Laras Ganda pada Karawitan Sunda

SASAKI, Mariko, Dr. Tri Bramantyo, M.Mus.,Ed

2006 | Tesis | S2 Pengkajian Seni Pertunjukan dan Seni Rupa

Penelitian ini membahas salah satu kekhasan karawitan Sunda, yakni terjadinya ‘laras ganda’. Apa yang dimaksud ‘laras ganda’ adalah, laras pada iringan (misalnya gamelan salendro atau kacapi) dengan laras pada melodi (vokal atau instrumen melodis) berlainan, sehingga dua macam laras terdengar sekaligus. Pertama, dijelaskan adanya tiga tipe ‘sistem terjadinya laras ganda’ sebagai hasil analisis penyajian gamelan salendro, dan dinyatakan bahwa laras salendro ‘bisa melahirkan’ laras sorog maupun laras pelog oleh ‘sistem terjadinya laras ganda’ tersebut. Dijelaskannya ‘sistem terjadinya laras ganda’ merupakan peninjauan teori Rd. Machyar Angga Kusumadinata yang diajarkan di Sekolah Tinggi Seni Indonesia Bandung, yaitu “gamelan slendro dari Jawa (yakni gamelan salendro) melahirkan laras sorog maupun laras pelog (laras pelog degung) di Sunda.” Kedua, terkait dengan teori laras Kusumadinata tersebut, dikaji ulang mengenai apakah betul sebelum masuknya gamelan Jawa pada permulaan abad ke-17 (masa Kerajaan Mataram Islam), di Sunda belum ada laras pelog (laras pelog degung) ataupun laras sorog. Untuk mengkaji hal itu, diteliti laras termasuk terjadinya ‘laras ganda’ pada tiga jenis kesenian khas Sunda yang telah ada di Sunda setidaknya sejak abad ke-15 (masa Hindu-Budha), yaitu goong renteng, pantun, dan tarawangsa. Sebagai hasil penelitian, disimpulkan bahwa laras salendro dan laras pelog (laras pelog degung) adalah laras ‘mandiri’ yang telah ada di Sunda sejak masa Hindu-Budha, jauh sebelum masuknya gamelan Jawa, sedangkan laras sorog merupakan laras yang ‘dilahirkan dari laras salendro’ yang baru muncul setelah zaman Hindu-Budha. (Namun tentang apakah betul laras sorog merupakan laras yang dilahirkan dari penyajian gamelan salendro, tidak dapat dipastikan.) Oleh karena itu, teori laras Kusumadinata perlu didekonstruksi.

This research describes one of characteristics of Sundanese traditional music, that is the occurance of ‘the double modes’ (‘laras ganda’). What is meant by ‘the double modes’ (‘laras ganda’) is, the mode (laras) system of the accompaniment (for instance gamelan salendro or kacapi) on the one hand, meanwhile on the other hand the melodic lines (vocal or melodic instruments) played another mode (laras) so that two contrasting modes can be listened at the same time. Firstly, it is explained that there were three types of ‘system of laras ganda’ that occurred on the performance of gamelan salendro, and proved that salendro mode (laras salendro) ‘can produce’ both sorog mode (laras sorog) and pelog mode (laras pelog) by ‘the system of laras ganda’. The idea of double modes in this thesis is review to a theory of Rd. Machyar Angga Kusumadinata that has become a school of thought at Sekolah Tinggi Seni Indonesia Bandung till today, i.e., “the gamelan slendro from Java (i.e.,gamelan salendro) produced both laras sorog and laras pelog (laras pelog degung) in Sunda land.” Secondly, writer has re-examined Kusumadinata’s theory in order to have the right answer whether was it true that before the influence of Javanese gamelan in early 17 century (periode Mataram Islam) there has not existed both laras sorog and laras pelog (laras pelog degung) in Sunda land. To examine the ideas objectively, the writer has done the research of modes (laras) included ‘the double modes’ (‘laras ganda’) of three genres of Sundanese performing arts that have existed since Hinduism-Buddhism era (at the least since 15 century), so-called goong renteng, pantun, and tarawangsa. As the results, it can be concluded that both laras salendro and laras pelog (laras pelog degung) have been ‘independently’ existed in Sunda land since Hinduism-Buddhism era, long before the Javanese gamelan gave its influence to Sundanese traditional music, meanwhile laras sorog is mode that ‘produced by laras salendro’ after Hinduism-Buddhism era. (However, the question whether the laras sorog was produced by the performance of gamelan salendro as Kusumadinata had claimed, remained uncertain.) So, Kusumadinata’s theory is necessary to be deconstructed.

Kata Kunci : Karawitan Sunda,Laras Ganda, Sunda, Karawitan, Laras