75 Laras concept and its triggers: A case study on garap of jineman Uler Kambang Widodo, Victor Ganap, Soetarno Postgraduate, Institut Seni Indonesia Yogyakarta, Indonesia Received: November 11, 2016. Revised: January 23, 2017. Accepted: April 2, 2017 Abstract Laras is one unresolved aesthetic concept and gendhing garap models as the triggers have not been identified yet either. This paper is a case study which discusses a case of jineman garap Uler Kambang pélog lima, the first winner of Sindhèn Idol contest 2012, which is considered to have the most qualified performance to meet laras criteria. The purpose of this research is to figure out the laras concept construction and identify the gendhing garap models as its triggers. Laras concept re- construction within the aesthetic framework of Javanese karawitan and identification of gendhing garap model are discussed based on concept of garap in Javanese karawitan. This research uses a qualitative-descriptive method. The results show that laras is a beautiful, delicate, and deep kara- witan sense containing elements of mat, lega, betah, adhem, ayem, tentrem, jinem, sengsem, and marem. The triggering gendhing garap models include: garap of leres, rempeg, greget-urip, and sarèh-sumèlèh. Keywords: laras; gendhing; model of garap; Javanese karawitan How to Cite: Widodo, Ganap, V., & Soetarno. (2017). Laras concept and its triggers: A case study on garap of jineman Uler Kambang. Harmonia: Journal of Arts Research And Education, 17(1), 75-86. doi:http://dx.doi.org/10.15294/harmonia. v17i1.7805 HARMONIA : Journal of Arts Research and Education 17 (1) (2017), 75-86 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: 10.15294/harmonia.v17i1.10771 ver, the owners and actors are not in one linguistic understanding to comprehend the laras concept and feel its presence in gendhing. In a competition or contest for example, gendhing is commonly discussed at the end of contest and explicitly used as a quality benchmark of participants’ mas- terpiece works to determine the winners and intensely proceed, yet eventually wit- hout solution similar to a Sindhèn Idol 2012 contest case which works on the compul- sory material of Jineman Uler Kambang. Uler Kambang is a name of the oldest classical Javanese karawitan of jineman mu- sical composition which is still popular un- til now (Waridi, 2002, p. 126). It is selected as the compulsory garap material based on Introduction In this paper, laras is considered as one Javanese karawitan aesthetic sense. Ja- vanese karawitan sense has an important position as the orientation and parameter of gendhing quality and aesthetic channel in obtaining their beautiful essence (Se- dyawati, 2006, p. 128). The Javanese art sense is the culmination of aesthetic per- ception which unifies subjects and objects (Marianto, 2011, p. 154-156). One karawitan sense occupying the position is laras. Laras is frequently attached to gendhing which parts are made in a particular garap model following the characters, performance fun- ctions, and applicable garap rules. Howe- Corresponding author: Jl. Parangtritis Km 6,5, Sewon, Bantul, Yogyakarta, Daerah Istimewa Yogyakarta 55188 E-mail: widodo_bsejati@yahoo.com p-ISSN 2541-1683|e-ISSN 2541-2426 HARMONIA : Journal of Arts Research and Education 17 (1) (2017): 75-8676 the following considerations: (1) its com- position is a classical popular gendhing vo- cabular; (2) its sense is based on prenès and kenès, yet contains glorious and dignified elements favoured by many people; (3) the performance duration is relatively short; and (4) the sindhènan vocal garap is high- ly emphasized. According to the strength of performance sense, the Garap sindhènan Jineman Uler Kambang Pélog Lima is even- tually performed by one of the finalists, Lina Rohmiyati from Wonogiri, Central Java who is supported by the professional karawitan players from several prominent gamelan group members from Semarang, is decided as the first winner among the ot- her nine finalists who have also performed the same sindhènan gendhing vocal, yet fol- lowed with different laras and pathêt. Sind- henan is a vocal material containing ricikan garap with elements processed and transla- ted with musical language (Budiarti, 2013). Laras as a rare aesthetic sense is dis- cussed by various karawitan researchers. There are many discussions made but mostly in the context of sléndro-pélog and only within its tones. Supanggah (2002, p. 86) in Bothékan Karawitan book I briefly de- fines laras as an aesthetic sense but its rela- tionship formed with gendhing garap is not further discussed, similarly to Sumarsam 1992, p. 1) who starts his dissertation by quoting tembang texts containing the word laras as one karawitan aesthetic sense. Soetarno (2007, p. 13) states that Ja- vanese Karawitan was born from a long