GARAP KENDHANG PATALON: LOBONG,KINANTHI, KEMBANG PÉPÉ, SRI
KACARYAN, AYAK-AYAK SINOM, SREPEG,PALARAN PANGKUR PARIPURNA LARAS SLÉNDRO PATHET MANYURA
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Institusion
Institut Seni Indonesia Surakarta
Author
Chairudin, Muhamad
Subject
Karawitan
Datestamp
2019-12-17 08:17:14
Abstract :
This thesis of an artwork tries to present and analyze the kendhangan gending of garap patalon with the following vocabularies: Lobong, Kinanthi, Kembang Pépé, Sri Kacaryan, Ayak-Ayak Sinom, Srepeg Palaran Pangkur Paripurna Laras Sléndro Pathet Manyura. The two issues posed in this thesis of art are: (1) how the garap kendhangan of each gending: and (2) why the five gending repertoires are presented in sequence in a unity of garap karawitan. These two issues are reviewed based on the musical rules of kendhangan, pathet concept, and padhang ulihan concepts. The data was collected through a literature study, document study, and interviews with a number of karawitan artists. The results of the research show that gendhing Lobong, Kinanthi, Kembang Pépé, Sri Kacaryan, Ayak-Ayak Sinom, Srepeg Palaran Pangkur Paripurna Laras Sléndro Pathet Manyura have different forms and types, including: gendhing, ladrang, ayak-ayak, and srepeg. Each of these gending has a distinctive character and sanse of life, as well as, different kinds of sekaran, wiledan, and different taste of kendhangan. Especially the first there gending repertoires, essentially are not gending sequences that are tied in one unity of javanese garap karawitan. The diversity of these gending and kendhangan characters is integrated into one sequence of presentation. It is meant to produce the various shapes, types, sekaran, wiledan, and sense of kendhangan in a single concert of karawitan.
This thesis of an artwork tries to present and analyze the kendhangan gending of garap patalon with the following vocabularies: Lobong, Kinanthi, Kembang Pépé, Sri Kacaryan, Ayak-Ayak Sinom, Srepeg Palaran Pangkur Paripurna Laras Sléndro Pathet Manyura. The two issues posed in this thesis of art are: (1) how the garap kendhangan of each gending: and (2) why the five gending repertoires are presented in sequence in a unity of garap karawitan. These two issues are reviewed based on the musical rules of kendhangan, pathet concept, and padhang ulihan concepts. The data was collected through a literature study, document study, and interviews with a number of karawitan artists. The results of the research show that gendhing Lobong, Kinanthi, Kembang Pépé, Sri Kacaryan, Ayak-Ayak Sinom, Srepeg Palaran Pangkur Paripurna Laras Sléndro Pathet Manyura have different forms and types, including: gendhing, ladrang, ayak-ayak, and srepeg. Each of these gending has a distinctive character and sanse of life, as well as, different kinds of sekaran, wiledan, and different taste of kendhangan. Especially the first there gending repertoires, essentially are not gending sequences that are tied in one unity of javanese garap karawitan. The diversity of these gending and kendhangan characters is integrated into one sequence of presentation. It is meant to produce the various shapes, types, sekaran, wiledan, and sense of kendhangan in a single concert of karawitan.
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