LAGU GEDE DALAM KARAWITAN SUNDA SEBUAH KAJIAN KARAWITANOLOGI

ENDAH IRAWAN, Prof. Dr. R.M. Soedarsono

2015 | Disertasi | S3 Pengkajian Seni Pertunjukan dan Seni Rupa

Penelitian berjudul 'Lagu Gede dalam Karawitan Sunda sebuah Kajian Karawitanologi' ini adalah studi karawitannologi ditujukan untuk menemukan pemahaman teks disertai konteks yang melatarinya. Karawitanologi sama dengan Etnomusikologi memosisikan pertautan musik dengan kebudayaan dan masyarakat. Terdapat tiga masalah-utama penelitian ini, yaitu: mengenai ciri musikal lagu gede, dinamika keberadaan lagu gede, dan garap serta perkembangan lagu gede. Dalam tataran operasinal, untuk menjawab ketiga rumusan masalah diperlukan teori relevan. Teori yang digunakan adalah teori estetika musik, teori karawitan (khususnya teori garap), dan teori tradisi yang dikembangkan oleh Edward Shils. Pendekatan karawitanologi yaitu pendekatan musikal berwarna antropologis. Dua aspek musikologis dan antropologis dipadukan. Musik ditempatkan sebagai objek utama, sekaligus ditemukan dasar relasinya dengan persoalan-persoalan kebudayaan dan masyarakat. Soedarsono menyatakan pendekatan semacam tersebut adalah juga pendekatan multi-disiplin (pendekatan lebih dari satu disiplin, inter-disiplin atau inter-disipliner). Hasil penelitian lagu gede menunjukkan peran, proses, interaksi, dan kompleksitas garapnya khusus, ciri tempo yang lambat. Pada sisi pencipta lagu (pembuatan/penciptaan), lagu gede diakui sebagai pengguritan yang sulit dan langka. Pada sisi penyaji (sindén dan pangrawit), membawakan lagu gede diperlukan persyarat seperti: modal vokal bagus, menguasai perbendaharaan lagu/gending, laras, gending, trampil menafsir garap lagu/gending dan memberi senggol-senggol unik. Dengan ketiadaan lagu gedé, mutu garap kesenimanan sinden dan pangrawit (penabuh gamelan) dan jalinan interaksi kemampuan musikal di antara pemeran garap (seperti vokal, rebab, gambang, dan kendang) mengalami keterbatasan. Dinamika lagu gede dalam perkembangan terbaru, justru digunakan sebagai sumber kreativitas penggarapan kesenian tembang Sunda, degung, dan bajidoran/jaipongan. Kata kunci: lagu gede, ciri, dinamika, garap

The research entitled 'Lagu Gede Sundanese Karawitan An Karawitanology Research' The aim of this reseach is to find out the comprehension as well as the context that is form the background of this research. Karawitanologyis the same with Ethnomusicology, positions music in connection with culture and society. There are three main problems to be addressed in this research: the musical characteristics of lagu gede, the dynamics of the existence of lagu gede, and the musical interpretation and development of lagu gede. On an operational level, other relevant theories are needed in order to answer the three problems formulated in the study. The theories used are music aesthetics theories, karawitan theories (in particular the theory of garap or musical interpretation), and the theory of tradition developed by Edward Shils. Karawitanology approach is musical anthropology. Two aspects namely mucicology and anthropology are combined. Music is placed as the main object, in order to discover the basis of its relation with cultural and social issues. Soedarsono states that this kind of approach is also a multi-disciplinary approach (an approach involving more than one discipline, or an inter-disciplinary approach). The results of the research on lagu gede show the role, process, interaction, and complexity of the musical interpretation which is characterized by a slow tempo. From the point of view of the composer or the musical composition, lagu gede is recognized as a difficult and rare form of pengguritan. From the point of view of the performer (the sinden or female vocalist and the pangrawit or musician), a number of special skills are required in order to perform lagu gede. These include a good voice, a good command of the musical repertoire, tuning, and musical composition, and the ability to interpret the music and provide unique senggol-senggol. The absence of lagu gede will cause the quality of interpretation and artistry of the sinden and pangrawit, and the musical skill and interaction between the musicians (such as the vocalist, rebab, gambang, and kendang players), to become more limited. Furthermore, the dynamics of lagu gede in recent developments are being used as a source of creativity for the artistic interpretation of tembang Sunda, degung, and bajidoran/jaipongan. Keywords: lagu gede, characteristics, dynamics, musical interpretation.

Kata Kunci : lagu gedé, ciri, dinamika, garap; lagu gedé, characteristics, dynamics, musical interpretation