searching process symbolically expressed through a vocal medium with laras léndro dan pélog. The performance function is not only intended to meet the entertainment purposes but also social, moral, cultural, and spiritual senses. Javanese gendhing has various basic senses and performance functions (Benamou, 1998, p. 129-134). The disclosure of various basic gendhing senses is made through works, balungan gendhing interpretations, choices, and implementa- tions of vocabular techniques and playing patterns on gendhing parts based on the composition characters and performance functions. When the work is broken, the effort to express the basic sense and to achieve the essence of its beauty fails, as Sultan Agung said in the following Serat Sastra Gendhing. Pramila gendhing yèn bubrah Gugur sembaé mring Widdhi Batal wasesaning salat Tanpa gawé ulah gendhing Déné ingaran ulah Tukirèng swara linuhung Amuji asmaning Dat Swara saking osik wadi Osik mulya wentaring cipta surasa Translation when gendhing is broken the worship to God is broken as well the power of worship is void Gendhing processes are useless it is called processes due to the glorious vocal to praise the God’s names voices of the secret movements the dignified ones which create ideas and senses Work in Javanese karawitan refers to a creative and systemic musical work consisting of several interconnected and supportive stages to realize the qualified karawitan work. Work also means doing or making things into materials (Supanggah, 2009; Perlman, 1993). The concept contains several elements covering gendhing and balungan gendhing as the material works; pengrawit, wiraswara, and waranggana as the composers; Gamelan as the expressing means; vocabular technique, cengkok, and wiled as the working devices; the authority of people, institutions, social functions and musical services as the work determinants; while the physical and psychological con- ditions of karawitan musicians and external conditions are situational and accidental as the work consideration. Gendhing is a Javanese karawitan mu- sical composition in the forms of sampak, srepeg, lancaran, gangsaran, ayak-ayak, ke- muda, ketawang, ladrang, jineman, ketawang- gendhing, kethuk 2 kerep, kethuk 2 arang, ket- huk 4 kerep, kethuk 4 arang, kethuk 8 kerep and kethuk 16 kerep; as well as pamijen (Rus- topo, 2000, p. 34). In particular, gendhing Widodo, Victor Ganap, Soetarno, Laras concept and its triggers: A case study on garap ... 77 means karawitan musical compositions in the forms of kethuk 2 kerep and other bigger ones. Jineman is a particular gendhing form, while balungan gendhing is as an abstracti- on form of song composition made based on the flows of the vocal song which part numbers and lengths are different for each composition. Gendhing has the elements of ira- ma (rhythm), laya, laras, pathêt, and dyna- mics. The work refers to the structure and composition of balunngan gendhing tones, composition characters, and performance functions. Irama concept is related to tem- po gradations as well as ricikan and vocal playing contents. The gradual gendhing tempo results in the widened and narro- wed beating distance between sabetan ba- lungan. Those spaces are filled with ricikan and peking work playing in two folds inc- reased or decreased number of beating. Ja- vanese karawitan has five irama gradations covering lancer symbolized with 1/1, tang- gung 1/2, dadi 1/4, wiled 1/8, and rangkep work. Symbol 1/1 shows the number of pe- king beating on each sabetan balungan gend- hing and the symbolic meaning of the other irama gradations (Martapangrawit, 1975, p. 2). Laya is gendhing speed at the same irama gradations, including: laya tamban or slow, laya sedheng or medium, and laya seseg or fast (Supanggah, 2002, p. 123). Laras as the gendhing musical element means that sléndro-pélog musical scales and tones con- tained within that are written in the form Nut Kepatihan in numeric symbols called ti- tilaras (Sumarsam, 2003, p. 155-161). Pathet is the sèlèh sense atmosphere on gendhing song lyrics made by the phase combina- tions of raising, lowering, gantungan, ageng tengah, and alit tones (Hastanto, 2009). Dy- namics refers to various and proportionate works at all musical elements. Most ricikan gamelan are in the forms pencon and plates made of the finest bronze metal. Ricikan pencon includes: penembung, bonang barung, bonang penerus, kenong, ket- huk, kempyang, kempul, gong, engkuk, and ke- mong; ricikan plates include: gendèr barung, gendèr penerus, slenthem, demung, saron, peking, and gambang; other ricikan forms: rebab, kendang, bedhug, siter, clempung, su- ling, kemanak, gong beri, and kecer. Due to its musical roles, when working on gend- hing, ricikan gamelan is divided into three: (1) balungan, that is, ricikan played close to balungan tone