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Prosecutor's Demand In Delimination Form Of Children's Independence As A Form Of Legal Protection Suhardjono Suhardjono; Siti Ummu Adillah
Law Development Journal Vol 3, No 2 (2021): June 2021
Publisher : Universitas Islam Sultan Agung

The purpose of this study is to find out and analyze whether the prosecutor's demands containing the deprivation of liberty against children have been appropriately applied in the context of legal protection to children, especially in sexual crimes committed by children against children. The approach method used in this research is empirical juridical with the specification in this research is descriptive analysis, which describes the applicable laws and regulations associated with legal theories in the practice of implementing positive law concerning problems. The results obtained are that the prosecutor's demands in the form of formal deprivation of liberty and seen from the aspect of legal objectives are in accordance with Act No. 11 of 2012 concerning the Juvenile Criminal Justice System, besides that from a sociological and philosophical point of view it is felt to be comparable to trauma and suffering a lifetime experienced by the victim's child in facing his future.

UJI DAYA ANTELMINTIK INFUSA BIJI WALUH (Cucurbita moschata Durch) TERHADAP CACING Ascaridia galli SECARA IN VITRO mohammad djatmiko; lusi dwi purnowati; suhardjono suhardjono
Jurnal Ilmu Farmasi dan Farmasi Klinik JURNAL ILMU FARMASI DAN FARMASI KLINIK VOL. 6 NO. 1 JUNI 2009
Publisher : Universitas Wahid Hasyim Semarang

ABSTRACTWormy represent one of factor which can degrade human resource quality, considering wormy will persue physical growth and also work productivity. Research which is taken is experimental research as a mean to know energy of antelmintik infusa of pumpkin seed toward worm Ascaridia galli by in vitro and also its active compound content. Substance intake by random and then sampling is made in infusa supply with a few concentration series that is hereinafter tested by its activity as antelmintik to worm Ascaridia galli with immersion method. The data observed is time of worm death and sum up the dead worm every one clock. Statistic analysis which is used is Kruskal-Wallis continued by Mann-Whithney and also Anova and continued by Tukey. Result of research indicate that mean of time of worm death of Ascaridia galli after soaked in infusa of pumpkin seed in concentration 2,5%b/v, 5,0%b/v, 7,5%b/v, 10,0%b/v and successively is 9,46; 8,63; 6,08; and 5,83 clock. While after soaked in piperazin sitrat of concentration 0,4%b/v and NaCl 0,9%b/v mean of time of worm death is 8,96 and 32,37 hours. All series of concentration of infusa of pumpkin seed in this research own difference that has a meaning negative control of Nacl 0,9%b/v, so that infusa of pumpkin seed equal to 7,43%b/v while value of LC50 after soaked in piperzin sitrat 0,73%b/v. Result of KLT inspection indicate that infusa of pumpkin seed contain compound of powered saponin of antelmimtik. Keyword : Infusa of pumpkin seed, antelmintik energy, worm of Ascaridia galli.

Effects of BCAA Enteral Nutrition to the Change of Nutritional Status and Hepatic Encephalopathy Parameters in Liver Cirrhosis Patient with Hepatic Encephalopathy Achmad Fauzi; Unggul Budihusodo; Nurul Akbar; Pradana Suwondo; Suhardjono Suhardjono; Abdul Aziz Rani
The Indonesian Journal of Gastroenterology, Hepatology, and Digestive Endoscopy VOLUME 10, ISSUE 2, August 2009
Publisher : The Indonesian Society for Digestive Endoscopy

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24871/102200956-62

Background: This study was also conducted to determine the effects of high-branched chain amino acid (BCAA) enteral supplementation on altered nutritional status parameters (including plasma prealbumin) and hepatic encephalopathy parameters in liver cirrhosis patients with hepatic encephalopathy. Method: Our study was a randomized, single-blinded experimental study comparing between control group of liver cirrhosis patients with standard hospital liver diet (40 kcal/kgBW/day for male and 35 kcal/kgBW/day for female; protein 1.25 g/kgBW/day) and experimental group of liver cirrhosis patients with liver diet modification high in BCAA supplementation, which had similar protein and calorie calculation as the control group. Results: Subclinical hepatic encephalopathy prevalence was 32%. In the experimental group, prealbumin plasma, arm circumference, body weight and body mass index (BMI) increased; whereas in the control group, prealbumin plasma, arm circumference, body weight and BMI decreased (p 0.05). In experimental group, the ammonia level significantly decreased (p 0.01). Clinical hepatic encephalopathy, flapping tremor, the number connection test (NCT) did not show significant changes between the two groups. However, there was worsening trend in the control group. Level of albumin, bilirubin, AST, ALT did not show any significant difference between both groups. Conclusion: High-BCAA enteral supplementation which is administered to liver cirrhosis patients with hepatic encephalopathy for 14 days could improve plasma prealbumin level, arm circumference, body weight, BMI and could decrease the plasma ammonia level. However, it does not improve Fischer ratio, psychometric test and electroencephalography Keywords: malnutrition, liver cirrhosis, BCAA, Fisher ratio

