Music Composition Tajen Jangkrik | Komposisi Musik Tajen Jangkrik
DOI:
https://doi.org/10.59997/jurnalsenikarawitan.v2i3.1169Keywords:
Tajen, Jangkrik, Semarandana, SelondingAbstract
Tajen Jangkrik consists of two words, namely tajen which means fight, and cricket is a small insect with a loud sound. Tajen Jangkrik is a Balinese musical art work that describes the process of playing cricket fighting games. This work raises the phenomenon of youth and old people in Bali past or present, especially in Kesiman Village who play cricket fights for gambling or betting. This work will be realized in the form of innovative musical works using the media, namely Gamelan Semarandana and Gamelan Selonding. The purpose of the creation of this work is as a criticism through Balinese musical works of art to the public that this gambling game is not good to do, it can harm oneself because of betting and harm the living things that are used as a means of playing. The method used in the process of creating works is the creation method of Alma M. Hawkins with three stages in it, namely the exploration stage, the improvisation stage and the forming stage. The recommendation that can be given is how the stylist combines two gamelan barungan with different techniques, materials and characteristics into one complete work. From these recommendations, hopefully it can be an inspiration as a reference for future works.
Downloads
References
Adnyana, M. P., Yudarta, I. G., & Santosa, H. (2019). Patra Dalung, Sebuah Komposisi Karawitan Bali Yang Lahir Dari Fenomena Sosial Di Desa Dalung. Kalangwan: Jurnal Seni Pertunjukan, 5(1), 61–67.
Ardiyati, A. T., Mudjiono, G., & Himawan, T. (2016). Uji patogenisitas jamur entomopatogen Beauveria bassiana (Balsamo) Vuillemin pada jangkrik (Gryllus sp.)(Orthoptera: Gryllidae). Jurnal Hama Dan Penyakit Tumbuhan, 3(3), pp-43.
Aryanata, N. T. (2017). Budaya dan Perilaku Berjudi: Kasus Tajen Di Bali. Jurnal Ilmu Perilaku, 1(1), 11–21.
Bandem, I. M. (2013). Gamelan Bali Diatas Panggung Sejarah. BP Stikom Bali.
Hawkins, M. A. (1965). Creating Through Dance. Institut Seni Indonesia Yogyakarta.
Kustap, K., & Lubis, I. (2019). Pelatihan pola ritme sebagai strategi peningkatan kualitas pembalajaran mata kuliah instrumen gitar di jurusan musik FSP ISI Yogyakarta. PROMUSIKA: Jurnal Pengkajian, Penyajian, Dan Penciptaan Musik, 7(1), 20–28.
Laksono, Y. T. (2017). Penerapan Aplikasi Fruity Loops sebagai Media Pembelajaran Penciptaan Komposisi dan Aransemen Tata Suara. Jurnal Studi Komunikasi, 1(3), 253–261.
Miller, H. M. (2017). Apresiasi Musik. Thafa Media Yogyakarta.
Putra, I. P. A. A., Wibawa, I. P. S., & Artatik, I. G. A. K. (2021). TABUH RAH DAN TAJEN: ANTARA TRADISI DAN HUKUM. Hukum Dan Kebudayaan, 1(3 Mei), 17–27.
Santosa, H. (2005). Pengetahuan Multimedia Jilid 1.
Saptono, S., Haryanto, T., & Hendro, D. (2019). Greng Sebuah Estetika Dalam Kerampakan Antara Gamelan Dan Vokal. Kalangwan: Jurnal Seni Pertunjukan, 5(1), 29–38.
Sukerta, P. M. (2009). Ensiklopedi Karawitan Bali. ISI Press Solo.
Sukerta, P. M. (2011). Metode Penyusunan Karya Musik (Sebuah Alternatif). ISI Press Solo.
Widiana, I. W. P. (2019). Karakteristik Gamelan Selonding Bebandem Dan Selonding Tenganan †œStudi Komparasi Intramusikalâ€. Mudra Jurnal Seni Budaya, 34(1), 61–72.
Yudha, I. N., Widiantara, P., Santosa, H., & Suartaya, K. (2020). Proses Penciptaan Komposisi Karawitan Kreasi Baru Paras Paros. 8(April), 1–13. https://doi.org/10.24821/promusika.v1i1.3607
