KARAWITAN WAYANG GOLEK MENAK YOGYAKARTA VERSI KI SUKARNO

Abstract

The presentation of karawitan wayang Golek Menak Yogyakarta of Ki Sukarno style is not
different from karawitan Wayang Kulit Yogyakarta. Issues of this article include what the
structure, the form, garap, and the function of karawitan presented by Ki Sukarno is. The
research aims to describe the structure, the form, garap, and the function of karawitan presented by Ki Sukarno. Based on the qualitative approach through musicology analysis of garap
karawitan, the finding shows that there is a difference between the presentation of laya or
rhythm and kendhangan pattern that is ater-ater of wayang movement, ater-ater of bukaplayon
and suwuk playon. Laya or rhythm is used by referring to dance karawitan and kendhangan
pattern for Wayang Golek Menak contains vocabularies of dance movements. The gending used
in Wayang Golek Menak has gending baku of Ketawang Gending Kabor Topeng, Ayak-ayak
Kembang Jeruk, Playon Kembang Jeruk, Playon Gegot, and Playon Gambuh. The function of
karawitanWayangGolekMenak is as a sign of the scene changing, the scene nuance, the dramatic element, the character’s characteristic, and the characteristic of wayang movement. The
presentation structure of Wayang Golek Menak Yogyakarta refers to the structure of Wayang
Kulit Purwa Yogyakarta. The difference lies on the dance movements before the war and the
scene of gecul war.
Keywords: karawitan, wayang golek menak, structure, function.