EVALUASI DAN PENGEMBANGAN JARINGAN IRIGASI RAWA PASANG SURUT TERHADAP POLA OPERASI PINTU AIR D.I.R PEMATANG LIMAU KABUPATEN SERUYAN hairin noor; Suhardjono Suhardjono; Tri Budi Prayogo
Jurnal Teknik Pengairan: Journal of Water Resources Engineering Vol. 9 No. 1 (2018)
Publisher : Fakultas Teknik, Universitas Brawijaya

Kabupaten Seruyan Propinsi Kalimantan Tengah secara umum memiliki lahan dan air yang cukup tersedia. Daerah Irigasi Rawa (D.I.R) Pematang Limau dipengaruhi oleh muka air pasang surut yang terjadi pada Sungai Seruyan. Pada musim hujan, muka air meningkat akibat air pasang dan curah hujan. Sementara di musim kemarau lahan menjadi kering. Untuk itu perlu dilakukan pengaturan pola operasi pintu air. Untuk mengetahui profil aliran di saluran primer digunakan software HEC-RAS 5.0.1 pada kondisi kering. Simulasi dilakukan dengan: (1) simulasi debit air pasang tanpa pintu air, (2) simulasi pintu air (existing), (3) simulasi dengan merubah lebar pintu air saluran primer dari 1 m menjadi 1,5 m dan (4) merubah koefisien Manning dari 0,027 menjadi 0,018. Dari beberapa simulasi yang dibuat, simulasi kedua menunjukkan elevasi muka air tertinggi pada cross section 1-12, namun tidak mampu menggenangi lahan yang berada di kanan atau kiri cross section 10-12. Langkah penanganan selanjutnya dengan menutup pintu air pada saluran primer ketika puncak debit pasang. Berdasarkan hasil perhitungan, kedalaman genangan pada lahan sebesar 0,001 m atau 1 mm jika secara bersamaan, sedangkan jika dilakukan secara bergilir 0,015 m atau 1,5 cm. Hasil perhitungan genangan yang terjadi akibat hujan 0,061 m atau 6,1 cm, sedangkan hasil perhitungan di saat pasang dan bersamaan terjadinya hujan diperoleh 0,062 m atau 6,2 cm. Alternatif terakhir untuk mengatasi kekeringan adalah dengan sistem pompanisasi. Hasil perhitungan dengan lama operasi pompa 10 jam/hari selama 6 hari, untuk kedalaman genangan (y) 5 cm, maka kebutuhan unit pompa sebesar 12 buah.

KERAGAMAN PEKINGAN GAYA YOGYAKARTA: TINJAUAN GARAP DAN TEKNIK TABUHAN Robby Arsadani; Suhardjono Suhardjono
IDEA: Jurnal Ilmiah Seni Pertunjukan Vol 17, No 1 (2023): Vol 17, No 1 (2023)
Publisher : Institut Seni Indonesia Yogyakarta