compositions including: slenthem, demung, saron, peking, and penem- bung; (2) work, that is, ricikan played by working on balungan gendhing, including: ricikan garap ngajeng (front): kendang, re- bab, gendèr barung, bonang barung, sindhè, and ricikan garap wingking (back): gendèr penerus, gambang, siter, clempung, suling, bonang penerus, and gérong; and (3) struc- tural, that is, ricikan which playing forms gendhing construction structures, inclu- ding: kethuk, kenong, kempul, gong, engkuk, kemong, kemanak, and kecer (Supanggah, 2002, p. 71). Gamelan quality is determined by its materials, shapes, and laras sounds which have various interval patterns cal- led embat (Hastanto, 2009, p. 22). Metal ricikan is played by beating it with the beating device called tabuh; Rebab is swiped with rangkung; flute is blown; si- tar and clempung are plucked; and kendang is beaten with palms and fingers. Some ricikan have special vocabular playing techniques: gemakan, kecekan, and genjotan on ricikan balungan; besutan, plurutan, send- hal pancing, kadhal mènèk, ngicrik on rebab; and mbalung, samparan, sarugan, pipilan, genukan, ukelan, gugukan, umbaran, pêthêtan on gendèr barung. Céngkok is also called se- karan, kembangan or playing pattern, that is, tone and rhythm configuration in certain length unit. Its implementation on gend- hing garap has been given musical orna- mentation called wiled. Gendèr barung has the most various céngkok vocabulars, na- mely: éla-élo, dualolo, jarik kawung, ayu kuning, kacaryan, ora butuh, tumurun, kutuk kuning, dhebyang-dhebyung, puthut gelut, puthut semèdi, gantungan, nduduk, rambatan, and ya surakka. Céngkok-céngkok is also called adapted by rebab, gambang, siter, clempung, and gen- dèr penerus. Other ricikan also have céngkok vocabulars, namely: milah, mipil, gembyang, imbal-sekaran, and klénangan on bonang ba- rung; pinjalan, kinthilan, imbalan, nyacah, HARMONIA : Journal of Arts Research and Education 17 (1) (2017): 75-8678 and pancer on ricikan balungan; and kendan- gan on gendhing shape with kendang bem or combination kendang bem and ketipung, ko- sek with kendang sabet, and kendang ciblon on kendang (Sukamso, 1992, p. 54). Work in gendhing parts results in its models. Those using on gendhing de- termine karawitan senses, including laras. This type of aesthetic sense arises from the particular model implementation based on balungan gendhing tone structures and arrangements, composition characters, performance functions, and the applicable working rules. However, laras as an aest- hetical concept, abstract idea dealing with karawitan beauty with certain characteris- tics, has been unresolved (Alfian, 2003, p. 1-3), as well as gendhing garap models as the triggers. Those problems are then discussed through a case study of Jineman Uler Kambang Laras Pélog Pathêt Lima, the first champion of Sindhèn Idol contest 2012 which performance is considered meeting laras criteria. These gendhing garap elements are discussed to figure out the construction of laras concept and gendhing models as its triggers. Method The object of this research is the Ga- rap of Jineman Uler Kambang Pélog Lima as the first winner of Sindhèn Idol contest 2012. Sindhènan vocal performed by Lina Rohmiyati while ricikan gamelan is played by the collaboration of some karawitan pro- fessional musicians from Semarang, Cent- ral Java: Karawitan group of Sekar Dhomas Semarang, Suka Raras Semarang, and Stu- dio RRI Semarang. Research data are in the form of in- formation about laras elements as the Ja- vanese karawitan aesthetic sense and va- rious aspects of gendhing garap models as the triggers. The first data are collected through literature sources and karawitan practitioners who are directly involved in gendhing garap and as appreciators, while the second ones are contained within the direct performance of Jineman Uler Kam- bang, Pélog Lima as well as in the audiovi- sual recording documents. The literature data sources are collected from literature studies; observation directly conducted in karawitan concert; document recording stu- dies are made through the recording me- dia; and respondent interviews are emplo- yed to gather the required data. Data are verified using triangulati- on techniques to ensure its validity. Valid data are identified based on the problem solving needs which are classified into two groups: data of laras elements and aspects of work models as the triggers. The data are first analysed in the framework of Ja- vanese karawitan aesthetics to figure out its conceptual formula, while the second ones are discussed in the framework of Javanese karawitan working concept to fi- gure out the work model characteristics as laras triggers. The research processes and results are then descriptively explained. Results and Discussion Description of sindhènan