The Concept of Nyarira Lagu in Jineman Maduswara , A New Sindhenan Tradition Composed by Peni Candra Rini

"Maduswara" is a new musical work whose creation is based on memoirs, or the journey of Peni Candra Rini's in interpreting the sounds she has encountered. The memoir in question is the composer's memory from childhood when he first knew the tembang macapat, which was later termed as wiji tembang. The song continues to develop into a sound journey when the artist grows up, enters a formal karawitan school, and becomes a tembang lecturer in the musical department at the Indonesian Institute of the Arts Surakarta. The method of creation used is through several stages inspired by the composer's personal process, namely (1) reflection, (2) dialectics, (3) giving the tone of expression, (4) determining the form, (5) determining the medium, (6) compiling compositional musical notation, (7) transmedium, (8) practice, (9) improvisation. These steps of creation finally found a concept of nyarira lagu which was built on 5 indicators, namely; (1) language, (2) voice, (3) expression, (4) spirituality, and (5) improvisation.


Introduction
Jineman Maduswara in pelog pathet nem is a work based on a long contemplation of the existence of juru tembang, female vocalists, pesindhen who live and support the Javanese art world. The contemplation is not only based on the existence of pesindhen now, but the contemplation carried out is more on the figure of the pesindhen with all the soul experiences that are passed during the pesindhen. The soul experience in question is the existence of a pesindhen with all the moral burden, as a woman who also conveys the values of life, not just as a singer of songs as is widely known by the wider community today.
Sinden is an important part of Javanese karawitan concerts, both in solo karawitan concerts (klenengan) and karawitan in its function as supporting pakeliran. The role of the sinden is considered quite important in shaping the character of the gendhing, and determining the flavor of a gendhing. Likewise, in pakeliran karawitan, the position of pesindhen serves as a determinant of the flavor built by the puppeteer in building the atmosphere of the scene (Suraji 2005, 1).
According to Zoet Moelder in Javanese bausastra, sinden comes from the word pasindhiyan, which is rooted in the word sindhiyan or satire, in other words, pesindhen or pasindhiyan are people who convey the values of life through satire contained in their vocal verses (Zoetmoelder 1995(Zoetmoelder , 1094. Another name for pesindhen is juru tembang, referring to the word kembang or flower in Indonesian, this is due to the function of pesindhen as flowers or ornaments. While the term juru kawi, because pesindhen is very close to the kawi language, because the verses that are sung are verses sourced from ancient fibers in kawi (Sukesi 2018, 2).
Looking at the definition of sinden etymologically, has led to the understanding that sinden is not just a profession with a beautiful body and frenetic on stage, but more than that, a sinden is essentially a person who has a dual role in the life of art, both as an ornamental that determines aesthetic feelings, as well as a teacher who teaches ethical values and morality in Javanese cultural life.
The development of the sinden world is rapidly accelerating, following the flow of the development of an increasingly advanced and instantaneous era. This instantaneous tendency is partly due to the existence of increasingly sophisticated technology. Nowadays, people can bring everything they want just by facing the device in their hands, paying all kinds of bills, shopping for basic necessities only with the help of android phones and internet networks. This makes the tendency of consumptive life even greater. The ease of access to life makes people reluctant with something long-winded, so that contemplative arts such as klenengan performances, and classical shadow puppets become quiet audiences. This also has an impact on the lives of sinden now.
The changing tastes of society, the declining level of appreciation for contemplative works of art have a big impact on the existence of pesindhen, both the impact that is present in the community of connoisseurs, as well as the impact felt by the pesindhen themselves. Today's karawitan society has been accustomed to the phenomenon of hanging rebab, which is a phenomenon that is often found in the coastal areas of Java island which is far from the palace. The phenomenon of hanging rebab is a phenomenon where people who enjoy karawitan concerts ask for loud music, songs that have a fast tempo as an accompaniment to dance when the audience is drunk due to the influence of liquor, rebab as a pemurba song or a subtle leader began to be eliminated. It seems to reflect the taste of the people who no longer have interest in the presentation of subtle gendings, which prioritize a sense of semeleh in its presentation. This tendency has made the generation of artists born in the 90s rarely touched the classical form of karawitan, as a result, there is a stuttering in ability, the current generation of artists feel that they do not need the classical vocabulary because they rarely need it at this time.
Renewal discourses are also carried out by many initiators of karawitan art today, the implementation of renewal carried out one of which is the birth of campursari music, which is an effort to transfer karawitan music in the medium of electric keyboards. In campursari music, karawitan becomes very practical to pack, easy to carry around, and at the same time very cheap in terms of income. Campursari was once triumphant in the 90s to 2000s, pioneered by Manthous through CSGK (Campur Sari Gunung Kidul), many commercial recordings were born and sold out, but new uncertainties and problems were also born, campursari as an electronic product in fact failed to represent conventional gamelan tunes, from campursari in the end a generation of campursari sinden was born, who in fact had below average abilities because the sound produced was discordant tones, not pleng in the rules of Javanese gamelan tuning. Therefore, sinden with campursari voices and cengkok receive less attention in art schools, and this is something that must be seriously improved.
Another trend experienced by the pesindhen as a result of the instant tastes of society in addition to the decline in the ability of pesindhen to explore the sindhenan vocabulary is in terms of ethical values.
The development of social media has made it easier for pesindhen to access for self-actualization, fans can access the lives of their idol pesindhen through Facebook, Twitter, Instagram, YouTube and other social media pages. Likewise, pesindhen will easily take advantage of this media as a means of self-promotion, so that sometimes what is often uploaded on social media pages is the prestigious side of life, often even things that provoke the desire for visual exploitation alone, not achievements or abilities that are positive. Today's Sinden has become a celebrity who is adored for her beauty and ability to dance on stage, with make-up and frenetic lights, without realizing her position as a pasindhiyan or conveying the value of life through satire.
The above phenomenon is a small part of the anxiety felt by Peni, who is also a child born by karawitan and the world of pesindhen as well as a tembang lecturer in the Karawitan department of ISI Surakarta. Departing from this phenomenon, Peni conducted a long contemplation, through experiences encountered since Peni was in the first grade of elementary school, the beginning of knowing the song on the coast of Brumbun Tulungagung, East Java, where Peni was born. From the seed of love for the song, in the end, it led Peni to become a champion in various macapat and sindhenan competitions on a national scale. This achievement continued to increase until Peni became a professional sinden who traveled from one stage to another from 2000-2006.

