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PARAGUNA : Jurnal Ilmiah Pengetahuan, Pemikiran dan Kajian Tentang Seni Karawitan

paraguna
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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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KREATIVITAS PEDALANGAN WAYANG GOLEK PURWA SUNDA DI ANTARA BAYANG-BAYANG “TETEKON” Lili Suparli S.Sn., M.Sn
Paraguna Vol 6, No 1 (2019): WACANA ENTITAS KARAWITAN
Publisher : LP2M ISBI Bandung

Wayang Golek adalah salah satu jenis kesenian yang saat ini masih bertahan hidup dan menunjukkan eksistensinya di antara kesenian-kesenian lainnya. Hal itu tidak terlepas dari kreativitas para senimannya, untuk mengembangkan setiap unsur seni yang terdapat di dalamnya, seperti unsur seni rupa, unsur seni sastra, unsur seni drama, unsur seni karawitan, dan unsur seni tari. Di sisi lain, kreativitas itu sering dipandang negatif terutama oleh generasi sebelumnya, dengan alasan ‘merusak’ tatanan yang telah ada, sehingga muncul pernyataan “Leupas tina tetekon” (keluar dari ketentuan-/aturan). Hal itu menyebabkan proses kreatif para pelaku seni wayang, ter-utama para dalang terhambat, karena tidak berani mengambil risiko dijuluki “dalang leupas tina tetekon”.Persoalan kreativitas dalam hal ini adalah fenoma yang ‘paradoks’, di satu sisi kreativitas mampu mempertahankan eksistensi seni wayang, tetapi di sisi lain dipandang sebagai perusak tetekon. Melalui tulisan ini, penulis a-kan membahas kaitan antara kreativitas dan tetekon, untuk memperjelas ke-dudukan kreativitas dalam tetekon Padalangan Wayang Golek Purwa Sunda.

PENELUSURAN PERKEMBANGAN KACAPI SUNDA Asep Nugraha
Paraguna Vol 3, No 1 (2016): FENOMENOLOGI KARAWITAN II
Publisher : LP2M ISBI Bandung

In the Sundanese society the existence of kacapi has passed through a long period of time and space. This instrument is able to adapt to the social and cultural dynamics ofthe Sundanese society. The instrument has also been well documented by both local and foreign researchers. On one hand, some kacap i are extict because they have been left by their main supporters. On the other hand, some of them are remains, change inshape, and even integrating with other types of art that emerged at thatcertain time. This phenomenon is interesting because it shows theemergence of the various shapes of chordophone (kacapi) in the Snda region. This paper describes the assorted shapes of kacapi by tracing the literatures about kacapi from old times to today.

ASEP SUNANDAR SUNARYA: MENJADI DALANG WAYANG GOLEK YANG POPULER Masyuning S.Sn., M.Sn.
Paraguna Vol 4, No 1 (2017): TOKOH, HUKUM, DAN PENDIDIKAN KARAWITAN
Publisher : LP2M ISBI Bandung

Not many people knew As~p Sunandar's journey whom became famous puppeteer in West Java. The topic about As~p Sunandar led me to research and write this paper. I began formulating the topic as sinden at As~p Sunandar's theater troupe. I know that I was doing ethnomusicology or fieldwork: by getting to know As~p Sunandar who make the new style of wayanggol~k performances, studying and performing the music itself, and talking to whoever had the patience to listen to me. The conclusion ofpaperwasAs~p Sunandarfocused on the innovative nature of the wayang gol~k performance.

WAYANG KULIT SEBUAH TEATER BONEKA BALI I Made Sudana
Paraguna Vol 5, No 2 (2018): ENTITAS WAYANG DAN GAMELAN
Publisher : LP2M ISBI Bandung

Wayang kulit Bali are one of the Balinese puppet art forms that still survive today. This art has undergone innovation according to the times. Among the striking forms of innovation in the field of music accompaniment, which originally used 4 pieces of gender wayang or gamelan bebatelan, but now accompanied by gamelan semar pagulingan or gamelan balaganjur which is a middle class bali music ensemble. Besides that, presenting vocal is the dalang, but now it has been added to the accompaniment of gerongan, namely the choir of a group of female singers and wra suara.

