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INDONESIA
Lakon Jurnal Pengkajian & Penciptaan Wayang
Published by Institut Seni Indonesia Surakarta
ISSN : -     EISSN : -     DOI : -
Core Subject : Education,
Education
Arjuna Subject : -
Articles 12 Documents
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Search results for , issue "Vol. 20 No. 2 (2023)" : 12 Documents clear
Penyusunan Lakon Sudarsana Labuh Sebagai Media Penyampai Nilai-nilai Kemanusiaan Widyastoto, Pranowo Aryo; Harti, Sri
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 20 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v20i2.5862

Abstract

The article with the title Penyusunan Lakon Sudarsana Labuh Sebagai Media Penyampai Nilai-Nilai Kemanusiaan (Preparation of Lakon Sudarsana Labuh As A Medium For Transmitting Human Values) is an effort to explore the human values contained in the character Sudarsana as outlined in the wayang madya performance. This research uses the pakeliran padat concept approach and the theory of sanggit lakon, the idea of Sugeng Nugroho, which is used in the creation of lakon “Sudarsana Labuh”. Sudarsana, the main character in this work, is one of the children of Parikesit who lives with Begawan Druwasa, his grandfather, in the Jatipitu hermitage. One day he wanted to serve the country but experienced various problems that arose both from within and outside himself. Sudarsana’s efforts in resolving these various problems ultimately became a ground for interpretation to explore human values, in this case selfless sacrifice. The preparation of this work went through 3 stages, namely orientation, observation and exploration. Orientation includes searching for information both verbally and in writing. Observation is an in-depth observation carried out by the writer to adjust the theme, main idea and lakon, and exploration, namely pouring everything obtained in the previous stages into a script and wayang performance. The results of the observations are (1) Sudarsana’s sincere desire to defend the Yawastina State, (2) Sudarsana’s sacrifice in protecting the state which is symbolized by saving the king from danger, (3) Sudarsana’s motivation to defend the state.
Pemasangan Mikrofon untuk Instrumen Rebab pada Gamelan Wayang Wasono, Adi
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 20 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Article with the title “ Pemasangan Mikrofon untuk Instrumen Rebab Pada Gamelan Wayang (Installation of Microphones for Rebab Instruments in Gamelan Wayang)” are various possibilities that can be applied in selecting the type of microphone and its placement on the ricikan rebab (rebab string) so that it can be used as an alternative in installing it. Installing microphones is part of the sound system work. Considerations for sound system work are usually based on room conditions, number of spectators and noise levels. Sound system devices are used to convey the sound of instruments to the musicians, to the audience, and to the performers on stage (dance, dhalang, theater). The amplification of all instruments and the human voice is the overall reference. A harmonious musical connection of course requires a quality sound system. One instrument that really needs attention is rebab. Musically, the rebab has a very important role in wayang performances, namely as a pamurba for songs. The source of the sound comes from the strings that are rubbed with a bow with an acoustic chamber in the form of wood which is made concave and covered with thin skin and a string is attached as an intermediary between the strings and the skin. The condition of this rebab organ gives it its own character. The frequency produced by the rebab sound is approximately 160 Hz and above. The microphone installation that is often used is the dynamic Shure SM57 type, and other types of microphones that have been used are the AKG C535, AKG SE-391B with condenser type. As technology develops, new microphone products are discovered that are more suited to the needs of rebab sound amplification. Explorations have been carried out so that several types and brands of microphones can be considered for use on rebab instruments.

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