The Concept of Balance at Sekati Ririg Gending in Tejakula, Buleleng Regency

Harmonia: Journal of Arts Research and Education 20 (2) (2020), 183-194 p-ISSN 2541-1683|e-ISSN 2541-2426 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v20i2.25412

I Ketut Aditya Putra, Hendra Santosa, I Komang Sudirga

Institut Seni Indonesia Denpasar, Indonesia

Submitted: July 23, 2020. Revised: September 19, 2020. Accepted: November 4, 2020

Abstract

This study aims to determine the concept of balance found in playing techniques, tempo, and dynamics (ngumbang-ngisep) at Sekati Ririg Cenik gending in Tejakula, Buleleng Regency. The research is focused on the presentation using the barungan of Gong Kebyar gamelan, because at the time of handling the beginning observation, it was presented to accompany religious ceremonies at Pura Maksan Tejakula. This research is a qualitative study using several data collection techniques; observation, interviews, documentation, and literature. The approach used is a musicological approach using aesthetic theory. The results obtained from this study are the concept of dualism balance in terms of some of the forming elements in it, such as playing techniques on instruments pemade, kantilan, trompong, reyong, and ceng-ceng kopyak. These are some of the instruments that use the polos-sangsih system in their playing. Playing Technigue usually play parallel to the tempo, while playing technique sangsih is still playing against the tempo. Furthermore, the concept of balance at tempo can be seen from the speed with which gending Sekati Ririg Cenik is presented. The presentation begins with a slow tempo, then after several repetitions of the gending the tempo slowly changes to faster until it reaches the end of the gending, and the tempo is again set to slow. Likewise with the concept of dynamic balance which can be viewed from the loudness of the musical presentation. Setting the tempo and dynamics is intended to achieve balance and will not cause boredom in the presentation. These three things can be implemented in the Gong Kebyar gamelan instrument which is used as a medium in presenting Sekati Ririg Cenik gending by the community in Tejakula Village.

Keywords: concept; galance; gending; Sekati Ririg Cenik

How to Cite: Putra, I. K. A., Santosa, H., & Sudirga, I. K. (2020). The Concept of Balance at Sekati Ririg Gending in Tejakula, Buleleng Regency. Harmonia: Journal of Arts Research And Education, 20(2), 183-194

INTRODUCTION cept of difference or contradiction that is always one and inseparable from one anot- The Balinese people believe in a dua- her. Thus, this concept is very much em- lism dimension as a concept of life balance bedded in human life in the universe. Rwa or what is known as rwa bhineda. Dualism bhineda actually explains how God created comes from the Latin word duo (two), the universe in a paired condition but in which means teaching that states that rea- contradiction. For example, the creation of lity consists of two different and contra- men and women, black and white, and so dictory substances. (Sutrisno, 2014). The on. This is written by Ida Pandita Dukuh word rwa bhineda in Bali’s lives is a con- Celagi Dhaksa Dharma Kriti (2019) in his

 Corresponding author: E-mail: [email protected]

