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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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Bentuk Pertunjukan Dan Fungsi Kesenian Obrog-Obrog Di Desa Darmawangi Kecamatan Tomo Kabupaten Sumedang Dicky Irwan Firmansyah
Paraguna Vol 9, No 2 (2022): DISKURSUS KARAWITAN I
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v9i2.2235

Abstract

This paper discusses the form and function of obrog-obrog art in Darmawangi Village, Tomo District, Sumedang Regency which is a typical art of the month of Ramadan. In practice, this art is highly anticipated by the community, because it plays an important role in the local community in deepening sahur and also other functions of entertainment, communication, movement response and cultural sustainability. The method used in this paper is a descriptive method with a paradigm approach based on the theory of performing arts by Hermin Kusmayanti, namely there are three phases of performing arts, namely form, meaning and function. In addition to the theory of performing arts, the theory of the function of music by Alan P. Merriam from his book entitled The Anthropology of Music is also used as a theoretical approach. The results of this study analyze the form of performance in the form of the structure and pattern of percussion of musical instruments and the function of obrog-obrog arts as a medium of entertainment, as communication, as a response to movement, and as cultural sustainability.
R.H Tjetjep Supriadi Dalang Kondang dari Karawang Asep Wadi; Arthur Supardan Nalan; Suhendi Afryanto
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.v9i1.2099

Abstract

Identitas R.H Tjetjep Supriadi dalam dunia padalangan sangatlah jelas adanya pada tahun 1975 sampai 1990an, dengan membawa nama group Nya yakni Panca Komara, dan diperkuat juga oleh istrinya yaitu H Idjah Hadidjah yakni juara Sinden Jawa Barat tahun 1980. R.H Tjetjep Supriadi adalah sosok yang benar-benar tekun dalam membuat naskah kakawen atau nyandra dan cerita-cerita wayang, hal tersebut ditunjang dari background kebiasaannya yakni seorang guru dan melek akan ilmu pengetahuan yang terus update. Puncaknya karir R.H Tjetjep Supriadi yakni pada rilis nya lakon Nurkala Kalidasa yang mengusung tema kemanusiaan, lakon tersebut sangat di gandrungi para penggemar Wayang Golek pada saat itu, karena rata-rata orang mengenal R.H Tjetjep Supriadi karena Haleuang-nya. Teori yang digunakan oleh penulis yakni Teori Identitas dari James P Burke dengan menggunakan Metode Sejarah, adapun Teori Penguat yakni Teori Agen Perubahan/Agent Of Change. Karena peran R.H Tjetjep Supriadi dalam dunia padalangan sangatlah besar, dari mulai karya-karyanya yang mampu membuat ideologis dalam pakeliran pada tahun 1975 sampai 1990. Pada tahun 2010 R.H Tjetjep Supriadi telah merancang program untuk dunia Padalangan sampai pada tahun 2030, hal tersebut bisa dibuktikan pada tulisan proposal nya yang berjudul pengembangan ilmu padalangan nasional dari tahun 2010 sampai 2030.Kata Kunci : R.H Tjetjep Supriadi, Panca Komara, Identitas.
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.
Kanca Panglima dan Budaya Digital: Pengaruh Perubahan Wayang Catur Auditif Menjadi Wayang Catur Audio Visual Reina Y. Puspita Ningsih
Paraguna Vol 9, No 2 (2022): DISKURSUS KARAWITAN I
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v9i2.2297

Abstract

Artikel ini membahas mengenai pengaruh budaya digital yang berdampak pada perubahan kesenian, Kanca Panglima grup dalam inovasi wayang catur menjadi objek dalam artikel ini. Bentuk penelitian ini adalah deskriptif kualitatis dengan teknik pengumpulan data yang digunakan adalah observasi, wawancara, serta studi literatur. Teori perubahan bentuk seni menjadi teori yang digunakan dalam membedah permasalahan artikel ini. Hasilnya menunjukan bahwa perubahan budaya menjadi pengaruh dalam perubahan bentuk sajian ‘wayang catur’ serta keberlangsungan seni bergantung kepada senimannya. Kreativitas yang dilakukan Kanca merekonstruksi seni wayang catur menjadi sebuah pertunujukan visual. Dengan begitu, kesenian wayang catur dapat kembali dikenal dan dinikmati oleh masyarakat, khususnya Sunda.
Makna Lirik Lagu Kurung Manuk Dalam Kesenian Gondang Buhun Kampung Adat Kuta Ciamis Lilis Nurul Fatimah
Paraguna Vol 9, No 2 (2022): DISKURSUS KARAWITAN I
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v9i2.2234

Abstract

Meaning is the intention to be discussed through a word. Likewise, every song certainly has a meaning and a message in it. This paper focuses on analyzing a song contained in the Gondang Buhun art typical of the Kuta Ciamis Traditional Village. Gondang Buhun art is an art that emerged from the creative ideas of the Kuta people in ancient times which became a necessity for entertainment when pounding rice in the lisung. With this research, it can be an information and reference for the audience regarding the contents of the songs contained in the ancient Buhun songs in the Gondang Buhun art, typical of the Kuta Ciamis Traditional Village, West Java.
Proses Pembuatan Gamelan Awi Karya Mang Dedi Kab. Sumedang Koncara, Braja Musti
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.v9i1.2153

