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Dani Yanuar
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Konstruksi Konsep Ngocéh dalam Permainan Rebab Topeng Betawi Dani Yanuar
PANGGUNG Vol 30 No 3 (2020): Pewarisan Seni Budaya: Konsepsi dan Ekspresi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v30i3.1266

Abstract

ABSTRACTNgocéh is a series of rebab melodies that are played quickly with infense intensity of tone production. Ngocéh is a measure of beauty in the Topeng Betawi rebab performance. The study aims to: (1) reveal the constraction of the ngocéh concept in the Topeng Betawi rebab performance; (2) explain about ngocéh practice in Topeng Betawi rebab performance. To answer these problems, the ethnoart approach is used. This study uses qualitative methods, with a description strategy in the form an emic and ethical perspective. The result of this study shows: (1) the strength of Topeng Betawi show lies in the composition of the rebab performance; (2) there are six components that underlie the formation of the concept of ngocéh, that is: jengér, akur, tandes, sébet, kerep, apal, sautan, and rasa; (3) the most important thing in ngocéh in Topeng Betawi rebab performance is the finger segment skill called utikan. Utikan greatly influences the level of flexibility of finger movement, to optimize aspects of tone speed and density. Keywords: Rebab Topeng Betawi, Ngocéh, Ethnoart.ABSTRAKNgocéh merupakan rangkaian melodi permainan rebab yang disajikan secara cepat dengan intensitas produksi nada yang rapat. Ngocéh menjadi ukuran capaian keindahan dalam permainan rebab Topeng Betawi. Studi ini bertujuan untuk: (1) mengungkap konstruksi konsep ngocéh dalam permainan rebab Topeng Betawi, (2) menjelaskan tentang praktik ngocéh dalam permainan rebab Topeng Betawi. Pendekatan ethnoart digunakan untuk menjawab permasalahan tersebut. Penelitian ini menggunakan metode kualitatif dengan strategi pendeskripsian digunakan perspektif emik dan etik. Hasil penelitian menunjukkan bahwa: (1) kekuatan karakter musikal dari sajian kesenian Topeng Betawi terletak pada komposisi permainan instrumen rebab; (2) terdapat enam komponen yang mendasari terbentuknya konsep ngocéh, yaitu: jengér, akur, tandes, sébet, kerep, apal, sautan, dan rasa; dan (3) yang ditekankan pada praktik perwujudan ngocéh pada permainan rebab Topeng Betawi adalah keterampilan utikan ruas jari. Utikan ini berpengaruh sangat besar terhadap tingkat fleksibilitas gerak jari untuk memenuhi aspek kecepatan dan kerapatan nada secara optimal. Kata Kunci: Rebab Topeng Betawi, Ngocéh, Ethnoart
MUSICAL TRANSLITERATION OF TEPAK KENDANG ON FIGHTER GESTURES IN KENDANG PENCA Dani Yanuar; Purwanto, Sigit
Acintya Vol. 16 No. 2 (2024)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v16i2.6756

Abstract

Kendang Penca is an art form that presents a complexity of interactions between the movements of fighters and the patterns of tepak kendang. The interaction between the two shows the connection between the language of movement and the language of music in building the concept of harmonious performance. From this interaction, the phenomenon of transliteration emerges, namely the process of translating the language of motion into the language of music, which in this case is the tepak kendang pattern. This research aims to reveal the process of transliterating the sound of tepak kendang music to martial arts movements in the Kendang Penca performance art. The problem posed is how the tepak kendang pattern and how the transliteration of the tepak kendang sound to the movements of the fighter is carried out. The theoretical concept of transliteration as part of the discipline of philology is used as a theoretical basis for examining research problems, while qualitative research methods with an ethnographic approach are used to guide researchers in extracting data, interpreting, and finding research conclusions. The results of this study reveal that the transliteration process carried out by the rider is framed by the concept of luyu aesthetics, so that the expression of the tepak kendang pattern presented is at the level of the perspective of appropriateness of the community supporting the art of kendang penca.
Angklung Buhun: Peran dalam Ritus Pertanian Masyarakat Kasepuhan Adat Gelaralam Dani Yanuar; Ullum Fadilla Fauzan
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 5 No. 1 (2025)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/mebang.v5i1.167

Abstract

Angklung buhun is an art form whose involvement is very dominant in various traditional ritual contexts, especially in agricultural ritual activities. Angklung buhun is played as a ritual tool starting from the process of opening agricultural land, planting rice seeds, maintenance, to harvesting. This research explains the role of angklung buhun in the agricultural rites of the Kasepuhan Adat Gelaralam community. The research method used is a qualitative method with an ethonographic approach to understand a view of life from the perspective of the culture owner with the stages of selecting informants, conducting interviews, analyzing data and data processing. The results of this research reveal that the existence of angklung buhun is one of the essential art forms and has a deep meaning for the Kasepuhan Gelaralam community. This is proven when angklung buhun cannot be played carelessly, this shows that angklung buhun becomes a spiritual and ritual medium. In the context of agricultural rites, angklung buhun functions as a medium for delivering prayers in the ngaseuk, mabay, mipit, ngadiukeun, nganyaran, and serentaun rituals. Angklung buhun is not just seen as a sound medium that creates the impression of a meaningless crowd. Furthermore, angklung buhun is an object that stores positive energy that is believed to have an impact in strengthening harmonious relationships between society, nature, and the almighty creator. These beliefs are closely related to the way the people view nature, ancestors and spirituality.
MUSICAL TRANSLITERATION OF TEPAK KENDANG ON FIGHTER GESTURES IN KENDANG PENCA Dani Yanuar; Purwanto, Sigit
Acintya Vol. 16 No. 2 (2024)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v16i2.6756

Abstract

Kendang Penca is an art form that presents a complexity of interactions between the movements of fighters and the patterns of tepak kendang. The interaction between the two shows the connection between the language of movement and the language of music in building the concept of harmonious performance. From this interaction, the phenomenon of transliteration emerges, namely the process of translating the language of motion into the language of music, which in this case is the tepak kendang pattern. This research aims to reveal the process of transliterating the sound of tepak kendang music to martial arts movements in the Kendang Penca performance art. The problem posed is how the tepak kendang pattern and how the transliteration of the tepak kendang sound to the movements of the fighter is carried out. The theoretical concept of transliteration as part of the discipline of philology is used as a theoretical basis for examining research problems, while qualitative research methods with an ethnographic approach are used to guide researchers in extracting data, interpreting, and finding research conclusions. The results of this study reveal that the transliteration process carried out by the rider is framed by the concept of luyu aesthetics, so that the expression of the tepak kendang pattern presented is at the level of the perspective of appropriateness of the community supporting the art of kendang penca.
Co-Authors Sigit Purwanto Ullum Fadilla Fauzan