183 184 Harmonia: Journal of Arts Research and Education 20 (2) (2020): 183-194 book “Bhaerawa Adalah Jalanku” states: have developed very rapidly in Bali at pre- rwa bhineda in his concept, couples with sent. The mutual influence between Gong different characters must be side by side, Kebyar and other gamelan is due to the not mutually exclusive. fertility of the life of Gong Kebyar in Bali. For life to run in harmony, Rwa Bhin- In accordance with the statement of Ary- eda teaches that two opposites must ba- asa (1985) that the gamelan Gong Kebyar lance each other. In their desire to do so- is often used to present music from other mething, the Balinese desire to stick to the gamelan, such as the gamelan Semar Pe- concept of balance as the basis for carrying gulingan, Bebarongan, and the music from out all their actions. This has been written the gamelan Gong Gede. Thus, Gong Kebyar in the lontar Prakempa that the balance of as an identity is often seen as the result of human life in the dimension of duality is to active community efforts to preserve and believe in the existence of two terrible for- introduce it to the world. Through Gong ces, such as good and bad, day and night, Kebyar Balinese people get their identity man and woman, and, at times, and others (Rismandika, 2018). (Bandem, 1986). The duality dimension Gending in the musical world has can be parallel to the concept of rwa bhine- become a common term and is also very da which is believed by Hindus in Bali, who popular. The term gending is usually used have differences or resistance but still cau- in the designation for musical composi- se balance and harmony. tion. Gending is a song or contains a sense In general, Balinese gamelan also has of having a form and composition (Aryasa, the concept of dualism balance. As stated 1985). Refer to a definition ofgendin g Sekati by (Sugiartha, 2015) that two-dimensional Ririg Cenik, according to Pande Gede Mus- balance is a characteristic of Balinese ga- tika, if it is seen from Sekati, it should have melan, because it has the meaning of to- the root word “katih” which in Balinese getherness and mutual need. As stated by terms means one or single. Sugiartha (2015), a two-dimensional balan- In music, the word “one” can be vie- ce is a characteristic of Balinese gamelan, wed from the song pattern and structure because it means togetherness and needs of the colotomic instrument. In one gon- each other. The terms male and female gan gending, there is only one kempul and are also usually used in Balinese gamelan, kempli stroke and the trompong instrument such as the female drum (wadon) and male play pattern, which uses the play pattern drum (lanang) instruments. (Utomo, 2006). innocently following the melody’s flow Besides, the round gong instrument is also without any progression of the gending. present in Balinese gamelan. This reflects Then, the word “ririg cenik” itself is also a the concept of a balance of dualism in Bali- Balinese term that can be divided into two nese gamelan, one of which is in the game- syllables, namely ririg, which is almost the lan barungan Gong Kebyar. same as mejejer and mebaris which means Gamelan Gong Kebyar has seve- sequential or rows. Meanwhile, the word ral instruments arranged using a two-di- cenik in Balinese terms means small. Me- mensional concept from a physical point anwhile, the word cenik in Balinese terms of view, such as the resulting tone being means small. The Sekati Ririg Cenik gen- lower and the resulting tone being higher. ding is musically one of the pieces which Apart from being seen from a physical as a whole has a single form and structure perspective, the Gamelan Gong Kebyar characterized by one kempur punch, kempli uses a two-dimensional concept that can in one gongan and has a series of melodies be seen in terms of musicality, such as that lead to higher notes or into smaller using the polos-sangsih system in its play- octaves (interview Monday 24 September ing techniques. 2018). Gending Sekati Ririg Cenik is classi- Gong Kebyar is one of the many ty- fied as a guardian art or a religious perfor- pes of gamelan instruments/groups that mance of ceremonial gending, that’s becau- I Ketut Aditya Putra et al., The Concept of Balance at Sekati Ririg Gending in Tejakula, 185 se the dish only functions to accompany This research’s implementation related the procession of presenting religious ritu- to data sources can be grouped into two, al offerings at the time of the Dewa Yadnya namely primary data and secondary data ceremony. The yadnya god ceremony (i) is sources. Furthermore, techniques in collec- worship or offering as a form of devotion ting data can be done by several methods, before God and all its manifestations. The including observation techniques, inter- ceremony is determined based on sasih (a views, documentation questionnaires, and ceremony held once a year) and based on a combination of the four (Sugiyono, 2009). pawukon forecast count (Putra, 2004). Therefore, from Sugiyono’s statement, this Based on the above phenomenon, study’s data collection techniques used se- the researcher is interested in making this veral techniques, including observation, object as research material to find out how interviews, documentation, and literature. the concept of dualism balance found in The observation technique was carried out the Sekati Ririg Cenik music in the Tejaku- by observing Sekati Ririg Cenik gending la, Buleleng Regency. In accordance with directly at the time of the Dewa Yadnya the results of preliminary observations ceremony held at Pura Maksan, Tejakula that have been made, the Gamelan Gong Village. Kebyar is used to present Sekati Ririg Cenik The interview technique is carried gending by the community in Tejakula and out by interviewing several people influen- is also used to show music from the Gong tial on the object of research, such as artist Gede gamelan such as tabuh telu, tabuh pat, figures in the village concerned, musicians and gilak when performing piodalan at the involved in the performance of Sekati Ririg temple Maksan of Tejakula Village. Cenik, the head of the gong group, and se- This research is very important to veral residents of the Tejakula Traditional do because apart from efforts to preserve Village. The interview technique is carried it, no one has ever researched this case be- out by interviewing several people who fore. So the researchers hope that this pa- are influential on the object of research, per can provide information to everyone such as artist figures in the village- con related to the Sekati Ririg Cenik gending in cerned, actors or musicians involved in the Tejakula, Buleleng Regency. The research Sekati Ririg Cenik gending presentation, the focuses more on the concept of balance of head of Sekaa gong group, as well as several dualism dimensions viewed from several residents in the Tejakula Traditional Villa- elements, such as playing techniques in the ge. Interviews were conducted in-depth polos-sangsih system, the concept of tempo by asking questions that had been prepa- balance, and dynamics in the Sekati Ririg red in accordance with the research needs. Cenik gending presentation. So that in wri- The documentation technique is done by ting, it is discussed in depth about these taking pictures or videos when the people of three things. Tejakula present Sekati Ririg Cenik gending. Researchers do this by collecting books, METHODS