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Program Studi Seni Karawitan - Fakultas Seni Pertunjukan Institut Seni Budaya Indonesia (ISBI) Bandung Jl. Buah Batu No. 212 Bandung 40265, Telp. (022)-7314982, 7315435; Fax. (022) – 7303021
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PARAGUNA : Jurnal Ilmiah Pengetahuan, Pemikiran dan Kajian Tentang Seni Karawitan
Published by Institut Seni Budaya Indonesia Bandung
ISSN : 24076716     EISSN : 28284240     DOI : 10.26742/para
Core Subject : Humanities, Education, Art, Social,
Arts Humanities Education Environmental Science Social Sciences Other
Jurnal Paraguna merupakan jurnal di lingkungan Jurusan Karawitan, Fakultas Seni Pertunjukan ISBI Bandung, yang mengedepankan pelestarian, pengelolaan dan pengembangan potensi seni, serta budaya dan kearifan lokal nusantara yang berdaya saing dalam percaturan global. Karawitan secara khusus dapat diartikan sebagai seni musik tradisional yang terdapat di seluruh wilayah etnik Indonesia. Khususnya di Pulau Jawa, Madura dan Bali. Dalam hal ini, jurusan karawitan ISBI Bandung menjadikan kebudayan Sunda sebagai kekhususan etnis yang dimaksud.
Arjuna Subject : Seni dan Humaniora - Musik
Articles 66 Documents
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Kendang Jaipong Dalam Iringan Pakeliran Wayang Kulit di Sanggar Warga Laras Pimpinan Seno Nugroho Yogyakarta, Indonesia Asep Saepudin
Paraguna Vol 6, No 1 (2019): WACANA ENTITAS KARAWITAN
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (341.157 KB) | DOI: 10.26742/jp.v6i1.1885

Abstract

Penelitian ini bertujuan mencari alasan mengapa Seno Nugroho meng-gunakan kendang jaipong, fungsi Kendang Jaipong, serta menganalisis motif kendang Jaipong dalam iringan Wayang Kulit Warga Laras pimpinan Seno Nugroho di Yogyakarta. Metode observasi digunakan dalam melakukan penelitian untuk mencari data tentang tempat pertunjukan, pelaku kegiatan, waktu pertunjukan, serta peristiwa di lapangan agar tujuan penelitian dapat tercapai.Meskipun dalam iringan Wayang Kulit di Sanggar Warga Laras pim-pinan Seno Nugroho telah memiliki kendang Jawa, namun kendang Jaipong yang berasal dari Sunda Jawa Barat tetap digunakan dalam mengiringi pakeliran Wayang Kulit. Alasannya antara lain: kendang Jaipong memiliki suara lebih kumplit, memberi nuansa lain terhadap lagu, kendang Jaipong bisa digunakan dalam berbagai garap karawitan, serta kendang Jaipong sudah baku/mutlak sangat dibutuhkan untuk keberhasilan pertunjukan. Adapun fungsi kendang Jaipong terdiri atas dua yaitu fungsi yang ber-orientasi pada pasar/bisnis (yaitu untuk memenuhi selera masyarakat) dan fungsi musikal (yakni sebagai iringan tari wayang dan sebagai iringan lagu).Motif kendang Jaipong yang sering digunakan dalam iringan Wayang Kulit antara lain: improvisasi, pola ayak-ayakan, pola mandiri hasil kreativi-tas seniman, serta ragam motif tepak kendang Jaipongan. Semua motif ken-dang Jaipong ditanggapi secara kreatif oleh pengendang Seno Nugroho se-hingga hasil garapannya tidak bernuansa Sunda akan tetapi bernuansa Jawa.
ETNOGRAFI SENI PERTUNJUKAN RITUAL DI KABUPATEN SUMEDANG Dede Suryamah
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 (2160.744 KB) | DOI: 10.26742/jp.v3i1.1867

Abstract

This article  is  an  ethnographic stud  that explores   the  phenomenon of performing arts which functioned as a means  of rituals in the society.  The assumption ocused  in this paper is  the social fact  that the inception of a culture    work  in  society   can   not   be  separated   from   the   historical background of the community.   To uncover  the  truth  of this  assumption, Sumedang area is selected as  an area that presumably has  the potentials of rituals culture    which  still alive  today.  In the  midst  of today's socio-cultural changes with a mind set oriented on logical and objective thinking, in Sumedang society,   there are still some arts  oriented on non-logical and subjective thinking  such as  the arts  that  serves  as a means  of rituals. Associated with the existence of these arts,  through ethnograp hic studies it will   be   revealed   the   historical   background  of   belief  system   in   the Sumed ang  society,  rituals  performing arts   in  the  Sumedang community, and the types of today's arts used for ritual performances.
PANDANGAN MANG KOKO DALAM BERKESENIAN Tardi Ruswandi
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 (722.97 KB) | DOI: 10.26742/jp.v4i1.1869

