Claim Missing Document
Check
Articles

Found 10 Documents
Search

Konsep "Badar" Dalam Lakon Carangan Pewayangan Tradisi Yogyakarta (he Concept of "Badar" in Yogyakarta Pupettry Tradition Branch Story) Prasetya, Hanggar Budi
Harmonia: Journal of Arts Research and Education Vol 6, No 3 (2005)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v6i3.814

Abstract

Tulisan ini bertujuan untuk (1) Memahami lakonlakon Semar dalam pewayangantradisi Yogyakarta dan keterkaitannya dengan peristiwa Baratayuda dan (2) Memahamikonsep "badar" dalam pewayangan tradisi Yogyakarta. Wayang, seperti halnya jenisfolklor yang lain memiliki logika tersendiri yang berbeda dengan logika umum. Salahsatu logika itu terlihat dari munculnya konsep"badar" dalam hampir seluruh ceritapewayangan, terutama pada lakonlakon carangan. Konsep "badar" ini berasal darimitologi Jawa, bahwa seseorang yang memiliki ilmu dapat berubah menjadi bentuklain, dan pada saatnya bisa kembali atau badar seperri aslinya. Biasanya "badar"mengakhiri sebuah pertunjukan wayang.Kata Kunci: konsep badar, lakon carangan, lakon Semar
Habitus, Ngêng, dan Estetika Bunyi Mlèsèt dan Nggandhul pada Karawitan Hanggar Budi Prasetya; Timbul Haryono; Lono L. Simatupang
Paradigma: Jurnal Kajian Budaya Vol 1, No 2 (2011)
Publisher : Fakultas Ilmu Pengetahuan Budaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (323.604 KB) | DOI: 10.17510/paradigma.v1i2.11

Abstract

The paper explains about mlèsèt and nggandhul phenomena in the Javanese Karawitan in the perspective of Piere Bourdieu’s sociology of arts. The datas were collected through interviews with pengrawit,or gamelan players, and observation of gamelan played during the performance of Yogyakarta wayang.The research shows that mlèsèt and nggandhul aresound aesthetics for the listeners and habitus of the gamelan players. Therefore, a gamelan player should possess his ngêng in order to precisely play the correct rhythm of mlèsèt and nggandhul.
Pathêt: Ruang Bunyi dalam Karawitan Gaya Yogyakarta Budi Prasetya, Hanggar
PANGGUNG Vol 22, No 1 (2012): Menggali KEkayaan Bentuk dan Makna Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v22i1.36

Abstract

This research aims to answer a question of why two Javanese gamelan pieces (gending) of differ- ent pathêt (modes) cannot be performed consecutively without grambyangan lead. The data of this research were obtained from in-depth interview and observation of karawitan (gamelan performanc- es), focusing on karawitan training process, wayang performances, and karawitan performances for pleasure or uyon-uyon. Using phenomenology method, it can be concluded that pathêt is a space of sound. Two gamelan pieces having different modes are similar to two gamelan pieces in different spaces. There is a link between spaces that can be opened by the sound of gender or grambyangan. As a space, karawitan has three spaces of sound, i.e. space of pathêt nem, space of pathêt sanga, and space of pathêt manyura. Keywords: gending, pathêt, ruang bunyi, karawitan Jawa.
Rama sebagai penjaga kehidupan dalam relief Ramayana Prambanan Hanggar Budi Prasetya; Wisma Nugraha Christianta
Jurnal Kawistara Vol 6, No 3 (2016)
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1404.049 KB) | DOI: 10.22146/kawistara.22991

Abstract

This study describes four reliefs of Ramayana Prambanan which depicts the event that Ade beenexperienced and performed by Rama as affirmation that he is the incarnation of Vishnu ―the god of thepreserver. The designer and sculptor of those reliefs considered that this event was important. Fromthe twenty-four of Ramayana’s relief panels, there are four relief panels which depict this event. Datawas collected by observing the entire Ramayana reliefs in Shiva temple and Brahma, in the Prambanancomplex. Relief was read by using the Flat Time Space (RWD) theory and compared with the textof the Old Javanese Ramayana (RJK). RJK text was used as a comparison, because the manufactureand the writings of RJK relief were made in the same period in nine centuries. It was conceivable thatboth of them were made from the same source. Based on the result, it can be concluded that the eventperformed by Rama asserts that he is the incarnation of Vishnu. As the incarnation of Vishnu, Rama isable to purify and to preserve life.
Konsep "Badar" Dalam Lakon Carangan Pewayangan Tradisi Yogyakarta (he Concept of "Badar" in Yogyakarta Pupettry Tradition Branch Story) Prasetya, Hanggar Budi
Harmonia: Journal of Arts Research and Education Vol 6, No 3 (2005)
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v6i3.814

