Implementation of Kupingan Method in Javanese Karawitan Music Training for Foreigners

Harmonia: Journal of Arts Research and Education 21 (1) (2021), 105-114 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.v21i1.29993

Widodo1, Bagus Susetyo1, Susan Walton2, William Appleton2

1Universitas Negeri Semarang, Indonesia 2University of Michigan, United State

Submitted: 2021-04-26. Revised: 2021-05-24. Accepted: 2021-06-05

Abstract

The present work explores the implementation of kupingan method in the karawitan music training process to foreign participants with written tradition background. Moreover, it aims to identify, analyze, and elaborate the strength and weaknesses of kupingan method in transfer knowledge of gamelan skills. The present study employed a descriptive-qualitative method and class-action research design. The research objects involved the training of Javanese karawitan music to Tlaga Madu group from the University of Michigan in 2019. The data were obtained through observation of participation, interview, and document study. The data were further validated by triangulation technique and analyzed by steps as follows: identification, classification, verification, reduction, and explanation. The results indicate that kupingan method is applicable in the karawitan music training for foreigners, yet, to a very limited extent. By implementing the method, the training participants can master simple gending (colotomic structure) instrumental of learning materials, such as basic technique and patterns of instruments in the small-format gending lancaran form. On the other hand, the materials of complex gending with larger formats than lancaran are more effective to be disseminated by karawitan notation that is written in detail and elaborated with a demonstration of the song play.

Keywords: Kupingan method, Javanese Karawitan, gamelan, gending, training

How to Cite: Widodo, W., Susetyo, B., Walton, S., & Appleton, W. (2021). Implementation of Kupingan Method in Javanese Karawitan Music Training for Foreigners. Harmonia: Journal of Arts Research And Education, 21(1), 105-114

INTRODUCTION ce they mostly have a written tradition of music learning. On top of that, the system Since the twentieth century, Javanese of inheritance and dissemination of mu- gamelan music, or karawitan, has success- sical works is also unique to most foreign fully placed itself within a global discourse learners (Danandjaya, 1997). of traditional music. It features the unique It is common within the Javanese physical appearance of the musical instru- society to incorporate training and perfor- ments as well as the musical procedures mance of karawitan as a process of inheri- and cultural elements; these aspects are ting and disseminating the works of kara- the magnet of karawitan to foreigners in witan composition. During these activities, learning and exploring the music (Soesilo, the instructor transfers the gamelan skills 2018). The foreign learners of karawitan to the learners in oral method: (1) imita- music might find the oral (folklore) traditi- ting the fragments of gending (colotomic on of karawitan music learning unique sin- structure) of the song or instrument pat-