TUTUNGKUSAN SISTEM PENGETAHUAN EKOLOGI, DALAM MUSIK SUNDA: Revitalisasi Pengetahuan Ekologi pada Tarawangsa Berbasis UU Pemajuan Kebudayaan Fauzi, Yudi Nurman
Paraguna Vol 8, No 1 (2021): BUNYI DAN EKOLOGI I
Publisher : LP2M ISBI Bandung

Cultural inheritance in Sundanese society and the archipelago in general is often done through non-written media. Some of the noble values of the old society were passed down to the next generation through symbols, including through literary language, songs, and even through offerings. No exception in the inheritance of knowledge systems about ecology, including the lifestyle of Sundanese people with their environment which tends to have an agrarian lifestyle, old values are inherited by performing arts media, one of which is through tarawangsa, in which there is a ritual procession that displays a variety of symbols that have different meanings. Mark. In some cases, the existence of surviving art is not in line with the values that exist in it, so that revitalization efforts are needed, not in the form or material of the performance, but on the values inherited by the predecessors. In the local language, the inheritance of these values is known as "tutungkusan". In line with the enactment of the Cultural Advancement Law or Law 5 2017, various local values, including oral knowledge to art, are legally protected, and even encouraged to continue to be developed. On the other hand, today's situation is related to ecology, modern society has a high enough challenge in dealing with environmental degradation. In the position of exploring or revitalizing local knowledge in traditional Sundanese music (tarawangsa), this paper aims to extract knowledge values related to ecology that exist in the art of tarawangsa which in the view of the Law on the Advancement of Culture, is important to be actualized again.

PENELUSURAN LIRIK ISLAMI LAGU KAWIH SUNDA 'KUDU KASAHA' KARYA WINARYA ARTADINATA Asep Solihin
Paraguna Vol 2, No 1 (2015): FENOMENOLOGI KARAWITAN
Publisher : LP2M ISBI Bandung

'Kudu Kasaha' is the song title or rumpaka written by Winarya Artadinata. The theme of the lyrics conveys a mindset based on religious ideology, Islam. It's the result of the resignation facing complaints, fluctuation and uncertainty offaith. If it is listened deeply, the lyrics reminds the listeners to submit the complaints and uncertainties of faith in God Almighty. Moreover, the choice ofwords is composed in the literary mindset. The lyric of 'Kdu Kasaha', thus, isthe morals of religion and art.

MUSIK BAMBU BANYUMAS Saryoto, S.Kar., M.Hum.
Paraguna Vol 5, No 1 (2018): KARAWITAN YANG BERPROSES
Publisher : LP2M ISBI Bandung

Bamboo music will not become a musical identity of an area, if it is not related to the inherent culture and creativity of the supporting community. Likewise the life of bamboo music in Banyumas, has recently experienced a change when compared to several decades before. Therefore, the presentation of bamboo music in Banyumas can be assumed to have work on creativity and be able to do musical dialogue with the community, so that their lives up to now still survive and compete with other types of art. To see this, a multidisciplinary approach can be used as a paradigm in observing it, including examining what and how bamboo music is in Banyumas; especially those related to the culture and creativity of the people. Bamboo music as the identity of the Banyumas community, is still living in accordance with the dynamics of the supporting community. For this reason, it is necessary to examine various factors that support this bamboo music life, especially those in the Banyumas cultural area.

FUNGSI GAMELAN DEGUNG DALAM IBADAH MINGGU DI GJKI MOTEKAR JAMBUDIPA BANDUNG BARAT Udin Wahyudin
Paraguna Vol 6, No 1 (2019): WACANA ENTITAS KARAWITAN
Publisher : LP2M ISBI Bandung

Tulisan ini membahas tentang fungsi gamelan degung dalam ibadah umat Kristen di Gereja Jemaat Kristus Indonesia (GJKI) Motekar. Di Jawa Tengah, Jawa Timur, dan Bali, penggunaan karawitan dalam konteks ibadah umat Kristen sudah biasa dilakukan. Namun, di Jawa Barat sendiri penggunaan gamelan degung dalam ibadah umat Kristen masih jarang dilakukan, kecuali di GJKI Motekar Jambudipa Bandung Barat. Fenomena ini menarik untuk dikaji sekaitan dengan bagaimana pandangan dan tanggapan mereka (Jemaat GJKI Motekar) ketika tata cara ibadahnya diiringi oleh gamelan degung.Permasalahan ini akan dikaji dengan menggunakan teori fungsi Alan P. Merriam yang terdiri atas 10 fungsi musik. Adapun metode yang digunakan adalah metode deskriptif-analisis, dengan salah satu tujuannya adalah: menjelaskan secara deskriptif bagaimana penggunaan gamelan degung dalam konteks ibadah umat Kristen, dampak kehadiran gamelan degung yang dirasakan jemaat, proses berlangsungnya ibadah dari awal sampai akhir, dan di bagian mana saja gamelan degung digunakan.Hasil penelitian ini menyimpulkan bahwa penggunaan gamelan degung dalam ibadah umat Kristen mampu membuat jemaat bersemangat dalam memuji Tuhan, membuat suasan hati menjadi riang, dan suasana ibadah yang cukup hangat. Kehadiran gamelan degung juga mampu menarik perhatian jemaat GJKI Motekar yang nonsuku Sunda. Mereka merasakan hal yang sama dengan yang dirasakan jemaat suku Sunda yaitu adanya kenyamanan dalam ibadah, rasa senang, tenang, dan agung dalam menyembah Tuhan melalui pujian yang diiringi gamelan degung.

