Musik Gamelan Drama Tradisional Amaq Abir
Abstract
ABSTRACT
This study aims to describe the composition of the traditional Gamelan music drama Amaq Abir in Sanggar Pustaka Budaya Marong Village, Central Lombok. This study used descriptive qualitative method. The results showed that Amaq Abir's Gamelan music has a composition of three types of Gending, namely: First Asmarandane Gending has a tempo between slow and fast with an expressive style with flat or horizontal melody and up to adjust the movements of the players on the stage. Both Oncer Prabu Gending have slow to medium tempo, dynamic a bit hard and a bit soft with a more even melody motion, up and down according to the scene. The three Gending Batelan has a fast tempo, getting louder and louder, the music style is light and fast with a rising melody motion, irregular tone movements. Each Gending has a rhythm that changes according to the situations and conditions of the play in the drama. The conclusion of the research is that the traditional Gamelan music of Amaq Abir has musical elements such as: rhythm, melody, harmony, tempo, dynamics, and style and is played with three types of gending with the Perembak technique and Bekilitan technique.
Keywords: Gamelan Amaq Abir, Music Composition, Traditional Music
References
lib.unnes.ac.id. https://lib.unnes.ac.id/35014/
Azizah, N. Y. (2019). Eksistensi Gamelan Amak Aber Di Desa Mendane Raya Kecamatan Keruak Kabupaten Lombok Timur. In TAMUMATRA: Jurnal Seni Pertunjukkan (Vol. 2, Issue 1)
Bandem, I. M. (2013). Gamelan Bali di atas panggung sejarah. BP STIKOM Bali
Becker, J. (2019). Traditional music in modern Java: Gamelan in a changing society. University of Hawaii Press
Djohan. (2016). PSIKOLOGI MUSIK (A. T. R. Mardiyanto (ed.); 4th ed.). Best Publisher
Hafid, M. P., & Soedarsono, R. M. (2012). Seni Resitasi Sinrilik dalam Konteks Upacara Adat Perkawinan Suku Makassar di Kabupaten Gowa Sulawesi Selatan (Suatu Kajian Etnomusikologi). [Yogyakarta]: Universitas Gadjah Mada
Harnish, D. (2003). Worlds of wayang Sasak: music, performance, and negotiations of religion and modernity. Asian Music, 34(2), 91–120
Harnish, D., & Yampolsky, P. (2000). Lombok, Kalimantan, Banyumas: Little-Known Forms of Gamelan and Wayang. In Yearbook for Traditional Music (Vol. 32, p. 243). JSTOR. https://doi.org/10.2307/3185300
Indrawan, B., & Sunarto, S. (2016). Bentuk Komposisi Dan Pesan Moral Dalam Pertunjukan Musik Kiaikanjeng. Catharsis, 5(2), 114–122
Isbah, M. F. (2019). Kajian Komposisi Dan Aransemen Musik Iringan Kesenian Babalu Di Kecamatan Proyonanggan Tengah Kabupaten Batang.
https://lib.unnes.ac.id/34429/
Isbah, M. F., & Wiyoso, J. (2019). Komposisi Dan Aransemen Musik Babalu Sebagai Sebuah Kajian Musikalitas Tradisional. Jurnal Seni Musik
https://journal.unnes.ac.id/sju/index.php/jsm/article/view/28698
Iswara, N. H. (2017). Dinamika Kesenian Gamelan (Studi Tentang Fungsi dan Pelestarian Kesenian Gamelan pada Sanggar Budaya Singhasari di Kecamatan Singosari, KabupatenÂ
repository.unair.ac.id http://repository.unair.ac.id/69467/
Jatmiko, E. M. (2015). Struktur Bentuk Komposisi dan Akulturasi Musik Terbang Biola Sabdo Rahayu Desa Pekiringan, Kecamatan Talang, Kabupaten Tegal. Catharsis, 4(1)
Miller, M. H. (2017). Apresiasi Musik. Thafa Media
Miller, T. E., & Williams, S. (2017). The Garland Encyclopedia of World Music: Southeast Asia. Routledge
Moleong, L. J. (2019). Metodologi penelitian kualitatif
Moleong, L. J. M. (2016). Metodologi Penelitian Kualitatif, cet. ke-35 Bandung: PT. Remaja Rosdakarya
Mudjilah, H. S. (2010). Teori Musik 1. Yogyakarta: Universitas Negeri Fakultas Bahasa Dan Seni
Nakagawa, S. (2000). Musik dan kosmos: Sebuah pengantar Etnomusikologi. Yayasan Obor Indonesia
Prier, K.-E., & Edmund, K. (1996). Ilmu Bentuk Musik. Yogyakarta: Pusat Musik Liturgi
Purnomo, W., & Subagyo, F. (2010). Trampil Bermusik untuk SMP dan Mts. PT Wangsa Jatra Lestari
Putra, I. P. A. S. S. (2019). Analisis Komposisi Musik “Kuasa Tanah.†Journal of Music Science, Technology, and Industry, 2(1), 49–84
Riyadi, S. (2002). Alan P. Merriam versus Mantle Hood dalam Orientasi Studi Etnomusikologi. Keteg: Jurnal Pengetahuan, Pemikiran Dan Kajian Tentang Bunyi, 2(1)
SJ, K. E. P. (2017). Ilmu Bentuk Musik (6th ed.). Yogyakaarta: Percetakan Rejeki
Spiller, H. J. (2010). Focus: Gamelan Music of Indonesia. routledge
Sugiono. (2017). Metode Penelitian Kuantitatif, Kualitatif dan R&D. Penerbit Alfabeta
Sugiyono, P. D. (2018). Metode Penelitian Kuantitatif,Kualitatif, dan R&D. Alfabeta, cv
Suneko, A. (2016). Pyang Pyung: sebuah komposisi karawitan. Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts), 17(1), 60–66
Supanggah, R. (1995). Etnomusikologi. Yayasan Betang Budaya
Widhyatama, S. (2012). Sejarah Musik dan Apresiasi Seni. PT Balai Pustaka (Persero)
Wisnawa, K. (2020). Seni Musik Tradisi Nusantara. https://books.google.com/books?hl
Yudarta, I. G. (2019). Gamelan Gong Kebyar As Communication Media Between Balinese And Sasak Ethnicities In Lombok. The International Council For Traditional Music Study Group On Performing Arts Of Southeast Asia, 174
Yudarta, I. G., & Pasek, I. N. (2015). Revitalisasi Musik Tradisional Prosesi Adat Sasak Sebagai Identitas Budaya Sasak. Segara Widya: Jurnal Hasil Penelitian Dan Pengabdian Masyarakat Institut Seni Indonesia Denpasar, 3, 369