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

105 106 Harmonia: Journal of Arts Research and Education 21 (1) (2021): 105-114 terns and certain types of vocal by rengeng- and the dynamics of gending creation. The rengeng (humming); (2) demonstrating the note-taking of gending takes the form of an instrument play and certain types of vocal; outline of song groove and gending struc- (3) presenting the model of certain gending ture. In this regard, the notation of karawi- with reference to other relevant gending tan composition is referred to as balungan models, and other conducts. Meanwhi- gending notation. The notation functions le, the learners absorb the knowledge by as the reference of the play rather than a making use of their auditory senses while detailed note on the whole instrumental recording, imitating, memorizing, and de- and vocal play of gending composition that veloping the learning materials by them- the performers must follow (Supanggah, selves. 2009). Perlman, mentions that balungan Within the activities, detailed notes gending is an unplayed melody. Meanwhi- regarding the musical aspects of karawitan le, Sumarsam refers to it as an inner melo- are not of emphasis. The musical notation dy, while Benamoue regards it as a refe- is only used as necessary as a reminder rence melody (Perlman, 1993; Sumarsam, of the working model in certain parts of 1992; & Benamoue, 2010). the musical that are considered important Despite already having a proper (Supanggah, 2002). The learning process notation system, the process of teaching tends to avoid using a strict and detailed gamelan skills still incorporates kupingan karawitan musical note since it can restrict method. Aside from its function as the re- the play model. Such conduct can limit the ference, karawitan notation also functions learners’ creativity and weaken their mu- as the interpretation of gending creation ex- sical sensitivity. The knowledge transfer pressed in the joint performance through model of karawitan music skills is also re- the sound signal and response between ri- ferred to as kupingan method, derived from cikan (instruments) and vocals. This aims ‘kuping’ or ‘ear’. The suffix -an illustrates to form an entailed, holistic, dynamic, the emphasis on utilizing ears or auditory cohesive, and unitary karawitan compo- senses in an activity to achieve the goals sition. Brinner refers to this sound signal (Widada & Sukardi, 2001). and response as the musical interaction, The method is a common way of while Santosa calls it musical communica- learning Javanese karawitan music that tion (Brinner, 1995; Santosa, 2001). has been passed down for generations. Ka- The signals are played by leading rawitan notation was firstly introduced in instruments in the form of sound of ken- 1850-1860s in the form of musical notation dang drum, rebab fiddle,gender barung, and adopted from the Western musical tradi- bonang barung to begin, pause, continue, tion to record 49 sekar ageng songs as the accelerate, decelerate, strengthen, weaken, learning materials of tembang in elementa- highlight, move, direct the song groove, ry schools (Sumarsam, 2003). Several other end the performance, and show the dyna- notations, such as Rante, Andha, and the mic of gending play. Meanwhile, the sup- latest, Kepatihan, have also emerged at the porting instruments respond by playing later period. The embryo of Kepatihan no- particular patterns in accordance with the tation emerged in 1920s in Kepatihan, the musical signal from the leading instru- residence of Patih Sasradiningrat IV in the ments. The combination of instrumental era of King Pakubhuwana X of Surakar- signals, responses, the sindhenan, and ge- ta (Pradjapangrawit, 1990). The notation rongan vocal form the karawitan composi- takes the form of number one to seven to tion. Since the sound signals and responses show the note progression and melodical are auditive-spontaneous, the performers groove of the karawitan composition. Ot- are demanded to hone their auditory sen- her aspects of the notation involve the let- ses and musicality to recognize the signals ter sign, lines, dots, ticks, circles, and other (Walton, 1996). signs to show the play of structural ricikan The musical working culture of Ja- Widodo et al., Implementation of Kupingan Method in Javanese Karawitan Music Training 107 vanese karawitan allows a huge potential melan musicians play the instruments to of the development of kupingan method. express the musicality in a gending com- To the practitioners of karawitan music, position. A quality karawitan composition kupingan method has been very useful as must ensure that the elements of gending a method of gamelan skill learning that can work optimally in accordance with enables them to develop a sense of musi- the aesthetic and cultural principles. This cality and auditory sensitivity. Regarding is to generate a good taste of karawitan the previous notion, the incorporation of composition that emphasizes the character kupingan method in foreign learners of ga- of gending (Supanggah, 2009). In line with melan that mainly apply written tradition that, Benamou highlights that aesthetics is yet to be explored. In addition to its ef- or ‘taste’ is the core principle of Javanese fectiveness, the learning materials’ accep- karawitan music (Benamoue, 2010). Wi- table level of complexity for the foreign dodo refers the depth of karawitan as “la- learners and the strength and weakness of ras”, or the beautiful and aesthetic ‘taste’ kupingan method is of high interest. of karawitan. The performance of Kara- The notions above serve as the rawitan composition can awaken the “laras” tionale of the present classroom-action re- feeling if the model is conducted proper- search. Purohman opines that classroom- ly according to the aesthetic and cultural action research refers to applied research principles that apply. In this regard, the conducted during the teaching process in composition performed will also show a the class (Purohman, 2018). The domain dynamic, compact, holistic, vibrant, appre- of classroom-action research involves ciative, but not emotional (Widodo, 2017). instructor, learners, learning process and outcomes, curriculum, social capital, en- METHOD vironment, and