journals, and similar research results to understand and add broader insights into This study used the descriptive qua- the literature technique. In addition, re- litative method. Sugiyono (2015) states that searchers also compare the data obtained the qualitative research method is a met- in the field with the results of interviews hod that examines the condition of natu- and interviews; researchers compare the ral objects, where the researcher is the key results of interviews with main informants instrument. The data collection technique and other informants. The approach used is carried out by triangulation (combin- in this study is a musicological approach, ed), the data analysis is inductive/quali- which is an approach to read problems tative, and the research results emphasize in musical, scientific fields, including the the meaning of more than generalization. form of music, the textual music, and the 186 Harmonia: Journal of Arts Research and Education 20 (2) (2020): 183-194 musical context. gamelan. Given this temple’s existence, apart from having a small area, this temp- RESULTS AND DISCUSSION le is classified as an intermediate level in Tejakula Traditional Village area (inter- Sekati Ririg Cenik Gending view with Gede Santara, 11 July 2020). So The implementation of religious ce- that there is a clear difference in terms of remonies carried out by the community presentation using two different gamelan in the Tejakula Traditional Village is in- sets, and it all depends on where the local separable from social interaction and art community holds the religious ceremony. performances, both dance and music, that Likewise related to Sekati’s gending offe- are sacred or entertaining. As social and rings, generally, it can only be found on cultural creatures, humans certainly inte- the second day when carrying out Ngebe- ract with each other, the environment, and kin ceremony (the peak of the piodalan cere- with God. Social interaction, in this case, is mony) and the third day at the Ngelebarang in expressing art in social life. It is an ex- ceremony (the end of the piodalan ceremo- pression of human culture that is always ny celebration). This has indeed become an present as a personal expression and an agreement of the local community to con- expression of community groups based tinue the tradition passed down long ago. on the culture. Individuals and commu- The presence of Sekati Ririg Cenik nity groups can use or use it as a means gending in Tejakula Traditional Village of social interaction (Wadiyo, 2006). Social contextually appears when the communi- interaction here is an expression of art in ty is carrying out religious ceremonies that social life because art is an expression of are similar to the existence of the Gamelan human culture that is always present as a Sekaten in the three Keraton, namely the personal expression. It also an expression Surakarta, Yogyakarta, and Cirebon Pala- of community groups based on the cul- ce. Contextually, Gamelan Sekaten is also ture it refers to, from which individuals used in the traditional ritual ceremonies and community groups can use or exploit of each Keraton. (Utami, 2011), states that as a means of social interaction (Wadiyo, the existence of Gamelan Sekaten, one of 2006). Therefore, it can be said that art has which is in the Great Mosque of Surakarta, a role as a means of social interaction as an is a concept that is closely related to sac- example in the gending , which is presented redness and part of the Sekaten Ritual in when carrying out social activities for re- the sacredness of Gerebeg Maulud. This ligious ceremonies in Tejakula Traditional explanation shows that there are a rela- Village. tionship and an important role between The people in Tejakula Traditional musical offerings and the implementation Village generally carry out the piodalan ce- of religious rituals aimed at God. remony for three days. In connection with Sekati’s repertoire presentation, the local The Concept of Balance on playing tech- community usually performs five Sekati nique of Sekati Ririg Cenik Gending repertoires, one of which is Sekati Ririg The playing technique or gagebug Cenik gending. Suppose the community also has its concept or way when playing carries out the piodalan ceremony at Pura a gamelan known as polos-sangsih. Polos Kahyangan Tiga. In that case, the gamelan and sangsih system will move if combin- barungan used is Gong Gede gamelan; it is ed and cause a mix of sounds called ubit- because the temple’s existence is classified ubitan, moving up and down or vice ver- as the main level in the local village area. sa and filling in empty beats and making Meanwhile, when local people carry out interlocking sounds (Bandem, 2013). The the piodalan ceremony at Pura Maksan, the technique in gamelan in Bali is known presentation of the Sekati Ririg Cenik gen- as ubit-ubitan, kotekan or cecandetan. Di- ding is, of course, using the Gong Kebyar bia (2017) explaining textures is one way I Ketut Aditya Putra et al., The Concept of Balance at Sekati Ririg Gending in Tejakula, 187 to build complex but rich sound textures. of norot, it is necessary to know about un- When playing the kotekan, two or three ga- derstanding the meaning of nyocol. Nyocol melan players play or have a tight interac- is meant to be a playing technique in a me- tion. Each player plays intricate rhythmic dium tempo, which is done by hitting the patterns or strokes to perform the main same note (with two strokes in one beat). melody. While the word cecandetan itself The term nyocol is taken from the Balinese comes from the word “candet-candet”, the language, namely cocolan (from the word word means mutually muttering. Repro- cocol) which means one lump. ach is meant to respond to a sound with another sound so that it creates a rhythm when the gamelan is played. Generally, each instrument in gamelan Gong Kebyar has ubit-ubitan, kotekan, and cecandetan technique used in the polos- sangsih playing system. Polos-sangsih system explained by Dibia (2017) that playing polos strike is often called negtegin (from Figure 1. Description of Notation Symbols the word tegteg, the balinesse language (Doc. Aditya Putra,2020) means strong) because of this strike move From the definition of nyocol, it can along with kajar strike. Sangsih strike is also be seen that the norot strike technique is called nimpalin (from the words timpal in a compacted nyocol punch. Norot can be Balinesse language means Friend) becau- done by closing the first note or leaving se of this beat’s function as a friend or a both notes open (Dibia, 2017). While the couple from polos. Based on the above un- type of oncang-oncangan stroke is the name derstanding, some instruments of gamelan of a stroke pattern that uses strokes that Gong Kebyar that are used to present gen- alternate by hitting two different tones in- ding Sekati Riring Cenik also uses playing terspersed with one tone. The results of technique with polos-sangsih system as it is these strokes can be intertwined in one di- mentioned above. Some of them apply the rection, so that the notes that are heard are oncang-oncangan, norot and twist check five always sequential. Meanwhile, the type of techniques, namely the pemade and kan- oncang-oncangan stroke is the name of a til instruments, reyong, ceng-ceng kopyak, stroke pattern that uses alternating strokes and trompong (Putra, 2019). Each of these by hitting two