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Keragaman pekingan di dalam seni karawitan gaya Yogyakarta pada irama yang sudah mapan (dados), yaitu: irama II atau dados, irama III atau wiled, dan irama IV atau rangkep. Penggunaan metode penelitian deskriptif analisis kualitatif ini untuk menjelaskan peking dan pekingan dan keragamannya. Adanya keragaman pekingan ini merupakan sebab-akibat tidak terealisasikan adanya upaya hasil kesepakatan pekingan pada sarasehan tahun 1985-1986 secara menyeluruh di DIY. Penelitian ini terfokus pada pekingan yang disajikan pada pertunjukan seni karawitan gaya Yogyakarta di dalam Uyon-Uyon Adiluhung KHP Kridhamardawa Keraton Yogyakarta, SMKI Yogyakarta, ISI Yogyakarta, dan AKNSB Yogyakarta. Keragaman pekingan ini memberikan kekayaan di dalam garap seni karawitan gaya Yogyakarta. Identitas yang digunakan yaitu “pekingan ndhisiki tabuhan balungan gending”, baik di dalam gending garap soran, bedhayan, maupun lirihan. Terkesan ada dua pola garap pekingan, yaitu: pola pekingan lamba dan rangkep. Hal ini tidak bisa disalahkan maupun dibenarkan salah satunya, yang ada hanyalah enak atau tidak enak untuk didengarkan maupun dinikmati musikalnya.YOGYAKARTA'S DIVERSITY OF PEKINGAN STYLES: AN OVERVIEW OF TABHAN'S WORK AND TECHNIQUESThis study discusses the diversity of Pekingan in Yogyakarta-style musical art on established rhythms (dados), namely: rhythm II or dados, rhythm III or wiled, and rhythm IV or rangkep. The use of this qualitative analysis descriptive research method is to explain Peking and Pekingan and their diversity. The existence of this diversity of Pekingan is a cause and effect of not realizing the results of the Pekingan agreement at the 1985-1986 workshop as a whole in DIY. This research focuses on pekingan which is presented in Yogyakarta-style musical performances in Uyon-Uyon Adiluhung KHP Kridhamardawa Yogyakarta Palace, Yogyakarta SMKI, ISI Yogyakarta, and AKNSB Yogyakarta. The diversity of Pekingan gives richness in working on the Yogyakarta-style karawitan art. The identity used is “pekingan ndhisiki wasp balungan gending”, both in the gending working on soran, bedhayan, and softly. It seems that there are two patterns of working on Pekingan, namely: the Pekingan lamba pattern and the rangkep pattern. This can not be blamed or justified either way, there is only good or bad to listen to or enjoy the musical.

Penyajian Iringan Wayang Othok Obrol Lakon Prasetya Adipati Karno oleh Ki Subandi dalam Pakeliran Gaya Kedu Selokromo Puput Sri Utari; Suhardjono Suhardjono; Sutrisni Sutrisni
IDEA: Jurnal Ilmiah Seni Pertunjukan Vol 17, No 2 (2023): Vol 17, No 2 (2023)
Publisher : Institut Seni Indonesia Yogyakarta

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Penelitian ini berjudul “Penyajian Iringan Wayang Othok Obrol Lakon Prasetya Adipati Karno oleh Ki Subandi dalam Pakeliran Gaya Kedu Selokromo”. Tujuan dari penelitian ini adalah mendeskripsikan bentuk dan struktur garap dalam karawitan iringan Wayang Othok Obrol. Fokus pembahasan penelitian meliputi bentuk dan fungsi gending, struktur adegan dan sajian gending, serta garap penyajian. Metode penelitian yang digunakan dalam penelitian ini adalah metode deskriptif analisis, yang dilakukan dengan cara studi pustaka, wawancara, observasi, dan dokumentasi. Wayang Othok Obrol merupakan bentuk pertunjukan wayang kulit yang termasuk dalam jenis pakeliran padat. Pertunjukan Wayang Othok Obrol lakon Prasetya Adipati Karno terbagi menjadi tiga (3) bentuk adegan yang terdiri dari jejer, adegan, dan strat. Iringan yang digunakan memiliki bentuk gending yang berbeda dengan bentuk gending pada umumnya. Hal tersebut terlihat dari tabuhan kolotomik yang terdiri dari ketuk, kenong, dan kempul. Iringan Wayang Othok Obrol terdiri dari gending khusus dan lagu glenukan. Gending khusus merupakan gending yang sudah dibakukan untuk mengiringi pertunjukannya. Gending tersebut terdiri dari Ayak obrol, Srepeg obrol, gending Kasatriyan dan Sampak titir. Adapun Glenukan merupakan bentuk iringan yang berfungsi sebagai pembentuk suasana adegan dalam pertunjukan Wayang Othok Obrol.Presentation of the Wayang Othok Obrol Accompaniment of the Prasetya Adipati Karno play by Ki Subandi in the Kedu Selokromo Style PakeliranThis study is entitled "Presentation of the Othok Obrol Wayang Accompaniment of the Prasetya Adipati Karno Play by Ki Subandi in the Kedu Selokromo Style Pakeliran". The purpose of this research is to describe the form and structure of the work on the musical accompaniment of Wayang Othok Obrol. The focus of the research discussion includes the form and function of the piece, the structure of the scene and presentation of the piece, as well as the work on the presentation. The research method used in this research is descriptive analysis method, which is carried out by means of literature studies, interviews, observation, and documentation. Wayang Othok Obrol is a form of wayang kulit performance which is included in the solid type of puppetry. The performance of the Wayang Othok Obrol play by Prasetya Adipati Karno is divided into three (3) forms of scenes consisting of sequences, scenes and strat. The accompaniment used has a form that is different from the form of music in general. This can be seen from the colotomic wasp which consists of tap, kenong, and kempul. The accompaniment of the Wayang Othok Obrol consists of special renditions and glenukan songs. Special gending is a gending that has been standardized to accompany the performance. The pieces consist of Ayak obrol, Srepeg obrol, Kasatriyan and Sampak titir songs. The Glenukan is a form of accompaniment that functions as a setting for the atmosphere of the scene in the Wayang Othok Obrol performance.

