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WUJUD AJARAN DALAM SERAT DARMASONYA Arianti, Diah Ayu
Sutasoma : Jurnal Sastra Jawa Vol 5 No 1 (2017): Sutasoma
Publisher : Jurusan Bahasa dan Sastra Jawa Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/sutasoma.v5i1.29018

Abstract

Serat Darmasonya adalah salah satu karya KPH Suryaningrat pada masa (1906-1937). Untukmemaknai dan mendalami isi teksSerat Darmasonya diperlukan pendekatan atau teori agar memungkinkan pembaca paham dan bisa memetik hikmahnya. Oleh karena itu, dilakukan penelitian terhadap Serat Darmasonyaagar bisa diketahui wujud ajaran dan nilai-nilai religiusitas yang terkandung di dalamnya. Tujuan yang ingin dicapai dalam penelitian ini adalah mengungkapwujud ajaran religiusitas dan mengetahui nilai-nilai religiusitas yang terdapat dalam teks Serat Darmasonya karya KPH Suryaningrat. Pendekatan yang digunakan dalam penelitian ini adalah pendekatan objektif. Metode yang digunakan dalam penelitian ini adalah metode analisis struktural. Sumber data yang digunakan adalah teks Serat DarmasonyakaryaKPH Suryaningrat. Teknik pengumpulan data pada penelitian ini yaitu membaca heuristik dan hermeneutik.Kemudian menganalisis sekaligus mengklasifikasikan wujud ajaran dan nilai-nilai religiusitas dalam teks Serat Darmasonya. Analisis wujud ajaran religiusitas yang ditemukan dalam Serat Darmasonyayaitu(1) ajaran tentang ke-Esaan Allah pada pupuh Dhandhanggula, (2) ajaran mengenai pujian kepada Allah pada pupuh Asmaradana dan Sinom, (3) ajaran tentang bukti kekuasaan Allah pada pupuh Asmaradana dan Sinom, (4) ajaran tentang budi pekerti luhur yang meliputi, ajaran mengenai cara menghindari dari perbuatan tercela terdapat di dalam pupuh Dhandhanggula dan Kinanthi, ajaran mengenai sikap kejujuran yang terdapat di dalam pupuh Dhandhanggula. Analisis nilai religiusitas dalam Serat Darmasonyayang ditemukan (1) nilai religiusitas hubungan manusia dengan Tuhan yang terdapat pada  pupuh Sinom, Dhandhanggula, dan Pangkur (2) hubungan manusia dengan sesama manusia pada pupuh Dhandhanggula, dan Kinanthi, (3) dan hubungan manusia dengan diri sendiri pada pupuh kinanthi. Sedangkan hubungan manusia dengan alam, tidak ditemukan dalam teks Serat Darmasonya. Berdasarkan hasil penelitian, disarankan kepada pembaca dan peminat sastra agar mampu menjadikan penelitian ini sebagai panduan dalam memahami makna ajaran-ajaran religiusitas dan nilai-nilai religiusitas dalam teks Serat Darmasonya.Pembaca juga disarankan agar dapat menerapkan ajaran-ajaran budi pekerti luhur dan menjadikan hasil penelitian sebagai referensi bagi peneliti lain dalam pengembangan teori strukturalisme pada tembang dan teori tentang religiusitas terhadap penelitian karya sastra Jawa lainnya.  Serat Darmasonya is one of the works of KPH Suryaningrat in the period (1906-1937). To interpret and explore the contents of the text of the Serat Darmasonya approach or theory is needed to enable the reader to understand and be able to reap the lessons. Therefore, a study of the Darmason Fiber is carried out in order to know the form of teaching and the values ??of religiosity contained in it. The aim to be achieved in this research is to reveal the teachings of religiosity and to know the values ??of religiosity found in the text of Serat Darmasonya by KPH Suryaningrat. The approach used in this study is an objective approach. The method used in this study is a structural analysis method. The data source used is the text of DarmasonyakaryaKPH Suryaningrat Fiber. Data collection techniques in this study were reading heuristics and hermeneutics. Then analyzed while classifying the form of teachings and values ??of religiosity in the text of Darmasonya Fiber. The analysis of the form of religiosity teachings found in the Darmasonyaya Fiber is (1) the teachings on the Essence of Allah on Dhandhanggula's poetry, (2) the teachings on praise to Allah on Asuhadana and Sinom's poems, (3) the teachings on the proof of Allah's power on Asmaradana and Sinom, (4) the teachings on noble mind and character which include, the teachings on how to avoid despicable acts are found in pupuh Dhandhanggula and Kinanthi, the teachings on honesty attitudes contained in pupuh Dhandhanggula. The analysis of the religiosity value in Darmasony Fiber is found (1) the religiosity value of human relations with God found in Sinom, Dhandhanggula, and Pangkur (2) the relationship between humans and fellow human beings in Dhandhanggula, and Kinanthi, (3) and human relations with self on kinanthi's poetry. Whereas human relations with nature are not found in the text of the Darmasonya Fiber. Based on the results of the study, it is recommended that readers and literary enthusiasts be able to make this research a guide in understanding the meaning of the teachings of religiosity and values ??of religiosity in the text of Darmasonya Fiber. Readers are also advised to apply the teachings of noble mind and make the results of research as a reference for other researchers in developing the theory of structuralism in songs and theories about religiosity towards other Javanese literary research.
WUJUD AJARAN DALAM SERAT DARMASONYA Arianti, Diah Ayu
Sutasoma : Jurnal Sastra Jawa Vol 5 No 1 (2017): Sutasoma
Publisher : Jurusan Bahasa dan Sastra Jawa Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/sutasoma.v5i1.29018

