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EKSTRAKURIKULER SENI KARAWITAN SEBAGAI WAHANA PENDIDIKAN BUDI PEKERTI DAN KETRAMPILAN BERMUSIK UNTUK PELAJAR DI SMA NEGERI 1 SURAKARTA Bambang sosodoro
Abdi Seni Vol 6, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/abdiseni.v6i1.2253

Pendidikan karakter untuk anak-anak dan atau remaja adalah hal yang sangat penting. Sebagai generasiÂ penerus bangsa diharapkan untuk meneruskan cita-cita luhur mereka sebagai bangsa yang bermartabatÂ dengan menegakkan nilai-nilai budaya Timur. Dalam rangka mewujudkan tujuan-tujuan tersebut, musikJawa adalah salah satu warisan budaya yang dapat digunakan sebagai media pendidikan. Hal itu, dikarenakanÂ para musisi mempunyai ajaran atau nilai-nilai yang positif dan sangat berguna untuk pembentukan karakterÂ dan kepribadian anak. Misalnya, seperti yang dinyatakan dalam teks atau lirik lagu. Pada kesempatan ini,Â melalui kegiatan pelayanan masyarakat di tingkat sekolah menengah (SMA) Negeri 1 Surakarta, diharapkanÂ dapat memberikan kontribusi ide-ide dan cita-cita yang sama. SMA Negeri 1 Surakarta adalah sekolahfavorit, memiliki siswa cerdas, terampil, dan menjunjung tinggi disiplin. Dengan dukungan sumber dayaÂ manusia, dan infrastruktur yang sangat memadahi, pendidikan karakter dan keterampilan bermain alatÂ musik tradisional dapat disalurkan melalui pelatihan musik dalam kegiatan ekstrakurikuler.Kata kunci: pendidikan karakter, keterampilan musik, gamelan Jawa.

KARYA KARAWITAN BARANG MIRING Sosodoro, Bambang
Acintya Vol. 1 No. 2 (2009)
Publisher : Institut Seni Indoensia Surakarta

Barang Miring music composition is inspired by the musical gamelan of sekaten, a set of ancient ensamble called Kyahi GunturMadu and Kyahi Guntur Sari of Surakarta Palace. This unique musical gamelan is often used by compÃ©sers in their creations. It has also been using sources of creation, creative materials, creativity approach, imitation, etc. Gamelan itself generally accompanies other performance like dance, puppet show, and even the gamelan performance itself Based on this phenomenon 1 would like to examine a gamelan Sekaten as an object of material. Through this article I present the musical creation based on gamelan sekaten tradition and actualize through the new creation called Barang Miring. gendhing Barang Miring of gamelan sekaten will be the main sources because of its uniqueness as a major repertoire of gamelan sekaten. It is performed traditionally after the Adzan Asyhar when the Moslem does their sholat. This article also strive a reason of what kind of concept of Barang Miring (minur) into the concept of gamelan ageng performance. Using reinterpretation approach based on traditional repertoire, this article exists as a representation of a new field of creation in music creation based on karawitan traditional composition.Â Key words: barang miring, musiccreation, gamelan sekaten,

PERSILANGAN GAYA KARAWITAN KARATON KASUNANAN DAN PURA MANGKUNEGARAN Sosodoro, Bambang
Acintya Vol. 7 No. 2 (2015)
Publisher : Institut Seni Indoensia Surakarta