Hop: Interpretasi Suwuk Dalam Komposisi Karawitan Wiku wisesa; Setya Rahdiyatmi Kurnia Jatilinuar; Suhardjono Suhardjono
IDEA: Jurnal Ilmiah Seni Pertunjukan Vol 17, No 2 (2023): Vol 17, No 2 (2023)
Publisher : Institut Seni Indonesia Yogyakarta

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Pada suatu urutan atau struktur penyajian gending dalam karawitan jawa terdapat istilah yaitu suwuk. Suwuk merupakan bagian terakhir pada struktur penyajian gending yang berfungsi untuk menghentikan lagu atau gending. Selain itu juga merupakan kode atau aksen yang disepakati untuk menghentikan lagu. Suwuk ini memiliki pola kendhangan yang menonjol yang merupakan pola kendhangan yang berbeda dari kendhangan gendingnya, pola tersebut seperti kode yang diberikan oleh ricikan pamurba irama kepada ricikan lain sebagai tanda untuk berhenti. Metode yang digunakan dalam penelitian ini ialah practice as research trough performance (Praktik sebagai Penelitian melalui Pertunjukan), yang terdiri dari pra garap (observasi, studi Pustaka, wawancara, diskografi, analisis sumber terkait), garap (instrumentasi, tafsir garap, ekplorasi, penotasian, tahap latihan, presentasi musikal), dan pasca garap. Karya ini menggunakan medium tradisi dan idiom baru. Tujuan karya ini adalah menafsirkan dan mengembangkan kendhangan suwuk ladrang, ketawang, lancaran dan bubaran dalam karya komposisi karawitan. Karya komposisi “Hop” merupakan karya komposisi karawitan yang mengambil subtansi dasar karawitan tradisi sebagai ide dasar penciptaan komposisi karawitan. Karya ini menginterpretasi dan mengembangakan kendhangan suwuk sebagai tema penciptaan dengan mengolah unsur musikal seperti melodi, ritme, dan dinamika.HOP: INTERPRETATION OF SUWUK IN KARAWITAN COMPOSITION In a sequence or structure for the presentation of gending in Javanese karawitan, there is a term, namely suwuk. Suwuk is the last part of the musical presentation structure which functions to stop the song or piece. Besides that, it is also the agreed code or accent to stop the song. This suwuk has a prominent kendhangan pattern which is a different kendhangan pattern from the kendhangan gending, this pattern is like the code given by ricikan pamurba rhythm to other rickan as a sign to stop. The method used in this study is practice as research through performance (Practice as Research through Performance), which consists of pre-work (observation, literature study, interviews, discography, analysis of related sources), work on (instrumentation, interpretation, exploration, notation , rehearsal stages, musical presentations), and post-work. This work uses the medium of tradition and new idioms. The purpose of this work is to interpret and develop the kendhangan suwuk ladrang, ketawang, smoothness and dissolution in musical composition works. The compositional work "Hop" is a musical composition work that takes the basic substance of traditional karawitan as the basic idea for the creation of musical compositions. This work interprets and develops kendhangan suwuk as a theme of creation by processing musical elements such as melody, rhythm and dynamics.

