GARAP KENDHANGAN GENDHING ONANG-ONANG, KASATRIYAN, DAN EMBAT-EMBAT PENJALIN DALAM IRINGAN PAKELIRAN
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Institusion
Institut Seni Indonesia Surakarta
Author
Prabowo, Rudi Punto
Subject
Karawitan
Datestamp
2020-01-02 08:05:29
Abstract :
Thesis of this artwork tries to present and analyze the gending kendhangan of garap iringan pakeliran with the following vocabularies: Onang-onang, Kasatriyan and Embat-embat Penjalin. The two issues posed in the thesis of art are: (1) how the garap kendhangan of each gending: and (2) why the three gending repertoires are presented 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 thourgh literature study , document study, and interviews with a number of karawitan artists. The results of the research show that gendhing Pakeliran Onang-onang, Kasatriyan, and Embat-embat Penjalin have different forms and types, including: gendhing, ketawang, and ladrang. Each of these gending has distinctive character and taste, besides, it also has different kind, sekaran, wiledan, and sense of kendhangan. The three there gending repertoires, essentially, are not gending sequences that are tied in one unity of javanese garap pakeliran nyanga. There are many pieces that can be presented in accompaniment of pakeliran jejer sanga pisan, but what is suitable for the heavenly scene kahyangan is onangonng, and Embat-embat penjalin. It is meant to produce the various shapes, types, sekaran, wiledan, and sense of kendhangan in a single concert of karawitan.
Thesis of this artwork tries to present and analyze the gending kendhangan of garap iringan pakeliran with the following vocabularies: Onang-onang, Kasatriyan and Embat-embat Penjalin. The two issues posed in the thesis of art are: (1) how the garap kendhangan of each gending: and (2) why the three gending repertoires are presented 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 thourgh literature study , document study, and interviews with a number of karawitan artists. The results of the research show that gendhing Pakeliran Onang-onang, Kasatriyan, and Embat-embat Penjalin have different forms and types, including: gendhing, ketawang, and ladrang. Each of these gending has distinctive character and taste, besides, it also has different kind, sekaran, wiledan, and sense of kendhangan. The three there gending repertoires, essentially, are not gending sequences that are tied in one unity of javanese garap pakeliran nyanga. There are many pieces that can be presented in accompaniment of pakeliran jejer sanga pisan, but what is suitable for the heavenly scene kahyangan is onangonng, and Embat-embat penjalin. 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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