Abstract

Serat Darmasonya adalah salah satu karya KPH Suryaningrat pada masa (1906-1937). Untukmemaknai dan mendalami isi teksSerat Darmasonya diperlukan pendekatan atau teori agar memungkinkan pembaca paham dan bisa memetik hikmahnya. Oleh karena itu, dilakukan penelitian terhadap Serat Darmasonyaagar bisa diketahui wujud ajaran dan nilai-nilai religiusitas yang terkandung di dalamnya. Tujuan yang ingin dicapai dalam penelitian ini adalah mengungkapwujud ajaran religiusitas dan mengetahui nilai-nilai religiusitas yang terdapat dalam teks Serat Darmasonya karya KPH Suryaningrat. Pendekatan yang digunakan dalam penelitian ini adalah pendekatan objektif. Metode yang digunakan dalam penelitian ini adalah metode analisis struktural. Sumber data yang digunakan adalah teks Serat DarmasonyakaryaKPH Suryaningrat. Teknik pengumpulan data pada penelitian ini yaitu membaca heuristik dan hermeneutik.Kemudian menganalisis sekaligus mengklasifikasikan wujud ajaran dan nilai-nilai religiusitas dalam teks Serat Darmasonya. Analisis wujud ajaran religiusitas yang ditemukan dalam Serat Darmasonyayaitu(1) ajaran tentang ke-Esaan Allah pada pupuh Dhandhanggula, (2) ajaran mengenai pujian kepada Allah pada pupuh Asmaradana dan Sinom, (3) ajaran tentang bukti kekuasaan Allah pada pupuh Asmaradana dan Sinom, (4) ajaran tentang budi pekerti luhur yang meliputi, ajaran mengenai cara menghindari dari perbuatan tercela terdapat di dalam pupuh Dhandhanggula dan Kinanthi, ajaran mengenai sikap kejujuran yang terdapat di dalam pupuh Dhandhanggula. Analisis nilai religiusitas dalam Serat Darmasonyayang ditemukan (1) nilai religiusitas hubungan manusia dengan Tuhan yang terdapat pada pupuh Sinom, Dhandhanggula, dan Pangkur (2) hubungan manusia dengan sesama manusia pada pupuh Dhandhanggula, dan Kinanthi, (3) dan hubungan manusia dengan diri sendiri pada pupuh kinanthi. Sedangkan hubungan manusia dengan alam, tidak ditemukan dalam teks Serat Darmasonya. Berdasarkan hasil penelitian, disarankan kepada pembaca dan peminat sastra agar mampu menjadikan penelitian ini sebagai panduan dalam memahami makna ajaran-ajaran religiusitas dan nilai-nilai religiusitas dalam teks Serat Darmasonya.Pembaca juga disarankan agar dapat menerapkan ajaran-ajaran budi pekerti luhur dan menjadikan hasil penelitian sebagai referensi bagi peneliti lain dalam pengembangan teori strukturalisme pada tembang dan teori tentang religiusitas terhadap penelitian karya sastra Jawa lainnya. Serat Darmasonya is one of the works of KPH Suryaningrat in the period (1906-1937). To interpret and explore the contents of the text of the Serat Darmasonya approach or theory is needed to enable the reader to understand and be able to reap the lessons. Therefore, a study of the Darmason Fiber is carried out in order to know the form of teaching and the values ​​of religiosity contained in it. The aim to be achieved in this research is to reveal the teachings of religiosity and to know the values ​​of religiosity found in the text of Serat Darmasonya by KPH Suryaningrat. The approach used in this study is an objective approach. The method used in this study is a structural analysis method. The data source used is the text of DarmasonyakaryaKPH Suryaningrat Fiber. Data collection techniques in this study were reading heuristics and hermeneutics. Then analyzed while classifying the form of teachings and values ​​of religiosity in the text of Darmasonya Fiber. The analysis of the form of religiosity teachings found in the Darmasonyaya Fiber is (1) the teachings on the Essence of Allah on Dhandhanggula's poetry, (2) the teachings on praise to Allah on Asuhadana and Sinom's poems, (3) the teachings on the proof of Allah's power on Asmaradana and Sinom, (4) the teachings on noble mind and character which include, the teachings on how to avoid despicable acts are found in pupuh Dhandhanggula and Kinanthi, the teachings on honesty attitudes contained in pupuh Dhandhanggula. The analysis of the religiosity value in Darmasony Fiber is found (1) the religiosity value of human relations with God found in Sinom, Dhandhanggula, and Pangkur (2) the relationship between humans and fellow human beings in Dhandhanggula, and Kinanthi, (3) and human relations with self on kinanthi's poetry. Whereas human relations with nature are not found in the text of the Darmasonya Fiber. Based on the results of the study, it is recommended that readers and literary enthusiasts be able to make this research a guide in understanding the meaning of the teachings of religiosity and values ​​of religiosity in the text of Darmasonya Fiber. Readers are also advised to apply the teachings of noble mind and make the results of research as a reference for other researchers in developing the theory of structuralism in songs and theories about religiosity towards other Javanese literary research.
REGISTER PEMASOK UDANG DAN IKAN DI DESA KLUWUT KECAMATAN BULAKAMBA KABUPATEN BREBES Fauzi, Muhammad Irfan
Sutasoma : Jurnal Sastra Jawa Vol 5 No 1 (2017): Sutasoma
Publisher : Jurusan Bahasa dan Sastra Jawa Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/sutasoma.v5i1.29020

