Javanese gamelan instruments

The functional gamelan musical instruments can be divided into three groups, namely groups ricikan balungan, ricikan garap groups, and groups of structural instruments. Each group ricikan use to have a function and duty of each. The rhythm and song in the ricikan karawitan akan described as follows:

The name and Tasks Ricikan in Karawitan
Ricikan on duty
Irama Ricikan section on the duty on the song
1. kendang:
- Kendang gede
- Kendang kalih
- Ketipung
- Ciblon
2. Percussion
3. Kempyang
4. Kenong
5. Kempul
6. Gong
7. Kecar 1. Fiddle
2. Gender gede
3. Xylophone
4. Bonang gede
5. Bonang successor
6. Slenthem
7. Demung
8. Saron barung
9. Saron successor
10. Clampung
11. Flute

Source: (STSI Surakarta in Purwadi and Widayat, 2006: 16)
Then each task ricikan rhythm section are explained as follows:
a. Kendang (Pemurba rhythm)
1) Define the shape gending
2) Adjust the rhythm and the way laya
3) Set the mandeg and menyusukkan gending
4) Open to gending-gending kendang
b. Kethuk (Pemangku rhythm)
1) strengthen the kendang in determining the form of gending
2) Indicate type of rhythm
c. Kenong (Pemangku rhythm), determine the limits based on the form of Gatra gendingnya.
d. Kempul
e. Gong
1) strengthen the kendang in determining the form of gending
2) As the finalists and

Ricikan task on the track include:
a. Fiddle (Pemurba song)
1) Define the song
2) Go to gending-gending fiddle
b. Gender gede (Pemangku song)
1) embellish the songs with all your cengkoknya
2) Go to gending gender-gending
3) Open to gending-gending beside Bonang barung
c. Bonang gede (Pemangku song)
1) embellish the songs with all your cengkoknya
2) Go to gending-gending Bonang
3) Open to gending gending-launch
d. Xylophone (Pemangku song)
1) embellish the songs with all your cengkoknya
2) Go to gending-Gambang gending
e. Clempung, gender successor, Bonang successor (also called stakeholders song) duties caparison song.
f. Slenthem, demung, saron barung duties as the pattern of the song or termed balungan.
g. Saron successor, this instrument has a style that can be used as a guide various rhythm (Purwadi and Widayat, 2006: 16-17).

Javanese gamelan barrel system

Polecat has been in the sub-chapter on the pitch in karawitan karawitan, Javanese gamelan that is divided into two parts, the division is based on the difference in tone (pitch) is in each gamelan orchestra, the gamelan and gamelan slendro barrel barrel pelog (Harsono in nature Purwadi and Widayat, 1982: 21). Both have the characteristic of difference or specific types of tones that there is a strain on each gending. The most visible difference can be felt in the rhythm or the rhythm gending. Laras slendro more kalem, charming and engaging, while the barrel has pelog movement movement-songs that touch of rhythm and excite the piping kenes, wave the smart rhythm and the feeling of the spirit.
Karawitan in Java gending pitch pelog divided into three parts, namely gending pelog patet barrel 5, barrel gending pelog patet 6 and gending pitch pelog patet 7. Gending barrel pelog widely used to accompany wayang gedog presentation that describes the history of the kingdom of Kediri and Jenggala the first time.
Gending barrel slendro also divided into three parts, namely gending barrel slendro patet 6, gending barrel slendro patet 9 and gending slendro patet manyura barrel. Gending slendro barrel used in the leather puppet performance purwa. In addition to accompanying presentation puppet, gending barrel slendro and pelog also used to accompany dances, ceremonies and traditional entertainment.

