The Concept of Mandheg in Karawitan of Surakarta Style. This research reveals mandheg as one of the local concepts of Javanese music, especially the Surakarta style. Generally, some issues are explored in this research are related to the definition of mandheg and the process of mandheg itself. In more depth, this paper also discusses some point relating to the meaning, forming elements, and functions of mandheg in the process of gending work. These points are explained based on data on the presentation of a musical instrument as a factual data exploration media. The data collection was carried out by literature study, interviews, and also as a participant-observer. The analysis is carried out by reinterpreting the thoughts and experience of the pengrawit through practical reality. The interpretation uses the interpretation method and garap analysis. The explanation and getting conclusions are carried out by the inductive method. The mandheg is interpreted as a gendhing presentation that pauses at a point with the characteristic of the pattern of the kendhangan and the spesific flow after mandheg. The mandheg is divided into two, namely the mandheg kedah and mandheg pasrèn, with the elements of forming andhegan gawan, song sentences, balungan melodic variables, and sekar. The tend of mandheg are mandatory and facultative. Andhegan and specific variables make mandheg as forming a dynamic presentation. ABSTRAKTulisan ini mengungkap mandheg sebagai salah satu konsep lokal di dalam karawitan Jawa gaya Surakarta. Penelitian ini bertujuan untuk menggali persoalan yang terkait dengan pengertian mandheg, proses terjadinya mandheg, hal-hal yang berhubungan dengan pemaknaan, elemen pembentuk, dan fungsi mandheg di dalam proses penggarapan gending. Data dikumpulkan melalui studi pustaka, wawancara, dan pengamatan pertunjukan. Analisis dilakukan dengan menafsirkan kembali pemikiran dan pengalaman pengrawit yang diperoleh melalui realitas pragmatik. Berdasarkan penelitian disimpulkan bahwa mandheg dimaknai sebagai sajian gending yang berhenti sejenak pada sebuah titik dengan ciri pola kendangan mandheg dan alur yang spesifik setelah mandheg. Mandheg dibagi menjadi dua yaitu mandheg kedah dan mandheg pasrèn, dengan elemen pembentuk, antara lain andhegan gawan, kalimat lagu, variabel melodi balungan, dan sekar. Mandheg bersifat wajib dan fakultatif. Andhegan dan variabel yang spesifik membuat mandheg sebagai pembentuk sajian gending menjadi dinamis. dimaknai sebagai sajian gending yang digarap berhenti sejenak pada tempat tertentu, kemudian dilanjutkan kembali. Di dalam Kamus Basa Jawa (Bausastra Jawa) disebutkan bahwa, mandheg berarti lèrèn mari mlaku (Atmodjo, 1987). Hal ini dapat PendahuluanMandheg menjadi hal yang sangat penting dan wajib untuk disajikan terutama gendinggending yang memiliki sajian andhegan. Mandheg
This research discusses the work of karawitan pakeliran in a Pakeliran Sandosa with story Kembang Kudhup Pupus, which is explored through the basic aesthetic perspective of pakeliran, namely the concept of nuksma and respectively. The purpose of this discussion is to understand the extent to which an element of performing karawitan pakeliran can determine the achievement of an aesthetic puppet show. The results of the analysis show that the work of karawitan pakeliran in Pakeliran Sandosa Lakon Kembang Kudhup Pupus can be understood to reach the aesthetic level of pakeliran respectively. This can be seen through the creation of accuracy, harmony, and appropriateness between the composition of the performance karawitan pakeliran including gendhing and tembang to the needs of the events of the play and the inner atmosphere experienced by the puppet. As for the achievement of the aesthetics of pakeliran nuksma which is able to motivate the effect of catharsis for the admirer in the framework of karawitan pakeliran can be felt through the pattern of melody and gendhing songs and songs arranged in such a way; by paying attention to the compatibility between vocal techniques, beats, and musical graphic arrangements that are oriented to the dynamics of the gendhing sense.
Angklung Pentatonic Ragam Laras (APRL) is one of the innovative angklung products created in 2017 through an experimental process by Endah Irawan et al. A variety of tunings pentatonic angklung (APRL) is a musical ensemble consisting of several types of instruments made of bamboo material that apply the concept of collaborative instrumentation between gamelan orchestration and Western music. This ensemble is a new innovation in the world of traditional Sundanese art because it has a distinctive tuning pattern/scale system that collects several tuning patterns in Sundanese karawitan, namely Salendro, Degung and Madenda in different ensembles. The concept of the scale system is adapted from the concept of the Salendro 15 tone scale by R.M.A. Koesoemadinata.This study uses a mixed convergent parallel type method by obtaining both qualitative and quantitative data in order to answer the problem formulation comprehensively. The research results show that the adoption of the 15-tones saléndro tuning by Koesoemadinata R.M.A. affects the musikal work on Baju Hejo song that have been re-arranged especially in terms of the development of percussion and melodic patterns, tuning modulation and surupan, as well as the application of insert tones (miring and malang).
"Jingle Transformasi Pegadaian” is the title of a song that was employed as one of many transformation tools in PT Pegadaian (Persero). This study aims to determine the existence of “power” that helped the transformation process in PT Pegadaian (persero). To study the phenomenon this research applies mixed methods research design, which consists of ethnographic and quantitative methods. The research data were derived from in-depth interviews and random sampling questionnaire which was distributed to 390 employees in all work units. The process of jingle composing and the elements in the jingle, such as arrangement, genre, lyrics, and vocals were reviewed and perceived as an interpretation of the transformation process that happened in PT Pegadaian (Persero). Messages related to transformation that is contained in the jingle’s lyrics were accepted, and used as an affirmation of the transformation process by all employees. The jingle internalization process is carried out by playing it continuously in all work units’ corporate activities, both routinely and incidentally. The result of this research shows that by playing the jingle continuously forms a “power” that affects the emotional response of employees, and evoke positive reactions, such as: a sense of enthusiasm, awareness of the transformation process, sense of pride, and sense of belonging.
This thesis reveals mandhêg as one of the local concepts of Javanese music, especially the Surakarta style. Several issues to be explored are related to the mandhêg scheme in each musical structure. The data collection was carried out by literature study, interviews, and also as a participant observer. The analysis is carried out by reinterpreting the thoughts and experience of the pêngrawit through pragmatic reality. The interpretation uses interpretation method and garap analysis. The explanation and getting conclusions are carried out by the inductive method. Each mandhêg structure has a different mandhêg location or position, there is a mandhêg location that has become an optional convention or standard, there is also a mandhêg gawan which must be presented, pengendang must be able to know the location of the mandhêg in each piece he is going to present. The main factor is the empirical factor of a controller to be able to determine the mandhêg position of each musical structure.
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