other aspects. The approach might incorporate a different academic The researcher developed one’s re- background, from psychology, sociology, search interest regarding the learning pro- ethics, religion, economy, history, philoso- cess of karawitan music in foreign learners phy, and the like. The stages of classroom- since assigned as the instructor of karawi- action research involve planning, action, tan music training at University of Michi- observation, and reflection. Kopiez divi- gan in 2019. The training objectives are the des the auditory senses’ ability to grasp most integral part of the whole process as musical materials in musical training into the benchmark in designing the further two levels, high and low. The indicator of activities, analyzing the situation, iden- a high ability comprises the ability to grasp tifying what approach to use, preparing and break down the combination of notes materials and implementing in a class, and in a particular rhythm pattern, notes that revising. In line with this, classroom-action stand out without melody, note combina- research involves several steps to achieve tion with a lowering pitch, as well as the the learning objectives: planning, action combination of four notes and three no- implementation, observation, and reflecti- tes; while a low ability is only capable of on (Purohman, 2018). grasping simple musical elements (Kopiez, The study employed a descriptive- 2018). qualitative method and classroom-action The learners’ ability in the learning research design. It was conducted in the process of Javanese karawitan refers to training of Javanese karawitan music to their mastery of musical aspects of kara- Tlaga Madu group, School of Music Thea- witan music and its gending instruments as ter and Dance, University of Michigan, the learning materials. The gending instru- United States, in 2019. The data were ob- ments involve the play technique, vocals, tained through observation of participati- céngkok, wiled, rhythm, laya, laras, pathêt, on, interview, and document study. The and dynamics (Hastanto, 2009). The ga- observation was conducted during the 108 Harmonia: Journal of Arts Research and Education 21 (1) (2021): 105-114 whole training process, starting from mid- in beginner class and advanced class. The September to mid-December, 2019. A pre- training objectives in the beginner class liminary observation was carried out to are: (1) the learners are able to recognize analyze the situation of training facilities names, shapes, types, and materials of ga- and infrastructure. Upon that process, furt- melan instruments and mallet tools, as well her observation was conducted to retrieve as the play system; (2) the learners can de- the data regarding the learning materials’ monstrate the basic playing techniques of contents and level of difficulty and the stu- gamelan instruments; (3) the participants dents’ response in mastering the learning can play patterns of gamelan instrument of materials taught by kupingan method. The lancaran composition; (4) the learners are study aimed to observe the effectiveness of able to perform the gending in a live show kupingan method in its correlation with the with general audience. In advanced class, achievement of training objectives. Kupin- the objectives of karawitan music training gan method was applied since the earlier encompass: (1) the learners are able to play phase of the training process in the topic the instrument, and vocal patterns of gen- of basic technique and patterns of gamelan ding lancaran, ketawang, and ladrang; (2) instruments to play gending lancaran com- the learners can play the accompaniment position. The method’s effectiveness was gending for Javanese classical dance; (3) the to be continuously evaluated and revised learners are capable of performing the gen- after the reflection phase. The method will ding as taught during the learning process no longer be used if the participants feel in a live karawitan concert with the general overwhelmed and find it difficult to mas- audience. The learners undergo collective ter the complex learning material. Moreo- and private karawitan lessons. The private ver, a document study was employed to lessons aim to enrich the learners’ know- acquire the data on the musical thought ledge on certain patterns of instruments process in the participants that apply writ- and vocals in the taught gending to optimi- ten tradition. Further, an interview was ze the participants’ performance. conducted with the learners to investigate the learners’ acceptance level of the lear- Facilities and infrastructure ning materials taught by kupingan method. The karawitan training process took The data were further validated by place in the Keverson Rehearsal Hall num- triangulation of source, method, and the- ber 1320, William K & Deloris Brehm Pavi- ory. The results generated were verified, lion Building, at School of Music, Theater, identified, classified, interpreted, reduced, and Dance University of Michigan. The and analyzed to generate an answer to the room’s area is 16 X 20 meter square with research question. Further, the study ela- a soundproof acoustic system. The who- borated on the strength and weakness of le collective training sessions were con- kupingan method regarding the learning ducted in the room, while some of the pri- materials as well as the learners’ acceptan- vate sessions were conducted in different ce and the set objectives. rooms in the same building. Concerts that present the participants’ gending perfor- RESULTS AND DISCUSSION mance were held live in Moore Building, McIntosh Theatre, School of Music, Theat- Training of Javanese Karawitan Music to re and Dance University of Michigan. Tlaga Madu Group, University of Michi- The training process used complete gan gamelan instruments set of University of Michigan property bought in 1966 by Wil- Objectives liam Palm. The gamelan set named Kyai The objectives of karawitan music Tlaga Madu features several instruments: training in Tlaga Madu group at the Uni- four units of kendang (Bem, sabet, ciblon, versity of Michigan in 2019 are different and ketipung), three units of gender barung Widodo et al., Implementation of Kupingan Method in Javanese Karawitan Music Training 109