Karawitan and the concept of Javanese culture

Arts karawitan Javanese gamelan contain values of historical and philosophical meaning of the Indonesian people. It is said so because Javanese gamelan is one of the art and culture inherited by its predecessor, and until now many ditekuni and tune. In addition to this, filasafat life and religious development of the Java community closely associated with art and culture gamelan. The hypothetical, Brandes (1889) and in Purwadi Widayat revealed that the "Java community before the influence of Hinduism has been the ten expertise, including wayang and gamelan" (Purwadi and Widayat, 2006: 1)
The concept of Java in its history karawitan influenced style of Surakarta. The concept of royalty, and Javanese culture palace has a very strong influence on the cultural development of Java and Java Surakarta karawitan system. Cultural palace is a conceptual expression of the crown and ultimately underlie the pattern of socio-cultural community Java. The indicators can be seen from the elements of structure and form of the gending be hierarchically from small to the large (gending Ageng, tengahan and alit). Similarly, the tembang (Sekar Ageng, Tengahan, and Sekar Alit or macapat). Garap from the next can be based on a simple garap gending garap to the most complex. Other indicators that can be observed is the classification instrument, to rank, authority and duties of palace servant niyaga and regulation in gamelan performance.
The existence of a system gamelan music Prana is an expression of social and cultural palace that the king of the Javanese conception of power. Karawitan Java on the side of the system has a rule the laws of art, in it also has the characteristic of garap smooth and flowing. This is a cultural mirror that respect cultural Java fine. Terefleksikan law in the structure and shape, pitch, patet, wasp pattern which serve as reference in creating the pengrawit gending-gending classic.
Along with the development of the era, Javanese gamelan always changes, and making a good quality. Gamelan heritage is treated as the kingdom of the objects believed to have magical value and positioned in dignity. To date, the gamelan music rarely heard in the community. The arts are only in the religious festivities in the palace and pewayangan only. The rest learned in educational institutions, both in primary school, secondary and higher education. This very day is only limited in Indonesia and peminatnya still rare.

Karawitan

Karawitan is one branch of art music, so before discussing about karawitan very much prevalent in this research to know the meaning of the "Music". According to some experts "Music is a beautiful expression of human feeling in the form of a concept in a rounded shape tones-ringing or other sounds to a rhythm and harmony and have a space in the form of time, known by themselves and other human beings in the environment of his life."
Mark in the next Hermansyah (2005: 19), art and music is the expression or the expression of the soul of man expressed in beautiful sound. Expression of the human spirit can be realized in various works of music that berragam types and colors. further expression of the soul is usually reflect the culture of life in it. From this, then munculah type of music that has a diverse and distinctive characteristics. Similarly with karawitan art, art and music is growing and developing in ranah terms with the cultural tradition. Attitudes and life of communities is reflected in guidance from the color of this music, beauty and refinement to music is a form of community-minded nature of adi superb.
Karawitan comes from the word "sauce", which means beautiful, beautiful, complex. So, this means karawitan beauty, keasrian, complexity. The term "karawitan" in the development used to take the music that there is a tradition in the area of the archipelago. In fact, this term is used for the Vocational School of Performing Arts, the School dibukanya Karawitan first conservatory in Solo, Surakarta, Central Java in 1952 (I Wayan Sinti in http://www.endonesa.net/.com, 2007)
Tjokrowasito in Waridi (2006: 139), karawitan interpret as sound art Java incurred from the human voice in harmony slendro-pelog the delicacy of feeling. Slendro pitch is a tone-tone sequence in the suarantaranya one octave (interval) the same or nearly the same. In slendro gamut, octave is divided into five parts with the same distance ¾. While pelog pitch is a tone-tone sequence in a single octave intervalnya that is not the same. Divided into seven tones, only the tone of the seventh five-tone that is often used so that the gamut is still called the gamut pentatonis, for example: d-es-fa-d-SSX. Slendro pitch and not recognize pelog standard tuning (standard tones) as well as on the Western music (diatonis) where the frequency and tone intervalnya already certain.
Karawitan term is now more widely used to mention the various other types of music that has the nature, character, concept, how to work, and / or rules that are similar to music karawitan (tradition), and although the music is not music in Java and also the music or not originating from and / or living in Java (Supanggah, 2002: 5).
"Karawitan is a terminology that is used to call the music produced from the gamelan. "Gamelan" has its own musical instrument consisting of a variety of tools perkusi, which, in general, beaten with a hammer and is used in art music karawitan. Pono Banoe (2003: 158) in the dictionary states that the music, the word "gamelan" comes from the Javanese and Balinese, the word "gamel" which means "time", while the words imply that there is going gamelan or shifting from the development of the word "gembel" which means that the tools to beat (Soedarsono, Ed. 1985: 5).
A gamelan usually consists of a gong, bell, metallofon, drum, flute, musical instrument string, made of bronze, steel, wood, and bamboo, but can also consist of singer-performers. In the Dictionary of Bahasa Indonesia, gamelan means "musical instrument device Java (Sunda, Bali, etc.) which consists of saron, Bonang, xylophone, fiddle, drum, gong" (KBBI, 1999: 228). While Pono Banoe (2003: 158) in the Dictionary of Music "as a means of gamelan music from traditional Javanese of Indonesia and various other. Tools gamelan music played on the various opportunities can be played alone as a musical concert, to accompany showtimes puppets, dance, dance, ritual ceremonies, and party people. Different types of gamelan music usually found among tribes Java, Bali, Sunda and Madura and in the area appear more karawitan art.
Gamelan music is usually ensembel weight metalofon, xylophone, drum, and gong. Gamelan orchestra there are many on the island of Java, Madura, Bali, and Lombok in Indonesia in various sizes and shapes ensembel. In Bali and Lombok today, and in Java through the 18-th century, the term gong is considered a synonym with the gamelan.
Penalaan and the gamelan orchestra is a complex process. Gamelan use four-way penalaan, namely sléndro, pélog, "gamelan" (special area of Sunda, or West Java), and "madenda" (also known as diatonis, the same as the original minor scale is widely used in Europe.
Gamelan is a musical instrument in a puppet show. In Javanese puppet show, musical instrument consists of 15 different types of instruments, mostly made of bronze and various perkusi. Flute, kendang, fiddle, xylophone, and the performance is not a follower perkusi and not made of bronze.
Based on the above description then can be concluded that art is art karawitan vocal or instrumental sound that slendro or pelog the delicacy of feeling. Consists of various musical instrument gamelan musical instruments, namely the type of perkusi and gesek, and in general engineering with the game beaten with a hammer or tabuh. In this research, the arts karawitan is a type of Javanese gamelan and karawitan pelog.

