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gempur sentosa
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Program Studi Seni Karawitan - Fakultas Seni Pertunjukan Institut Seni Budaya Indonesia (ISBI) Bandung Jl. Buah Batu No. 212 Bandung 40265, Telp. (022)-7314982, 7315435; Fax. (022) – 7303021
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INDONESIA
PARAGUNA : Jurnal Ilmiah Pengetahuan, Pemikiran dan Kajian Tentang Seni Karawitan
Published by Institut Seni Budaya Indonesia Bandung
ISSN : 24076716     EISSN : 28284240     DOI : 10.26742/para
Core Subject : Humanities, Education, Art, Social,
Arts Humanities Education Environmental Science Social Sciences Other
Jurnal Paraguna merupakan jurnal di lingkungan Jurusan Karawitan, Fakultas Seni Pertunjukan ISBI Bandung, yang mengedepankan pelestarian, pengelolaan dan pengembangan potensi seni, serta budaya dan kearifan lokal nusantara yang berdaya saing dalam percaturan global. Karawitan secara khusus dapat diartikan sebagai seni musik tradisional yang terdapat di seluruh wilayah etnik Indonesia. Khususnya di Pulau Jawa, Madura dan Bali. Dalam hal ini, jurusan karawitan ISBI Bandung menjadikan kebudayan Sunda sebagai kekhususan etnis yang dimaksud.
Arjuna Subject : Seni dan Humaniora - Musik
Articles 150 Documents
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PUSEUR LARAS:KONSTRUKSI TRITANGTU PUCUK DAN PUREUT REBAB SUNDA Karmila, Euis S.Kar.; yanti
Paraguna Vol 11 No 2 (2024): TAFSIR BUNYI
Publisher : LP2M ISBI Bandung

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Abstract

Puseur Laras' work takes the concept from the perspective of Sundanese mythology, namely the triple pattern on paradoxical aesthetics. The idea of Puseur Laras's multi-interpretation work can be interpreted from various aspects or points of view. Puseur Laras' work is inspired by the three main functions of rebab, namely merean, marengan, and muntutan. Rebab as Tritangtu in the pattern of rationality of Sundanese society is determination, speech, and lampah. In addition, the shoot motif adopts three forms of symbols, including trident, kujang, corn. In addition, the pureut that still adopts the trident shape and the curves of both sides adopts from the shape of the kacapi indung waditra. The creation of the form of Rebab and pureut Rebab Sunda is still related to the domain values that exist in Sundanese society. Keywords: Construction, Philosophy, Trident, Kujang, Corn Plants, Puseur Laras
ANALISIS NILAI MORAL DALAM LAGU "SI NONA" DALAM PERSPEKTIF MASYARAKAT MINANGKABAU dwisepta, dimas; Bondan Aji Manggala, S.Sn., M.Sn.
Paraguna Vol 11 No 2 (2024): TAFSIR BUNYI
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Abstract

This research aims to reveal the moral values ​​in the song "Si Nona" which originates from West Sumatra. This song was created by Sjamsu Arifin and popularized by Elly Kasim, describing advice to Minangkabau women to maintain their own and family honor. The research method used is qualitative with semiotic analysis based on Roland Barthes' theory, focusing on the concepts of denotation and connotation. The research results show that denotatively, the lyrics of the song "Si Nona" prohibit young women from leaving the house without a purpose (malala) and don't go to a man's house. Connotatively, this song reflects Minangkabau social norms and customs which expect women to maintain modesty and be societal role models. The song "Si Nona" functions as a moral education tool that reminds women of the importance of protecting themselves and the dignity of their family, as well as teaching traditional values ​​that must be upheld in everyday life.
Implementasi Teknik Bracing pada Organologi Kacapi indung Karya Endo Suanda Oktaviani andriyanti, Sania Putri; pepep; saleh, sukmawati
Paraguna Vol 11 No 1 (2024): INTERKULTURAL - INTERTEKSTUAL
Publisher : LP2M ISBI Bandung

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Abstract

Kacapi indung is one of the traditional musical instruments from Cianjur, West Java, known as an important part of the art of Tembang Sunda Cianjuran. Based on its organology, Tembang Sunda Cianjuran is made of Kenanga wood. The object of this research is an analysis of organology with a focus on the implementation of bracing techniques on Kacapi indung performed by Endo Suanda. The method used is descriptive qualitative with an organological approach. Data collection was carried out by means of observation, interviews and documentation. The result of this research is that the bracing technique implemented in Kacapi indung is based on changes in raw materials which were originally made from wood and then replaced by bamboo. Bamboo has a different thickness from wood, requiring Kacapi indung to add bracing so that Kacapi indung can be sturdier and stronger.
Abstrak Ekspresionisme Dalam Translasi Tradisi Makan Bajamba Melalui Karya Musik Gestural Basantok Triyuma, Rindha Putri
Paraguna Vol 11 No 1 (2024): INTERKULTURAL - INTERTEKSTUAL
Publisher : LP2M ISBI Bandung

