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Surya Rahman
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“Tene Simah Kuet” Reinterpretasi Kesenian Musik Tradisional Didong Kedalam Komposisi Musik Karawitan. Bengi, Windi Simah; Surya Rahman; Rico Gusmanto; Dwi Putra , Rizki Mona
Awilaras Vol 11 No 2 (2024): Seni : Sinergi Tradisi dan Teknologi
Publisher : LPPM ISBI Bandung

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Abstract

“Tene Simah Kuet” is a karawitan musical composition that originates from the regum/code music element in Didong art. In Didong art, regum plays an important role as a marker for the end of the game. “Tene Simah Kuet” can be interpreted as a sign/marker that carries power in the form of changes in tempo and dynamics of a game. In this case, the artist interprets Regum in Didong art through development into rhythm and vocal forms. The work “Tene Simah Kuet” consists of a single part of the work that actualizes the regum/code of forte dynamics in the work section. “Tene Simah Kuet”  is actualized using the work material and techniques or musical terms of unison, call and response, hocketing, and dynamics. This work is worked on using a reinterpretation work approach, by making the hard dynamic regum in Didong into pillows, vocals, body percussion and wooden sticks.
“GukKatura” Tafsiran Ornamentasi Suling Kesenian Musik Tradisional Sebuku Menggunakan Instrumen Eksperimental Kedalam Komposisi Musik Karawitan: GukKatura”: Interpretation of Flute Ornamentation in the Traditional Music of Sebuku Using Experimental Instruments in a Karawitan Music Composition ansyah, Sapri; Surya Rahman; Erlinda
Awilaras Vol 11 No 2 (2024): Seni : Sinergi Tradisi dan Teknologi
Publisher : LPPM ISBI Bandung

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Abstract

This article presents the creation of a new karawitan music composition titled “GukKatura”, inspired by the Singuk ornamentation technique found in the Gayo flute (Suling Gayo) performance of the Sebuku (Pepongoten) tradition from Central Aceh. The main focus is the musical interpretation of the Acciaccatura ornament, perceived as a leaping grace note, and reimagined through a reinterpretative approach. The composition incorporates a range of experimental instruments such as drone flute, PVC saxophone, and fujara, and utilizes compositional techniques including call and response, interlocking, hocketing, and polymeter. The creative process involved field observation, interviews with tradition bearers, instrument exploration, and performance realization. GukKatura introduces a fresh perspective in transforming traditional ornamentation into a contemporary composition, contributing to the enrichment of Indonesian karawitan music.
Co-Authors ansyah, Sapri Bengi, Windi Simah Dwi Putra , Rizki Mona ERLINDA RICO GUSMANTO