Garap Ricikan Rebab Gending Jatipurno Laras Pelog Pathet Lima Kendhangan Sarayuda Prastowo Aji; Teguh Teguh; Suhardjono Suhardjono
IDEA: Jurnal Ilmiah Seni Pertunjukan Vol 17, No 1 (2023): Vol 17, No 1 (2023)
Publisher : Institut Seni Indonesia Yogyakarta

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Skripsi dengan judul “Garap Rebab Gending Jatipurno Laras Pelog Pathet Lima Kendhangan Sarayuda” membahas mengenai tafsir garap rebab pada gending yang terkait. Dalam hal ini penulis melakukan penelitian untuk mencari kemungkinan pengembangan dengan gending yang tadinya disajikan dengan garap soran menjadi sajian gending dengan garap lirihan. Kemudian penulis menggunakan pola garap kendhangan ciblon yang sebelumnya gending berlaras pelog pathet lima belum pernah ditemukan dengan garap kendhangan ciblon pada bagian dhawah.Sebelum proses penggarapan penulis mencari referensi melalui jurnal “Garap Rebab Gending Laras Pelog Pathet Lima”. Proses penggarapan yang dilakukan adalah menafsir ambah-ambahan balungan gending, menafsir pathet, menafsir rebaban. Penulis juga berperan sebagai penyaji memainkan ricikan rebab sebagai pamurba lagu pada gending ini.Setelah dilakukan penelitian, ambah-ambahan, pathet Gending Jatipurno sangat bervariasi, Gending Jatipurno merupakan gending berlaras pelog pathet lima.Terdapat banyak gending dalam karawitan gaya Yogyakarta, salah satunya Gending Jatipurno Laras Pelog PathetLimaKendhanganSarayuda yang penulis tarik kesimpulan dari beberapa pendapat narasumber Gending Jatipurno bukan termasuk gending srambahan atau tidak populer dikalangan masyarakat. Proses Penggarapan yang dilakukan tidak lepas dari teori-teori karawitan dari peneliti terdahulu. gending merupakan bahan atau sarana garap dan penggarap merupakan penentu garap. Dalam buku Bothekan Karawitan II: Garap, tulisan Rahayu Supanggah dijelaskan bahwa “garap adalah kreativitas dalam (kesenian) tradisi. Terwujudnya naskah skripsi ini menandakan bahwa penulis telah berhasil menafsir rebaban Gending Jatipurno Laras PelogPathetLimaKendhanganSarayuda berdasarkan hasil tafsir ambah-ambahan, tafsir padhang ulihan dan tafsir pathet. Tafsir garap rebab yang ada pada penelitian ini merupakan salah satu hasil tafsir, sehingga dapat terjadi tafsir lain dari penggarap lainnya.(Working on the Rebab Gending Jatipurno Laras Pelog Pathet Lima Kendhangan Sarayuda)The thesis with the title "Working on the Rebab Gending Jatipurno Laras Pelog Pathet Lima Kendhangan Sarayuda" discusses the interpretation of working on the fiddle on related pieces. In this case the author conducted research to look for the possibility of developing a piece of music that was previously presented by working on soran to become a piece of music by working on songs. Then the author uses the pattern of working on the ciblon kendhangan, which previously had never been found with pelog pathet five-barreled gending by working on the ciblon kendhangan in the dhawah section. Prior to the cultivation process the author looked for references through the journal "Working on Rebab Gending Laras Pelog Pathet Lima". The process of cultivation that is carried out is interpreting the balungan musical additions, interpreting pathet, interpreting rebaban. The author also plays the role of presenter playing the fiddle ricikan as pamurba of the song in this piece. After doing research, the pathet of Gending Jatipurno is very varied, Gending Jatipurno is a five-barreled pelog song. There are many pieces in Yogyakarta style karawitan, one of which is Gending Jatipurno Laras Pelog Pathet Lima Kendhangan Sarayuda, which the author draws conclusions from several sources' opinions. Gending Jatipurno is not a srambahan piece or is not popular among the public. The cultivation process carried out cannot be separated from karawitan theories from previous researchers. music is the material or means of cultivation and the cultivator is the determinant of the work. In the book Bothekan Karawitan II: Garap, written by Rahayu Supanggah, it is explained that "working is creativity in (art) traditions. The realization of this thesis manuscript indicates that the author has succeeded in interpreting the Gending Jatipurno Laras Pelog Pathet Lima Kendhangan Sarayuda rebaban based on the results of the ambah-ambahan interpretations, the padhang ulihan interpretations and the pathet interpretations. The interpretation of working on the rebab in this study is one of the results of the interpretation, so that other interpretations can occur from other cultivators.