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Abstract

This article explores the creative process behind the music work BASANTOK, inspired by the Makan Bajamba tradition of the Minangkabau community, and analyzes its connection with the principles of Abstract Expressionism. The creation process involves stages from analyzing the ritual, conceptualizing, and composing to evaluating and revising, with the goal of transforming and revitalizing cultural traditions through gestural music. Abstract Expressionism, with its emphasis on spontaneity and freedom in musical expression, creates an experience that allows listeners to engage emotionally and mentally with revitalized cultural values. This article demonstrates how music can serve as a medium for preserving and transforming cultural traditions while integrating Abstract Expressionist concepts to offer new perspectives in musical art
Relasi Ibing dan Tepak Kendang: Studi Kasus Pada Perbedaan Musikal Tiga Paguron Pencak Silat Panglipur, Gajah Putih, dan Budhi Kancana oktriyadi, riky; sentosa, gempur
Paraguna Vol 11 No 1 (2024): INTERKULTURAL - INTERTEKSTUAL
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Abstract

The research titled “Relation between Ibing and Tepak Kendang: A Case Study on the Musical Differences of Three Silat Pagurons; Panglipur, Gajah Putih, and Budhi Kancana” is an interactive study of tepak kendang playing patterns. (textual-contextual) study of tepak kendang playing patterns. The textual study focuses on the musicality of the tepak kendang. musicality, while contextual is focused on the relationship between tepak kendang and ibing penca in each paguron. The data used in this This research consists of qualitative and quantitative data. Qualitative data in the form of musical and ibing relationships based on the emic point of view of the performers in the 3 (three) paguron that became the art in 3 (three) paguron which became the subject of research. Meanwhile, the data quantitative data is in the form of notations of drumming in the structure of silat performances in three different pagurons. 3 (three) different paguron. From the quantitative data in the form of notation, then from the quantitative data in the form of notation, a comparison was made of the drumming patterns in Paguron Panglipur, Gajah Putih, and Budi Kancana. The urgency of this research to see the ibing relationship in each paguron with musical consequences built in order to fulfill the aesthetic needs of ibing penca which is directly related to the aesthetics of tepak kendang. with the aesthetics of tepak kendang. With this research, the correlative relationship between musicality and ibing can be mapped. musicality and ibing, so that it can be The importance of maintaining the values in ibing penca cannot be separated from the musicality in tepak kendang
Jenis dan Aplikasi Suling Sunda dalam Karawitan Hidayatulloh, Fajar; Sukmawati
Paraguna Vol 11 No 1 (2024): INTERKULTURAL - INTERTEKSTUAL
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Abstract

The flute is an important instrument in Sundanese music played by blowing, made from various types of bamboo such as Tamiang, Irateun and Bunar bamboo. This instrument is used in various Sundanese arts such as Sundanese song cianjuran, kawih wanda anyar, and classical degung. The development of suling organology, including the addition of tone holes, has provided musical flexibility and variety but also increased the complexity of playing. The method used in this research is qualitative with an ethnographic approach. The focus of this research is the creative process of practicing Sundanese flute artists in using these types of flutes in various Sundanese musical performances. Data collection was conducted using observation, in-depth interviews, literature study and documentation. The results of the study include a description of the types of Sundanese flutes and the application of Sundanese flutes in various Sundanese art performances as well as the creative process of flute artists in utilizing organological innovations in Sundanese flutes.
Garap Sekar Caturan: Embrio Drama Swara dan Gending Karesmén Karya Mang Koko windyagiri, sony; Sukmawati Saleh
Paraguna Vol 11 No 1 (2024): INTERKULTURAL - INTERTEKSTUAL
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Abstract