Abstract

Gamelan Awi is a traditional musical instrument from Sundanese which is the result of an adaptation of a metal-based gamelan. Mang Dedi is one of the bamboo gamelan craftsmen with a form that adapts other Sundanese bamboo musical instruments. In this innovation, Mang Dedi managed to make a gamelan at a low price, this has the potential to preserve bronze gamelan which is rarely found and even very few people have it.
PENELUSURAN TEKNIK PENCIPTAAN LAGU ANAK MENGGUNAKAN ESTETIKA KARAWITAN SUNDA Mustikawati, Irna
Paraguna Vol 10, No 2 (2023): KEDALAMAN TEKS DAN KONTEKS
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v10i2.2949

Abstract

This research was conducted to find a way or framework for creating childrens songs using Sundanese musical aesthethics of Sundanese Karawitan contained in it are the creation of childrens songs in Sundanee Karawitan notation (Da Mi Na Ti La) with the rules contained in Sundanese karawitan such as the use of Sundanese musical notation, use of tunings, rurupan, as well as Sundanese vocal ornamentation (dongkari/senggol) that will be sung. Simply in a childrens song. This research is a forum for researches to practice directly the courses that researches have taken, namely the Sundanese notation system and song literature. This research uses a qualitative method which uses the researcher as the main instrument by obtaining data through libraries, audio, visual and audio-visual data and taking two stages of work, namely, working in the field (fieldwork), then processing it to the stage of working on a table (deskwork). This research basically aims to increase literacy regarding the creation of childrens songs using Sundanese musical aesthetics. Apart from that, this research aims to find techniques or ways to create childrens songs that use Sundanese musical aesthetics. To obtain tjis framework, the researcher conducted an analysis of childrens songs in Sundanese karawitan as well as interviews and cosultations with these figures before realizing what the researchers had obtained from these figures into a form of song notation. Children use Sundanese musical aesthetics. This research will produce a childrens song that is put into Sundanese notation with the theme that researchers have been looking for, namely Getting to know Sundanese Karawitan. More specifically, the resarcharcher created childrens songs by introducing one of the musical instruments found in sundanese karawitan, namely the Sundanese gamelan. This theme aims to increase childrens knowledge of musical instruments and the arts of Sundanese karawitan. Research investigating techniques for creating childrens songs in the pelog style and translated to Sundanese notation.
EKSISTENSI SENI ORMATAN TARAWANGSA: FUNGSI TARAWANGSA DI TENGAH EKOSISTEM MASYARAKAT BANJARAN Suryaman, Atang; Masyuning, Masyuning; Herizal, Maspon
Paraguna Vol 10, No 2 (2023): KEDALAMAN TEKS DAN KONTEKS
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v10i2.2944

Abstract

The existence of Tarawangsa Cangkungan, which is still alive and continues to grow, cannot be separated from its existence which is still functioned in many contexts, such as hajat overtime, ngaruat, and treating the sick. In the context of the ecosystem, the study in this paper takes focus and limits. The times have become one of the factors contributing to the loss of traditional culture and arts. Therefore, the continuity of an art cannot be separated from how the artists maintain and continue the tradition. The art of tarawangsa Banjaran is an example of a case where this art was once alive and well known in the community, but due to the lack of regeneration efforts and the decreasing number of artists who continue it, this art has finally experienced a period of vacuum and is now almost extinct. So far, one of the main problems has been the strict restrictions on the regeneration process of Banjaran's tarawangsa art. This policy requires prospective heirs to have blood ties to the previous presenting artist as the main requirement. This condition has become a barrier for the younger generation who are interested in learning this art.
ROMANTISISME TEMBANG SUNDA CIANJURAN R.M., Moch. Dava
Paraguna Vol 10, No 1 (2023): LOCUS TEMPUS: SENI TRADISI DALAM KONTEKS RUANG DAN WAKTU
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v10i1.2936

Abstract

Romanticism is an idea that prioritizes ideas, emotions, and feelings that are aesthetic and meaningful. Romanticism began in the 1790s and culminated in 1820s, romanticism is a complex movement that prioritizes emotions and feelings. Spontaneity movements do not rely on logic or reasonable opinions or reasons that underlie anything that has to do with romanticism. Inside Tembang sunda cianjuran, things that refer to the flow of romanticism can be easily found and even almost all of romanticism is a work that adheres to the flow of romanticism, . because in its presentation it is both in the lyrics and also in the way it feels. This Tembang sunda cianjuran prioritizes freedom of expression and also upholds feelings that are so emotional that in this case Tembang sunda cianjuran is a musical work that is Romanticism
ANALISIS GAYA MUSIKAL PADA GENDING LAGU "JALI-JALI" KARYA KOKO KOSWARA Yantiningtyas, Vita Rindri; Sentosa, Gempur
Paraguna Vol 10, No 2 (2023): KEDALAMAN TEKS DAN KONTEKS
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v10i2.2950

Abstract

"Jali-Jali" is a musical composition in the form of sekar gending (song with musical accompaniment) composed by Koko Koswara in 1970 using gamelan salendro. The main musical pattern used the Sundanese musical pattern and the gambang Kromong musical pattern. The unique musical characteristics of the combination of two different musical backgrounds are the main attraction for researchers to study 2 (two) aspects, namely musical form and style. The theory used in this research is the science of musical form by Karl-Edmund Prier SJ and the style theory from Bruno Nettl. The science of musical form is used to analyze melodic aspects (motives, sequences, phrases, and periods), and Bruno Nettl's theory of style is used to analyze Koko Koswara's musical style. The results of this research illustrate that Koko adapted several characteristics of the original "Jali-Jali" song from Betawi was combined with Sundanese music into the "Jali-Jali" song as a result of his arrangement so that the unique composition that Koko created was very different from Koko's musical works another.

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