POLA KELLÈGHÃN DAN TEKNIK VOKAL KÈJHUNGAN REPRESENTASI EKSPRESI BUDAYA MADURA DAN PENGALAMAN ESTETIKNYA
| Main Authors: | Mistortoifi, Zulkarnain, Haryono, Timbul, Ganap, Victor, Simatupang, G.R. Lono Lastoro |
|---|---|
| Format: | Article PeerReviewed Book |
| Bahasa: | ind |
| Terbitan: |
Fakultas Seni Pertunjukan ISI Yogyakarta
, 2014
|
| Subjects: | |
| Online Access: |
http://repository.isi-ska.ac.id/2447/1/796 http://repository.isi-ska.ac.id/2447/ http://journal.isi.ac.id/index.php/resital/issue/view/77 |
Daftar Isi:
- Kellèghãn Pattern and Kèjhungan Vocal Technique, the Representation of Madurese CulturalExpression and Aesthetic Experience. Kèjhungan is a singing style specific to Madurese. It features thepatterned melodic contour dominated by high pitch vocal, expressiveness, and full of vocal intensity. Maduresekèjhungan is often misperceived only as a form of “moaning” due to its piercing sound, high pitch note, andmelismatic melody. Kèjhungan gives an impression of a person shrieking and moaning at the same time. Thestudy of kèjhungan was conducted to reveal the relationship between the singing characteristic and humanexperiences. Therefore, kèjhungan aspects should not only focus on the singing material itself, but it shouldalso include a study on how people sing it. Using the structural-hermeneutic analysis and ethno aestheticapproach, the kellèghãn (patterns of musical phrase) and vocal techniques that rest upon volatile expressionare the basic characteristics of kèjhungan. The idea and concept behind those techniques show a connectionbetween Madurese singing practice and the chronicle of their socio-cultural experience. Finally, this researchshows that in phenomenological aspect it gives a very clear clue on the representation of the Madurese cultureexpression and aesthetic experience, especially the sub-culture of West Madura.