Abstract

Tulisan ini bertujuan untuk (1) Memahami lakonlakon Semar dalam pewayangantradisi Yogyakarta dan keterkaitannya dengan peristiwa Baratayuda dan (2) Memahamikonsep "badar" dalam pewayangan tradisi Yogyakarta. Wayang, seperti halnya jenisfolklor yang lain memiliki logika tersendiri yang berbeda dengan logika umum. Salahsatu logika itu terlihat dari munculnya konsep"badar" dalam hampir seluruh ceritapewayangan, terutama pada lakonlakon carangan. Konsep "badar" ini berasal darimitologi Jawa, bahwa seseorang yang memiliki ilmu dapat berubah menjadi bentuklain, dan pada saatnya bisa kembali atau badar seperri aslinya. Biasanya "badar"mengakhiri sebuah pertunjukan wayang.Kata Kunci: konsep badar, lakon carangan, lakon Semar
Gembyang dan Kempyung dalam Karawitan Gaya Yogyakarta: Tinjauan Fisika Bunyi Hanggar Budi Prasetya
EKSPRESI Vol 6, No 1 (2006): APRIL 2006
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1745.879 KB) | DOI: 10.24821/ekp.v6i1.1685

Abstract

Gembyang dan kempyung merupakan konsep yang sangat penting dalam karawitan. Bunyi gembyang dan kempyung dalam gamelan sangat indah dirasakan. Satu gembyang, mirip dengan satu oktaf dalam musik barat. Tujuan penelitian ini untuk memahami konsep gembyang dan kempyung dari perspektif fisika bunyi. Data diperoleh dengan melakukan pengukuran frekuensi fundamental gamelan. Berdasarkan pengukuran dan perhitungan, bunyi gembyang dirasa enak karena menghasilkan pelayangan orde dua, sementara bunyi kempyung menghasikan pelayangan orde pertama. Bunyi pelayangan ini secara auditif nyaman didengarkan oleh seseorang yang terbiasa mendengarkan suara gamelan.
TUBUH, HABITUS, DAN NGENG DALANG DAN PENGRAWIT WAYANG St. Hanggar Budi Prasetya
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 5, No 2 (2008)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (988.784 KB) | DOI: 10.33153/dewaruci.v5i2.777

Abstract

Body, Habitus, and Bourdieu’s theory have long been a topic of research in sociol- ogy of art.  Pierre Bourdieu’s work is widely viewed as a fruitful approach to both theory and  research on the body as Bourdieu links agency with structure through the process of habitus.  Bourdieu’s concept of habitus illuminates the circular pro- cess whereby practices are incorporated within the body, only then to be regener- ated through the embodied  work and competence of the body.   This research explores the process embodiment on puppet master and gamelan musicians.  Ngeng is the most important concept for gamelan musician to play and appreciate gamelan music.   The disciplined and rehearsed body of  the puppet master and gamelan musician is one of the most significant resources in the conduct of gamelan music. In this paper I explore some of these issues to make sense of  embodied work or ngeng of gamelan music performance drawing on my ethnography of  the shadow puppet theatre. Key words: ngeng, habitus, mlèsèd, nggandhul.
Pathêt: Ruang Bunyi dalam Karawitan Gaya Yogyakarta Hanggar Budi Prasetya
PANGGUNG Vol 22, No 1 (2012): Menggali KEkayaan Bentuk dan Makna Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (215.151 KB) | DOI: 10.26742/panggung.v22i1.36