Creation Method
Jineman Maduswara is one of the works created, to review the lives of the current sinden, departing from all the phenomena that occur in the world of sindhenan now. Maduswara is a reflective work of art, dedicated to the world of sindhenan. This can be seen from the word choice, Maduswara, which means a singer or a woman with a sweet voice. In other words, Maduswara is filled with feminism, even from the beginning of its creation.
The creation of Maduswara's traditional music composition is based on the contemplation of the composer in appreciating the world of sinden more deeply, along with everything that surrounds it.
In composing a new work of traditional music, it is necessary to reflect deeply on the existence of the composer. The existence in question is a memoir of the artist's journey, which will determine the characteristics of the music to be created. The steps of creation are as follows.

Self-Reflection
Reflection means the reflection or resolution of a problem obtained from outside oneself (KBBI online/Reflexion). Before creating a work of art, the composer first looks at the phenomena that occur regarding something related to the work being composed. (Maduswara (the singer), the song is a loyal friend, a companion for a long journey, so that you look back, what you momentarily forgot yesterday. That you may remember, and be remembered. For each sound is the essence of feeling. oh Maduswara, how you are the guardian of feeling, with all your body and soul. You are touched and then you give birth to each soulful stanza, each sound is contemplation. And from each stanza that soul, is the adornment for the poetry of longing).

Gives a Revealing Tone
The next process after composing the poem is to compose the vocal notation, from poem to tembang. Composing the notation in question does not merely provide notation but considers the phrases contained in the poem. Composing this vocal notation by considering the nuances of feeling that will be achieved. So that between poetry and tone can be a unity. The process of preparing this vocal notation also goes through many considerations, including the process of listening repeatedly, so that the accuracy of taste can be achieved in accordance with what is needed. The vocal notations that are arranged are as follows.
The reason for choosing a high and long tone is because this section contains a call or invitation to a woman who has a melodious voice (maduswara).

Mitra tu-mrap ing lelampah panjang
In this section, the atmosphere of affection is expressed with the advice that for pesindhen, tembang is a loyal friend, a friend who can be a place to express all the emotions of the soul in facing a long life. Therefore, the selection of tones tends to be gentle and flowing, as well as the depiction of gentle and affectionate speech in its expression.