Vocal Work Sindhènan work involves vocal technique, céngkok and wiled selection and application, as well as the use of cakepan wangsalan, parikan, and abon-abon on gend- hing sections. Jineman Uler Kambang vocal consists of several parts: (1) buka celuk, that is, short vocal song performed by a sing- le pesindhèn to start gendhing; (2) sindhènan wangsalan, that is, céngkok sindhènan using wangsalan text applied on song lyric of ulian or sèlèh; (3) sindhènan parikan, that is, sindhènan céngkok vocal using parikan tex- ts; (4) sindhènan abon-abon or isen-isen, that is, short céngkok sindhènan with abon-abon texts; and (5) sindhènan andhegan, that is, sindhènan vocal performed in the middle when gendhing is stopped as the bridge to the next gendhing section. The above sindhènan vocal parts are found in the Garap of Jineman Uler Kambang sléndro pathêt sanga, sléndro pathêt manyura, pélog pathêt lima, pélog pathêt nem or nyamat, and pélog pathêt barang. In broad, the vocal Garap sindhènan Jineman Uler Kambang, Pé- log Lima performed by the first winner of Sindhèn Idol contest 2012 is presented as in Figure 1. Widodo, Victor Ganap, Soetarno, Laras concept and its triggers: A case study on garap ... 79 Figure 1. Garap of Jineman Uler Kambang HARMONIA : Journal of Arts Research and Education 17 (1) (2017): 75-8680 posing of two or four regular rhymes. The last syllable of the first and the third phase as well as the second and the fourth ph- rase (if parikan consisting of four phrases), or the first and second phrase (if parikan consisting of two phrases) have similar sounds, as follows. Sayuk rukun, rukun karo kancané Gotong royong nyambut-nyambut gawé Kinclong-kinclong, kinclong guwayané Mubyar murub, mancorong katon tejané Brambang sak sèn lima Berjuang labuh negara Brambang sak sèn telu Berjuang dimen bersatu Translation Unity in harmony with companions Mutually working cooperation Pure and obviously clear the water Glowing, shining, and illuniminting aura is shown One cent (gets) five red onions Fighting for the state and the nation One cent (gets) three red onions Fighting for the sake of unity of the na- tion Abon-abon or isèn-isèn is short texts which sometimes are meaningless or the meanings are not taken into account. Sind- hènan abon-abon in gendhing is performed to fulfill the vacant space before or after the main vocal song (Waridi, 2002, p. 130). Abon-abon texts in sindhènan vocal above are: ya mas, ya rama ya rama-ramané dhéwé, ha-lah yo mas, ya mas ya mas, and man-éman- éman-éman. Ricikan garap Jineman Uler Kambang performan- ce involves kendang, gendèr barung, gendèr penerus, gambang, suling, kenong, kethuk- kempyang, gong, clempung, siter, and gérong. Gendèr barung starts the performance of grambyangan playing as laras and pathêt guidance for pesindhèn to innitiate buka ce- luk tones. At Jineman Uler Kambang above, gendèr barung plays grambyangan pélog pat- hêt lima to guide buka celuk tones in laras of pélog pathêt lima. After the flows of rhyth- mic song passes through tone five, ken- dang responds it with kendangan patterns Cakepan Cakepan is a vocal song lyric. The abo- ve sindhènan vocal uses cakepan wangsalan, parikan, and abon-abon used in sindhènan vocal. Wangsalan is a literary work in the form of puzzles which questions and ans- wers are implicitly expressed. Wangsalan is also frequently used in Cirebon classical tarling songs (Suharto, 2016). In wangsalan, the questions and answers may be found after the formation of its phrases are ana- lyzed based on its meaning and relation. The example of wangsalan analysis is as follows. Kawi lima putra priya Dahywang Durna Pancasila dasaré Nagri utama Jarwa tirta, tirta wijiling angkasa Nyenyuwuna, mrih kasembadaning se- dya Translation Kawi (language) (for the word) five, is the son (name) of Resi Druna Pancasila (becomes) the (main) state prin- ciple The term (to mention) water, is the water (which) falls from the sky Pray, that your wishes may come true The first wangsalan consist of two phrases: kawi lima putra priya Dahywang Durna; and Pancasila dasaré Nagri utama. The first phrase is the question while the second is the answer. The explicit questi- on is what Kawi language for the word five is. The answer is mentioned in the second phrase, that is, panca as a part of the word Pancasila. The second explicit question is what the name of Resi Druna’s son is. The answer is Aswatama, tama is a part of the word of utama mentioned in the answer phase. The second wangsalan consists of two phrases: jarwa tirta tirta wijiling ang- kasa; and nyenyuwuna mrih kasembadaning sedya. There are two question phases co- vering jarwa tirta and tirta wijiling angkasa. The answer to the first question of jarwa tirta is banyu (water), the word part of nyu is derived from the word nyenyuwuna. The answer to the second question phase is udan (rain), as the word part of kasembadan. Parikan is pantun literary work com- Widodo, Victor Ganap, Soetarno, Laras concept and its triggers: A case study on garap ... 