ABSTRACT The problems discussed in this study is philosophical conceptions behind the phenomenon of Cam­ purngaji Sholawat music. This research has been intended to reveal the ideas which is underlying the existence of the music and the spirit of the periferal Muslim community which is utilizing music as a symbol of its existence. Descriptive and analytical methods as well as interpretive methods are used to reveal and unravel the hidden conceptual thoughts. Philosophical conception in the form of practical assumption and working principle is useful as a performance benchmark of musical cre­ ativity. The understanding of the philosophical conception is useful to help any stakeholder to better understand the human intensity of a Muslim community through its musical culture expression. Keywords: philosophical conceptions, Campurngaji Sholawat music  ABSTRAK Permasalahan yang dibahas dalam penelitian ini adalah konsepsi filosofis di balik fenom- ena musik Sholawat Campurngaji. Penelitian ini dimaksudkan untuk mengungkap ide-ide yang mendasari eksistensi musik dan semangat komunitas muslim pinggiran yang me- manfaatkan musik sebagai simbol eksistensi. Metode deskriptif analitik disertai metode interpretif digunakan untuk mengungkap dan mengurai pemikiran-pemikiran konseptual yang tersembunyi.  Konsepsi filosofis yang berupa asumsi praktis dan prinsip berkarya bermanfaat sebagai acuan kinerja kreativitas bermusik. Pemahaman terhadap konsepsi filosofis itu berguna untuk membantu berbagai pihak untuk lebih memahami intensitas kemanusiaan suatu komunitas muslim melalui ekspresi budaya musiknya. Kata kunci: konsepsi filosofis, musik sholawat CampurngajiÂ

Model and Concept in the Music Paradigm of Creativity Модель и концепция творческой музыкальной парадигмы Composers who create music always make use of certain ideas as their main points of reference. In other words, the composer works by creating a certain foundation in his mind. Music is an expression of thoughts contained in the composer's ideas of sound. The composer who thinks about certain topics for his musical composition generally comes up with cognizing certain objects of thought, for example, certain unusual or unique values understood and favored by him, so that he feels the need to express them. The objects of thought targeted by composers are those that suit their personal tastes and interests. Epistemologically the process of creating music departs from verbal discourse and produces musical discourse. The latter occurs in the epistemology of the creation of music in general, and may be perceived in various musical genres, including that of gamelan music. The complexity of the discourse, on which composers' thinking is oriented, is the paradigm of all music composition. This paradigm is comprised of eight important elements, which include two interesting components, namely, the model and concept. This article makes the attempt to comprehend the elements of models and concepts in music composition. Models can be present in an auditive, visual or conceptual form present in the imagination of the composer. Composers consciously choose to present this element in the form of musical works as an empirical and symbolic reality. The concept is an explanation of the models existing in the composer's imagination. The explanation is related to the function and meaning of the model. The two elements of the paradigm are the minimum requirements that must be developed in the mind of the composer before he sets down to compose music.

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Aesthetics is an observation of beauty, values, and judgments that view human works from the perspective of whether they are beautiful and not—Serat Sri Karongron by R. Ng. Purbadipura was written during the reign of Paku Buwana X, releasing a pulse of musical life in the Surakarta Palace, which implies the artistic content of the Surakarta Palace’s karawitan. Serat Sri Karongron explicitly mentions the atmosphere of the Seger sumyah karawitan feeling. The phrase Seger sumyah can be interpreted as something that can make someone feel happy because Seger sumyah refers to an excellent or delicious taste. Purbadipura notes that Seger sumyah refers to the gobyog karawitan presentation at the Surakarta Palace. On the other hand, Purbadipura reported that the gobyog karawitan presentation still refers to the karawitan presentation with three parameters of tan sora swaranira, rampak-rempeg, and sajanturing ringgit. The aesthetics of the Seger sumyah karawitan, which refers to karawitan composition with the nuances of gobyog, had a chance to live and develop during the reign of Paku Buwana X.

Cadik adalah alat penyeimbang perahu nelayan di Pesisir Selatan Jawa. Fungsi cadik adalah untuk menjaga kestabilan perahu agar tidak terbalik saat diterpa gelombang. Ada pandangan bahwa cadik hanya merupakan bagian dari perahu nelayan. Padahal, cadik bukan sekedar elemen sekunder dari perahu. Cadik adalah fenomena budaya, yang memiliki fungsi penting lain bagi masyarakat pesisir terkait dengan persoalan nilai dalam seni rupa cadik. Masalah ini belum pernah diteliti sehingga perlu untuk mendapat perhatian. Pendekatan diakronik dan antropologi nelayan cukup berfungsi untuk menghasilkan kesimpulan melalui analisis yang proporsional. Ada perbedaan mendasar antara cadik pada Pesisir Selatan Pulau Jawa dengan adalah cadik di pesisir pantai lainnya. Penyebab perbedaan adalah karakteristik penalaranan dan intuisi para pengrajin. Nalar dan intuisi mereka bekerja berdasarkan kebutuhan dan persoalan kehidupan. Akhirnya, persoalan itu menghasilkan nilai resistensi pada cadik. Penelitian ini membuktikan bahwa cadik adalah karya budaya yang memiliki nilai resistensi dan nilai-nilai estetis lainnya sebagai tambahan.