GAYA SÉNGGOL CUCU S. SETIAWATI DALAM PENYAJIAN SEKAR KAPASINDÉNAN

Anggana, Rina Dewi and Santoso, Santoso (2015) GAYA SÉNGGOL CUCU S. SETIAWATI DALAM PENYAJIAN SEKAR KAPASINDÉNAN. Jurnal Gelar, 13 (1). pp. 50-56. ISSN 1410-9700

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Abstract

The style senggol of a pasinden can be shown through a special song performance as a form of creativity through the development of the main melody or basic melody that is standard or not standard with a certainreureueus (ornamentation) technique supported by musical reference and self-potency. The journal is arrangedby using qualitative research method and musical approach that is more comparative in order to compare the senggol of Cucu S. Setiawati with the senggol of Yoyoh S. Asih and Neni Hayati in the presentation of sekar kepasindenan entitled Kastawa, especially analyze about the form and the style of Cucu S. Setiawati’stypical senggol. By transcription and study of melody plot belongs to the song Kastawa presented by the three pasinden, it can be concluded that the form of senggol Cucu S. Setiawati is different from the other pasinden compared. The characteristic of Cucu S. Setiawati can be seen from the development of melody and the use of reureueus technique based on her self-potency. She tends to confine herself in the presentation and it can be found in the using of the less and simple tone values and legato. The laras (barrel) used by Cucu S. Setiawati is more various, laras rotation tends to be done at the end of song especially at matra 3-4 or at the last bait of song. Her typical Senggol also can be seen through the using of certain melodies when she faces nada kenongan and goongan, when nada is wider and its reach is higher. From the side of vocal technique, she uses masiep sora technique which is not used by the pasinden compared. Keywords: style, sénggol, sekar kapasindénan, Kastawa, Cucu S. Setiawati

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