Abstract

This study focused Mang Koko in view ofthe arts in general,  the artist,  and the Sundanese karawitan. Mang   Koko   view   of  the   matters   that   will   be   discussed   in   further description.  The purpose is to explain Mang Koko view of the arts and artists.  The method used is a qualitative method. While the results of this study revealed that the views Mang Koko the arts in general, because the art is an ancestral cultural heritage that should be maintained and developed. In everyday life the artist is not enough just good practice,  but also to be godly,  because the artist must have the mental strength,  discipline,  honesty,  and can  avoid  the  things  that  are  negative. Similarly  Sundanese  gamelan,  is  not  only  an essential element in kahidupan artist,  but should be part ofhuman life.
LAKON PERTUNJUKAN WAYANG GOLEK PURWA DALAM KONTEKS FALSAFAH KEHIDUPAN MASYARAKAT SUNDA Cecep Kusnendi
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 (10402.089 KB) | DOI: 10.26742/jp.v5i2.1902

Abstract

Wayang Golek   is  an  art that  has  lived for centuries.  As a cultural  product,  Wayang golek  is  full  of the   aesthetic-philosophical  values  of the   life  of the   Sundanese people.  These aesthetic-philosophical values are  infact explicitly contained in their stories,  both  from  the  Ramayana  epics,  as   well   as  from  the  Mahabarata  epics. These  educational   values  should  be   absorbed  easily   if the   conditions  of  the Sundanese people are quite  conducive  today.  The  Sundanese people are now  being swayed  by  the  proliferation  of "mass  culture",  causing the  essence  contained in traditional arts  ---  especially  Sundanese golek   ---almost  not  absorbed by  society. This  paper seeks  to  reintroduce  the   essence  of the   value   contained  in  wayang stories
LAGU-LAGU TEMBANG SUNDA CIGAWIRAN Oman Resmana
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 (1358.232 KB) | DOI: 10.26742/jp.v3i1.1865

Abstract

Tembang Sunda  Cigiawiran  is a  kind  of tembang presented by sekar (vocals)  without gending accompaniment.   The form of Ruumpaka used in this   tembang  is pupuh 17. I holds an important   role as a  medium of Islamic siar dissemination especially  in Cigawir Village Sela Awi  District Garut Regency. A Cigawiran singer must be sensitive towards laras  that is delivered.    Besides  she  must  have   a  wide  range  of voice  due   to  the coverage  of varies  tone area.
GAMELAN SELAP - PADA WAYANG GOLEK SUNDA Caca Sopandi
Paraguna Vol 2, No 1 (2015): FENOMENOLOGI KARAWITAN
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1372.544 KB) | DOI: 10.26742/jp.v2i1.1860

Abstract

The show of wayang golek purwa in Sunda has under gone considerable creativities by using gamelan selap as  the karawitan element. The use  of gamelan selap by the puppeteers  in the show of   waang  golek purwa becomes so phenomena that its background  needs to be known. Gamelan selap is created as  the fulfillment of laras/surupan  which  has not been fulfilled so that there  is an innovation  in  the instruments  which produce several series of tones as  the  new formation. Gamelan selap  is also used as  the puppeteer 's attraction to get market opportu nities.  This is proven by the  increase  ownership of gamelan selap by the groups  of wayang golek purwa   in   West  Java.    Nevertheless, the   use  of  gamelan  selap   has weakness  on  percussion   technique  problems, especially   on  the   bar instrument.  At Gamelan   selap  the  tones   can  be automatically  stepping passes through  three or even four tones.  The organological improvements are  therefore  required   in  order  the  use gamelan  selap  really  brings significant changes, not only for  the  benefit of working on the  composition but also for the sake of aesthetics.
UPAYA MENGHADIRKAN LARAS SALENDRO DALAM SOUNDSCAPE KEHIDUPAN SEHARI-HARI GUNA MENUNJANG MATA KULIAH SISTEM NOTASI DI PRODI KARAWITAN Mustika Iman Zakaria S
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 (8668.842 KB) | DOI: 10.26742/jp.v5i1.1880

