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All Journal Abdi Seni Acintya Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
sosodoro, Bambang
Institut Seni Indonesia Surakarta
Arts Humanities Social Sciences

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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 : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (372.281 KB) | DOI: 10.33153/keteg.v13i1.641

Abstract

This paper is an examination of the results found in the study entitled: “Karawitan Karaton dan Pura Mangkunegaran Studi Garap Karawitan Tari Srimpi” (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
Interaksi Dan Komunikasi Musikal Dalam Garap Sekaten Bambang Sosodoro
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 18, No 2 (2018)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (958.773 KB) | DOI: 10.33153/keteg.v18i2.2403

Abstract

AbstractThe traditions that govern the music of gamelan Sekaten are commonly referred to as garap Sekaten. Based on observations of current musical practice, it can be comprehensively stated that garap Sekaten involves musical interaction and communication. This is reflected in the melodic phrases and interactive grammar between particular instruments of this ensemble. The characteristics, unique qualities, and complexities of garap sekaten have also influenced the gamelan ageng. For example, gendhing Bonang are a genre within gamelan ageng repertoire that accentuate the "loud" instruments and incorporate the sesegan/sabetan playing style found in garap Sekaten. This style is also adopted in particular gendhing Rebab in specific ways. Similarly, several instrumental techniques found in gamelan Ageng originate in garap Sekaten. These include imbal Demung, kinthilan, cegatan and nduduk tunggal techniques for Bonang, and salahan patterns for Kendhang. In short, an understanding of Garap Sekaten is one way of acquiring performance skills in individual instruments and gaining methods for interpreting certain gendhing. Key words: Garap Sekaten, Musical Interaction, Musical Communication AbstrakTradisi atau kaidah-kaidah dalam praktik musikal gamelan sekaten lazim disebut garap sekaten. Berdasarkan fakta-fakta dan realitas praktik, secara komprehensif dapat dikatakan bahwa garap sekaten terdapat interaksi dan komunikasi musikal. Hal tersebut tercermin dalam kalimat lagu dan gramatikal permainan antar ricikan tertentu. Cirikhas, keunikan, dan kompleksitas garap sekaten juga berkembang di gamelan ageng. Seperti, gending-gending bonang yang menonjolkan instrumen bersuara nyaring, disertai garap sesegan/ sabetan. Garap sabetan yang melekat pada penyajian gending bonang, selanjutnya dikembangkan pada gending-gending rebab dengan ketentuan dan ciri-ciri tertentu. Juga teknik-teknik permainan ricikan, seperti imbal demung, kinthilan, teknik cegatan-nduduk tunggal pada bonangan, hingga pola salahan kendang. Singkatnya, garap sekaten dapat dipahami sebagai suatu tata cara yang memiliki karakteristik dalam menyajikan ricikan maupun mengintepretasi gending tertentu.Kata Kunci: garap sekaten, interaksi, komunikasi musikal
GENDING POTHOK DALAM KARAWITAN GAYA SURAKARTA Bambang Sosodoro; Faralin Sulfianastiwi
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 17, No 1 (2017)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (499.435 KB) | DOI: 10.33153/keteg.v17i1.2383