81 of nampani buka irama dadi using kendang ciblon. At the second ketegan, ricikan garap group simultaneously plays gendhing to- gether. At the eighth gatra which is ended with panunggal or siji tone, there is a rhyth- mic transition from dadi to rangkep initiated with the slowing down tempo. At the first gatra rangkep, the performance of mandheg is continued with single sindhènan as the bridge to the following gendhing part sec- tion until suwuk. Ricikan garap interpretation refers to the structure and composition of balungan gendhing tones from the abstraction of the flows of the vocal song as in Figure 2. Since buka celuk, kendang has wel- comed it with pematut pattern. This pat- tern is played along gendhing playing in- terrupted by kengser pattern in the middle of the first gatra of the second kenong, and ngaplak pattern in the third kenong of the second gatra. When approaching gong pa- nunggal, tempo is slowing down shifting to rangkep work. Ngaplak pattern is also performed in rangkep work before the fi- nal andhengan of the first gatra of the se- cond kenongan. Céngkok-céngkok gendèr ba- rung implemented to gendhing sections is followed by ricikan song work, namely: a quarter of sèlèh 6 to respond buka celuk, followed by half of gantungan 1 tumurun 5, puthut gelut, dhebyang-dhebyung, dualolo 6, tumurun 5, and kkg1. Slenthem plays balun- gan gendhing tone composition, while ken- ong plays its tones at the end of kenongan based on balungan gendhing tones except panunggal tones are played five to build a harmonic sound, kethuk-kempyang plays a pattern, such as in ketawang ladrang, gong gedhé giving a strong sèlèh impression at the end of the fourth kenongan, and at the fifth gatra with gong of suwukan panunggul, while gérong plays imbal keplok, senggakan, and alok. Discussion Almost all Javanese karawitan players enjoy their performance either directly or through audio visual recording document including that uploaded by Suharto (2013) in Youtube media. Some media acessors generally appreciate that by revealing their compliments, such as “duh...nggarai ati adem, suaramu waduh-waduh mak nyes, se- rak-serak penak lan laras banget, gayeng tenan, rasane tekan ati, jan mat tenan, manteb ban- get, nyamleng tenan, gawe ademe ati, marem, sampai ngantuk. The expressions of various aesthetic words are the proofs of individu- als who enjoy the beauty of the show per- formance. Those expressions are due to the arising emotions when enjoying the music, because music can express emotions (Jus- lin, 2013). This video has been viewed by more than 40,000 people and of those, 161 people show that they enjoy the video by giving their thumbs up. In the discussions of board of jury panel to determine the championships, some members feel that their performance mengkorokaké githok or make their hair stands and ends, the predi- cate given on something, including the ex- traordinary beautiful objects which provi- de deep impression. From vocal sindhènan point of view, the beauty of performance is influenced by many factors: first, pesindhèn basic voice is more astonishing with kenès but gentle voice type, strong character, subtle and complex gregel, soft vibration, and broad ambitus. That basic tone has a chance to voice more complicated vocal flows, broad ambitus, and various musical characters. Second, the tones on laras sléndro and pélog are sophisticatedly mastered. Darso- no, a Javanese karawitan vocal expert from ISI Surakarta as the chairman of board of jury panel in the contest, asserts that the flows of the vocal song may be performed in pleng when the vocalist has mastered Figure 2. Balungan gendhing, result of abstraction HARMONIA : Journal of Arts Research and Education 17 (1) (2017): 75-8682 laras sléndro-pélog. The pleng concept refer- ring to the tone sounding of the flows of the vocal song is relatively accurate, not exceeding the limits of laras sléndro and pélog tone frequency tolerance. No matter how complicated wiled to céngkok vocal song, it is not meaningful if one or more tones are not pleng or bléro, sasap. The tone arrangement in wiled and céngkok-céngkok of sindhènan vocal above is expressed in pleng that the performance is pleasant to be heard and felt. Thirdly, céngkok and wiled variously use and their implementation to the proper gendhing parts, not nglèwèr nor nungkak. Nyi Supadmi, Javanese karawitan sindhèn master from Surakarta as the member of board of Jury panel, explains that nglèwèr shows sèlèh the flows of the vocal song is far behind sèlèh balungan gendhing, while nungkak is far forefront. From this perspec- tive, sindhènan vocal work above is