(laras slendro, pelog barang, and pelog bem), the Tlaga Madu group members who al- two units of gender penerus, bonang barung, ready have a prior knowledge of Javanese and bonang penerus (laras slendro and pelog), gamelan before the training. The partici- two units of slentem, four units of demung, pants consisted of 14 individuals from the four units of saron, two units of sarong san- university and the outside of university ga, two units of peking, 13-pencon kenong, that share a common interest in Javanese two units of ketuk-kempyang, 11-pencon gamelan music. The participants are offe- kempul, two gong gedhe, two units of clem- red to take a private class that discusses pung, two units of gambang, and a pair of instrumental and vocal play patterns in flute. The gamelan set is stored in wooden the gending taught at the training process shelf in the back side of Rehearsal Hall. to increase their gamelan music skills. The The gamelan set is used when training or private class mainly discusses instruments for karawitan show. Meanwhile, statione- such as kendang drum, gender barung, bo- ry, whiteboard, board markers, and eraser nang barung, gambang, clempung, and ge- are the tools to be employed when discus- rongan vocal. sing important topics of gending. Other The collective sessions mainly dis- types of media employed in the karawi- cuss compositions of Javanese karawitan. tan training process are balungan notation The variety and complexity of gending of gending materials taught and notation composition are adjusted to the partici- of instrumental and vocal play written pants’ ability and the learning objectives. by the instructor in detail with Kepatihan In addition to the introduction to the ga- font for cipher notation in sheets of paper. melan instruments, mallet tools, techni- The learners also bring recording tools to que and patterns of balungan instruments, record the demonstration of instrumental structure, and composition, the beginner and vocal play patterns as performed by class also discusses gending lancaran com- the instructor. position of Lancaran Kotek Sl. My. and Lan- caran Ijo-ijo Sl. My. The beginner class is Participants, Materials, and Training also instructed to assist the advanced class Schedule in presenting Retna Pamudya classical Java- The training participants involve the nese dance by playing the gending Ladrang Tlaga Madu karawitan group members Kandha Manyura Sl. My. in the Indonesia that enrolled in a training process and per- Cultural Caravan Midwest-2019 concert. formance of karawitan music in 2019. The Other topics discussed involve klenengan beginner class was enrolled by seven un- and dance gending as the presentation ma- dergraduate students from different study terial in a karawitan concert to end the programs in the local university. Due to training process. In detail, the material shortage of gending players, after the first comprises: 1) Bonangan Ladrang Semar Man- karawitan concert in the Indonesia Cul- tu Pl. Nem; 2) Lancaran Tlaga Madu Pl. Nem; tural Caravan Midwest-2019 festival, the 3) Ketawang Kaduk Rena Sl. Sanga Miring; 4) participants in beginner class were merged Gending of Klana Gandrung dance: Ada-ada, into the advanced class. The decision was Lancaran Bendrong, Ladrang Pucung Rubuh, made to introduce the participants to the lancaran Bendrong, and Sampak Pl. Nem; various characters of gamelan instrument and 5) Gending of Gambir Anom dance: Ada- sounds and their combinations in Java- ada, Lancaran Rena-rena, Ketawang Kinanthi nese gending composition. In the advanced Sandhung, and Srepeg Sl. Nem. class, all participants were given the op- The training time and duration of portunity to enrich their vocal and instru- beginner, advanced, and private class is mental play on topics with moderate level scheduled by the university coordinator. of complexity, i.e., saron, ketuk-kempyang, The beginner class begins every Tuesday, kenong, and vocal. while the advanced class starts every Wed- The advanced class was enrolled by nesday, Thursday, and Friday. All classes 110 Harmonia: Journal of Arts Research and Education 21 (1) (2021): 105-114 begin from 5-7 PM. On top of that, priva- position of gangsaran, sampak, and imbal te sessions are conducted every Saturday saron patterns. Second, the plate is closed and Sunday from 1-3 PM. All participants (or held) simultaneously when striking are subject to follow the schedule. Karawi- another plate. This technique is applied in tan training classes are closed at national almost all forms and compositions of kara- days, mid-term break, and end-term break witan music. that apply in University of Michigan. After demonstrating the basic techniques, the instructor instructs the partici- Implementation of Kupingan Method in pants to practice as demonstrated. The Training of Javanese Karawitan Music to first sessions discuss basic techniques of Tlaga Madu Group, University of Michi- balungan, involving instruments such as gan slentem, demung, saron, and peking. Af- The first topic discussed in the be- ter the participants master the lesson, the ginner class is the introduction and basic instructor instructs them to play note three techniques of gamelan instrument. The and six from the lancaran composition. In class implemented a lecture model to dis- addition to enhance their mastery on basic seminate the theoretical lessons on the afo- techniques, the demonstration also aims rementioned aspects. The gamelan instru- to internalize the sequence of balungan no- ments of pencon, bilah, and other forms tes in short gending. Slentem, demung, and were made of metals with a combination saron plates are played alternately and re- of wood, leather, strings, and bamboo. peatedly to generate the notes, while each The instruments comprise: gong, kempul, peking note plate is struck