Abstract

Register is one of the variations of the language background by social class, that is the range of occupational groups in every human society. One group of professions who use that language variation is a supplier of shrimp and fish in the Village District Kluwut Bulakamba Brebes or commonly called as the supplier. Their language is unique and different from the language used by society at large. The language also serves to hide their conversations from people outside the profession supplier. Therefore, the language register suppliers of shrimp and fish in the Village District Kluwut Bulakamba Brebes interesting to be studied and analyzed in terms of linguistic science. Problems in this research: 1) how to use the register form of shrimp and fish suppliers in the Village District Kluwut Bulakamba Brebes? and 2) whether the social function registers supplier of shrimp and fish in the Village District Kluwut Bulakamba Brebes? The purpose of this study was to describe the shape register used supplier of shrimp and fish in the Village District Kluwut Bulakamba Brebes and social function registers supplier of shrimp and fish in the Village District Kluwut Bulakamba Brebes. The research concluded that suppliers register shrimp and fish in the Village District Kluwut Bulakamba Brebes has two forms of registers, that is 1) the form of registers based on the formation process, and 2) the registers by unit lingual. Based on the formation process in the form of modifications with the addition of ji-at the beginning of words and syllables beheadings on the base and in the form of changes in the form of the reversal of the basic word order of the letters and the addition of the suffix-s even if not all of the vocabulary of an additional suffix-an. The form registers based unit lingual is singular, complex shapes (which had the affixation, reduplication, and composition), and form number. Social function registers supplier of shrimp and fish in the Village District Kluwut Bulakamba Brebes include functionality to ask the price, function shipping, transaction functions, chatting and joking function, the function asks contents by size (ses), and the function of asking the origin and species of shrimp. Based on this research, advice can be given are: 1) The use of registers to the general public is expected to be avoided, because the general public ignorance about the registers used by the supplier of shrimp and fish in the Village District Kluwut Bulakamba Brebes. 2) There are many more registers that can be used as an object of study for students who are interested in field of linguistics.
REGISTER PEMASOK UDANG DAN IKAN DI DESA KLUWUT KECAMATAN BULAKAMBA KABUPATEN BREBES Fauzi, Muhammad Irfan
Sutasoma : Jurnal Sastra Jawa Vol 5 No 1 (2017): Sutasoma
Publisher : Jurusan Bahasa dan Sastra Jawa Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/sutasoma.v5i1.29020