Abstract

AbstractThe aim of this study is to gain an understanding of gending pothok in Surakarta style karawitan. The research data was gathered through a library study, transcription of data, and interviews, relying on data obtained from the empirical knowledge of karawitan maestros. A qualitative method is used with emphasis on an analytical descriptive and interpretative approach. The problem of garap (interpretation) in gending pothok is addressed using a musicological approach and the theory of garap. The results of the study show that: (1) the term pothok in Surakarta style karawitan refers to traditional Surakarta style gending with a single balungan (skeleton melody) that is used in all forms and irama, without – or different from – the concept of widening gatra such as in Ladrang Pangkur; (2) the form of gending Pothok is merong becoming inggah, inggah becoming ladrang, and ladrang; (3) the performance of gending Pothok always includes several different irama and is not restricted to a particular irama unless it is connected to another art; (4) the appearance of gending Pothok began with gending santiswara during the reign of PB IV, subsequently developing into gending klenengan, pakeliran, and dance. It is hoped that the results of this research will contribute new ideas to the world of karawitan and be used as a reference for future studies.  Keywords: garap, gending, pothok. AbstrakStudi ini dilakukan untuk mendapatkan gambaran mengenai gending–gending pothok dalam karawitan gaya Surakarta. Penelitian ini menggunakan pengumpulan data melalui studi pustaka, transkripsi data, serta wawancara dengan mengandalkan data yang diperoleh dari pengetahuan empirik empu–empu karawitan. Metode yang digunakan adalah metode kualitatif yang menekankan pada deskriptif analitik dan interpretatif. Sementara  permasalahan garap gending–gending pothok dikupas dengan menggunakan pendekatan musikologi yaitu teori garap. Hasil dari studi ini menunjukkan, bahwa (1) istilah Pothok di dalam karawitan Gaya Surakarta adalah sebuah istilah untuk menyebutkan atau menunjukkan gending tradisi karawitan Gaya Surakarta yang mempunyai satu rangkaian balungan saja, dimana balungan tersebut digunakan dalam semua bentuk dan irama, akan tetapi tanpa dan atau berbeda dengan konsep pelebaran gatra seperti yang ada pada Ladrang Pangkur. (2) Bentuk dari gending–gending Pothok yaitu merong menjadi inggah, inggah menjadi ladrang dan ladrang. (3) Pada sajiannya gending–gending Pothok selalu terdiri dari beberapa irama, dan tidak hanya dengan satu irama saja kecuali yang berhubungan dengan keperluan seni lain. (4.) Kemunculan gending Pothok berawal dari gending santiswara pada masa PB IV, yang kemudian berkembang menjadi gending klenengan, pakeliran, dan tari. Hasil dari penelitian ini diharapkan dapat memberikan sumbangan pemikiran dalam dunia karawitan dan dapat dijadikan sebagai acuan maupun referensi bagi penelitian selanjutnya. Kata Kunci: garap, gending, pothok.
KLASIFIKASI KARAKTER REBABAN GAYA SURAKARTA Bambang Sosodoro
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 14, No 1 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (439.762 KB) | DOI: 10.33153/keteg.v14i1.661

Abstract

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 artist’s soul, through the game hands and fingers.Keywords: classification, musichal character, rebaban
MUNGGUH DALAM GARAP KARAWITAN GAYA SURAKARTA: SUBJEKTIFITAS PENGRAWIT DALAM MENGINTERPRETASI SEBUAH TEKS MUSIKAL Bambang Sosodoro
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 15, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1287.948 KB) | DOI: 10.33153/keteg.v15i1.2025

Abstract

Pada hakikatnya, tulisan ini mengkaji sebuah konsep yang terkandung dalam garap karawitan gaya Surakarta, yakni mungguh. Secara prinsip, masyarakat karawitan Jawa memaknai mungguh sebagai persoalan yang menyangkut tentang etika-estetika, nilai-nilai keindahan, dan keidealan pengrawitdalam menyikapi ricikannya. Mulai dari sikap duduk menabuh, teknik memainkan atau menyuarakan instrumen, hingga ke persoalan musikal, yakni garap gendhing atau instrumen. Mungguh adalah bahasa Jawa yang berarti: patut atau pantes, manggon, trep, gathuk, dan penak (pantas, sesuai pada tempatnya, pas, cocok, dan enak). Studi ini mengkaji secara tekstual, yaitu menempatkan karawitan Jawa sebagai sebuah teks (musikal), artinya sesuatu yang perlu dibaca dan ditafsir. Adapun fokusnya adalah menyoroti perkembangan mungguh pada garap, berikut pandangan-pandangan oleh para pengrawit khususnya di Surakarta. Kelenturan jenis musik ini menawarkan sejumlah alternatif garap, maka tidak mengherankan jika muncul banyak perbedaan pandangan, keyakinan, dan selera di antara para pengrawit. Dalam menggarap gendhing “klasik”, sebagian besar pengrawit selalu mempertimbangkan konsep-konsep estetika Jawa, salah satunya ialah mungguh. Mungguh sesungguhnya adalah persoalan kebiasaan, kelaziman garap yang telah mapan, disepakati secara kolektif oleh masyarakat karawitanJawa. Bahkan, sifatnya sangat subyektif dan terikat oleh ruang dan waktu. Untuk mengungkap dan mengkaji konsep mungguh, diperlukan konsep garap. Konsep tersebut dipandang cukup relevan, karena pada hakikatnya mungguh adalah konsep estetika yang selalu melekat dan terkandung dalam konsepgarap itu sendiri. Dalam penerapannya, konsep garap tersebut dielaborasi sesuai dengan tujuan dan kebutuhan penelitian ini, sehingga terwujud sebuah model baru.Kata Kunci: mungguh, garap, subyektifitas.
Wacana Pathetan Bambang Sosodoro
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 6, No 2 (2006)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1079.553 KB) | DOI: 10.33153/keteg.v6i2.605