Abstract

The  environment  is one  aspect  that  supports the  realization   of a  good  learning process.  In  the process of learning  Sundanese  musical art,  one  of the  materials taught  in the process was  the  mastery of certain sounds or sounds that  certainly require auditive  sensitivity.  scale  of salendro  as  one of the  materials that  must be mastered by  students becomes  one  of the  sounds that  are  actually   extraneous to the ears  of student's soundscape.  This caused the slow  acceleration  of the mastery of the sound.  Through efforts to condition  certain environments in the context  of the learning process,  it becomes  one of the choices that must be made  especially by the students  themselves.  Sound   environment  or soundscape  becomes   an  important issue  that  the  writer  adopts,  through  literature  studies  and  descriptive  analysis  in the  context   of presenting  the  Salendro   scale   tone  in  the  daily   environment  of students  in  order  to  enrich  the   auditive  experience  in  order   to  accelerate   the mastery acceleration  of the sound  of the salendro  scale.
PROSES KREATIF LILI SUPARLI DALAM MENGEMBANGKAN WAYANG CATUR Reina Y. Puspita Ningsih
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 (201.795 KB) | DOI: 10.26742/jp.v8i1.1892

Abstract

This study discusses the creative process of Lili Suparli in developing “wayang catur.” Wallas's theory is used to explore the development of a particular creative process. Suparli is one of the Sundanese gamelan maestro who presents many works in Sundanese art. The purpose of this study is to describe the creative process that is passed by a creator in making works. This theory has four stages: incubation, illumination, preparation, and verification. This study employed observation and described the phenomenon. The result shows that Suparli’s creative process has spanned over a long period. Several internal factors (intuition, motivation, and imagination) and external factors (formal-and-informal education, family, and environment,) influence his creative process. The knowledge and experiences obtained through his daily life form his artwork's character and quality. In this context, they manifest as an innovative art called “wayang catur plus.” That way the creative process is always passed by a creator in making his work.
Nilai Tradisi Ritual Dan Mistik Dalam Pertunjukan Wayang Kulitpada Acara Bersih-Desa di Kabupaten Klaten Jawa Tengah Timbul Subagya
Paraguna Vol 7, No 1 (2020): DINAMIKA KHAZANAH KARAWITAN
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (594.136 KB) | DOI: 10.26742/jp.v7i1.1840

Abstract

Bersih desa merupakan salah satu tradisi Jawa yang hingga saat ini masih dijaga keberlangsungannya. Bagi masyarakat pendukungnya, acara bersih desa dipandang sebagai salah satu upayauntuk memenuhi kebutuhan dasar dalam kehidupannya. Dengan demikian acara itu akan dijaga eksistensinya meskipun dalam masyarakat itu sendiri terdapat pro dan kontra mengenai hal itu. Masyarakat pendukung acara bersih-desa beranggapan bahwa acara tersebut merupakan salah satu cara untuk memenuhi kebutuhan hidupnya khususnya dalam kebutuhan spiritual. Pelaksanaan acara bersih desa dengan menggelar pertunjukan wayang kulit di dalamnya mengandug beberapa nilai. Tujuan dalam tulisan ini adalah untuk mengetahui kandungan nilai yang terdapat dalam acara bersih desa di beberapa tempat yang ada dalam wilayah  Kecamatan Polaharjo Klaten, khususnya dari aspek nilai ritual dan mistik. Sementara metode yang dipakai adalah metode diskriptif analisis. Penulisan artikel ini memakai pendekatan deskriptif analisis yaitu mencatat dan menguraikan objek data sebagaiman adanya. Dari hasil kajian yang dilakukan  dapat dapat diketahui tentang nilai nilai yaitu,nilai ritual, nilai mitologi dan nilai religi.
KEHADIRAN ANGKLUNG PENTATONIK RAGAM LARAS SEBAGAI INOVASI PERTUNJUKAN MUSIKAL BUDAYA SUNDA DI JAWA BARAT Endah Irawan dkk.
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 (8199.692 KB) | DOI: 10.26742/jp.v5i1.1875

Abstract

Angklung became part of traditional  music that  develop in the  agrarian  society  in Sundanese culture and Nusantara, Indonesia. This musical instrument is environmentally friendly,  has  a distinctive  sound,  communal, practical,  can be play by  people  at  wide   age   range,   and   very   suitable  for  educational  tools.   The experiment  of  "Ragam  Laras"  Pentatonic  Angklung  is  an   innovation  from  the Sundanese  traditional  angklung.  It  offers  a  new   way   to  grow  and  develop  the creative   industries,   and    at   the   same    time   can   show  the   creativity   on   the development of art education  in Indonesia.  The  initial  idea  began  with  exploring local  potential   to  create   the   image   as   a  creative   industry,   and   looking  for opportunities  to provide  learning  material for the  art  of education-entertainment. The  designed method  starts  from preliminary  research  on  traditional  Sundanese angklung  (in  terms   of organology,  how  to  make   it,   and   musical presentation), design,  making the new  angklung,  and  create new  angklung composition.  In a long term,  the  results   of musical  instruments  and  musical  works   will  spread  to  the public in the educational  sectors  or the tourism industry, through  learning methods, training,  new creation,  workshops, performances,  marketing and  image branding. 

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