Abstract

Register is one of the variations of the language background by social class, that is the range of occupational groups in every human society. One group of professions who use that language variation is a supplier of shrimp and fish in the Village District Kluwut Bulakamba Brebes or commonly called as the supplier. Their language is unique and different from the language used by society at large. The language also serves to hide their conversations from people outside the profession supplier. Therefore, the language register suppliers of shrimp and fish in the Village District Kluwut Bulakamba Brebes interesting to be studied and analyzed in terms of linguistic science. Problems in this research: 1) how to use the register form of shrimp and fish suppliers in the Village District Kluwut Bulakamba Brebes? and 2) whether the social function registers supplier of shrimp and fish in the Village District Kluwut Bulakamba Brebes? The purpose of this study was to describe the shape register used supplier of shrimp and fish in the Village District Kluwut Bulakamba Brebes and social function registers supplier of shrimp and fish in the Village District Kluwut Bulakamba Brebes. The research concluded that suppliers register shrimp and fish in the Village District Kluwut Bulakamba Brebes has two forms of registers, that is 1) the form of registers based on the formation process, and 2) the registers by unit lingual. Based on the formation process in the form of modifications with the addition of ji-at the beginning of words and syllables beheadings on the base and in the form of changes in the form of the reversal of the basic word order of the letters and the addition of the suffix-s even if not all of the vocabulary of an additional suffix-an. The form registers based unit lingual is singular, complex shapes (which had the affixation, reduplication, and composition), and form number. Social function registers supplier of shrimp and fish in the Village District Kluwut Bulakamba Brebes include functionality to ask the price, function shipping, transaction functions, chatting and joking function, the function asks contents by size (ses), and the function of asking the origin and species of shrimp. Based on this research, advice can be given are: 1) The use of registers to the general public is expected to be avoided, because the general public ignorance about the registers used by the supplier of shrimp and fish in the Village District Kluwut Bulakamba Brebes. 2) There are many more registers that can be used as an object of study for students who are interested in field of linguistics.
VARIASI BAHASA DALAM KIDUNG PASAMUWAN KRISTEN Wulandari, Meike
Sutasoma : Jurnal Sastra Jawa Vol 5 No 1 (2017): Sutasoma
Publisher : Jurusan Bahasa dan Sastra Jawa Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/sutasoma.v5i1.29021

Abstract

Bahasa Jawa tidak hanya digunakan dalam bahasa lisan tetapi juga tulisan. Salah satunya digunakan dalam Kidung Pasamuwan Kristen. Bahasa dalam Kidung Pasamuwan Kristen bervariasi yaitu terdiri atas ragam bahasa Jawa ngoko, Jawa krama dan Jawa kuna. Kosakata dalam Kidung Pasamuwan Kristen relatif sulit untuk dipahami karena sudah jarang digunakan dalam komunikasi sehari-hari. Dalam penelitian ini akan dikaji mengenai ragam bahasa yang digunakan beserta fungsinya beserta variasi morfologis. Dalam kajian morfologis difokuskan dalam proses afiksasi  kata.   Java language is not only used in spoken language but also writing. One of them used in the Kidung Pasamuwan Kristen. Language in Kidung Pasamuwan Kristen has variation the range consists Jawa ngoko language, Jawa krama and Jawa kuna. Vocabularies in Kidung Pasamuwan Kristen relatively are difficult to be understood because it is rarely used in daily communication.In this research will be assessedon the various languages ??used and their functions and their morphological variation. In morphological studies focused on word affixation process.
VARIASI BAHASA DALAM KIDUNG PASAMUWAN KRISTEN Wulandari, Meike
Sutasoma : Jurnal Sastra Jawa Vol 5 No 1 (2017): Sutasoma
Publisher : Jurusan Bahasa dan Sastra Jawa Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/sutasoma.v5i1.29021

Abstract

Bahasa Jawa tidak hanya digunakan dalam bahasa lisan tetapi juga tulisan. Salah satunya digunakan dalam Kidung Pasamuwan Kristen. Bahasa dalam Kidung Pasamuwan Kristen bervariasi yaitu terdiri atas ragam bahasa Jawa ngoko, Jawa krama dan Jawa kuna. Kosakata dalam Kidung Pasamuwan Kristen relatif sulit untuk dipahami karena sudah jarang digunakan dalam komunikasi sehari-hari. Dalam penelitian ini akan dikaji mengenai ragam bahasa yang digunakan beserta fungsinya beserta variasi morfologis. Dalam kajian morfologis difokuskan dalam proses afiksasi kata. Java language is not only used in spoken language but also writing. One of them used in the Kidung Pasamuwan Kristen. Language in Kidung Pasamuwan Kristen has variation the range consists Jawa ngoko language, Jawa krama and Jawa kuna. Vocabularies in Kidung Pasamuwan Kristen relatively are difficult to be understood because it is rarely used in daily communication.In this research will be assessedon the various languages ​​used and their functions and their morphological variation. In morphological studies focused on word affixation process.
TEMBANG PENGIRING DALAM KESENIAN BEGALAN Utami, Palupi Budi
Sutasoma : Jurnal Sastra Jawa Vol 5 No 1 (2017): Sutasoma
Publisher : Jurusan Bahasa dan Sastra Jawa Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/sutasoma.v5i1.29022