This research is a field study that examines the karawitan (Javanese music) of Karaton andÂ Mangkunegaran. The selection is based on the material objects of historical reality and the fact ofÂ music. It is that they have enough problems as interesting and actual scientific studies to increase theÂ repertoire of Karawitan. Surakarta palace compound and Mangkunegaran are two important pillarssupporting musical identity of Surakarta style. The issue of the Palace and Mangkunegaran KarawitanÂ is an interesting topic to be studied from the various viewpoints. This is because the two kingdoms areÂ at Surakarta style musical territory, but producethe different musical works. Idioms and vocabulariesare working on covering the game Ricikan and gending repertoire.The work of gending between theÂ two are the same but the result of musical taste shows differences. The second issue of the royalÂ musicians is increasingly attractive when the marriage is bond between the Mangkunegaran andÂ Yogyakarta Sultanate.The physical and aesthetic (musical) characteristics are identic between theÂ two. The marriage eventually leds to the musical dance of Yogyakarta style of Mangkunegaran.Â Although it is said to be identic but on the other hand it is also flowing style of Surakarta. This studyÂ aims to reveal the differences and similarities between the music and the dance of KaratonMangkunegaran. The discussionsof the two are limited to the Dance Srimpi. To uncover this needs theÂ use of textual and contextual approaches. Textual studies focus on the shape, form, and elementsÂ inherent in the study of arts subjects. The musicians sit as a text to be read and interpreted,and thecontextual approach is used to reveal the factors behind the development and the difference betweenÂ the two. This topic is important to be examined because the study that focuses on the comparison ofÂ dance music between the Palace and Mangkunegaran has never been done.Keywords: Cross culture, karawitan, dance Srimpi, palace, differences and similarities.

PENINGKATAN KEMAMPUAN GARAP CIBLON IRAMA DADI DENGAN MODEL PEMBELAJARAN KOOPERATIF TIPE STAD PADA MAHASISWA SEMESTER II TAHUN AKADEMIK 2017/2018 Sosodoro, Bambang
Acintya Vol. 11 No. 1 (2019)
Publisher : Institut Seni Indoensia Surakarta

This class action research was conducted to improve the ability of students in kendangan ciblon irama dadi in Karawitan Surakarta II. The mastery of kendangan ciblon irama dadi is considered very important for it is the foundation for kendangan ciblon irama wiled in the form of inggah ladrang, kethuk 4, and kethuk 8 in the next course. Kendangan ciblon irama dadithat are emphasized are gambyongan ciblon which has a high complexity. Therefore,it needs more attention. So far, there are still many problems encountered in the learning process of the course, especially in mastering kendangan ciblonduring the middle semester, namely semester III, IV, IV. The problems include the scheme of kendangan, sekaran ciblongambyongan and wiledan. It may happen because most sudents do not master well the ciblon irama dadi at the second semester. It needs an appropriate learning method. In order to increase the students’ abilities in kendangan ciblon irama dadi semester II, during this time, the method of speech, drill and demonstration seem insufficient to overcome the problem, so that it is necessary to use another method namely the Stad Type Cooperative Learning Model. This method is in fact very effective and useful to improve the students’ practical skills. This is indicated by an increase in group learning activities and a more live class and the good student achievement.Keywords: learning, ability, ciblon

KARYA KARAWITAN BARANG MIRING Sosodoro, Bambang
Acintya Vol. 1 No. 2 (2009)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v1i2.41

Barang Miring music composition is inspired by the musical gamelan of sekaten, a set of ancient ensamble called Kyahi GunturMadu and Kyahi Guntur Sari of Surakarta Palace. This unique musical gamelan is often used by compÃ©sers in their creations. It has also been using sources of creation, creative materials, creativity approach, imitation, etc. Gamelan itself generally accompanies other performance like dance, puppet show, and even the gamelan performance itself Based on this phenomenon 1 would like to examine a gamelan Sekaten as an object of material. Through this article I present the musical creation based on gamelan sekaten tradition and actualize through the new creation called Barang Miring. gendhing Barang Miring of gamelan sekaten will be the main sources because of its uniqueness as a major repertoire of gamelan sekaten. It is performed traditionally after the Adzan Asyhar when the Moslem does their sholat. This article also strive a reason of what kind of concept of Barang Miring (minur) into the concept of gamelan ageng performance. Using reinterpretation approach based on traditional repertoire, this article exists as a representation of a new field of creation in music creation based on karawitan traditional composition.Â Key words: barang miring, musiccreation, gamelan sekaten,

