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Contact Name
gempur sentosa
Contact Email
pepep.dw@gmail.com
Phone
+6281931254247
Journal Mail Official
jurnal.paraguna@isbi.ac.id
Editorial Address
Program Studi Seni Karawitan - Fakultas Seni Pertunjukan Institut Seni Budaya Indonesia (ISBI) Bandung Jl. Buah Batu No. 212 Bandung 40265, Telp. (022)-7314982, 7315435; Fax. (022) – 7303021
Location
Kota bandung,
Jawa barat
INDONESIA
PARAGUNA : Jurnal Ilmiah Pengetahuan, Pemikiran dan Kajian Tentang Seni Karawitan
ISSN : 24076716     EISSN : 28284240     DOI : 10.26742/para
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.
Articles 52 Documents
PENGERTIAN, HUBUNGAN, DAN IMPLEMENTASI SOFT SKILLS, PEMBELAJARAN AFEKTIF, DAN PENDIDIKAN KARAKTER DALAM PROSES BELAJAR MENGAJAR Dadang Suganda
Paraguna Vol 4, No 1 (2017): TOKOH, HUKUM, DAN PENDIDIKAN KARAWITAN
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (11230.356 KB) | DOI: 10.26742/jp.v4i1.1870

Abstract

This paper is  the  result of the  author  who  has  participated in  various  trainings organized  by   the  Director  General   of Higher  Education,  Ministry  of National Education.  Based on that,  it can  be stated that  both soft skills,  effective  learning, and  character  education,  the three  are not in the  realm  related  to technical  skills, professional  scientific fields,  or things  that  are  motoric in nature.  All three  are  in the  area  ofpersonality competence. All three  are more closely related  to EQ., SQ., Heart,  to live together  and  to be than  with IQ,  hand,  head,  to do,  or to know.  Thus the  meaning of sofs skills,  character  education  is  not much  diferent from affective abilities.  However,  of course  there  are  diferences,  such  as  the  sofs skill gives  a broader picture  ofpersonality,  while  character  education provides a more specific and specific personality picture than  affective competence.  This can be seen  clearly from  the  many   and  broad  scope  of the  attributes  of soft skills,  as  well  as  the specific and  specific character  education goals  that  emphasize the  basic values  of character, namely honesty, smart, tough, and  caring. Efforts to carry out character education  in  the  ISBI  Bandung  environment will  be  confronted  with   the  main problem,  namely  the  ability  to make changes in the  level  of thought  patterns and patterns   of  action.    The   mindset   of  entering    into   the    realm,    namely    the implementation  of activities  carried  out in  the ISBI Bandung environment must be able  to  incorporate  elements  of the  basic  values   of character  into  each  activity carried  out.  The pattern of action  can  be in  the form  of building  synergy between lecturers   and   students.   The   synergy  between  lecturers  and   students  is   an intellectual capital to realize success..
MIMESIS PADA GAMELAN WANDA ANYAR Sopian Triana
Paraguna Vol 5, No 2 (2018): ENTITAS WAYANG DAN GAMELAN
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (7897.574 KB) | DOI: 10.26742/jp.v5i2.1903

Abstract

Koko Koswara (Mang Koko) which is a reformer figure in Sundanese music (karawitan) able to create a new genre art that remains oriented to the aesthetics of Sundanese gamelan. The genre is called Gamelan Wanda Anyar created around the 70s. The authors are interested to study the instrument / gending of this art which has a dynamic musical form structure. The phenomenon of sound that occurs in Gamelan Wanda Anyar dish stimulates the writer to trace it further in both textual and contextual. In dissecting this case the author uses the aesthetic theory that Aristotle devised about mimesis (imitation). The purpose of this paper is to provide cm overview of the work of Mang Koko mean poured in the Gamelan Wanda Anyar which until now is still a benchmark of the artists in developing Sundanese music(karawitan)
LAKON BANJARAN BHISMA VERSI KI NARTOSABDO Timbul Subagya
Paraguna Vol 3, No 1 (2016): FENOMENOLOGI KARAWITAN II
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1588.971 KB) | DOI: 10.26742/jp.v3i1.1856

Abstract

The aim of this article is to find out the position ofLakon Banjaran Bhisma in the field ofpuppetry and the existence of Bhisma according to Indian and Java tradition, especially Surakarta puppetry tradition. The approach used is descriptive method to describe mythology of Bhisma stories both in Indian and Wagang Surakarta tradition, The result shows that lakonBanjaran Bhisma is lakon model ever performed by Ki Narto Sabdo. This Lakon tells about the life of Bhisma since his birth until his death in Bharatadha war, the great war ofPandawa against Korawa. Based on Bhisma stories in lakon Banjaran Bhisma above, it is concluded that KiNartosabdo in presenting this lakon refers to the sources of lakoninSurakartapuppetry tradition.Keywords : Bhisma, lakon, puppetry, Surakarta.
SENI KARAWITAN YANG MANDIRI Ening Sekarningsih
Paraguna Vol 2, No 1 (2015): FENOMENOLOGI KARAWITAN
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1536.301 KB) | DOI: 10.26742/jp.v2i1.1861