twice. Once the kenong, ketuk, kempyang, bonang barung, bo- participants are able to master the basic nang penerus, slentem, demung, saron, peking, techniques, the training continues to dis- gender barung, gender penerus, gambang, cuss basic techniques of playing structural, clempung, siter, kendang drum, and rebab kenong, kempul, gong, and ketuk instruments fiddle. Javanese gamelan applies slendro with a pattern of lancaran form. The notes and pelog scale system. The note sequence selection is adjusted with the sequence of in slendro is 1, 2, 3, 5, 6, or ji, ro, lu, ma, nem, short notes as above. The kenong genera- and in pelog: 1, 2, 3, 4, 5, 6, 7 or ji, ro, lu, pat, tes a sixth note at each even strike, while ma, nem, pi. The notes are embedded in all kempul generate the same not at each odd instruments and organized in the respecti- strike (except at the first strike where it is ve frames. not played), gong is struck at the eighth The training applied kupingan met- tempo, and ketuk is played in between the hod since the first topic. The pencon and strike of balungan notes of gending. Both bilah are played by striking with the res- instrument groups are instructed to play pective mallets, while hand palms and fin- simultaneously in several sessions. The gers play the kendang drum. Meanwhile, next topic discusses technique and pattern the rebab is played by fiddling with the ko- of bonang barung and bonang penerus. Both sokan stick, while the siter and cemplung are groups perform the gembyang pattern at played by strumming with thumbnails. sixth note with strike pattern in accordan- The flute is played by blowing air into it. ce with the interpretation of lancar densi- The striking technique also involves the ty composition. The next instruction is to instrument lid; after striking, the pencon is play the technique and pattern with other closed with its lid to prevent echo, while instrument groups without looking at the the gong is let to reverb. All plate instru- notation. The last lesson at this part is the ments except gambang are closed by fingers technique of kendang bem and ketipung. after struck. The closing technique consists The instructor teaches a technical lesson of two methods: first, after striking, a note by lecture method and continues to the plate is closed (or held) before the second note exploration and demonstration. Af- strike. The technique is applied in com- ter demonstrating, the instructor asks the Widodo et al., Implementation of Kupingan Method in Javanese Karawitan Music Training 111 participants to demonstrate the play. The cond notes alternately and repeatedly. At technical exploration of kendang play gene- this stage, the harmony of notes represents rates a thung sound (p sign), dhah (b sign), the second gongan stanza of lancaran kara- tak (t sign), and ket (k sign). Once the par- witan composition. ticipants are able to master the notes, they The last verbal instruction is to play are instructed to compose a kendang sound the combination of the first and second composition to form a kendangan main pat- gongan stanza, each in two rounds. The tern of lancaran as follows: performance is conducted repeatedly until the participatns are able to play the cor- rect technique and pattern without using The next instruction is to play the notation. Once all participants with their kendang pattern altogether with other respective instruments master the whole instrument groups repeatedly by referring composition, the instructor explains that to each group’s pattern. At this stage, the the composition they played previously is participants are able to perform the piece a lancaran form. The composition is named of gending lancaran composition. Lancaran Kotek Laras Slendro Pathet Many- The next session discusses the piece ura. The balungan notation of gending is of balungan gending of third and second then explained. notes at the advanced stage. Bonang barung and bonang penerus players play the second note gembyang, while kenong players play the second note, and kempul players play the sixth note at the same strike as previous part; the same also goes for gong and ketuk. While listening to the composition harmony, the instructor also monitors the players’ accuracy of techniques and pattern of each instrument. The last instruction in this Figure 1. Balungan notation of Gending Lan- part is to combine the pieces of two notes caran Kotek, Sl. My. in the first part (third and sixth notes) and the two notes in the second part (third and second notes). The first note group plays three times, while the second group plays once. The combination of note sequences is played repeatedly until all participants are able to master their respective parts. At this stage, the participants have performed a gongan unit of lancaran karawitan composition. The next instruction for the partici- Figure 2. Notation of Kendang Kalih (Bem & pants is to play the fifth, third, second, and Ketipung) Pattern in Lancaran Form first notes. Bonang barung and bonang pene- Description rus players play the first note gembyang, A: Kendangan pattern of nampani buka functions while kenong players and kempul players to respond to the opening play the first note at the same strike as B. Kendangan transition pattern from opening to the main kendangan previous part; the same also goes for gong, C Main kendangan pattern is performed repea- ketuk, and kendang. Afterward, the next to- tedly pic discusses third, second, first, and six- D: Kendangan pattern of salahan is performed at th notes. Once the participants are able to the last stanza of gongan song master the lesson, the instructor asks them E: Kendangan suwuk pattern is performed to to play the combination of the first and se- end the gending play 112 Harmonia: Journal of Arts Research and Education 21 (1) (2021): 105-114