Garap Gender Barung Gending Gendreh Kemasan Laras Slendro Pathet Sanga Kendhangan Mawur Farid Azzani Prasanaya; Teguh Teguh; Suhardjono Suhardjono
IDEA: Jurnal Ilmiah Seni Pertunjukan Vol 17, No 2 (2023): Vol 17, No 2 (2023)
Publisher : Institut Seni Indonesia Yogyakarta

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Melihat fenomena pertunjukan karawitan saat ini, gending-gending dengan tingkatan gending ageng jarang tersajikan. Hal terebut menjadi motivasi penulis terkait pemilihan Gending Gendreh Kemasan sebagai materi dalam Tugas Akhir ini. Adapun tujuan, salah satunya yaitu untuk menjaga eksistensi gending tersebut agar lestari.Gending Gendreh Kemasan adalah salah satu gending ageng yang terdapat pada Karawitan Jawa gaya Yogyakarta, berlaras slendro pathet sanga kendhangan mawur. Gending Gendreh Kemasan berbentuk kethuk 4 arang dhawah kethuk 8. Gending Gendreh Kemasan terdiri dari beberapa bagian, di antaranya yaitu buka, lamba, dados, pangkat dhawah, dan dhawah.Metode penelitian ini menggunakan pendekatan kualitatif. Teknik pengumpulan data dilakukan dengan studi pustaka, wawancara, dan diskografi. Tujuan penelitian ini yaitu untuk mengetahui garap gender barung pada Gending Gendreh Kemasan. Adapun manfaat, yaitu hasil dari penelitian ini diharapkan dapat menambah referansi dan perbendaharaan garap.Hasil penelitian yaitu garap gender barung pada Gending Gendreh Kemasan dapat menggunakan perbendaharaan garapnya yang berupa cengkok umum, cengkok khusus, cengkok gantungan, dan cengkok tuturan. Terdapat 13 macam cengkok genderan yang dapat diterapkan, di antaranya yaitu kuthuk kuning gembyang, kuthuk kuning kempyung, dualolo ageng, dualolo alit, tumurun ageng, tumurun alit, rambatan, ora butuh, kacaryan, ayo kuning, puthut gelut, gantungan gembyang, dan gantungan kempyung. Garap gender dalam gending tersebut tergolong rumit karena terdapat garap cengkok genderan campuran antara pathet sanga dan manyura. Working on Gender Barung Gending Gendreh Kemasan Laras Slendro Pathet Sanga Kendhangan Mawur Seeing the current phenomenon of karawitan performances, gendings with the ageng level of gending are rarely presented. This is the author's motivation regarding the selection of Gending Gendreh Kemasan as material in this Final Project. As for the goal, one of them is to maintain the existence of the piece so that it is sustainable.Gending Gendreh Kemasan is one of the ageng gending found in Javanese Karawitan Yogyakarta style, with slendro pathet sanga kendhangan mawur. Gending Gendreh Kemasan in the form of kethuk 4 kerep dhawah kethuk 8. Gending Gendreh Kemasan consists of several parts, including buka, lamba, dados, rank dhawah, and dhawah.This research method uses a qualitative approach. Data collection techniques were carried out by means of literature studies, interviews, and discography. The purpose of this study is to find out the work on gender barung in Gending Gendreh Kemasan. As for the benefits, namely the results of this study are expected to add to the references and working treasury.The results of the research are that working on gender barung in Gending Gendreh Kemasan can use the treasury of the works in the form of general cengkok, special cengkok, gantungan cengkok, and tuturan cengkok. There are 13 types of cengkok genderan that can be used, including kuthuk kuning gembyang, kuthuk kuning kempyung, dualolo ageng, dualolo alit, tumurun ageng, tumurun alit, tumurun alit, rambatan, ora butuh, kacaryan, ayo kuning, puthut gelut, gantungan gembyang, and gantungan kempyung. Working on the barung gender in this piece is quite complicated because there are mixed gender twists between pathet sanga and manyura.

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