Abstract

Sundanese Karawitan is currently experiencing stagnation resulting from the foreign cultural influences thereby impacting the continuity of Karawitan itself.    Various attempts of preservation,    fostering, and development for Karawitan have continuously and sustainably been done by individuals, communities, and institutions for the sake of the continuity and eternity of the art.  One of Karawitan  arts  needs   to be preserved is Karawitan Mandiri that  comes from  people for  people"   such  as  the Gamelan   Ajeng/ Goong  Renteng,   Pantun   Beton   and  Tarawangsa.   Theexistence of such art is currently quite alarming so it is needed efforts to preserve to remain preferable and sought by various segments of society. It is required innovative and creative thinking by supporting artistsof Karawitan  Mandiri but is still grounded in the cultural roots of their regions.  Creativity and innovation performed on the folk arts are expected to lift up the art with local culture spirit into the art with national and even international spirit.   Ultimately the folk arts are able to become a local cultural asset and provide social welfare.
GAMBANG DI SUNDA Soleh S.Sen.,M.Sn.
Paraguna Vol 5, No 1 (2018): KARAWITAN YANG BERPROSES
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (11967.28 KB) | DOI: 10.26742/jp.v5i1.1881

Abstract

Gambang  in Sunda   consists of Gambang  that  is  native  to the  Sunda region  and originating from outside  the  Sunda region.  The  existence of the  original  Gambang from  the  Sunda   region  was  pressured  by  the  existence of Gambang   originating from  outside   the  Sunda  region.  This  is  due  to  the  existence  of the  people  who became  the central.figure  who  encouraged the growing popularity  of the xylophone from outside  Sunda  with  the existence of the gamelan  salendro.
SISTEM PELARASAN PADA DUA PERANGKAT GAMELAN JAWA DI DESA PLANGKRONGAN MAGETAN Dea Lunny Primamona
Paraguna Vol 8, No 2 (2021): BUNYI DAN EKOLOGI I
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1002.047 KB) | DOI: 10.26742/jp.v8i1.1893

Abstract

Javanese gamelan music is an integral part of society's lives in Plangkrongan Village, Poncol, Magetan, but musical data records on tuning have never existed. Musical data records can be used as an archipelagic strategy for today's millennial generation to introduce the sound heritage of the archipelago's civilization to the next generation. Therefore, this study aims to determine: 1) knowing the tuning system, and 2) the embat used on several gamelan devices in the village.This study uses an ethnomusicological approach. The methods used include: 1) interviews and measurements; 2) comparative analysis and inductive inference; and 3) narrative descriptions with pictures and tables. This study collects musical data such as the tone, range, and embat systems of the gamelan Nugroho Mulyo and Gong Mbarang belonging to two well-known artists in Plangkrongan Village. Based on the data, it can be concluded that: 1) Gamelan is tuned in one gembyang from low nem to high nem; 2) Gamelan is tuned in the middle register so that it is easy to voice and listen; 3) The pelog barrel has the longest range of 486 cents, while the shortest range is 99 cents. While the slendro barrel has the longest range of approximately 310 cents, the average range is between 243 to 260 cents and the shortest range is 206 cents; and 4) The term structure states that the embat used is Sundari embat so as to produce a complete musical sense. This musical data record can be an important archive for ethnomusicologists, musicians and musicians, and observers of musical art in the archipelago in general and in Magetan in particular.
Therapy Melalui Seni Gamelan Sunda Suhendi Afryanto, S.Kar., M.M.
Paraguna Vol 7, No 1 (2020): DINAMIKA KHAZANAH KARAWITAN
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Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (266.855 KB) | DOI: 10.26742/jp.v7i1.1851

Abstract

ABSTRAK Seni apapun bentuknya memiliki fungsi tersendiri, di samping sebagai sarana hiburan, sering jugadimanfaatkan sebagai sarana terapi. Sepeerti halnya dengan seni gamelan Sunda, berdasarkan hasil penelitian yang dilakukan melalui metode narative personal, dengan teknik wawancara terhadap 50 orang mahasiswa yang pernah belajar mempraktikkan gamelan (Sunda) dan 10 orang ahli gamelan (Sunda), diperolah suatu kesimpulan bahwa seni gamelan dapat dijadikan salah satunya sebagai sarana terapi.Melihat fenomena seperti itu, bukan suatu keniscayaan dalam banyak hal seni juga dapat dijadikan sebagai value education dalam membentuk karakteristik bagi para pelakunya. Dari penelitian yang dilakukan, sekurang-kurangnya dapat diketahui bahwa mengapa seni musik diciptakan, karena memang terkait dengan kebutuhan manusia. Sepanjang kehidupan ada, maka seni akan memberi warna tersendiri sebagai dinamika yang setiap saat terus berjalan.   ABSTRACAny form of art has its own function, apart from being a means of entertainment, it is also often used as a means of therapy. Likewise with Sundanese Gamelan Art, based on the results of research conducted through personal narrative methods, by interviewing 50 students who have learned to practice gamelan (Sundanese) and 10 gamelan experts (Sundanese), a conclusion is obtained that gamelan art can be used as one of them. as a means of therapy.Seeing such a phenomenon, it is not a necessity in many ways art can also be used as an educational value in shaping the characteristics of the actors. From the research conducted, at least it can be seen that why the art of music was created, because it is related to human needs. As long as life exists, art will give its own color as a dynamic that is constantly running. 
ROMBONGAN PERKEBUNAN PARAKAN SALAK SUKABUMI DI AMSTERDAM TAHUN 1883: GAMELAN PARAKAN SALAK Asep Nugraha
Paraguna Vol 5, No 1 (2018): KARAWITAN YANG BERPROSES
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (18103.567 KB) | DOI: 10.26742/jp.v5i1.1876

