GARAP GENDÈR BABAR LAYAR BEDHAYA, GENDHING KETHUK 4 ARANG MINGGAH 8 LARAS PÉLOG PATHET BARANG
| Main Author: | Wahyuntara, Gandhang Gesy |
|---|---|
| Format: | Thesis NonPeerReviewed Book |
| Bahasa: | eng |
| Terbitan: |
, 2019
|
| Subjects: | |
| Online Access: |
http://repository.isi-ska.ac.id/3872/1/Gandhang.pdf http://repository.isi-ska.ac.id/3872/ http://repository.isi-ska.ac.id/ |
Daftar Isi:
- There is a lot of garap and character of Karawitan that is flexible, especially the javanese karawitan that made an artist try to explore the newer garap, the case can be found in Gd Babar Layar Bedhaya. This whole time garap of it was stagnant and nothing change. There is a modulation in one of the gendhing parts that's possible to create the new garap. It's found in the pelog barang tones that variated with melody of the pelog nem tones. In a general case for some artist (gamelan player) are not admit it. The writter's idea to shift it to the real 'malik' to pelog nem tones. It's a big question why did the old artist do not do this way. Based to the existing and agreed theories in karawitan style of surakarta, is used by writter to their basic of writting . Writter look for sources through papers or an existing record, interviewees in order to srengthen the information. Idea to bring up the newest (up to date) garap doesn't mean to have feeling 'bold' (run from the existing tradition) but in order to bring into line of the era, also to show if karawitan always develop the garap aspect.