Abstract

Begalan merupakan kesenian khas dari wilayah eks-Karisidenan Banyumas. Begalan dilaksanakan pada upacara pernikahan sebagai sarana tolak bala. Begalan dilaksanakan apabila pernikahan yang terjadi adalah pernikahan antara anak sulung dengan anak sulung, bungsu dengan bungsu, atau bungsu dengan bungsu. Penyajian kesenian Begalan dilakukan dalam bentuk tarian, dialog, dan tembang. Tembang pengiring dalam kesenian Begalan memiliki lirik-lirik yang bermakna yang memiliki berbagai fungsi. Permasalahan penelitian ini adalah bagaimana struktur fisik, struktur batin, dan fungsi tembang pengiring kesenian Begalan. Tujuan dari penelitian ini adalah mengetahui bagaimana struktur fisik, struktur batin, dan fungsi tembang pengiring kesenian Begalan. Pendekatan yang digunakan dalam penelitian ini adalah pendekatan objektif. Data dalam penelitian ini berupa teks tembang pengiring kesenian Begalan. Sumber data penelitian ini adalah tembang pengiring kesenian Begalan itu sendiri. Berdasarkan analisis diketahui bahwa struktur fisik tembang pengiring kesenian Begalan terdiri atas unsur bunyi, terbagi menjadi rima awal, rima tengah, dan rima akhir dimana yang dominan adalah rima tengah. Kekhasan tembang terlihat dalam vokal-vokal pengiring tembang. Unsur diksi terdiri atas kata konotasi, denotasi, kata konkret, dan kata arkais. Kata-kata khas Banyumasan menjadikan kekhasan tembang kesenian Begalan. Bahasa figuratif yang dalam tembang yaitu metafora, personifikasi, dan sinekdoke. Imaji dalam tembang kesenian Beglana berupa imaji visual, imaji pendengaran, imaji perabaan, imaji pengecapan, dan imaji gerak. Struktur batin tembang pengiring kesenian Begalan meliputi tema, perasaan penyair, nada, suasana, amanat, dan makna. Tema yang dominan dalam tembang pengiring kesenian Begalan adalah tema mengenai kehidupan manusia. Perasaan dominan yang disampaikan oleh penyair adalah perasaan penuh harap. Nada atau sikap yang dominan dari tembang pengiring kesenian Begalan adalah nada memberi nasehat. Suasana yang banyak tergambar dalam tembang pengiring kesenian Begalan adalah suasana penuh pengharapan. Amanat yang dominan tergambar dalam tembang pengiring kesenian Begalan adalah amanat tentang kehidupan manusia. Makna tembang pengiring kesenian Begalan dominan mengenai makna dalam kehidupan manusia. Melalui struktur batin dapat diketahui fungsi tembang. Fungsi yang terdapat dalam tembang pengiring kesenian Begalan adalah fungsi tembang sebagai nasehat, tembang sebagai tolak bala, dan tembang sebagai kritik dan saran. Berdasar analisis data, diketahui kekhasan tembang pengiring kesenian Begalan yang membuat tembang kesenian Begalan berbeda dari tembang lain. Penelitian analisis struktural-semiotik ini dimungkinkan dianalisis kembali menggunakan teori dan sudut pandang yang berbeda dari apa yang sudah dilakukan oleh peneliti.  Begalan is a special art from the former Karisidenan area of ??Banyumas. Begalan carried out at a wedding ceremony as a means of rejecting reinforcements. Begalan is carried out if the marriage that occurs is a marriage between the eldest child and the eldest child, the youngest with the youngest, or the youngest with the youngest. The presentation of Begalan art is done in the form of dance, dialogue, and song. Companion songs in Begalan art have meaningful lyrics that have various functions. The problem of this research is how the physical structure, inner structure, and function of the accompaniment of Begalan art. The purpose of this study was to find out how the physical structure, inner structure, and function of the accompaniment of Begalan art. The approach used in this study is an objective approach. The data in this study are Begalan art accompaniment text. The data source of this research is the accompaniment of Begalan art itself. Based on the analysis, it is known that the physical structure of Begalan art accompaniment consists of sound elements, divided into initial rhyme, middle rhyme, and final rhyme where the dominant one is the middle rhyme. The peculiarities of songs are seen in the song vocal accompaniment. Diction consists of connotations, denotations, concrete words, and archaic words. Banyumasan's typical words make the peculiarities of Begalan's artistic songs unique. Figurative language in songs, namely metaphor, personification, and synekdoke. The images in Beglana's art are in the form of visual images, auditory images, touching images, taste images, and motion images. The inner structure of the accompaniment of Begalan art includes themes, poets' feelings, tone, atmosphere, message, and meaning. The dominant theme in the accompaniment of Begalan art is the theme of human life. The dominant feeling conveyed by poets is feeling hopeful. The tone or dominant attitude of the accompaniment of Begalan art is the tone of giving advice. The atmosphere that is much depicted in Begalan art accompaniment is an atmosphere of hope. The dominant mandate is reflected in the accompanying song Begalan art is a mandate about human life. The meaning of art accompaniment songs dominant dominant about meaning in human life. Through the inner structure we can know the function of the song. The function contained in the accompanying song Begalan art is the function of song as an advice, song as a referee, and song as a criticism and suggestion. Based on data analysis, it is known the peculiarities of art accompaniment songs Begalan which makes Begalan art songs different from other songs. Structural-semiotic analysis research is possible to be re-analyzed using theory and point of view that is different from what has been done by researchers.
TEMBANG PENGIRING DALAM KESENIAN BEGALAN Utami, Palupi Budi
Sutasoma : Jurnal Sastra Jawa Vol 5 No 1 (2017): Sutasoma
Publisher : Jurusan Bahasa dan Sastra Jawa Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/sutasoma.v5i1.29022

