GANTALWEDHAR, GENDHING KETHUK 4 KEREP MINGGAH 8 LARAS SLENDRO PATHET NEM: KAJIAN GARAP GENDÈR
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Institusion
Institut Seni Indonesia Surakarta
Author
Santoso, Yuli Widan
Subject
Karawitan
Datestamp
2020-12-23 04:07:48
Abstract :
This Artwork Thesis discusses Gantalwedhar, piece of kethuk 4 kerep stop 8 barrel slendro pathet nem. Gendhing Gantalwedhar is a piece that has an interesting composition of balungan and has problems in its presentation. The problems faced are: the influence of gendèr garap Gantalwedhar gendhing, if the balungan additions are changed and what is the effect on other ricikan. This writer conducts research by changing the previous work of Gendhing Gantalwedhar by studying it based on musical principles of gendèran, the concept of working, the concept of pathet, mangat, and estitka karawitan. Research data were collected through literature study, observation, and interviews with a number of musical artists. The results showed that by interpreting the prickly pathet, to finding the same case as the Lontang piece, then applying it to the Gantalwedhar piece. The work is in the form of changes to the addition of balungan with the consideration that the balungan after the sindhènan becomes clearer and the gendèr can use other wilédan so that new flavors appear in the musical presentation. The novelty of this musical presentation has the weight of creative and unique work, coupled with new works by considering working on other pieces so that musical interactions emerge.
This Artwork Thesis discusses Gantalwedhar, piece of kethuk 4 kerep stop 8 barrel slendro pathet nem. Gendhing Gantalwedhar is a piece that has an interesting composition of balungan and has problems in its presentation. The problems faced are: the influence of gendèr garap Gantalwedhar gendhing, if the balungan additions are changed and what is the effect on other ricikan. This writer conducts research by changing the previous work of Gendhing Gantalwedhar by studying it based on musical principles of gendèran, the concept of working, the concept of pathet, mangat, and estitka karawitan. Research data were collected through literature study, observation, and interviews with a number of musical artists. The results showed that by interpreting the prickly pathet, to finding the same case as the Lontang piece, then applying it to the Gantalwedhar piece. The work is in the form of changes to the addition of balungan with the consideration that the balungan after the sindhènan becomes clearer and the gendèr can use other wilédan so that new flavors appear in the musical presentation. The novelty of this musical presentation has the weight of creative and unique work, coupled with new works by considering working on other pieces so that musical interactions emerge.
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