Pa -ngli -ling pa
This section is an invitation to remember about the song which is a reminder or storage of all memories and life's journey, hence the tone with a long high note, because pangiling comes from the root word eling which means remember. Remembering everything that has gone before as a long memory.

Madu swara among rasa ja-ga raga
The atmosphere of love is still prominent in this section, as a continuation of the invitation described in the previous high and long tone. The ulihan sentence in this section ends with a seleh tone, in the phrase maduswara among rasa jaga raga.

Saben gatra mawa jiwa paes ge-gu-ri-tan sendhu
At the end of the poem "Maduswara" contains the conclusions obtained, therefore the tones presented are more repetitions of the previous tone, and finally the tone ends with a sense of great harmony in the pathet nem tone area used for the big conclusion phrase in this poem, namely; paes geguritan sendhu.

Determining the Medium of the Work
Maduswara is a vocal composition in the form of jineman. The choice of jineman form is because the composer feels that this work is a musical composition that emphasizes a single vocal. In addition, it also departs from the term jineman itself which means bed (Poerwadarminta/Jineman). The composition of "Maduswara" is a musical composition that conveys good advice for the generation of pesindhen as a result of the composer's contemplation conveyed to the listener. The notation of the jineman form "Maduswara" is as follows.

Results and Discussion
Nyarira lagu comes from two words, consisting of sarira and lagu. The base word sarira gets the hanuswara prefix "ny" to become nyarira. In Javanese, sarira is the body, lagu is a sound, or a sound that has a tone. Conceptually, nyarira lagu is the ability to represent a song and express it in a total expression. The total expression in question is the unity between tone, verse and sound, as well as body expression in performing the work.
As a gamelan composition, Maduswara places the concept of nyarira lagu as an important indicator in its performance. The concept is built through a dialectic within the self, as well as extracting from the memory of the journey that has been done. As stated above, nyarira is a union between art and expression, meaning that it can unite the elements of vocal work, namely poetry, song and expression. In detail, the five elements are (1) Language, (2) Voice, (3) Expression, (4) Spirituality (5) Improvisation.

Language, Aesthetics of Sound
According to Dharsono, aesthetics is broadly defined as the view of the Greeks with figures such as Plato and Aristotle who thought that character, customs, and habits were beautiful things. The idea of the beautiful will usually appear in the beauty that is in contact with the senses or referred to as symmetry. In a limited sense, beauty is only focused on objects that are absorbed through vision, namely in the form of shapes and colors. Another view is that beauty is defined as pure aesthetics that seeks to express the aesthetic experience of a person in relation to everything that is absorbed (Dharsono, 2007).
Meanwhile, the aesthetics of sound, according to Hasanudin in Widhiastuti, (2009: 9) says that aesthetics in rhyme is divided into two, namely sound aesthetics and language aesthetics. Sound aesthetics is a beauty that can evoke imagination, give suggestions, create poetry and can grasp the atmosphere. Sound aesthetics is divided into: rhyme, euphony, kakophony, alliteration, assonance, anaphora, epiphora, and onomatopoeia. Meanwhile, the aesthetics of language is a beauty of language resulting from the crystallization of experiences, feelings and thoughts that are fused with obsession. To evoke the crystallization of experience that has been percolating requires a certain language which is the language of choice. Language aesthetics is divided into: figurative language, rhetorical language, linguistic elements, word choice (diction), and language style.
Based on the definitions put forward by several experts above, the composer can conclude that beauty (aesthetics) is a branch of philosophy that deals with beautiful phenomena in nature, art, and things that can be absorbed by the five senses, and it can also be concluded, as is the case with Jineman Maduswara, that a literary work can be said to contain aesthetics if: 1. There is repetition of sounds, including vowels, consonants, consonant sounds, liquid consonants, and nasal consonants in the lines. 2. There is succession in the sounds, the successive sounds will produce a regular blend of sounds like music. 3. Contains repetition of phonemes, syllables, words, phrases, both within the same array and between arrays. 4. There is word shortening, word cutting, the use of affixes, the removal of affixes, the use of reduplication, as well as the storage of syntactic structures for certain reasons. 5. The words used reflect the author's creativity in suppressing meaning, creating sounds, and containing local wisdom.