different notes interspersed instruments produces a strand of tones ac- with one note. This stroke can usually be cording to their musical needs so that the done in the fast and responsive part of the process can create a complementary balan- repertoire (Mustika, 1996). ce. Apart from the meaning of oncang- Pemade and kantil instruments are oncangan in the context of music, the word instruments in the Gong Kebyar gamelan, oncang/ngoncang can also be found in a which both have a pelawah shape made of tradition that still exists today. This tra- wood and a bronze blade; it’s just that the dition is still maintained in many places, size of the kantilan instrument is smaller such as in Buleleng and Tabanan areas. In than the pemade instrument. In general, the this case, ngoncang can be interpreted as a function of pemade and kantil is to work on customary activity carried out in groups, music with a variety of twists/ties, inclu- one group usually consisting of five or six ding oncang-oncangan and norot (Sukerta, people. Women only did Ngoncang because 2001). Pemade and kantil instruments in the it was believed that only women pound Sekati Ririg Cenik gending presentation, rice in ancient times. The tradition of ngon- using a plain-sangsih system with the ty- cang is done by playing a rice pounding pes of norot and oncang-oncangan playing tool or kentungan (Listiani, 2014). Each techniques. Before moving on to definition 188 Harmonia: Journal of Arts Research and Education 20 (2) (2020): 183-194 player has a different rhythm pattern and From the example of the polos-sangsih the strokes are taken alternately regarding pemade playing technique notation on the how to play it. Besides being used in the oncang-oncangan stroke type, pemade polos implementation of the ngoncang tradition, (Pp) instrument has a playing technique the oncang-oncangan playing technique by hitting two different notes in one beat is also used in the musical concept of the and line with the melody beat of the gen- Sekati Ririg Cenik gending in the Tejakula ding. While the beat of the Pemade Sangsih Traditional Village, Buleleng Regency. (Ps) instrument is played by hitting two The oncang-oncangan technique in the different notes in one beat, the strokes are Sekati Ririg Cenik gending is also performed opposite to the beat of the melody which by alternating between polos and sangsih aims to complete the empty space of pema- strokes, every musician who plays this de polos playing. These two game systems technique naturally adjusts the melody are complementary intertwined from each that has been composed. So that these pat- note produce on each beat. So, it is very terns of play are intertwined complement clear that there is a parallel or opposite each other. playing process between polos and sangsih Before arriving at an explanation of strokes that cause a balance to arise. Like- the playing techniques in Sekati Ririg Cenik wise, with the norot playing technique, the gending, it would be nice to understand following is an example of the norot play- some of the symbolic descriptions used in ing technique notation in Sekati Ririg Cenik the notation. The goal is none other than to gending. make it easier to read examples of notation From Figure 3 of the norot playing in this paper; technique above, you can see the process of balance between polos and sangsih strokes that are produced through a complementary tune in each beat. The norot stroke on a polos pemade instrument plays the same Figure 2. Example of oncang-oncangan playing two notes in one beat. It is also noteworthy technique notation on a pemade instrument that in the norot polos strokes above, the- (Doc. Aditya Putra, 2020) re are a number of notes played with the blade closed, which is indicated by a ding Furthermore, below, we can descri- note that is crossed out with a sound “dit.” be examples of oncang-oncangan and norot Likewise in the norot strokes on the pema- playing techniques in Sekati Ririg Cenik de sangsih (Ps) instrument, the technique of gending through the notation of play- playing it is the same as the polos pemade ing the pemade instrument in the gamelan instrument which is played by hitting the Gong Kebyar. The following is an example same two notes, and there is also a game of the oncang-oncangan playing technique by closing the blade like a dong note that in Sekati Ririg Cenik gending. is crossed out with a “dot” sound. Howe- ver, in pemade sangsih the strokes are not parallel or opposite to the beat of the melody gending, it is because pemade sangsih is an instrument that complements the empty space of the pemade polos instrument. So that both of them, when combined, can produce a harmonious tone. Based on the description of the two Figure 3. Examples of the notation of the norot types of playing techniques of the pema- playing technique on the pemade instrument (Doc. Aditya Putra, 2020) de instrument, it is clear that two systems are parallel or opposite to the melody beat between plain and sangsih strokes, but the I Ketut Aditya Putra et al., The Concept of Balance at Sekati Ririg Gending in Tejakula, 189 two strokes still produce a balance of tones rot (adeng) playing technique it runs flat or a paired sound. These types of norot and and at a slow tempo in accordance with oncang-oncangan strokes are applied to the the naming of the method itself. There is technique of the Sekati Ririg Cenik gending a ngempyung system in the game, namely playing where the norot strokes are played simultaneously striking two different to- alternately with the oncang-oncangan stro- nes from the first reyong player (penyorog) kes. So this really reflects the concept of to hit a dung tone while the second player balance in the dualism dimension because (pengenter) strikes a ding tone. from the two strikes, there are significant Furthermore, in the fast norot play- differences, but both complement each ot- ing technique (gencang) performed by the her without leaving empty spaces. two players, both the striker stikes dang Reyong / riong or some say riyong and ding tones and the pengenter strikes the (Santosa, 2020) is an instrument in the ga- dong and deng tones with a beat in medium melan Gong Kebyar which has several mon- or fast tempo from the slow norot techni- col / pencon as a sound source and is placed que that has been previously explained. So in one tungguhan which is an elongated that this technique produces a one-tone di- shape. The reyong instrument’s notes are rection, it is an emphasis on the dong tone. twelve tones, including deng, dung, dang, In accordance with the flow of the melody. ding, dong, deng, dung, dang, ding, dong, From the naming of the technique and the deng, dung. This instrument is played by relation of the two players, both of them four people in which each player has their reflect the dualism balance system; these own designation, including the striker (first two things remain in the series of gending player), pengenter (second player), penyelah presentations so as to produce a tone in ac- (third player), and pemetit (fourth player). cordance with the required melody, where In the reyong instrument in the music of both complement each other even though Sekati Ririg Cenik in Tejakula, several play- the playing system has differences. ing techniques can be found, namely slow norot (adeng) and fast norot (gencang). These techniques can be visualized through the musical notation as below.

