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All Journal Panggung Gelar : Jurnal Seni Budaya PARAGUNA : Jurnal Ilmiah Pengetahuan, Pemikiran dan Kajian Tentang Seni Karawitan
Rina Dewi Anggana
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GAYA SÉNGGOL CUCU S. SETIAWATI DALAM PENYAJIAN SEKAR KAPASINDÉNAN Rina Dewi Anggana; S. Santosa
Gelar : Jurnal Seni Budaya Vol 13, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (766.502 KB) | DOI: 10.33153/glr.v13i1.1545

Abstract

The style senggol of a pasinden can be shown through a special song performance as a form of creativitythrough the development of the main melody or basic melody that is standard or not standard with a certainreureueus (ornamentation) technique supported by musical reference and self-potency. The journal is arrangedby using qualitative research method and musical approach that is more comparative in order to compare thesenggol of Cucu S. Setiawati with the senggol of Yoyoh S. Asih and Neni Hayati in the presentation of sekarkepasindenan entitled Kastawa, especially analyze about the form and the style of Cucu S. Setiawati’stypical senggol. By transcription and study of melody plot belongs to the song Kastawa presented by thethree pasinden, it can be concluded that the form of senggol Cucu S. Setiawati is different from the otherpasinden compared. The characteristic of Cucu S. Setiawati can be seen from the development of melodyand the use of reureueus technique based on her self-potency. She tends to confine herself in the presentationand it can be found in the using of the less and simple tone values and legato. The laras (barrel) used byCucu S. Setiawati is more various, laras rotation tends to be done at the end of song especially at matra 3-4 or at the last bait of song. Her typical Senggol also can be seen through the using of certain melodies whenshe faces nada kenongan and goongan, when nada is wider and its reach is higher. From the side of vocaltechnique, she uses masiep sora technique which is not used by the pasinden compared.Keywords: style, sénggol, sekar kapasindénan, Kastawa, Cucu S. Setiawati
KOMPARASI SÉNGGOL SEKAR KAPASINDÉNAN CUCU S. SETIAWATI, YOYOH SETIA ASIH, DAN NENI HAYATI Rina Dewi Anggana
Paraguna Vol 9, No 1 (2022): TAFSIR-TAFSIR KARAWITAN
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v9i1.2295

Abstract

This paper reveals one of the phenomena that exist in the sekar kapasindénan, related to the characteristics of the freedom of the pasindén (singer) in interpreting a song. This freedom causes a variety of interpretations from one singer to another when presenting the same song. To see the diversity, this article was compiled by comparing the sénggol of Cucu S. Setiawati, Yoyoh Setia Asih, and Neni Hayati in presenting the sekar kapasindénan from type of lagu jadi entitled Tablo and type of lagu jalan entitled Sinyur, through qualitative research methods and musical approach. Through the stage of transcribing the form of sénggol as well as analyzing aspects of melody, vocal technique, and the potential for better sound ambitus of each singer in presenting these songs, then it can be said that the three singers seem to be developing, but the main melodic flow in the lagu jadi as well as the standard kenongan and goongan tones in this type of song still feels the same, so it doesn't change the identity of the song. In the presentation of the two types of songs, Cucu S. Setiawati looks consistent in starting the melody of the song on the first beat of the second bar, different from the two comparisons pasindén who tend to start singing the melody early, namely entering the first bar region, this affects the rhythm space used will be narrower, so that the number of notes, note values, and legato values used is not more than the comparison, however, it turns out that the legato and barrel values that she used are more varied. In addition, when facing the tone of kenongan and goongan she wears a certain sénggol which is different and distinctive. In terms of vocal technique, there are several masieup sora techniques that are equally used by those three singers, but there are also some techniques that are only used by one of the three, and based on observations, it was Yoyoh Setiaasih who used reureues the most. Then it can be concluded that it turns out that the voice of the ambitus of Neni Hayati is not wider than that of Yoyoh Setia Asih and Grandson S. Setiawati.
Permainan Anak sebagai Sarana Pengembangan Karakter dalam Budaya Sunda ai siti zenab; Annisa Arum Mayang; Rina Dewi Anggana
PANGGUNG Vol 33, No 2 (2023): Ideologi, Identitas, dan Kontekstualitas Seni Budaya Media
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v33i2.2598

Abstract

Penelitian ini bertujuan untuk mengukur pengetahuan dan keterkaitan literasi budaya dengan pengembangan karakter atau nilai sikap yang dimiliki seorang anak. Media literasi budaya yang digunakan adalah permainan tradisional. Adapun permainan tradisional yang diajarkan pada anak dalam penelitian ini adalah maen kaleci , salam sabrang, endog-endogan, boy-boyan, luncat tinggi, congklak, dan ucing sendal. Metode penelitian yang digunakan dalam penelitian ini adalah kuantitatif dengan pengukuran sikap melalui skala likert. Penelitian ini dilakukan di SDN Cibadak 03, Kecamatan Baleendah, Kabupaten Bandung. Subjek penelitian adalah siswa kelas 5 sebanyak 44 anak. Hasil yang diperoleh dari penelitian ini adalah: 1) terdapat hubungan antara pengetahuan literasi budaya khususnya yang terkait permainan tradisional dengan pengembangan nilai sikap dan karakter anak.; 2) nilai sikap dan karakter yang diperoleh anak dari literasi budaya dengan media permainan tradisional adalah jujur, tanggung jawab, gigih, toleransi, kerjasama, percaya diri, kreatif, dan disiplin. Simpulan dari penelitian ini adalah literasi budaya yang terkait dengan permainan tradisional bisa dijadikan salah satu alternatif dalam pengembangan nilai sikap dan karakter anak. Kata kunci: literasi budaya, permainan tradisional, karakter
Co-Authors Ai Siti Zenab Annisa Arum Mayang S. Santosa