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Sabdo Aji, Ananto
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IMPLEMENTASI GARAP MINIR DAN GARAP PATHET DALAM REBABAN GENDHING WIYANG Alif Ghifari, Ulung; Sabdo Aji, Ananto
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 2 (2023): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

This article entitled "Implementasi Garap Minir Dan Garap Pathet Dalam Rebaban Gending Wiyang" contains an analysis, description, and study of the Wiyang garap rebab. The main idea presented in this article is the application of minir céngkok in mérong and the implementation of pathet elaboration located on the second kenong inggah with the application of yo bapak rebab céngkok, enabling it to be elaborated using two pathet interpretations, namely sléndro sångå and sléndro manyurå. This research adopts a qualitative method. Data collection methods include literature review, direct or indirect observation, and interviews with relevant informants. In analyzing this article, several concepts are employed to underpin the author's ideas, namely garap, pathet, and mungguh. The research findings reveal the application of minir céngkok pasrèn in mérong based on the absence of vocal influence and pamijen elaboration, which mandates minir elaboration within it, rendering the minir elaboration in this facultative garap. The application of minir céngkok pasrèn in this yields garap several categories of minir elaboration, including whole minir, half minir, and three-quarters minir. In addition to minir elaboration, the implementation of pathet elaboration on inggah contributes to offering elaboration to make the composition more dynamic. This influences other elaborations, resulting in the perception of dynamism in the presentation of the Wiyang composition.
FUNGSI MUSIK RUWATAN BERSIH DESA DI DESA SIDOREJO KABUPATEN BLITAR Rosida, Silvia Nafisatur; Sabdo Aji, Ananto
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 24 No. 1 (2024): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v24i1.6311

Abstract

This article entitled "The Function of Ruwatan Bersih Desa Music in Sidorejo Village, Blitar Regency" focuses on the issue of the function of ruwatan bersih desa music in Sidorejo Village. The results show that the village clean ruwatan is held during the harvest season once a year. Ruwatan is believed by the people of Sidorejo Village to prevent the village from danger. The ruwatan procession has requirements, namely time, place, ruwatan actors, properties, and offerings. The structure of the ruwatan ceremony has three parts, namely the opening part, the core part and the closing part. Each music presented also has a function and meaning. Music has an important function in ruwatan bersih desa. There are five prominent functions of music. (1) the entertainment function aims to appreciate culture and liven up the atmosphere. (2) the communication function aims for spiritual communication and message delivery. (3) the symbolic representation function aims for purification symbols, sacred symbols, happiness symbols, and spirit symbols. (4) The function of contribution to cultural continuity and stability aims at tradition-keeping and regeneration. (5) The function of contribution to community integration aims to build togetherness and strengthen social ties.
FUNGSI MUSIK RUWATAN BERSIH DESA DI DESA SIDOREJO KABUPATEN BLITAR Rosida, Silvia Nafisatur; Sabdo Aji, Ananto
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 24 No. 1 (2024): 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.v24i1.6311

Abstract

This article entitled "The Function of Ruwatan Bersih Desa Music in Sidorejo Village, Blitar Regency" focuses on the issue of the function of ruwatan bersih desa music in Sidorejo Village. The results show that the village clean ruwatan is held during the harvest season once a year. Ruwatan is believed by the people of Sidorejo Village to prevent the village from danger. The ruwatan procession has requirements, namely time, place, ruwatan actors, properties, and offerings. The structure of the ruwatan ceremony has three parts, namely the opening part, the core part and the closing part. Each music presented also has a function and meaning. Music has an important function in ruwatan bersih desa. There are five prominent functions of music. (1) the entertainment function aims to appreciate culture and liven up the atmosphere. (2) the communication function aims for spiritual communication and message delivery. (3) the symbolic representation function aims for purification symbols, sacred symbols, happiness symbols, and spirit symbols. (4) The function of contribution to cultural continuity and stability aims at tradition-keeping and regeneration. (5) The function of contribution to community integration aims to build togetherness and strengthen social ties.
FUNGSI KESENIAN TONGKIR PADA PAGUYUBAN SENI TONGKIR SELERA HATI DI DESA NGARINGAN KABUPATEN BLITAR Rahayu, Dinda; Sabdo Aji, Ananto
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.v25i1.7650

Abstract

The research titled “The Function of Tongkir Art in the Selera Hati Tongkir Art Community in Ngaringan Village” is motivated by the researcher’s interest in the functional aspects of tongkir art, which remains preserved within the community. This art form reflects strong social dynamics, where its social functions emerge through cultural interaction and musical innovation, particularly through the integration of gamelan instruments. Thepurpose of this study is to describe and analyze the functions of tongkir art within the socio-cultural context of thelocal society. The research employs a qualitative approach with data collection techniques including observation, interviews, and documentation. The functions of the art are analyzed using Allan P. Merriam’s theoretical framework, which encompasses entertainment, communication, and cultural preservation functions. The results show that tongkir art serves as a means of entertainment, a medium for social and expressive communication, and a tool for thetransmission of cultural values. The Selera Hati Tongkir Art Community plays a key role in maintaining the existence and continuity of tongkir art in Blitar Regency.
IMPLEMENTASI GARAP MINIR DAN GARAP PATHET DALAM REBABAN GENDHING WIYANG Alif Ghifari, Ulung; Sabdo Aji, Ananto
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 2 (2023): 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

Abstract

This article entitled "Implementasi Garap Minir Dan Garap Pathet Dalam Rebaban Gending Wiyang" contains an analysis, description, and study of the Wiyang garap rebab. The main idea presented in this article is the application of minir céngkok in mérong and the implementation of pathet elaboration located on the second kenong inggah with the application of yo bapak rebab céngkok, enabling it to be elaborated using two pathet interpretations, namely sléndro sångå and sléndro manyurå. This research adopts a qualitative method. Data collection methods include literature review, direct or indirect observation, and interviews with relevant informants. In analyzing this article, several concepts are employed to underpin the author's ideas, namely garap, pathet, and mungguh. The research findings reveal the application of minir céngkok pasrèn in mérong based on the absence of vocal influence and pamijen elaboration, which mandates minir elaboration within it, rendering the minir elaboration in this facultative garap. The application of minir céngkok pasrèn in this yields garap several categories of minir elaboration, including whole minir, half minir, and three-quarters minir. In addition to minir elaboration, the implementation of pathet elaboration on inggah contributes to offering elaboration to make the composition more dynamic. This influences other elaborations, resulting in the perception of dynamism in the presentation of the Wiyang composition.
Co-Authors Alif Ghifari, Ulung Rahayu, Dinda Rosida, Silvia Nafisatur