Abstract

Begalan merupakan kesenian khas dari wilayah eks-Karisidenan Banyumas. Begalan dilaksanakan pada upacara pernikahan sebagai sarana tolak bala. Begalan dilaksanakan apabila pernikahan yang terjadi adalah pernikahan antara anak sulung dengan anak sulung, bungsu dengan bungsu, atau bungsu dengan bungsu. Penyajian kesenian Begalan dilakukan dalam bentuk tarian, dialog, dan tembang. Tembang pengiring dalam kesenian Begalan memiliki lirik-lirik yang bermakna yang memiliki berbagai fungsi. Permasalahan penelitian ini adalah bagaimana struktur fisik, struktur batin, dan fungsi tembang pengiring kesenian Begalan. Tujuan dari penelitian ini adalah mengetahui bagaimana struktur fisik, struktur batin, dan fungsi tembang pengiring kesenian Begalan. Pendekatan yang digunakan dalam penelitian ini adalah pendekatan objektif. Data dalam penelitian ini berupa teks tembang pengiring kesenian Begalan. Sumber data penelitian ini adalah tembang pengiring kesenian Begalan itu sendiri. Berdasarkan analisis diketahui bahwa struktur fisik tembang pengiring kesenian Begalan terdiri atas unsur bunyi, terbagi menjadi rima awal, rima tengah, dan rima akhir dimana yang dominan adalah rima tengah. Kekhasan tembang terlihat dalam vokal-vokal pengiring tembang. Unsur diksi terdiri atas kata konotasi, denotasi, kata konkret, dan kata arkais. Kata-kata khas Banyumasan menjadikan kekhasan tembang kesenian Begalan. Bahasa figuratif yang dalam tembang yaitu metafora, personifikasi, dan sinekdoke. Imaji dalam tembang kesenian Beglana berupa imaji visual, imaji pendengaran, imaji perabaan, imaji pengecapan, dan imaji gerak. Struktur batin tembang pengiring kesenian Begalan meliputi tema, perasaan penyair, nada, suasana, amanat, dan makna. Tema yang dominan dalam tembang pengiring kesenian Begalan adalah tema mengenai kehidupan manusia. Perasaan dominan yang disampaikan oleh penyair adalah perasaan penuh harap. Nada atau sikap yang dominan dari tembang pengiring kesenian Begalan adalah nada memberi nasehat. Suasana yang banyak tergambar dalam tembang pengiring kesenian Begalan adalah suasana penuh pengharapan. Amanat yang dominan tergambar dalam tembang pengiring kesenian Begalan adalah amanat tentang kehidupan manusia. Makna tembang pengiring kesenian Begalan dominan mengenai makna dalam kehidupan manusia. Melalui struktur batin dapat diketahui fungsi tembang. Fungsi yang terdapat dalam tembang pengiring kesenian Begalan adalah fungsi tembang sebagai nasehat, tembang sebagai tolak bala, dan tembang sebagai kritik dan saran. Berdasar analisis data, diketahui kekhasan tembang pengiring kesenian Begalan yang membuat tembang kesenian Begalan berbeda dari tembang lain. Penelitian analisis struktural-semiotik ini dimungkinkan dianalisis kembali menggunakan teori dan sudut pandang yang berbeda dari apa yang sudah dilakukan oleh peneliti. Begalan is a special art from the former Karisidenan area of ​​Banyumas. Begalan carried out at a wedding ceremony as a means of rejecting reinforcements. Begalan is carried out if the marriage that occurs is a marriage between the eldest child and the eldest child, the youngest with the youngest, or the youngest with the youngest. The presentation of Begalan art is done in the form of dance, dialogue, and song. Companion songs in Begalan art have meaningful lyrics that have various functions. The problem of this research is how the physical structure, inner structure, and function of the accompaniment of Begalan art. The purpose of this study was to find out how the physical structure, inner structure, and function of the accompaniment of Begalan art. The approach used in this study is an objective approach. The data in this study are Begalan art accompaniment text. The data source of this research is the accompaniment of Begalan art itself. Based on the analysis, it is known that the physical structure of Begalan art accompaniment consists of sound elements, divided into initial rhyme, middle rhyme, and final rhyme where the dominant one is the middle rhyme. The peculiarities of songs are seen in the song vocal accompaniment. Diction consists of connotations, denotations, concrete words, and archaic words. Banyumasan's typical words make the peculiarities of Begalan's artistic songs unique. Figurative language in songs, namely metaphor, personification, and synekdoke. The images in Beglana's art are in the form of visual images, auditory images, touching images, taste images, and motion images. The inner structure of the accompaniment of Begalan art includes themes, poets' feelings, tone, atmosphere, message, and meaning. The dominant theme in the accompaniment of Begalan art is the theme of human life. The dominant feeling conveyed by poets is feeling hopeful. The tone or dominant attitude of the accompaniment of Begalan art is the tone of giving advice. The atmosphere that is much depicted in Begalan art accompaniment is an atmosphere of hope. The dominant mandate is reflected in the accompanying song Begalan art is a mandate about human life. The meaning of art accompaniment songs dominant dominant about meaning in human life. Through the inner structure we can know the function of the song. The function contained in the accompanying song Begalan art is the function of song as an advice, song as a referee, and song as a criticism and suggestion. Based on data analysis, it is known the peculiarities of art accompaniment songs Begalan which makes Begalan art songs different from other songs. Structural-semiotic analysis research is possible to be re-analyzed using theory and point of view that is different from what has been done by researchers.
PARIKAN ALAM GENDHING TAYUB BLORA Jayanti, Diana Eka
Sutasoma : Jurnal Sastra Jawa Vol 5 No 1 (2017): Sutasoma
Publisher : Jurusan Bahasa dan Sastra Jawa Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/sutasoma.v5i1.29023

