<![CDATA[This study aims to examine the constituent elements of the angkat sèlèh technique in Surakarta-style sindhénan, positioning the sindhen as the primary subject in the process of musical interpretation and elaboration. The study views angkat sèlèh not merely as a normative vocal pattern but as a musical practice shaped by the interaction between the structure of karawitan and the sindhen’s performance experience. A qualitative approach was employed, using comparative analysis of recordings and sindhénan performances to identify angkat patterns, sèlèh duration, levels of improvisation, and their relationships with balungan, irama, and ricikan. A phenomenological approach was applied through in-depth interviews to explore the sindhen’s musical awareness, interpretive strategies, and aesthetic considerations. The findings indicate that angkat sèlèh is not formulaic but emerges from the dynamic relationship between balungan as the structural framework of the gending, irama as the temporal flow, and ricikan as a medium of musical interaction. Angkat functions to open musical space and guide expression, while sèlèh serves as a point of musical resolution that reinforces the structure and character of the performance. The novelty of this study lies in conceptualizing angkat sèlèh as an interpretive practice that enhances the flexibility of garap, musical sensitivity, and harmony between vocals and accompanying instruments in Surakarta-style sindhénan. These findings further affirm sindhénan as a dynamic, contextual, and practice-based musical process.]]>
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