Film Script...Saniudyo Pangupo Jiwo

SANIDYA PANGUPA JIWO

The life of a man who wrestle in the traditional arts in Surabaya. Background art tradition ludruk ludruk inherent in the social life. But the existence fade along with the keterpurukan art ludruk in Surabaya.

Because keterpurukan economy ludruk so many artists of the kejalanan to connect his life. So also with one of the arts in the ludruk Surabaya. He was to go to the street mengamen using tradisianal form of zither music. He uses a kind of traditional music that is unique to the city of Surabaya gending jula - July to get a living through his family life. Day and night the streets of the city, he began to Surabaya from her home in Long jiwo the monument to heroes.

House to house, stalls - kewarung along the route have been laluinya every day, even though the heat of the day, he still sting is very hard because the economy of families in which only strut mengamennya with the results of each day.

Script

Establish

Describes the symbols of a journey in the tradition of artists explore nafkahnya via the mengamen.

Symbols divisualisasikan through the drawing up clothes, turbaned East Java and typically take the form of a traditional musical instrument zither. Establish disimbolkan also with pictures that move legs, hands play a zither, berkecap smack lips, and hands the money.

Insert Audio Insert Audio : : "I sing nguripake isa arts tradition, will diuripi Marang art tradition"

SCENE 1 SCENE 1

(At the morning, Pakne walk through the alley-alley in the city to go mengamen. In a home the rather large, Pakne stop for mengamen. Mengamen Before, Pakne first offer to the owner of the home entertainment akan disajikannya.)

Pakne Pakne : Mr. nuwun Sewu-Mother, badhe sowan kagem entertainment, punika siter.

Pemilik Owner : : Nggih, mangga... (Voters in from home)

Pakne Pakne : : (Leaving the siter and start mengamen)

Jaman biyen ludruk iku jaya Jaman biyen ludruk iku jaya

Iku ngono Rika yo tau ngrasakna Iku yo ngono Rica is ngrasakna

Tapi saiki akeh wong sing pada nglalekna But saiki akeh wong sing on nglalekna

Padha mbalela ninggalake Padha mbalela ninggalake budaya bangsa cultural nation

Pemilik Owner : (Out of home, while opening the door wider. While standing, the home owners to ask their Pakne)

Oh.. Oh .. peno biyen tau nang ludruk tah..?

Opo gak ono kerjaan sing liyane tah?

Pakne Pakne : Inggih Pak, Kula punika ngamen jula-juli, relate punika Tresna kaliyan Kula tradition. Itung-itung saget nambah rejeki.

Pakne Pakne : (After that Pakne stands for farewell to the house owner).

Pemilik Owner : : Mangga-mangga...

SCENE 2 SCENE 2

(Pakne walk step forward for mengamen. Arriving at a gathering where young people, Pakne called by one of the youth that are in the collection of these.)

Deni Deni : (Calling pengamen who passed away)

Pak..mriki Pak....

Pakne Pakne : (Menganggukan head to answer the call to youth)

Deni Deni : (Get a seat Pakne)

Mriki Pak...