PERSILANGAN GAYA KARAWITAN KARATON KASUNANAN DAN PURA MANGKUNEGARAN Sosodoro, Bambang
Acintya Vol. 7 No. 2 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v7i2.2007

This research is a field study that examines the karawitan (Javanese music) of Karaton andÂ Mangkunegaran. The selection is based on the material objects of historical reality and the fact ofÂ music. It is that they have enough problems as interesting and actual scientific studies to increase theÂ repertoire of Karawitan. Surakarta palace compound and Mangkunegaran are two important pillarssupporting musical identity of Surakarta style. The issue of the Palace and Mangkunegaran KarawitanÂ is an interesting topic to be studied from the various viewpoints. This is because the two kingdoms areÂ at Surakarta style musical territory, but producethe different musical works. Idioms and vocabulariesare working on covering the game Ricikan and gending repertoire.The work of gending between theÂ two are the same but the result of musical taste shows differences. The second issue of the royalÂ musicians is increasingly attractive when the marriage is bond between the Mangkunegaran andÂ Yogyakarta Sultanate.The physical and aesthetic (musical) characteristics are identic between theÂ two. The marriage eventually leds to the musical dance of Yogyakarta style of Mangkunegaran.Â Although it is said to be identic but on the other hand it is also flowing style of Surakarta. This studyÂ aims to reveal the differences and similarities between the music and the dance of KaratonMangkunegaran. The discussionsof the two are limited to the Dance Srimpi. To uncover this needs theÂ use of textual and contextual approaches. Textual studies focus on the shape, form, and elementsÂ inherent in the study of arts subjects. The musicians sit as a text to be read and interpreted,and thecontextual approach is used to reveal the factors behind the development and the difference betweenÂ the two. This topic is important to be examined because the study that focuses on the comparison ofÂ dance music between the Palace and Mangkunegaran has never been done.Keywords: Cross culture, karawitan, dance Srimpi, palace, differences and similarities.

PENINGKATAN KEMAMPUAN GARAP CIBLON IRAMA DADI DENGAN MODEL PEMBELAJARAN KOOPERATIF TIPE STAD PADA MAHASISWA SEMESTER II TAHUN AKADEMIK 2017/2018 Sosodoro, Bambang
Acintya Vol. 11 No. 1 (2019)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v11i1.2616

This class action research was conducted to improve the ability of students in kendangan ciblon irama dadi in Karawitan Surakarta II. The mastery of kendangan ciblon irama dadi is considered very important for it is the foundation for kendangan ciblon irama wiled in the form of inggah ladrang, kethuk 4, and kethuk 8 in the next course. Kendangan ciblon irama dadithat are emphasized are gambyongan ciblon which has a high complexity. Therefore,it needs more attention. So far, there are still many problems encountered in the learning process of the course, especially in mastering kendangan ciblonduring the middle semester, namely semester III, IV, IV. The problems include the scheme of kendangan, sekaran ciblongambyongan and wiledan. It may happen because most sudents do not master well the ciblon irama dadi at the second semester. It needs an appropriate learning method. In order to increase the students’ abilities in kendangan ciblon irama dadi semester II, during this time, the method of speech, drill and demonstration seem insufficient to overcome the problem, so that it is necessary to use another method namely the Stad Type Cooperative Learning Model. This method is in fact very effective and useful to improve the students’ practical skills. This is indicated by an increase in group learning activities and a more live class and the good student achievement.Keywords: learning, ability, ciblon

Wacana Pathetan Bambang Sosodoro
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 6 No. 2 (2006)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v6i2.605

This study is based on the understanding that music has a number of similarities with language. The basic assumption is that people make music in the same way that people speak. This research is the experimental attempt to analyze music offavaneseÂ karawitan,Â in particular theÂ rebab,fromÂ a linguistic approach, by choosing a study of discourse as one of the analytical tools. The study of musical discourse involves observing theÂ rebabanÂ in terms of its grammatical (internal) aspects, such as its musical patterns and techniques, and also its pragmatic (external) aspects, namely the musical roleÂ ofrebabanÂ as applied to its context.A discourse is an expression and utterance in which one complete sentence with semantical and gramatical elements to attain intelligible sentence. Rebaban is one of expressive medium in karawitan. Using the perspective in linguistic, the complete meaningful expression is called a discourse. For that reason, expression of rebab can interact and communicate with other instruments (especially the main instruments) to form musical unity: this means thatÂ rebabÂ also has musical discourse.Keywords:Â Â Â Rebaban, Pathetan, Analitical Tools, Discourse

