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All Journal Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Suyoto
Institut Seni Indonesia Surakarta

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MANGGALAMUDHA, KAJIAN GARAP SINDHEN Junissa Salsabilla Nuhari Putri Atik Nurgiyatmi; Suyoto
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 | DOI: 10.33153/keteg.v23i2.5902

Abstract

This article entitled "Manggalamudha Gendhing Kethuk 2 Kerep Minggah 4, Laras Pélog Pathet Barang: A Study of Garap Sindhen" is to analyze and describe garap sindhènan gendhing Manggalamudha. The issues analyzed are garap céngkok, garap wangsalan and abon-abon, garap gregel and wiled, garap mlèsèt, garap angkat-sèlèh, garap mandheg, garap mungguh, and garap dynamics. These are reviewed using a number of concepts and theories in karawitan. The concepts applied are the concept of garap, the concept of mungguh, padhang-ulihan, and the concept ofmandheg. The concept of garap is used in creativity, the concept of mungguh is used for appropriateness in working on céngkok, the concept of padhang ulihan is used to determine wangsalan, while the concept of mandheg is used to work on mandheg in the inggah section of gendhing Manggalamudha which is worked on with andhegan cèngkok ayu kuning, andhegan kacaryan in the third kenong, and andhegan selingan. This research used qualitative research, data collection methods starting from the process of designing the work, determining the view (orientation), and determining the sources. Through literature study, observation, and interviews the author used as steps to collect data. The result of this research is garap mandheg in the inggah section of gendhing Manggalamudha which is worked with andhegan cèngkok ayu kuning, andhegan kacaryan in the third kenong, and andhegan selingan. The use of sindhèn garap in gendhing Manggalamudha is done with several garap, among others: wangsalan and abon- abon, garap gregel wiled, garap mungguh, lift technique, and garap dynamics. All sindhènan garap presented contain high aesthetic value in sindhènan gendhing Manggalamudha.
PERAN KENDANG DALAM SAJIAN MRABOT GENDHING REGENG LARAS PÉLOG PATHET BARANG Nanda Indah Nur Risqia; Suyoto
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 25 No. 2 (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

Abstract

This study discusses the role of the kendang in the performance of Gendhing Regeng in the mrabot form, tuned to pélog pathet barang. The research focuses on how the kendang is elaborated in relation to aspects of rhythm, tempo (laya), ornamental patterns (sekaran), and variations (wiledan). The aim is to describe the function of the kendang not only as a timekeeper but also as a structural and expressive element in the presentation of the gendhing. This study employs a qualitative method, with data collected through literature review, direct observation, and interviews with karawitan practitioners. The analysis applies the theory of garap and the concept of mandheg in Surakarta-style karawitan. The results indicate that the kendang functions as the controller of rhythm and tempo, while also shaping dynamics through accents, stresses, volume, and rhythmic patterns. In the inggah section, variations of mandheg are found in wiled and rangkep tempos, along with sekaran presented in several wiledan variations. Types of kendhangan such as matut, tangguh, and mungguh are employed to emphasize both light and heavy sèlèh, enriching the musical expression of the gendhing. Overall, the kendang plays not only a controlling role but also determines the character and aesthetic color of Gendhing Regeng in pélog pathet barang.
Co-Authors Junissa Salsabilla Nuhari Putri Atik Nurgiyatmi Nanda Indah Nur Risqia