The Effectiveness of Kupingan Method in sical intention and memorization of the Training of Javanese Karawitan Music to patterns. After conducting reflection, the Tlaga Madu Group, University of Michi- instructor formulates a solution to ensure gan the placement of gending dynamics and Based on the results, the kupingan marks it with karawitan notation. The so- method was implemented effectively to lution is proven to be able to increase the introduce basic technique and pattern of participants’ musical feeling of the gen- gamelan ensemble in a gending lancaran ding dynamics. Despite that, the instructor composition. Almost all participants are should emphasize that the determination able to master and demonstrate the techni- of gending dynamics is not supposed to be que and pattern at a relatively easy and a standard aspect to implement. It is ex- fast level as instructed by the instructor. pected that the participants can adjust to However, when the composition is per- the kendang signals spontaneously as in formed in the next meeting without using accordance to the aesthetical principles of notation, some of the participants were not karawitan music. This takes into account able to remember their part. This implies that the spontaneous interaction between that the instructor should remind the pat- ensemble parts is a distinct characteristic terns of instrument at certain gending parts of gending composition in Javanese kara- to the participants who could not memori- witan music (Brinner, 1995). ze them. Some similar cases also occurred in These cases mostly occurred in the private classes. When the composition and response towards the gending opening, the placement of playing patterns of certain acceleration and deceleration of tempo, as gamelan instruments have been shown well as increase and decrease of volume. orally in the balungan gending notes, it is Despite having repeatedly played, some not easy for the participants to play and re- participants were not fully sure of the right member them without using notation. The time to start playing once the opening is solution to this is that all the patterns of performed. The problems urge the instruc- playing the instruments taught in private tor to reflect and come up with a solution classes, i.e., kendang, gender barung, bonang (Purohman, 2018) to allow the participants barung, gambang and clempung, are written to use notation. The participants are also in detailed notation. The participants were allowed to incorporate the counting met- able to master the parts quickly when the hod to ensure that they can respond to the playing patterns were written down in de- opening and play their respective instru- tail, and also the meaning and the reading ments. The amount of beats is calculated method were explained. However, these starting from when the kendang plays the musical patterns are limited to following first strike at the nampani buka pattern notes written in notation. to the gong note of gending opening. The As reflected from the cases, the study eighth count pattern of all instruments underlines several syntheses: (1) kupingan plays the first note altogether to begin the method can be used to teach gamelan skills gending composition. for foreigners to a very limited extend, i.e., The same case also occurred in the at the introduction of techniques and pat- play of gending dynamics initiated by the terns of playing certain instruments in gen- kendang while playing a certain note cha- ding lancaran composition; (2) more comp- racteristic and pattern. However, when the lex gending lessons than lancaran (ketawang, kendang played the musical signal as the ladrang, gending kethuk 2 kerap, etc.), as well sign to accelerate the tempo (or vice ver- as the playing patterns of the instruments sa) or increase the volume (or vice versa), and other complex gending models are other instruments were not able to res- more effectively conveyed through the use pond accurately. This is presumably due of musical notation media; (3) composition to the lack of comprehension of the mu- of