Abstract

This research aims to answer a question of why two Javanese gamelan pieces (gending) of differ- ent pathêt (modes) cannot be performed consecutively without grambyangan lead. The data of this research were obtained from in-depth interview and observation of karawitan (gamelan performanc- es), focusing on karawitan training process, wayang performances, and karawitan performances for pleasure or uyon-uyon. Using phenomenology method, it can be concluded that pathêt is a space of sound. Two gamelan pieces having different modes are similar to two gamelan pieces in different spaces. There is a link between spaces that can be opened by the sound of gender or grambyangan. As a space, karawitan has three spaces of sound, i.e. space of pathêt nem, space of pathêt sanga, and space of pathêt manyura. Keywords: gending, pathêt, ruang bunyi, karawitan Jawa.
Musik Karawitan untuk Lagu Dolanan Anak Siswadi Siswadi; Hanggar Budi Prasetya; Tri Wahyu Widodo
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 19, No 2 (2018): Agustus 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v19i2.3918

Abstract

Musik Karawitan merupakan permainan musik tradisi yang harus dipelihara agar seni musik karawitan terus berlangsung. Mempertahankan keberlangsungan musik karawitan dengan cara regenerasi sumber daya manusianya. Untuk menumbuhkan kegiatan musik karawitan akan baik bila dimulai dari anak-anak. Proses musik karawaitan untuk anak tentu diperlukan teknik dan kajian tertentu. Aktivitas musik karawitan untuk anak diawali dengan lagu dolanan yang mudah dan menarik bagi anak. Artikel ini hasil dari penelitian yang bertujuan untuk menguji apakah lagu-lagu dolanan anak yang diiringi oleh gamelan sudah sesuai dengan ambitus dan jiwa anak. Penelitian yang dilakukan dengan cara mengamati lima lagu dolanan yang diiringi gamelan. Analisis lagu dolanan dilakukan dengan cara membandingkan lima lagu yang memiliki ambitus anak rata-rata. Hal yang penting dalam pembahasan musik karawitan untuk anak yaitu memberikan pemahaman untuk mencari teknik yang tepat dalam olah vokal untuk karawitan anak. Berdasarkan hasil penelitian disimpulkan bahwa lagu lagu dolanan yang berkembang saat ini masih kurang tepat untuk anak.Karawitan Music for Children's Dolanan Songs. Karawitan Music is a traditional music game that must be maintained so that the art of traditional music continues. The continuity to preserve the Karawitan music should be carried out by regenerating its human resources. It is essential to growing musical activities starting with children. The process of karawitan music activities for children certainly requires specific techniques and studies. The activities may begin with easy and exciting dolanan songs for children. This article is the result of research that aims to test whether the children's songs accompanied by gamelan are following the ambitus and soul of the children or not. The study was carried out by observing five Dolanan songs accompanied by the gamelan. The analysis of Dolanan song was done by comparing five songs which had the ambitus of an average child. The important thing in the discussion of karawitan music for children is to provide understanding to find the right techniques in vocal processing for children's music. Based on the results of the study, it is concluded that Dolanan songs which are developing at this time are still not appropriate for children.Keywords: children karawitan music; ambitus; dolanan song
MLESET DALAM KARAWITAN: KASUS PADA GENDING PANGKUR Hanggar Budi Prasetya; Adhi Susanto
Gelar : Jurnal Seni Budaya Vol 8, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4915.735 KB) | DOI: 10.33153/glr.v8i2.1327

Abstract

This article discusses rnleset phenomena in gamelan music. The main research question is why kenong and kempul instruments are played inmleset style. Acoustic and karawitanology approaches were used to analyze the problem. Two data type, qualitative and quantitative, were employed in this research. The recording of each gamelan pieces and the common gending (gamelan piece) constituted the quantitative data. These recordings were then analyzed through a computer  program, Wavelab 7. The qualitative data-experiences of the musicians were obtained through in-depth interview and observation done to the informants. The research revealed that rnleset is  classified as mleset nuntuni and mleset ngempyungi. Mlasat nuntuni is determined by the melody, while mleset ngempyungi is determined by patet(mode) and fundamental frequency of gamelan  instruments. Common instruments for plesetan are kenong and kempul, both with their unique sound frequency. Each of the instruments possesses fundamental frequency producing main  tone and overtone frequency, resulting in kernpyunq (kwint) orgembyang (octave) specific tone. The overtone frequency results in tonal interference which is culturally accepted as nice melody  by the listeners and the musicians.Key words: mleset, karawitan, gamelan, overtone