Figure 5. Example of the Quick Norot (gencang) playing technique notation on a pemade instrument (Doc. Aditya Putra,2020)

Furthermore, the trompong instru- Figure 4. The example of notation of slow norot (Adeng) playing technique in pemade ment, has a similar meaning to reyong. instrument. (Doc. Aditya Putra, 2020) The trompong instrument at the Gong Kebyar barungan is also in the form of a Based on the musical notation rela- pencon that is placed on an elongated tung- ted to the technique of playing the reyong guhan, but what distinguishes it from the instrument, this notation is only used to vi- previous reyong instruments is that the sualize the first penyorog( ) and second (pen- number of pencon in the trompong is ten no- genter) players. The two games can repre- tes. The intended tones’ composition inclu- sent the other two players. des: dang, ding, dong, deng, dung, dang, ding, The reyong instrument in the Sekati dong, deng, dung. This instrument is gene- Ririg Cenik gending in terms of the play- rally played by one player and is usually ing technique shows that in the slow no- placed at the front in one barungan Gong 190 Harmonia: Journal of Arts Research and Education 20 (2) (2020): 183-194

Kebyar. The instrument (panggul) used in other. The game forms a strand of notes the trompong instrument has a shape and according to the melody’s groove, even size that is bigger and longer than reyong, though the three of them are indifferent but both are played with both hands. tonal areas. The first player plays in the Talking about Sekati Ririg Cenik gen- lowest note area, namely dang, ding, and ding in Tejakula, the trompong instrument dong, then the second player in the mid- is played by three people in its presenta- pitch area includes deng, dung, and dang. tion. The use of three players is that it ac- The third player is in the lowest or highest tually gives a special characteristic in the area, namely ding, dong, hum, and dung presentation of the Sekati gending. Accor- notes. So, the three trompong players hit ding to what Pande Made Sukerta said, the tones according to their respective por- Sekati, especially in Tejakula, most clear- tions, and the combination of the three still ly shows that Sekati gending , seen from creates a complementary balance. the use of trompong instrument played by three people, as well as seen from the pattern of play on trompong instrument. This statement was also supported by Wirsu- tha, who said that three peoples played the trompong instrument. It struck a note accor- Figure 7. Examples of playing technique nota- ding to the melody innocently without any tion on trompong (Doc. Aditya Putra, 2020) variation called Sekati gending. The play only strikes notes one by one, which was Ceng-ceng Kopyak is also in Sekati Ri- Sekati’s playing technique or katih (one) rig Cenik gending presentation. Ceng-ceng (interview on 12 July 2020). Based on some kopyak is one of the instruments in the of the information about Sekati above, it shape of a round disc with a diameter ran- can be understood that the protrusion of ging from 21-25 cm. The way to play it is trompong instrument and the pattern of the by banging it with a partner so that it ma- play being struck by the three people are kes a sound. The instrument of ceng-ceng characteristic of Sekati’s gending offerings kopyak similar to acakep (cakupan) ceng-ceng in general, one of which is Sekati Ririg Cenik consists of two discs of ceng-ceng in round gending. It is so called because only Sekati shape. One player generally uses two discs gending in the presentation uses trompong ceng-ceng kopyak. Operationally, the exis- instrument and is played as described Fi- tence of ceng-ceng kopyak in every barungan gure 6. gamelan Gong Kebyar is not determined the number, There are at least three to six people who play it, so there are different patterns or techniques in the play. The striking technique of ceng-ceng kopyak is making a braided rhythm that produces Kekilitan (braid that is repeated simultaneously). Kekilitan ceng-ceng kopyak can be called “cek“ and continue with the number of ceng-ceng kopyak strokes formulated Figure 6. Trompong Instrument is played by three people in gending Sekati Ririg Cenik by organizing its kekilitan. Ceng-ceng kopyak (Doc. Aditya Putra, 2018) in the presentation of gending Sekati Ririg Cenik uses five-motif strokes technique. Based on the trompong game techni- The description of ceng-ceng kopyak playing que notation above, it can be seen that the technique can be seen as Figure 8. three trompong players complement each I Ketut Aditya Putra et al., The Concept of Balance at Sekati Ririg Gending in Tejakula, 191