Mang Koko has contributed various kawih wanda anyar patterns, such as kawih anggana sekar, kawih sekar caturan, kawih rampak sekar and others. From these various patterns, it turns out that there is a connection between one type of kawih and another, which implies that the first kawih pattern is the embryo of the second pattern and so on. This connection can be seen in the work of kawih sekar caturan which became the embryo of the drama swara and gending karesmén. The method I used is a qualitative research method (J. Moleong, 1990), that intends to understand the facts behind reality through direct observation or on-field review, while for the theory I refer to the theory garap by Rahayu Supanggah. The working process on the creation of the sekar caturan song carried out by Mang Koko is one of the steps in creating his larger works, namely drama swara and gending karesmén. The three types of Mang Koko's works have one thing in common, dramatical music, where the karawitan elements (sekar and gending) must be a medium for aesthetic expression that strengthens the dramatic elements. In his work, he goes through every process by learning, trying and repeating. The creative process that he has gone through has made Mang Koko a great artist
Landasan Panjang dalam Kesenian Rabano Canduang iskandar, joni
Paraguna Vol 11 No 1 (2024): INTERKULTURAL - INTERTEKSTUAL
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Abstract

Rabano adalah jenis kesenian tradisional yang berasal dari Sumatera Barat, khususnya dalam budaya Minangkabau. Kesenian ini melibatkan pertunjukan tari dan musik, seringkali dengan tema yang mencerminkan kehidupan sehari-hari, adat, dan nilai-nilai masyarakat. Kesenian Rabano Canduang merupakan salah satu bentuk seni tradisional yang berkembang di nagari Canduang jorong gantiang koto tuo kabupaten agam Sumatera Barat. Sebagai bagian dari warisan budaya Minangkabau, Rabano Canduang menggabungkan elemen musik, menciptakan pengalaman yang unik dan mendalam bagi penonton. Kesenian ini biasanya dipentaskan dalam berbagai acara adat dan perayaan, dengan penekanan pada nilai-nilai kebersamaan, keindahan, dan kearifan lokal. Penelitian ini bertujuan untuk mengeksplorasi aspek-aspek estetika, makna simbolik dan peran sosial dari rabano canduang
Seni musik Analisis Metric Modulation dalam Lagu Mister Karya Anika Nilles: Indonesia Ardiningsih, Dini
Paraguna Vol 11 No 2 (2024): TAFSIR BUNYI
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Abstract

Anika Nilles’s Mister offers more than just technical drumming—it delivers a rhythmic experience that is rich, complex, and full of nuance. One of the techniques she uses to achieve this is metric modulation, a rhythmic shift that subtly alters the listener’s perception of musical time without changing the actual tempo. This study explores how metric modulation is applied in the bridge leading up to the drum solo, particularly between bars 92 and 101. Using a qualitative approach and score-based music analysis, the research focuses on how the transition from regular quarter notes to quarter-note triplets creates an illusion of acceleration that heightens musical tension. Data were collected through audiovisual observation, rhythmic transcription, and literature review on contemporary rhythmic theory. The findings suggest that metric modulation serves not only as a structural and expressive device, but also as a powerful pedagogical tool. By learning this technique, students can begin to understand rhythm not merely as a numerical pattern, but as a dynamic, lived experience—one that can be shaped, manipulated, and deeply felt. As such, “Mister” becomes not just a performance piece, but a meaningful resource for learning complex rhythm in modern music education.
Kacapi Jeletot sebagai Manifestasi Kreativitas Seniman Karawang Asep Wadi; Seftiyana, Gelar
Paraguna Vol 12 No 1 (2025): MUSIC AS PERFORMING ART
Publisher : LP2M ISBI Bandung

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Abstract

Sundanese Kacapi is a functional instrument and can be independent, because it can accompany songs, control rhythmically, as well as create a melody in the song. Sundanese Kacapi is divided into three models namely; kacapi kawih, kacapi tembang, and kacapi celempung. However, apart from these three models, there is one model that is quite eccentric because the kacapi instrument used functions as a substitute for Sundanese drums with the Jaipongan genre. The kacapi presentation model is the creativity of an artist from Karawang, Ali Gombel, who is a kacapi celempungan artist. Until now, Ali Gombel's creativity has been able to survive and become a separate color from other kacapi presentation models. But basically kacapi jeletot is a typical art of Karawang Regency, West Java, and has become one of the identities of Karawang Regency in the performing arts sector. This research refers to the existence of kacapi jeletot which is one of the identities in the performing arts sector in Karawang Regency. This research uses the Miles and Huberman qualitative method using Rahayu Supanggah's garap theory and James P Burke's identity theory. The result of this research is that it can record the history of the art of kacapi jeletot from the start of its function, position, and the period of its spread in Karawang Regency as a form of cultural wealth in the performing arts sector. In addition, this research also transfers the creativity or kacapi work produced by Ali Gombel which was passed down to Toin Paser, because it can color the repertoire of kacapi accompaniment models by producing different kacapi accompaniment patterns as usual. This research can be a reference for artists in presenting kacapi instruments, and is expected to be one of the academic foundations for art research, especially Sundanese art.

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