ANEKA GARAP LADRANG PANGKUR

Abstract

Along with the developments in karawitan treatment, Ladrang Pangkur Paripurna
has experienced quite significant developments in its musical treatment.
Beginning as a gending langendriyan, it subsequently developed into a variety
of interpretations of Pangkur, performed for a variety of purposes. The musical
interpretation of performances of Ladrang Pangkur Paripurna in the form of
different interpretations of instrumentation, rhythms, dynamics, tuning (laras),
mode (pathet), vocal style, and so on, have been manifested in a variety of
interpretations of Pangkur, named according to their dominant elements of
treatment, such as Pangkur Pamijèn, Pangkur Jênglèng, Pangkur Gobyog,
Pangkur Céngkok Kethoprak, and Pangkur Wolak-walik. A number of
interpretations of Pangkur by Ki Nartasabda, such as Pangkur Gala-Gala,
Pangkur Padhang Rêmbulan, Pangkur Cêluk, and Pangkur Rog-rog Asêm, are
based on vocal interpretations. Due to the appearance of various
interpretations or treatments of Pangkur, Ladrang Pangkur has become
increasingly popular among the karawitan community.

Key words: Ladrang Pangkur, development, musical treatment