Abstract

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 offavanese karawitan, in particular the rebab,from a linguistic approach, by choosing a study of discourse as one of the analytical tools. The study of musical discourse involves observing the rebaban in terms of its grammatical (internal) aspects, such as its musical patterns and techniques, and also its pragmatic (external) aspects, namely the musical role ofrebaban 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 that rebab also has musical discourse.Keywords:    Rebaban, Pathetan, Analitical Tools, Discourse
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

Abstract

Pendidikan karakter untuk anak-anak dan atau remaja adalah hal yang sangat penting. Sebagai generasi penerus bangsa diharapkan untuk meneruskan cita-cita luhur mereka sebagai bangsa yang bermartabat 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, dikarenakan para musisi mempunyai ajaran atau nilai-nilai yang positif dan sangat berguna untuk pembentukan karakter dan kepribadian anak. Misalnya, seperti yang dinyatakan dalam teks atau lirik lagu. Pada kesempatan ini, melalui kegiatan pelayanan masyarakat di tingkat sekolah menengah (SMA) Negeri 1 Surakarta, diharapkan 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 daya manusia, dan infrastruktur yang sangat memadahi, pendidikan karakter dan keterampilan bermain alat musik tradisional dapat disalurkan melalui pelatihan musik dalam kegiatan ekstrakurikuler.Kata kunci: pendidikan karakter, keterampilan musik, gamelan Jawa.
ALIH LARAS DALAM GARAP GÊNDER GENDING KÊNCÊNG LARAS PÉLOG PATHÊT NEM Lia Tri Lestari; Bambang Sosodoro Rawan Jayantoro
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 22, No 1 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i1.4096

Abstract

This study aimed to review, analyze, and describe working on Gendèran gending Kenceng. The song is one of the Surakarta style gendèr repertoire whose source is the laras Slendro pathet Sanga, and the tuning is converted to the laras Pelog pathet Nem. Two problems in this study, namely (1) How to change the laras of Kenceng gending, which was initially a laras slendro pathêt sanga to a laras pélog pathêt nem. (2) why the gending Kenceng is interesting to be converted into a laras pélog pathêt nem. This type of art research is descriptive qualitative research. The work method starts by designing the work, determining the source and type of data, then collecting data. The data were collected by literature study, observation, and interviews. This problem is studied based on the rules in gendèran, the concept of pathet, the idea of garap, and the concept of mungguh. The study's results showed that in changing the laras of the Kenceng gending dish, there was a change in the arrangement of the balungan grooves. In a Kenceng gending, there is also a balungan arrangement that has the potential to be worked on by applying another céngkok gawan gending to be used to Kenceng gending but still in the rules of Surakarta-style karawitan.
LARAWUDHU : SAJIAN MRABOT DAN KAJIAN GARAP GENDER Tofiq Hidayah; Bambang Sosodoro Rawan Jayantoro
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 23, No 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v23i1.4794

Abstract

 This research is expected to be a vokabuler of mrabot garap with specific studies of gending dynamics and popularization of Larawudhu gendhing using kendang inggah garap. Larawudhu itself is generally served using the inggah-inggahan, namely ladrang Clunthang. In this study, it will be explained about the series of gendings selected to achieve the desired gending dynamics. The concepts used include; the concept of garap by Rahayu Supanggah, the concept of mandheg by Ananto Sabdo Aji, the concept of mungguh by Bambang Sosodoro, and the concept of wiledan gender kembang tiba & ukel pancaran by Sumarsam. The method used is qualitative by means of book literature studies or related research, direct and indirect observations are also carried out to expand the author's knowledge in reviewing this research, as well as interviews with karawitan experts as input or advice for the author in conducting research. The results of this analysis offer or novelty of the work include; Larawudhu is presented using inggah kendang without changing the essence of gending Larawudhu itself, vokabuler offers mrabot with a series of gending – gending that are not similar, garap ciblon irama wiled and rangkep as an alternative garap in the form of inggah, as well as doing garap andhegan with consideration as a reinforcement of prenes elements in the garap of ciblon irama rangkep.  
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 | Full PDF (2664.578 KB) | DOI: 10.33153/acy.v1i2.41

Abstract

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 compésers 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. Key words: barang miring, musiccreation, gamelan sekaten,
Co-Authors Faralin Sulfianastiwi Lia Tri Lestari Tofiq Hidayah