consi- dered the most qualified one. Céngkok dan wiled in several sèlèh panunggul tones are different, as well as the other sèlèh tones with the relatively accurate implementati- on which results in dynamic musical im- pression, unison, and integrated manners in the dynamic integrity of gendhing garap. Fourth, cakepan is correctly, clearly, and firmly expressed. Vocal text pronun- ciation unclearness may lead to multip- le interpretations of meaning. Thus, the work is considered a fatal error which gre- atly reduces the esthetic value of the per- formance. Vocal text expression correctly, clearly, and firmly shows that the vocalist understands Javanese language, text mea- ning, and how to pronounce it. Fifth, gendhing characters and their parts are strongly expressed through vocal work model performed with full concent- ration, spirit, and understanding, in addi- tion to menep, sarèh, and sumèlèh, patient, not in hurry inspired by the characters of gendhing composition. The vocal work performance greatly provides the spirit to gendhing parts that its performance is gre- get-urip, dynamic, energetic, and alive. Sixth, pesindhèn performance upholds the aesthetic values and the applicable cul- tures. Pesindhèn appears in timpuh,a seated position with both folded hands over his thigh in a calm and dignified manner. A complete Javanese traditional cloth is worn to make pesindhèn look stunning based on the applicable aesthetic and cultural norms in Javanese karawitan. Some musical and cultural aspects above are taken into consideration by the board of jury panel to decide the winners based on the criteria of leres, rempeg, and laras. Lina Rohmiyati is named the first winner because she is considered as the most qualified one meeting the criteria. However, its beauty may not be realized without the supports of ricikan garap and gendhing musical elements. In terms of ri- cikan engagement, its technical work, play- ing patterns, and dynamic, the supporting ricikan gamelan playing is expressed cor- rectly, clearly and firmly in the evenly, ba- lance, unison, and integrated composition dynamically under the lead of sindhènan song and kendangan dynamics which result in depth and holistically striking karawitan sense. The manifestation of karawitan sen- se is also due to the support of Kyi Cakra Kembang’s gamelan devices belonging to Semarang State University which laras and materials are highly qualified. Laras Concept: A Study on Jineman Uler Kam- bang Pelog Lima The results of the research on Jineman Uler Kambang Pelog Lima are supported by the views of the research respondents through the findings of some keywords on laras concepts: (1) laras is a kind of sense, atmosphere, or impression of beautiful, delicate, comfortable, deep, and holistic containing the element of mat, lega, betah, adhem, ayem, tentrem, jinem, sengsem, and marem; (2) the triggering events contain many elements with specific characters, roles, and functions; (3) these elements in- teract each other to realize the common go- als; (4) interactions between elements run dynamically, truly, fairly, evenly, in balan- ce, unison, and integrated manners within one integrated purpose made at the at- mosphere of togetherness, mutual respect, Widodo, Victor Ganap, Soetarno, Laras concept and its triggers: A case study on garap ... 83 and helping each other to follow the app- licable norms; And (5) its interaction mo- dels form the perfect balance centers called the harmonic points as the sources from which laras occurs. In Javanese karawitan, that event is called klenèngan or karawitan concert with its activities in the forms of a gendhing garap processes. Laras concept is schematically made as follows. Figure 3. Laras Concept The keywords appearing in Figure 2 are similar with the viewers’ comments on a youtube video uploaded by a youtuber, Suharto (2013) and that has been watched by more than 40,000 viewers. The expres- sions made by the observers and viewers are considered as conceptions. Meanwhile, conception is a particular meaning given to a term by particular individuals. Based on these conceptions, a concept may be created. Thus, concept is an abstract noti- on based on a set of conceptions or a shar- pened conception (Rohidi, 2011, p.126) as concept is also considered as an abstract and general idea of a particular case. Con- cept is what exists in the mind as a representation (as of something com- prehended) or as a formulation (as of a plan), concept may apply to the idea formed by consideration of instances of a species or genus or, more broad- ly, to any idea of what a thing ought to be (Merrieam-Webster, n.d.). thus, Laras concept is made after understan- ding the conceptions, such as mat, lega, betah, adhem, ayem, tentrem, jinem, sengsem, marem. Gendhing garap Model Triggering Laras Laras