Abstract

Gendhing tayub Blora selalu hadir dalam pertunjukan tayub. Parikan merupakan puisi tradisional Jawa yang dalam bahasa Indonesia disebut pantun. Parikan dalam gendhing tayub Blora merupakan sarana pemanis atau penambah keindahan yang wajib hadir dalam setiap pertunjukan tayub. Berdasarkan latar belakang tersebut, maka permasalahan dalam penelitian ini adalah apa saja jenis, fungsi, dan makna parikan dalam gendhing tayub Blora. Penelitian ini bertujuan untuk mengkaji jenis, fungsi, dan makna parikan dalam gendhing tayub Blora. Teori yang digunakan dalam penelitian ini adalah teori gendhing dan parikan. Pendekatan dalam penelitian ini adalah pendekatan objektif dan pendekatan sosiokultural. Data penelitian berupa parikan yang terdapat dalam VCD kumpulan gendhing tayub Blora versi compact disk (CD) atau MP3 edisi 2010. Data dianalisis dengan teknik deskriptif analitik dengan menggunakan pendekatan sosiokultural. Hasil penelitian ini adalah parikan dalam gendhing tayub Blora dapat dikelompokkan menjadi dua jenis, yaitu (1) parikan lamba berjumlah  empat parikan dan (2) parikan rangkep atau parikan camboran berjumlah dua puluh parikan dianalisis menggunakan aspek bunyi, aspek spasial, aspek kebahasaan, aspek pengujaran dan ditulis dengan menggunakan font fonetis. Parikan dalam gendhing tayub Blora berfungsi untuk meledek, menasehati, melucu, menyindir, mengkritik, menghibur dan mendidik. Makna parikan dalam gendhing tayub Blora adalah tentang kesetiaan, keteguhan hati, kasmaran. Bagi peneliti sastra berikutnya hendaknya dapat mengembangkan penelitian lanjutan tentang parikan dalam gending tayub Blora dengan menggunakan teori yang berbeda, sehingga dapat memberikan wawasan yang lain bagi pembaca.  Gendhing Tayub Blora is always present at the tayub show. Parikan is a traditional Javanese poem which in Indonesian is called pantun. Parikan in gendhing tayub Blora is a means of sweetening or enhancing beauty that must be present at every tayub show. Based on this background, the problems in this study are what type, function, and meaning parikan in tayub Blora's gendhing. This study aims to examine the type, function, and meaning of parish in tayub Blora's bushings. The theory used in this research is gendhing and parish theory. The approach in this study is an objective approach and a sociocultural approach. Research data in the form of parikan contained in the VCD collection of gendhing Tayub Blora compact disk version (CD) or MP3 edition 2010. Data were analyzed by analytic descriptive technique using a sociocultural approach. The results of this study are that in the Blora tayub gendhing it can be grouped into two types, namely (1) paring lamba with four parcels and (2) trapping the capping or splashing the whip numbering twenty analyzed using sound aspects, spatial aspects, linguistic aspects, language aspects and written using phonetic fonts. Parikan in gendhing tayub Blora serves to tease, advise, joke, quip, criticize, entertain and educate. The meaning of parikan in gendhing tayub Blora is about loyalty, determination, love. For the next literary researcher, they should be able to develop further research on parenting in Blub tayub using different theories, so that they can provide other insights for the reader.
PARIKAN ALAM GENDHING TAYUB BLORA Jayanti, Diana Eka
Sutasoma : Jurnal Sastra Jawa Vol 5 No 1 (2017): Sutasoma
Publisher : Jurusan Bahasa dan Sastra Jawa Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/sutasoma.v5i1.29023

