uses cast or gravity casting techniques supported by the use of modern tools; 4) the method of tuning the bonang barung is only to adjust the thickness using a grinder to raise or lower it according to a predetermined tone frequency. To find out the tone frequency as a benchmark through the recording process first. YPTI uses cast or gravity casting techniques supported by the use of modern tools; 4) the method of tuning the bonang barung is only to adjust the thickness using a grinder to raise or lower it according to a predetermined tone frequency. To find out the tone frequency as a benchmark through the recording process first. This research is expected to be able to provide benefits to the wider community regarding how to process waste into goods that have a myriad of benefits.

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