LASMI’S STYLE OF SINDHENAN GENDHING TAYUB

Authors

  • Amalya Wijayanti Institut Seni Indonesia Surakarta
  • Danis Sugiyanto Institut Seni Indonesia Surakarta

DOI:

https://doi.org/10.33153/artistic.v3i1.4415

Keywords:

Sindhènan, garap, creativity.

Abstract

Grobogan Regency is one of the areas where Tayub art is still present. One of the distinctive and unique pesindhèn who produces gendhing recordings is Lasmi. This research focuses on artist Lasmi's creativity in working on her sindhènan (song), typically distinguished by parikan, wiledan, and céngkok. This study uses a qualitative approach by collecting data through observation and in-depth interviews and analyzing data with interactive analysis. The results of this study indicate that working on parikan, which has a comical character, is a rather distinct characteristic of Lasmi's style of working on sindhènan. Lasmi's vocal style in presenting unique céngkok-céngkok can be seen in the gendhing-gendhing Tayub. Sindhènan Lasmi differs from other sindhènan lèdhèk Tayub because it is more luwes (flexible) and prênès.

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References

Budiarti, Muriah. 2006. “Suryati Dalam Kepesindhènan Gaya Banyumas”. Surakarta: Pasca Sarjana ISI Surakarta.

Darsono. 2008. Konsep Dasar Sindhènan Dalam Karawitan. Jurnal Pengetahuan Pemikiran dan Kajian Tentang Bunyi. Volume 8 No.2 November 2008. Surakarta. Institute Seni Indonesia.

Koentjaraningrat. 1990. Pengantar Ilmu Antroologi. Jakarta: Rineka Cipta.

Moleong, Lexy J. 2014. Metodologi Penelitian Kualitatif. Bandung: PT. Remaja Rosdakarya.

Puspasari, Sendang Ayu. 2015. “Gendhing-Gendhing Tayub Gaya Grobogan” Skripsi. Surakarta: ISI Surakarta.

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Published

2022-09-21

Issue

Vol. 3 No. 1 (2022)

Section

Articles

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