Galong dan Pathet Manyura dalam Pedalangan Ngayogyakarta: sebuah Perbandingan “Rasa”

Aris - Wahyudi

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.

Keywords


galong, manyura, pedalangan, rasa, functions

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Narasumber

Ki Cermo Sutedjo, Dalang senior dan pengajar di SMK I Kasihan serta Pengageng Abdi Dalem Padalangan Karaton Ngayogyakarta. Tinggal di Yogyakarta.

Raharja, 49 tahun. Dosen di Jurusan Karawitan FSP ISI Yogyakarta.

Suko, Seorang pengrawit pedalangan. Tinggal di Yogyakarta.

Wandiyono, seorang pengrawit pedalangan, tinggal di Yogyakarta.




DOI: https://doi.org/10.24821/resital.v22i1.4646

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