a detailed karawitan musical notation is Widodo et al., Implementation of Kupingan Method in Javanese Karawitan Music Training 113 an alternative to facilitate the transfer pro- REFERENCES cess of gamelan playing skills, while also taking into account the need of emphasis Benamoue, M. (2010). Rasa, Affect and In- that the notation is not supposed to be a tuition in Javanese Musical Aesthetics. standard matter to follow. By this, the par- Oxford University Press. ticipants are expected to develop musical Brinner, B. (1995). Knowing Music Mak- skills and feelings as they experience Java- ing Music Javanese Gamelan and The nese musical compositions. Theory of Musical Competence and In- Such detailed notations are never teraction. The University of Chicago used for local Javanese karawitan perfor- Press. mers, as they might view these notations as Danandjaya, J. (1997). Folklor Indonesia. too complicated, binding, and less functio- Pustaka Utama Grafiti. nal. In contrast, a detailed musical notation Hastanto, S. (2009). Konsep Pathêt dalam record is needed to facilitate the transfer of Karawitan Jawa [Concept of Pathet in gamelan playing skills for foreign learners. Javanese Karawitan]. PPS ISI Surakar- ta & ISI Surakarta Press. CONCLUSION Kopiez, R. (2018). Development and Vali- dation of the Musical Ear Training Kupingan is a method of gamelan te- Assessment (META). Journal of Re- aching used for generations in the Javanese search in Music Education, 66(1), 53– karawitan world in training and musical 70. performances. The students grasp and in- Perlman, M. (1993). Unplayed Melodies Mu- ternalize the teaching material by relying sic Theory in Post Colonial Java. Wes- on their auditory sensitivity and musical leyen University. sense. In these activities, the use of musi- Pradjapangrawit. (1990). Wedhapradangga. cal notation is not emphasized. The habit The Ford Foundation dan STSI Sura- of kupingan method is able to enhance the karta. performers’ auditory sensitivity and musi- Purohman, P. S. (2018). Classroom Action cal taste. Research Alternative Research Activity The study underlines several interes- for Teachers. Uhamka. ting notes in implementing the kupingan Santosa. (2001). Constructing Images in Ja- method to foreign learners with written vanese Gamelan Performance: Comu- musical tradition. It is found that kupingan nicative Aspects among Musicians and method is able to be incorporated in this Audiences in Villages Comunities. Uni- context, despite to a very limited extent. versity of California, Berkeley. As the results suggest, the participants Soesilo, I. (2018). Teknologi Maritim dan were able to master the introduction to Teknologi Pertahanan Indonesia [Indo- basic techniques and play patterns of ga- nesian Maritime and Defense Technol- melan instruments in gending lancaran ogy]. Biro Umum Kementerian Koor- composition. Moreover, the patterns of dinator Bidang Kemaritiman. instruments, vocal songs, and dynamics of Sumarsam. (1992). Historical Contexts and relatively complex compositions are more Theories of Javanese Music. Cornell effectively conveyed by using detailed mu- University. sical notation. The habit of reading scores Sumarsam. (2003). Gamelan, Interaksi Buda- of Western musical compositions makes it ya dan Perkembangan Musikal di Jawa easy and fast for them to accept and master [Gamelan, Cultural Interaction, and the karawitan composition topics compa- Development of Music in Java]. Pusta- red to the kupingan method. ka Pelajar. 114 Harmonia: Journal of Arts Research and Education 21 (1) (2021): 105-114

Supanggah, R. (2002). Bothekan Karawitan I. Michigen. MSPI. Widada, S., & Sukardi. (2001). Kamus Basa Supanggah, R. (2009). Bothekan Karawitan Jawa (Bausastra Jawa) [Javanese Lan- II: Garap. PPS ISI Surakarta & ISI guage Dictionary]. Kanisius. Surakarta Press. Widodo. (2017). Konsep Laras dalam Karawi- Walton, S. P. (1996). Heavently Nymphs and tan Jawa [Concept of Laras in Javanese Eartly Delight: Javanese Famale Sing- Karawitan]. Institut Seni Indonesia er, Their Music and Their Lives. UMI, Yogyakarta.