Abstract
Galong is a unique and interesting phenomenon in the world of paddling. His capacity as a pathet is still a debate today. Some groups say that Galong is its own pathet, while others say Galong is part of the Manyura pathet. The debate arose because his presence in the puppet show was in Manyura's pathet, but he had a distinctive and relatively prominent five tone. As a result, Galong has a different musical feel to Manyura's pathet. On the other hand, tone five is the dominant tone in sanga pathet and becomes a abstinence in Pathet Manyura. Based on the pathet philosophy, I assume that the pathet in pedalangan and karawitan is only divided from three, namely Nem, Sanga, and Manyura. Therefore Galong capacity needs to be reviewed in relation to puppet shows. To that, the question is: 1) how does Playon Galong "rasa"? 2) What is the function of galong in ngayogyakarta pakeliran tradition?Analysis using martapangrawit's "padhang-ulihan" perspective and functionalism came to the conclusion that Galong belonged to the Manyura pathet. Five tones as thin tones are presented as "pancer" or padhang to give reinforcement to ulihan tones. Thus, the taste is more sereng than the taste produced by Playon Manyura which has padhang-ulihan tone is just as strong. Or in other words, that Galong's function is as a transition to the climax or manyura sampak in a puppet show.
Highlights
Galong and Pathet Manyura in Ngayogyakarta Puppetry: A Comparison of “Rasa”
Some groups say that Galong is the
The controversy arises because its presence in the puppet show is in
Summary
Galong merupakan fenonema yang unik dan menarik. Dikatakan unik karena Galong adalah salah satu bentuk karawitan dalam pertunjukan wayang (selanjutnya ditulis pakeliran) hanya dijumpai dalam pakeliran tradisi Ngayogyakarta. Dasar yang digunakan untuk menyatakan bahwa Galong merupakan pathet Manyura adalah konvensi pathet dalam karawitan pada umumnya. Langkah selanjutnya memperbandingkan rasa musikal yang dihasilkan oleh komposisi laras dalam gendhing Galong dengan gendhing dalam pathet Nem, Sanga, dan Manyura, menurut pandangan Hastanto (2009) dan Soeroso (1985). Hastanto menyatakan bahwa pathet sebenarnya adalah permasalahan yang berkaitan dengan rasa gending, yaitu rasa seleh atau rasa berhenti pada sebuah kalimat lagu, atau tanda baca titik dalam fenomena bahasa (Hastanto, 2009). Hastanto (2009) menyebutkan bahwa untuk mengidentifikasi pathet atas sebuah gendhing dapat ditelaah nada selehnya berdasarkan patokan pada Tabel 1. Bangunan satu pertunjukan wayang kulit konvensional pada dasarnya mengikuti model dalam penyajian karawitan, yakni dibagi menjadi tiga pathet dengan urut-urutan pathet Nem, pathet Sanga, dan pathet Manyura. Tabel 3: Urutan Penyajian Karawitan Pakeliran dalam pertunjukan wayang Tradisi Ngayogyakarta. (Kayam, 2001)
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