Abstract

Gendhing tayub Blora selalu hadir dalam pertunjukan tayub. Parikan merupakan puisi tradisional Jawa yang dalam bahasa Indonesia disebut pantun. Parikan dalam gendhing tayub Blora merupakan sarana pemanis atau penambah keindahan yang wajib hadir dalam setiap pertunjukan tayub. Berdasarkan latar belakang tersebut, maka permasalahan dalam penelitian ini adalah apa saja jenis, fungsi, dan makna parikan dalam gendhing tayub Blora. Penelitian ini bertujuan untuk mengkaji jenis, fungsi, dan makna parikan dalam gendhing tayub Blora. Teori yang digunakan dalam penelitian ini adalah teori gendhing dan parikan. Pendekatan dalam penelitian ini adalah pendekatan objektif dan pendekatan sosiokultural. Data penelitian berupa parikan yang terdapat dalam VCD kumpulan gendhing tayub Blora versi compact disk (CD) atau MP3 edisi 2010. Data dianalisis dengan teknik deskriptif analitik dengan menggunakan pendekatan sosiokultural. Hasil penelitian ini adalah parikan dalam gendhing tayub Blora dapat dikelompokkan menjadi dua jenis, yaitu (1) parikan lamba berjumlah empat parikan dan (2) parikan rangkep atau parikan camboran berjumlah dua puluh parikan dianalisis menggunakan aspek bunyi, aspek spasial, aspek kebahasaan, aspek pengujaran dan ditulis dengan menggunakan font fonetis. Parikan dalam gendhing tayub Blora berfungsi untuk meledek, menasehati, melucu, menyindir, mengkritik, menghibur dan mendidik. Makna parikan dalam gendhing tayub Blora adalah tentang kesetiaan, keteguhan hati, kasmaran. Bagi peneliti sastra berikutnya hendaknya dapat mengembangkan penelitian lanjutan tentang parikan dalam gending tayub Blora dengan menggunakan teori yang berbeda, sehingga dapat memberikan wawasan yang lain bagi pembaca. Gendhing Tayub Blora is always present at the tayub show. Parikan is a traditional Javanese poem which in Indonesian is called pantun. Parikan in gendhing tayub Blora is a means of sweetening or enhancing beauty that must be present at every tayub show. Based on this background, the problems in this study are what type, function, and meaning parikan in tayub Blora's gendhing. This study aims to examine the type, function, and meaning of parish in tayub Blora's bushings. The theory used in this research is gendhing and parish theory. The approach in this study is an objective approach and a sociocultural approach. Research data in the form of parikan contained in the VCD collection of gendhing Tayub Blora compact disk version (CD) or MP3 edition 2010. Data were analyzed by analytic descriptive technique using a sociocultural approach. The results of this study are that in the Blora tayub gendhing it can be grouped into two types, namely (1) paring lamba with four parcels and (2) trapping the capping or splashing the whip numbering twenty analyzed using sound aspects, spatial aspects, linguistic aspects, language aspects and written using phonetic fonts. Parikan in gendhing tayub Blora serves to tease, advise, joke, quip, criticize, entertain and educate. The meaning of parikan in gendhing tayub Blora is about loyalty, determination, love. For the next literary researcher, they should be able to develop further research on parenting in Blub tayub using different theories, so that they can provide other insights for the reader.

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