NOTASI KEPATIHAN: KEBERTAHANAN, PERKEMBANGAN DAN DAMPAKNYA TERHADAP KEHIDUPAN KARAWITAN

Rusdiyantoro, Rusdiyantoro (2011) NOTASI KEPATIHAN: KEBERTAHANAN, PERKEMBANGAN DAN DAMPAKNYA TERHADAP KEHIDUPAN KARAWITAN. S2 thesis, INSTITUT SENI INDONESIA SURAKARTA.

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Abstract

ABSTRACT Javanese Karawitan Notation is a method used for notating gamelan music. It first appeared after a process of fairly intensive cultural interaction between people with a background in Javanese culture and Western culture. Prior to this, the Javanese karawitan community did not use notation and their music was passed on to other musicians using an oral tradition. Karawitan notation was first introduced in the Javanese cultural centres of Surakarta and Yogyakarta at the end of the 19th century. No fewer than eight kinds of notation system were introduced and developed for the purpose of documenting Javanese music, or gending, to ensure its preservation. In subsequent developments, karawitan notation was used as a tool for learning to play gamelan. Of the eight systems that previously existed, only Kepatihan notation has survived until the present day. Kepatihan notation has managed to survive over a long period of time because its system is relatively simple and it is also open for development. The notation, which uses numbers, is not only beneficial for documenting and learning gamelan but also for academic studies of karawitan. One of the effects of the continual and dominant use of Kepatihan notation has been that karawitan performances have become uniform in nature. This is a condition that goes against the nature of Javanese karawitan itself, which places more importance on remaining open to various playing styles and the appreciation of diversity. In order to reduce this negative effect, the use of Kepatihan notation in the learning process of karawitan needs to be repositioned as a memory aid for the musicians. The development of the Kepatihan notation system should be directed more towards the purpose of documenting the wide range of musical interpretations and karawitan techniques that are now in danger of disappearing as they are no longer remembered by gamelan musicians today.

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