gending tempo was returned to slow. To get the end of the gending, kendang instrument again adjusts the speed of the song gradually to a fast tempo and when it reaches the climax, Sekati Ririg cenik gen- Figure 8. The example of playing technique ding presentation ends with a slow tempo notation in ceng-ceng kopyak instrument (Doc. Aditya Putra, 2020) and a gong stroke. Figure 9 is kendang instrument when The example of the notation in Figu- setting the tempo in gending presentation re 8 indicates that the playing technique in Sekati Ririg Cenik. Setting the tempo in the ceng-ceng kopyak instrument also has the presentation is very important to do becau- concept of dualism balance where gending se in addition to reducing the monotonous presentation patterns or the strikes bet- taste, these elements can also give soul or ween polos and sangsih have different play- energy to the presentation. When fast tem- ing patterns. The polos stroke (PL) is played po music/songs are sung, the resulting at- parallel to the beat while the sangsih stroke mosphere indirectly gives a great impres- (SS) is against the beat, but the two strokes sion. Meanwhile, when the song’s tempo is create a relation (cecandetan) or (kekilitan) slow, it can give a calm, soft and peaceful which blends one player with their part- feeling. All that is not absolutely done de- ner who is side by side. When one person pending on the agreement between each only plays the play of ceng-ceng kopyak, player presents Sekati Ririg Cenik gending. the need for musicality relations will not Therefore, it is clear that the concept of the be perfect. dualism dimension is seen from the difference in the speed with which a piece is Tempo balance concept of Sekati Ririg presented so that it can produce a balance. Cenik Gending The tempo is a term from Italian, which literally means time, and in music, it denotes speed. Music can move at a certain speed, including very fast, medium, or slow, and music can be at various levels between them (Miller, 2017). Miller further explained three levels of tempo, including metronome, beats, Ritardando, and Acce- lerando. Sekati Ririg Cenik gending can be classified into the beats’ tempo of the three tempo levels mentioned. It discusses two types of tempo, namely fast tempo and slow tempo. There are two types of repe- Figure 9. kendang instrument in setting the tempo (photo: Aditya Putra, 2018) tition of the tempo in one series of songs / Sekati Ririg Cenik gending. Dynamic balance concept of Sekati ririg Starting from the beginning, of cour- cenik gemding se, the presentation uses a slow tempo, Furthermore, regarding the volume then after approximately three times of (dynamics) in music, according to Yasa gending rounds, the tempo is gradually (2016), the dynamics in the Gamelan Gen- faster marked or led by the kendang player. der Wayang compared to Gamelan Gong So that other instrument players can fol- Kebyar certainly have different dynamics low the course of gending being played. regarding the volume (dynamics) in music. Furthermore, after performing several fast In the Gamelan Gender Wayang, of course, tempo gending rounds, Sekati Ririg Cenik the device dynamics are softer, while the 192 Harmonia: Journal of Arts Research and Education 20 (2) (2020): 183-194

