GARAP REBAB SÈDHET GENDHING KETHUK 4 KEREP MINGGAH 8 LARAS PELOG PATHET BARANG
| Main Author: | Prasetyo, Cahya Fajar |
|---|---|
| Format: | Thesis NonPeerReviewed Book |
| Bahasa: | eng |
| Terbitan: |
, 2019
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| Subjects: | |
| Online Access: |
http://repository.isi-ska.ac.id/3940/1/Cahya%20Fajar%20Prasetyo-unlocked.pdf http://repository.isi-ska.ac.id/3940/ http://repository.isi-ska.ac.id/ |
Daftar Isi:
- The artwork thesis attempts to present and analyze the constraints of the works on the fiddle with the vocabular sequence of gending: Sèdhet and Lomanis. The two problems raised in this art paper are: (1) how to solve the problem of alih laras of the Gendhing Sedhet and Lomanis slendro manyura to the pelog barang?; (2) why are the two repertoire compositions presented sequentially in one unit, working on karawitan?; and (3) How feel the “rasa” that produced from this two gending after alih laras process? These three problems are examined based on musical rules, the concept of pathet, and the concept of the desert. The research data was collected through literature studies, document studies, and interviews with a number of musical artists. The results showed that Gendhing Sèdhet and Ladrang Lomanis had different shapes and types. Each of these compositions in addition to having its own character and taste, also has a type, cengkok,wiledan and different taste. The different characters ofmusic andmusic are combined in one order sequence, intended to produce shapes, types, céngkok, a variety of tastes that are varied in one musical concert unit. Lomanis is not a Gendhing lajengan of Gendhing Sédhet, however Ladrang Lomanis still has the same ”rasa” with Gendhing Sédhet, so Ladrang Lomanis is choosen