Pengaruh Negosiasi Budaya Pada Pertunjukan Musik Gamelan Soepra Terhadap Generasi Centennial
Abstract
Gamelan is the work of adiluhung from the Indonesian nation, and is synonymous with Javanese society. In its development, Javanese Gamelan began to be degraded by global culture. Centennial generation children are considered more interested in pop music than their own cultural output, such as Javanese Gamelan. Henricus Constant Van Deinse, SJ in 1957 had an interest in Javanese gamelan, and innovated to modify the tone shape of gamelan by combining it with Western musical instruments so that it could attract the attention of the younger generation. When Van Deinse's gamelan was staged at an event in Senayan, it happened that Indonesian president Ir. Soekarno was present at the event, and was named Gamelan Soepra (Soegijapranata) in 1965. This is in accordance with the origin of the gamelan from Central Java and its famous hero is Mgr. Soegijapranata. This study aims to examine Gamelan Soepra in the perspective of hybrid culture theory. This research uses a qualitative approach, and the method used is purposive sampling by directly appointing informants who are considered gamelan experts. The result of this study is to know the philosophy and ensemble format of Javanese gamelan, as well as cultural hybrid products in the form of soepra gamelan, and its influence on the centennial (Z) generation.
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References
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Van Bruinessen, M. (1998). Studies of Sufism and the Sufi orders in Indonesia. Die Welt Des Islams, 38(2), 192–219.
Dukut, E. M. (2018). The Use of Digital Media in the Classroom (Penggunaan Media Digital di Dalam Kelas). Universitas Katolik Soegijapranata.
Hananto, F. (2020). Gamelan Sebagai Simbol Estetis Kebudayaan Masyarakat Jawa. Representamen, 6(01).
Kirabaev, N., & Chistyakova, O. (2020). Knowing God in Eastern Christianity and islamic Tradition: A Comparative Study. Religions, 11(12), 1–16. https://doi.org/10.3390/rel11120675
Kobi, M. F. (2017). Campursari: Bentuk Lain dari Kesenian Gamelan yang Diterima di Masa Modern. Jurnal Warna, 1(1), 1–20.
Lindsay, J. (2020). Decolonizing the Curriculum. Academic Questions, 33(3), 448–454. https://doi.org/10.1007/s12129-020-09899-2
Moleong, L. J. (2021). Metodologi Penelitian Kualitatif. PT. Remaja Rosdakarya.
Nuri, M. S. (2016). Konsep Pendidikan Ki Hadjar Dewantara: Studi Kasus Pelaksanaan Sistem Among di SDN Timbulharjo Bantul. BASIC EDUCATION, 5(2), 129–140.
Pawito. (2007). Penelitian Komunikasi Kualitatif. LKIS PELANGI AKSARA.
Ratna, N. K. (2010). Metodologi Penelitian Kajian Budaya dan Ilmu Sosial Humaniora Pada Umumnya. Pustaka Pelajar.
Risnandar, R. (2018). Pelarasan Gamelan Jawa. Dewa Ruci: Jurnal Pengkajian Dan Penciptaan Seni, 13(2), 98–113.
Sekewael, R. (2016). Indonesian Popular Music and Identity Expressions Issues of Class, Islam, and Gender. Leiden University.
Septiyan, D. D. (2019). Pengaruh Habitus Dari Selera Musik Terhadap Konsep Diri Penikmatnya. Musikolastika: Jurnal Pertunjukan Dan Pendidikan Musik, 1(2), 101–108.
Sinaga, F. S. S., & Sinaga, S. S. (2021). Musical Facts and Sustainability of Trunthung Music in Eco-cultural Studies. Harmonia: Journal of Arts Research and Education, 21(2), 278–289.
Spiller, H. (2004). Gamelan: the traditional sounds of Indonesia (Vol. 1). Abc-clio.
Sumarsam. (2013). Javanese gamelan and the West. Boydell & Brewer Group Limited.
Suparlan, H. (2014). Filsafat pendidikan Ki Hadjar Dewantara dan sumbangannya bagi pendidikan Indonesia. Jurnal Filsafat, 25(1), 56–74.
Van Bruinessen, M. (1998). Studies of Sufism and the Sufi orders in Indonesia. Die Welt Des Islams, 38(2), 192–219.
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