Pakne Pakne : : (Sit down and start mengamen)

Iki ngono gending Surabaya Iki ngono gending Surabaya

Gending asli Jula-juli Gending original jula-juli

Mumpung enom ayo padha nyinaoni ENom mumpung ayo padha nyinaoni

Sebab gawe seneng lan legawa For gawe seneng lan legawa

Deni Deni : (Sing gending jula-juli)

Pancen bener omongane Pakne Pancen a omongane Pakne

Luwih apik belajar tradisi Luwih slick learning tradition

Timbang genjrang-genjreng karepe dewe Genjrang weigh-genjreng karepe dewe

Luwih enak nanggap gending Jula-juli Luwih tasty nanggap gending jula-juli

Bolot Bolot : : Wis ta Den, lagu ngono ae koen tanggap! Wis ta Den, Lagu liyane kan akeh!

Adiwal Adiwal : : Mboh iki...!

Deni Deni : : Koen iku Rek, reganana titik po'o...

Bolot Bolot : : Masa' Den...??? (Mocking tone)

Group Group : : Tambah siip ae Rek-rek... (Mocking tone)

Pakne Pakne : (Standing)

Rek ora usah tukaran, sing pada sabar, sing rukun. Rek ora usah tukaran, sing on the patient, sing harmonious. Iki ngono tinggalane para leluhur kita, khas budaya bangsa.

Group Group : (Youth popeyed dam to see each other that continues to pass Pakne)

SCENE 3 SCENE 3

Pakne walk through a small alley-alley to go to the main road. Pakne walk through some posters prospective East Java governor while sometimes stop for a moment memandanginya.. Pakne running from one street to the next flow-ago lintasnya very solid. The drizzle, Pakne cross roads with the assistance of a youth.

SCENE 4 SCENE 4

After the evening hours, Pakne stop for a moment bertuduh in a place. After the rain let up, continue the journey toward Pakne Tugu Pahlawan. Pakne stop in front of the Tugu Pahlawan to release tired. Pakne While resting, Pakne show His wife is in the house and he practices with His wife daily. He imagine how beautiful the life of his family, although living in simplicity.

SCENE 5 SCENE 5

When tersadar from lamunannya, Pakne hurry up and come home to find his wife. He was running through the streets of Surabaya to the night.

Insert Teks Insert Text : Art and culture is characteristic of a nation.

we belong to who?

Congeniality of Music

Such as those which told by some of expert that music arise from human life in pouring its expression by imitating animal sounds and some of again have a notion that music come from everyday human being Ianguage (Depdikbud, 1982:1). Music term come from Greek that is mousai. Mousai come from word of muse-muse with the meaning nine goddess mastering pure art and science. Ninth that goddess Zeus putri and of Memoyne (Silado, 1983:12), in Latin Ianguage music recognized with the title musica coming from word of musa and have congeniality which equal to Ianguage of yunani (Depdikbud, 1982:2). Music an artistry type by utilizing voice as its expression media, goodness voice human being voice and also appliances (Sukarya, 1982:2). Music represent result of creature, feel and decanted human being karsa in the form of voice and lapped over in a[n is harmonious tones which is one in and melody of ritme beautiful (Soedarsono, 1992:13).

While in Big Dictionary Indonesian lay open the meaning of Music 1) art or science compile voice or tone in sequence, combination, and of temporal to yield composition (suara) having continuity and unity 2) compiled voice or tone that way aspect so that contain rhythm, song, and is harmonious, especially using appliances able to yield that sounds (Team Compiler Of Dictionary Center Construction and Development of Ianguage, 1989 : 602).

From that statement, known that music very hand in glove its its with sound, but not all that sound type can diikatakan as sound music alone energi able to be compiled to become form, pattern, insipid and mathematical propersi, and also become Don musik.(Compbell, 2002 : 37).

To differentiate voice (human being bunyi) first of all divide type voice according to history incidence voice :

1. Natural Sound : voice wind ombak,suara, animal voice, and others. This voices there before human being first time world
2. Human Voice : conversation, discussion, this voice there after human being world.

Of voices human being compile or join sound natural with voice human as aesthetic feeling expression medium of human being person which [is] finally conceived of " music"

SOLFEGIO

Science of Solfegio of vital importance to mastering by a candidate of composer / arranger because science of tersbut represent basic which very basis for assist to train sensitivity of ear to memorize tone and train ritmis.
Conceiving if a singer when singing live sometimes terpeleset into tone - tone of fals. Virtual of this fair matter enough happened, because usually resulted from some constraint factor of the singer and this constraint earn also because singer less is mastering science of solfegio At least he have to try beforehand to improve;repair ability of vowel intensive practice. Phase for the shake of phase he will have sensitivity to tone, so that he can to control its tune better.
To a player, solfegio earn very assisting for the menstem of instrument to player play. science of Solfegio represent a[n very important science to studying when have to study music art, because solfegia represent basic to link before studying music theory. Instruction technique and study of solfegio kinds of - kinds of and will debate some from that solution item.