which concept has been de- fined does not suddenly appear. Some gendhing garap models as laras triggers are leres, rempeg, greget-urip; and sarèh-su- mèlèh. Literally, leres means true, accurate, appropriate (Widada et al., 2000, p. 59 & 590). The concept in gendhing garap refers to the selection and implementation of vo- cabular techniques, patterns, and wiled of true or precise playing based on balungan gendhing’s structures and song flow pat- terns, character compositions, and perfor- mance functions based on the applicable work patterns in Javanese karawitan. Literally, the word rempeg means unison, simultaneous, and dense (Wida- da et al., 2000, p. 667). Rempeg in gendhing performance refers to the work in gend- hing elements which are dynamic, balance, evenly, unison and in integrated manners with the unity of work idea. Dynamic im- pression appears from various works; ba- lance shows the playfulness of ricikan as well as the clear and proportional vocal: evenly means all gendhing elements are touched by the work, there is no dominant or dominated element: unison is playing or céngkok and wiled patterns in gendhing parts based on each musical tasks following the composition types and shapes as well as balungan gendhing tone composition. Greget refers to the disclosure of gendhing garap models which are full of concentration, spirit, strength, and un- derstanding shown by the characters of composition parts which enliven gendhing spirit or soul and its parts arising urip (ali- ve) impression meeting the basic sense of gendhing. Sarèh-sumèlèh refers to the work ex- pressions which are quietly, patiently, unhurriedly made based on the mastery of the mature work device aspects indica- ting that the competence of karawitan work composers is greatly qualified. Schemati- cally, gendhing garap models as the triggers of laras are as follows. HARMONIA : Journal of Arts Research and Education 17 (1) (2017): 75-8684 Figure 4. The Triggering Aspects of Laras Laras in gendhing performance may not be realized only from one work as- pect. Some aspects are closely related and support each other to realize the karawitan gendhing as a whole. Laras sense in Jineman Uler kambang Pelog Lima is realized due to the triggering combination of Leres, Rem- peng, Greget Urip, and Sarèh Sumèlèh work models in each composition parts. Gend- hing garap aspects as laras triggers have been formulated based on gendhing garap function analysis, which is combined with the opinions of board of jury panel as Ja- vanese karawitan experts as well as the res- pondents. The compliments expressed by the viewers after watching the show either directly or through YouTube are the ori- ginal expressions on the aesthetic senses which have been experienced by the vie- wers. Conclusion Laras is a type of sense, atmosphere, or a deep impression of beautiful, delicio- us, comfortable, and entirely containing elements of mat, lega, betah, adhem, ayem, tentrem, jinem, sengsem, marem arising from interactive events which processes are made dynamically, correctly, clearly, fairly, evenly, in balance, unison and in- tegrated manners in forming the perfect equilibrium centers called synchronized points. The presence of gendhing is trigge- red by the application of laras work model, technique, pattern, and wiled play as well as gendhing elements played correctly; rem- peg, gendhing elements are made dynami- cally, evenly, in balance, unison, and integ- rated manners; greget-urip, gendhing garap expressed in full concentration, spirit, and understanding, and sarèh-sumèlèh gendhing garap performed quietly, patiently, not in a hurry based on the mastery of mature work device aspects. References Alfian, T. I. (2003). Dimensi Teori dalam Wa- cana Ilmu Pengetahuan. 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Respondents Darsono, 60 years, an expert of Javanese karawitan vocal works, Indonesian Arts institute (ISI) of Surakarta Supadmi, 63 years, an expert (mpu) of Ja- vanese karawitan sindhènan vocals, Surakarta Glossary Abon-abon : a sindhènan vocal part which uses meaningless texts Adhem : cool Alok : unimpeded toneless shouting vocal Andhegan : gendhing stops at a moment before accent. Ayem : at peace Ayu kuning : a playing pattern type of gendèr barung Balungan gendhing : gendhing song framework, sketch, or outline Betah : feeling at home, happy, comfortable Cakepan : vocal song lyrics Céngkok : playing pattern; gendhing song length unit; Karawitan style Celuk : a vocal song to start gendhing Clempung : a plucked instrument larger than sitar Ciblon : a Javanese drum type instead of bem, sabet, and ketipung Demung : a metal plate instrument of the larg- est balungan group Dhadha : a reference to tone telu (three) commonly called lu with numerical symbol 3 Dhebyang dhebyung : a playing pattern type in