MLESET DALAM KARAWITAN: KASUS PADA GENDING PANGKUR
This article discusses rnleset phenomena in gamelan music. The main research question is why kenong and kempul instruments are played inmleset style. Acoustic and karawitanology approaches were used to analyze the problem. Two data type, qualitative and quantitative, were employed in this r...
| Main Authors: | , |
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| Format: | Article |
| Language: | Indonesian |
| Published: |
Pusat Penerbitan ISI Surakarta
2016-03-01
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| Series: | Gelar: Jurnal Seni Budaya |
| Online Access: | https://jurnal.isi-ska.ac.id/index.php/gelar/article/view/1327 |
| Summary: | This article discusses rnleset phenomena in gamelan music. The main research question is why kenong and kempul instruments are played inmleset style. Acoustic and karawitanology approaches were used to analyze the problem. Two data type, qualitative and quantitative, were employed in this research. The recording of each gamelan pieces and the common gending (gamelan piece) constituted the quantitative data. These recordings were then analyzed through a computerÂ
program, Wavelab 7. The qualitative data-experiences of the musicians were obtained through in-depth interview and observation done to the informants. The research revealed that rnleset isÂ
classified as mleset nuntuni and mleset ngempyungi. Mlasat nuntuni is determined by the melody, while mleset ngempyungi is determined by patet(mode) and fundamental frequency of gamelanÂ
instruments. Common instruments for plesetan are kenong and kempul, both with their unique sound frequency. Each of the instruments possesses fundamental frequency producing mainÂ
tone and overtone frequency, resulting in kernpyunq (kwint) orgembyang (octave) specific tone. The overtone frequency results in tonal interference which is culturally accepted as nice melodyÂ
by the listeners and the musicians.
Key words: mleset, karawitan, gamelan, overtone |
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| ISSN: | 1410-9700 2655-9153 |