Abstract

In   1883  the  tea _plantation  in  the  Parakan  Salak  Sukabumi  region brought workers from  the  local  plantation  community to  Amsterdam,  to  participated in De Internationale Koloniale en  Uitvoerhandel Tentoonstelling. Planter, Mr.  Holle, promoted the  commodity of tea by including the original culture of the  land of the colony,  precisely the  Sundanese  ethnicity.   Sundanese  cultural  presentations include  gamelan  and   dance  performances  and    cultural  tours  of  Sundanese villages.  The moment was the first time  Europeans  directly witnessed people from the  colonies played  music  and   danced  and   carried  out  activities  of daily   life through village activities.  This  paper describes the  existence of the  Parakan Salak plantation group in Amsterdam in  1883.
BUDAYA SEBAGAI LANDASAN KREATIVITAS SENIMAN Dadang Suganda
Paraguna Vol 6, No 1 (2019): WACANA ENTITAS KARAWITAN
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Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (219.503 KB) | DOI: 10.26742/jp.v6i1.1888

Abstract

Kreativitas seniman dalam proses penciptaan karya-karya seninya adalah kemampuan daya cipta untuk mewujudkan karya seni yang belum pernah ada atau karya seni yang sudah ada, akan tetapi disajikan  dengan kreasi baru. Lahirnya karya-karya seni unggulan dengan ide-ide baru meru-pakan hasil  proses berfikir kreatif dari para seniman. Perkembangan budaya yang tengah terjadi saat ini, menuntut para seniman untuk terus me-ningkatkan dan mengembangkan kreativitasnya agar dapat menghasilkan karya-karya seni yang penuh inovasi, sehingga dapat memenuhi kebutuhan masyarakat para pendukungnya. Salah satu yang dapat dijadikan landasan untuk menentukan  ide kreativitas dalam proses penciptakan karya seni, a-dalah Budaya. Kajian-kajian karya seni dalam bingkai budaya, meliputi  hal-hal yang terkait langsung mapun tidak langsung dengan realitas sosial, tra-disi, adat-istiadat, historis, religi, ekonomi, dan sistem pemerintahan.
PROBLEMATIKA PENGGUNAAN DESAIN INDUSTRI PADA ALAT MUSIK TRADISIONAL Budi Kurniawan
Paraguna Vol 4, No 1 (2017): TOKOH, HUKUM, DAN PENDIDIKAN KARAWITAN
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (12816.071 KB) | DOI: 10.26742/jp.v4i1.1871

Abstract

Industrial  Design  Act No.  31  of 2000 provides protectiontoany   ornamental  or aesthetic  aspect  of  an   article.  Hence,  it  gives  widestopportunity  to  people  to createa  creativedesign.  On  the  other  side,  Traditional  MusicInstrument  which is  partoffolkloreortraditional  cultural  expression(TCE)  insome  way  still  give an   opportunity  to  anyone  also   to  add   an   element  and   or  make    new   design inherenttoinstruments.A mix  betweenpublicowned rightsof TraditionalMusic Instrument  and  theprivaterightofIndustrial  Designarisenew  problemin  legal sense  including  to  define  an   exact  definition  ofa  "novelty"  element  adhere  in every   Industrial  Design  application  submitted.  Thefactthat  Industrial  Design Office  is   in   a   passive  standing  when  they  accept  a  new   Industrial  Design's application  bothfrom  a  good  faith's  creator   oreven    abadfaith'screatormake theoffice  couldnotrejectthat  applicationuntil  some   onepropose  an  objection. On  the    other  side,    legal   awareness  of  interested  parties,   in   this  case,   are traditional   music   instruments    manufacturers    who   have   been     producing instruments  for  manyyearsare   stilllow  when  opposeon  suchproblems.  This article  will  focus  on  reviewing  "a  novelty"  element  adhere  in   every   on   a  new application  ofIndustrial  Designsubmittedfaced  on"anotnovelty"  elementwhich isarisinginTraditionalMusic  Instruments  base.