gendèr barung Dualolo : a playing pattern type in gendèr barung Ela-élo : a playing pattern type in gendèr barung Embat : a jangkah pattern variant in larasan gamelan Engkuk : pencon’s structural metal instrument as kemong’s partner Gatra : Musical unit consisting of four sa- betan balungan. Gambang : wooden plate instrument of wingking work group Gamelan : a set of musical instruments in karawitan Gangsaran : a form of small size Javanese gendh- ing Gantungan : a playing pattern type in gendèr barung Gemakan : a playing technique type in slenthem Gembyang : octave, a playing pattern type in bonang Gendèr b arung : a metal plate instrument of ngajeng work group Gender penerus : a metal plate instrument of wigking work group Gendhing : karawitan musical composition; karawitan musical composition posess- ing mérong and inggah part. Genjotan : a playing technique type on demung and saron. Gérong : (male) vocalist performing gérongan vocal type. Gongsa : gamelan Gong : the biggest metal instrument of pen- con’s structural group HARMONIA : Journal of Arts Research and Education 17 (1) (2017): 75-8686 Grambyangan : a short composition played by the earliest instruments Gregel : a set of tones played in rapid tempo Greget : full of energy or spirit Gugukan : a playing pattern type in gendèr barung. Gulu : a reference of tone loro read ro with a numeric symbol 2 Irama : a gatra widening and narrowing Jarik kawung : a playing pattern type in gendèr barung Jinem : a very comfortable feeling Jineman : a Javanese gendhing type emphasiz- ing on vocal work Kacaryan : a playing pattern type in gendèr barung Kadhal mènèk : a playing technique type in rebab Kawahan : a kendang playing pattern to mark accent Kawilan : a playing pattern type in kendang ciblon Kecekan : a playing technique in sitar, celem- pung, demung, and saron Kecèr : toneless metal plate instrument Kempyang : pencon’s metal instrument as kethuk’s partner. Kempyung : Two tones with two-tone distance played together Kemong : pencon’s metal instrument as eng- kung’s partner. Kendang : a double-sided membrane instru- ment Kenong : a big metal instrument of pencon’s structural group Keplok : applause Ketawang : name of small-size karawitan compo- sition form Kethuk : pencon’s instrument as kempyang’s partner Kinthilan : a playing pattern type in saron 1 and saron 2 Kutuk kuning : a playing pattern type in gendèr barung Lancaran : name of small-sized karawitan com- position form Laya : gendhing performance speed at the same irama (rythm). Lega : Relieved, satisfied Leres : correct, acurate, proper Mat : delicious Nduduk : a playing pattern type in gendèr barung Ngaplak : kendang ciblon playing pattern per- formed right before gong Ngelik : gendhing’s high tone composition part Ngicrik : a playing technique type in rebab Nut kepatihan : karawitan notation using numeric symbols Ora butuh : a playing pattern type in gendèr barung Pangrawit : gamelan player Panunggul : a reference of tone siji (one) read ji with the numerical symbol number 1 Parikan : Javanese quatrain text form Pathêt : sèlèh sense atmosphere in gendhing melodic flow Peking : the smallest-size plate instrument of balungan group. Pélog : type of Javanese karawitan musical scales in addition to sléndro Pencon : a hollow round shape metal instru- ment with a pencu on its surface Penembung : the biggest-size bonang like pencon instrument type Pêthêtan : a playing technique type in gendèr barung Pinjalan : a playing pattern performed with demung and slenthem Plurutan : a playing technique type in rebab Puthut gelut : a playing pattern type in gendèr barung Rebab : a friction instrument in gamelan mu- sic Rempeg : a sense of cohesive, unison, and inte- grated musical performance. Ricikan : gamelan instrument Sampak : a reference of small Javanese gendh- ing form. Samparan : a playing technique type in gendèr barung Saréh : patient Saron : metal plate instrument of balungan group Sarugan : a playing technique type in gendèr barung Sekaran : a playing pattern Senggakan : a vocal type played between the main vocals Sengsem : fascinated Sindhèn : female vocalist performing sindhènan vocal Sindhènan : a rhythmic vocal in gendhing with wangsalan texts, parikan, and abon-abon Siter : a plucked instrument other than clempung Sléndro : a type of musical scales in Javanese karawitan other than pélog. Srepeg : a reference of small gendhing form Suling : a blowing instrument made of bam- boo Sumèlèh : a feeling after the burden is removed, relieved Suwuk : gendhing ending performance Tabuh : gamelan beating device Tentrem : a very comfortable feeling Thinthingan : gendèr barung playing to guide vocal- ist voice Timpuh : a woman sitting way whose legs are folded down Tumurun : a playing pattern type in gendèr barung Ukelan : a playing technique type in gendèr barung