Voice
To achieve nyarira lagu in this artwork, one of the most decisive mediums is sound. As stated above, that nyarira lagu is the unity of aesthetic feeling, between song and self-expression, therefore the vocal expression can be expressed freely, artificially, or the vocalist is allowed to construct the sound, according to the needs of the atmosphere.
This indicator also refers to the sindhen's ability and mastery of the tuning and sound. To achieve a nyarira lagu, pesindhen must have complete vocal ability and mastery of the scale, by no longer experiencing blero or fals in every pronunciation of the desired scale. All framed in the slendro pelog tone system or others, so that the composer found two vocal playing techniques named as Jiwaswara which is a memoir of sound that is not bound by standard tones, not necessarily using falsetto techniques itself, or the use of deep voices as is commonly done in conventional sindhenansindhenan, but also uses more expressive sounds, such as sighs, to express feelings of spoilage, lullabies, to express feelings of love and lust, even shouting to express feelings of anger, and sobbing to express sadness, crying, and languishing as referred to as the Jiwaswara technique.
Then the second voicing technique is the Mancalaswara Technique, which is a voicing technique that is able to switch tones, tunings, pathetics, tonal and atonal in vocal voices that express the atmosphere without being framed by verses and standard tones quickly. Mancalaswara can be in the form of shouted expressions, or sighs.

Expressions
Expression, is something that is released by the artist, in releasing emotional reactions that occur directly (Sunardi, 2010: 181). In this case, expression is highly dependent on the strength of sindhenan technique, creativity, imagination, and sensibility of a pesindhen. Expression is released not only through the medium of sound, but also through the medium of movement.
The medium of movement can be in the form of solah (expressive movements) that are adapted to the atmosphere being built. Such as waving, ngawe, ulap-ulap, and ngujiwat, which is a glance with a spoiled accent. As well as everyday forms of movement that are built with an aesthetic impression, these everyday movements are activities such as walking, lighting candles, lighting incense, and so on.
The form of expression is also related to the facial expressions when the vocalist develops a song, in this case the vocalist is no longer a pesindhen who must sit sympathetically while developing the song, but is a vocalist with free expression who is free to explore, uniting sound with movement.

Spirituality
Spirituality, or inner power, is one of the internal elements found in pesindhen. This element of spirituality relates to the inner depth of a vocalist in exploring life, as well as her position as a conveyer of universal values. This inner depth can present the spiritual feelings of the audience, touching the hearts of the audience with sounds that come out of the expression of the soul.
Spirituality or inner power is related to the contemplation of actual things that are happening, and the extent to which the composer can capture and then pour these phenomena into the work, both in form and appearance. Such as when wanting to display a magical atmosphere, convey the nuances of love, and display sadness, so that the audience can be carried away by the feelings that are built.

Improvisation
Improvisation is an indicator that has a large percentage in achieving the concept of nyarira lagu. In this case, improvisation is related to an artist's ability to interpret sounds and put them into vocal form. The ability to interpret sounds is obtained from sound sediments obtained from past experiences, both structured sounds and unstructured sounds such as sounds inspired by the sounds of nature and even sounds that are considered to be pollution which are then expressed in works of art and become a nyarira unity.

Conclusion
Maduswara is a new traditional music work inspired by Peni Candra Rini's journey in pursuing the world of vocals, from being a traditional sinden, to becoming a music composer and vocalist until now.
The journey began when the composer was a toddler, as the daughter of a fisherman in Tulungagung, during adolescence when the composer began participating in sindhenan competitions and festivals, then during high school when the composer entered a karawitan vocational school and became a professional sinden, to the present when the composer entered the world of music composers and as a lecturer in vocal and music composition.
The creation of the work, which departs from Peni Candra Rini's memoir, through nine methods, namely: Self-reflection, Dialectic/Writing Poetry, Giving the Tone of Expression, Determining the Form of the Work, Determining the Medium of Composition, Composing Karawitan Composition Notation, Transmedium, Rehearsal, and Improvisation.
Peni Candra Rini's method and sedimentation of music inspired by memoirs resulted in the artistic concept of nyarira lagu or the union between voice and body, which is obtained from several indicators, namely; (1) Language, (2) Voice, (3) Expression, (4) Spirituality and (5) Improvisation.