KARAWITAN KARATON KASUNANAN DAN PURA MANGKUNEGARAN PASCA PERJANJIAN GIYANTI Bambang Sosodoro
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 13 No. 1 (2013)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v13i1.641

This paper is an examination of the results found in the study entitled: â€œKarawitan Karaton dan Pura Mangkunegaran Studi Garap Karawitan Tari Srimpiâ€ (The Gamelan Music of the Karaton and Mangkunegaran Palaces: A Study In Accompaniment for the Srimpi Dance). This research is a field study examining the gamelan music of the Surakartan palaces (the Karaton and the Mangkunegaran). This topic was chosen based on historical and musical importance, in that the repertory and performance practice at these two institutions reveal interesting and highly current points of discussion. The Karaton Surakarta and the Mangkunegaran Palace are two important pillars of the Surakarta identity in gamelan music practice. Performance practice existing at the Karaton and Mangkunegaran is a fascinating topic of research from many different angles. This is due to the fact that these two palaces both represent Surkarta-style gamelan practice and yet produce very different results. The musical idioms and vocabulary involved in playing the different parts, the repertory, and the interpretation of pieces is much the same, but the resulting resulting musical aesthetic and feeling is quite different. Performance practice issues became ever more involved and interesting once there was a bonding between the Yogyakarta Principality and the Mangkunegaran, through marriage, as at this time both physical and aesthetic commonalities emerged between these two institutions. Because of the family connection in marriage, a more Yogyanese style emerged at the Mangkunegaran Palace. Although some may say identical to Yogya, in fact many elements of Surakarta style remained. This work attempts to offer the background to the emergence of performance practice at the Karaton and Mangkunegaran post Giyanti agreement. In order to present this background, a contextual approach is used, outlining the various factors that led to the development of differences between the two centers.Key words: historis perspective, style of karawitan

KLASIFIKASI KARAKTER REBABAN GAYA SURAKARTA Bambang Sosodoro
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 14 No. 1 (2014)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v14i1.661

In essence, this study examines a concept contained in rebaban Surakarta style. Ie terms that relate to the character or flavor rebaban, such as: prasaja, whole, Alus, anteb, mbranyak, sigrak, tregel, prenes, rongeh, cakrak, and Berag. In Javanese musical life until today, the phenomenon of the terms are still often encountered. Statements about the character rebaban, always pointing at someone (pengrebab). Wahyopangrawit example, is a fairly popular figure pengrebab and phenomenal musical community with the whole character and Alus. Likewise pengrebab-pengrebab others, certainly has character rebaban different. Among musicians, generally found rebaban character is a representation of a personal character, the nature of the person, or a reflection of their daily behavior. On the other hand, the character rebaban also part of working on. Is how the tenants (pengrebab) seeks to match the character of the musical piece, which basically has been built by the games ricikan, especially ricikan working on ngajeng. This study seeks to formulate characters rebaban based on the views by the musicians. Labih Further, these characters are classified or grouped based on its characteristics. Broadly speaking, the character can rebaban dipilahkan into two large families, which is shed and mbranyak. Both of these families have a sub-sub-characters, namely: prasaja and Alus is entered on the whole character of the area, while the character mbranyak include characters: prenes, tregel, cakrak, rongeh, and Berag. Among these characters, there are some that are highly aggregated, but also there are a number of characters that can be said to be similar, identical, or color. Rebaban medium of expression is one of the many mediums in Javanese gamelan. Rebaban also an expression of the artistâ€™s soul, through the game hands and fingers.Keywords: classification, musichal character, rebaban

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