Gamelan Gong Kebyar has a louder level In Figure 10, the M symbol is a melo- of device dynamics. Apart from that, the dy; the PK symbol is a drum stroke, name- dynamics can also be viewed from the re- ly p means pak and d means dug, and the lated gending. In line with Yasa’s explana- vol symbol is dynamics. In the dynamics tion above, when talking about dynamics, setting on the Sekati Ririg Cenik gending pre- especially in Balinese gamelan, it is true sentation, the dynamics’ loudness or soft- when viewed physically and musically. ness is almost the same as the tempo set- In general, Gamelan Gong Kebyar it- ting above, which is set through the drums self is known that every instrument has a (kendang) instrument. On the red table is a dynamic set of sound or commonly known sign of a drum stroke when it goes to the as ngumbang-ngisep. Rembang (1984) exp- melody line of the gong’s fall to adjust the lains that ngumbang-ngisep sound in game- loudness of the dynamic. So with this sign, lan Bali is a ngombak sound system. The then each instrument can improve the dy- science of acoustics says that the sound of namics of the sound of its hitting, which ngombak occurs due to a certain difference is according to the green table. When you in frequency in one second from the sour- want to reduce the dynamic quality of the ce of the sound (tone) at the same time it sound of all instruments to a low voice, is sounded. Ngumbang-ngisep shows the the settings are the same when you want same two tones with a slight difference in to improve sound dynamics, which can tone frequency (high-low). The lower no- be seen in the orange table and the yellow tes are called ngumbang, while the higher table. The dynamic arrangement is not ab- notes are called ngisep. The two tones are solute; it means that it can change or be dif- the same, and the slight difference in fre- ferent according to the agreement between quency, if you hit them together, will cause each player in the presentation one day at ombak. Besides, if observed from a musical a different show. perspective, the term ngumbang-ngisep can In Sekati Ririg Cenik’s repertoire, the also be used in setting the loud dynamics dynamic usually begins with hard dyna- of a song when played by a player simul- mics and then enters the comedian part or taneously. the gending content using soft dynamics. Based on the review above, that in Furthermore, the dynamics led to the end every gamelan and musical composition of the repertoire, which again used hard concerned, when talking about a dynamic, dynamics and slowly ended with the dy- it is clear that there is a very significant and namics becoming soft until the Sekati Ririg predetermined difference. Likewise, Sekati Cenik repertoire was finished. The setting Ririg Cenik gending presentation in the ga- of both loud and soft dynamics is also de- melan Gong Kebyar in Tejakula, of course, termined by the instrument’s striking in has a dynamic arrangement that has been the Gong Kebyar gamelan when the Sekati determined in terms of the loudness of the Ririg Cenik chant is presented. So, automa- musical presentation. The following is an tically, there is a concept of dualism that is example of setting dynamics in the presen- different and can create a balance. tation. CONCLUSION