Melacak Perkembangan Wayang Kulit Bali Sebagai Pakeliran Inovatif I Made Sudana
Paraguna Vol 7, No 1 (2020): DINAMIKA KHAZANAH KARAWITAN
Publisher : LP2M ISBI Bandung

ABSTRAKTulisan ini bermaksud untuk melacak perkembangan Wayang Kulit Bali dewasa ini. Melalui kreativitas seninya, para seniman muda Bali telah melakukaan inovasi-inovasi, terutama dalam hal teknik garap sebagai sebuah proses kreatif akibat dari penemuan baru di bidang teknologi. Penelitian yang brsifat kualitatif ini, menggunakan pendekatan multi disipin, yakni pendekan sejarah, fungsi, dan kreativitas. Wayang Kulit Bali, diperkirakan sudah ada sejak abad ke-IX. Jenisnya ada ada dua, yaitu Wayang Lemah dan Wayang Peteng. Pada dasarnya Wayang Peteng masih bisa diklasifikasikan lagi, atas lakon/cerita yang dipergunakan, bentuk wayangnya, dan gamelan pengiringnya. Fungsi Wayang Kulit Bali dapat dibedakan menjadi tiga yaitu: sebagai seni Wali, Bebali, dan Balih-balihan. Munculnya Wayang Kulit Bali dalam Pakeliran Inovatif merupakan perkembangan eksperimen yang paling mutakhir dalam Pewayangan Bali. ABSTRACTThis paper intends to trace the development of Balinese Wayang Kulit today. Through their artistic creativity, young Balinese artists have made innovations, especially in terms of working techniques as a creative process due to discoveries of technology. This qualitative research uses a multi-disciplinary approach, namely the approach of history, function, and creativity. Balinese Wayang Kulit is estimated to have existed since the IX century. There are two types, namely the Weak Puppet and the Peteng Puppet. Wayang Peteng can still be classified again, based on the play/story used, the form of the puppet, and the accompanying gamelan. The function of Balinese Wayang Kulit can be divided into three, namely: as Wali, Bebali, and Balih-balihan art. The emergence of Balinese Wayang Kulit in Innovative Pakeliran is the most recent experimental development in Balinese Puppetry.

MASS-CULTURE: DALAM DIALEKTIKA DENGAN MUSIK KITA Cecep Kusnendi
Paraguna Vol 4, No 1 (2017): TOKOH, HUKUM, DAN PENDIDIKAN KARAWITAN
Publisher : LP2M ISBI Bandung

The development of music in Indonesia today are quite encouraging quantity, but the quality is very doubtful. The phenomenon is predicted as a result of the spread of mass-culture which have an impact on the proliferation of kitsch in our music.In our music kitsch showed in repetitive forms, sensational, sensual, sentimentality, vulgar, glamour, eroticism, sex, etc. These forms mainly seen in the lyrics, singer's body movements, stage costumes, and so many repetitions songs sold in the market. The conditions in the realms of our music, is motivated by a variety problems such as economics which resulted the artist (composers) should follow the mass-culture tasted. The other sad phenomenon also seen in the lack of infrastructure for the art trainings, also in adequate number of music critics. Now, the growth and development of the diatonic and pentatonic's music in our country, showed "kitsch" or product of the mass-culture.

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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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Jawa barat

INDONESIA

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Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name gempur sentosa

Contact Email pepep.dw@gmail.com

Phone +6281931254247

Journal Mail Official jurnal.paraguna@isbi.ac.id

Editorial Address 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

Location Kota bandung, Jawa barat INDONESIA

Abstract

Abstract

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Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Contact Name
gempur sentosa

Contact Email
pepep.dw@gmail.com

Phone
+6281931254247

Journal Mail Official
jurnal.paraguna@isbi.ac.id

Editorial Address
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

Location
Kota bandung,

Jawa barat

INDONESIA