Based on the description above, it can be concluded that Sekati Ririg Cenik gending has the concept of a balanced dualism dimension in it. This concept can Figure 10. Example of dynamics setting on Sekati Ririg Cenik gending (Doc. Aditya Pu- clearly be seen from polos-sangsih system in tra, 2020) norot and oncang-oncangan playing techniques played on pemade and kantil instruments, the slow norot (adeng) and fast no- I Ketut Aditya Putra et al., The Concept of Balance at Sekati Ririg Gending in Tejakula, 193 rot (gencang) playing techniques on reyong paten Buleleng Ditinjau Dari Segi instrument, the trompong instrument that Nilai-Nilai Sosial Budaya. Pendidikan uses the technique of playing leluangan Kewarganegaraan Undiksha, 2. and tetorotan and ceng-ceng kopyak which Dibia, I. W. (2017). Kotekan Dalam Musik form a relation with cek lima motif playing Dan Kehidupan Bali. Bali Mangsi technique. Foundation dan ISI Denpasar. Apart from being seen from the Kriti, I. P. D. C. D. D. (2019). Bhaerawa plain-sangsih technique in the norot and Adalah Jalanku. Elex Media Kom- oncang-oncangan playing techniques, the putindo. concept of balance can also be seen from Miller, H. M. (2017). Apresiasi Musik (Tri- the fast and slow tempo of a gending, loud yono Brahmantyo (ed.); Terjemah- and soft dynamics presented in the Seka- an). Thafa Media. ti Ririg Cenik gending which uses gamelan Mustika, P. G. D. (1996). Laporan Penelitian Gong Kebyar by the people in the village. Mengenal Jenis-Jenis Pukulan Dalam Customs of Tejakula, Buleleng Regency. Barungan Gamelan Gong Kebyar. Thus, it is clear that as a whole, what is Putra, I. G. A. M. D. (2004). Panca Yadnya. mentioned above is also indirectly related Milik Pemerintah Provinsi Bali Keg- to the dualism concept of life balance in iatan Peningkatan Sarana Prasarana the beliefs of the Hindu community in Bali Kehidupan Beragama. which is called rwa bhineda. Putra, I. K. A. (2019). Struktur Melodi Dan Gagebug Pada Gending Sekati Ririg ACKNOWLEDGEMENT Cenik Di Desa Adat Tejakula Kabu- paten Buleleng. Kajian Seni, 06(1), We express our deepest gratitude 81–90. to RistekBRIN for providing financial -as Rembang, I. N. (1984). Sekelumit Cara-Cara sistance for the Master’s Thesis research Pembuatan Gamelan Bali. Departeman entitled “Gending Gamelan Sekati” and Pendidikan dan Kebudayaan Direk- “Teknik Permainan Kendang Tunggal dalam torat Jendral Kebudayaan Proyek Kajian Seni Karawitan Bali.” Pengembangan Kesenian Bali. Thanks are also addressed to I Gde Rismandika, K. A. (2018). Popularitas Arya Sugiartha, as the Rector of ISI Den- Gamelan Gong Kebyar Dalam Arena pasar, the Chairperson of the LPPMPP ISI Pertarungan Kekuasaan Gamelan Denpasar and his staff, and all parties who Bali. Selonding, 13. have helped complete this research, which Santosa, H. (2020). Critical Analysis On we cannot mention one by one. Historiography Of Gamelan Beb- onangan In Bali. Paramita: Historical REFERENCES Studies Journal, 30(1), 98–107. Sugiartha, I. G. A. (2015). Bentuk dan Kon- Aryasa, I. D. (1985). Pengetahuan Karawitan sep Estetik Musik Tradisonal Bali. Bali. Departemen Pendidikan dan Panggung, 25(1), 46–60. Kebudayaan Direktorat Jendral Ke- Sugiyono. (2015). Metode Penelitian Kuan- budayaan Proyek Pengembangan titatif, Kualitatif Dan R&D. CV Alfa- Kesenian Bali. beta. Bandem, I. M. (1986). Prakempa Sebuah Lon- Sukerta, P. M. (2001). Jenis-Jenis Tungguhan tar Gambelan Bali. ASTI Denpasar. Karawitan Bali. Proyek Pengemban- Bandem, I. M. (2013). Gamelan Bali di atas gan Media Kebudayaan Direktorat Panggung Sejarah. Badan Penerbit Jenderal Kebudayan Departemen STIKOM Bali. Pendidikan Nasional Republik Indo- Diah, L. N. P. (2014). Eksistensi Tradisi nesia. Adat Ngoncang Di Desa Pegadun- Sutrisno, A. N. (2014). Telaah Filsafat Pendi- gan, Kecamatan Sukasada, Kabu- dikan. Deepublish. 194 Harmonia: Journal of Arts Research and Education 20 (2) (2020): 183-194

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