Panji Probo Asmoro, Ananto Sabdo Aji, Dian Nastiti

Interpretasi Hening Sesanti Niskala sebagai Janturan menjadi Karya Musik

Introduction

Interpretasi hening sesanti niskala sebagai janturan menjadi karya musik. Interpretasi Hening Sesanti Niskala menjadi karya musik spiritual terinspirasi janturan. Mengeksplorasi ketenangan & doa, ini referensi baru untuk penciptaan musik karawitan.

Abstract

AbstrakHening Sesanti Niskala adalah komposisi musik yang terinspirasi dari kedalaman makna filosofis janturan. Karya ini bertujuan merepresentasikan substansi janturan secara musikal sebagai pesan spiritual. Konsep karya dibangun atas tiga elemen: Hening (ketenangan), Sesanti (doa), dan Niskala (keselamatan), yang dimaknai sebagai kekhusukan manusia saat berdoa kepada Tuhan. Metode penciptaan meliputi tiga tahapan utama: persiapan, observasi, dan tafsir garap yang melibatkan eksplorasi bunyi serta teknik instrumen. Karya ini diharapkan menjadi referensi alternatif dalam metode penciptaan musik baru, khususnya bagi akademisi karawitan. Kata kunci: Janturan, Suasana Musikal, Doa, Makna, dan Eksplorasi AbstractInterpreting Hening Sesanti Niskala as Janturan into a Musical Composition. Hening Sesanti Niskala is a musical composition inspired by the profound philosophical meaning of janturan. This work aims to represent the substance of janturan musically as a spiritual message. The concept is built upon three elements: Hening (stillness), Sesanti (prayer), and Niskala (salvation), which are interpreted as the solemnity of human devotion to God. The creation method comprises three main stages: preparation, observation, and tafsir garap (musical interpretation), involving the exploration of sounds and instrumental techniques. This work is expected to serve as an alternative reference for new music creation methods, particularly for Karawitan scholars. Keywords: Janturan, Musical Atmosphere, Prayer, Meaning, and Exploration

Review

The musical composition "Hening Sesanti Niskala" presents an ambitious and thought-provoking exploration into the realm of spiritual music, drawing profound inspiration from the philosophical essence of *janturan*. The work's core objective to translate the substance of *janturan* into a musical idiom, specifically to convey a spiritual message, is highly commendable. This endeavor seeks to bridge traditional Indonesian performative arts with contemporary musical composition, offering a unique perspective on how ancient wisdom can be reinterpreted through sound. The abstract effectively articulates a strong conceptual foundation, immediately drawing the reader into the artistic and intellectual journey proposed by the composer. A significant strength of this work lies in its meticulously defined conceptual framework, built upon the tripartite elements of "Hening" (stillness), "Sesanti" (prayer), and "Niskala" (salvation). Interpreting these as the profound solemnity of human devotion to the divine provides a clear narrative and emotional core for the composition. The creative methodology outlined—preparation, observation, and particularly the "tafsir garap" (musical interpretation) involving sound and instrumental technique exploration—indicates a rigorous and systematic approach to music creation. This systematic process, coupled with the philosophical underpinning, suggests a composition that is both deeply rooted in its source material and innovative in its execution, especially within the context of *karawitan* scholarship. The potential impact of "Hening Sesanti Niskala" as an alternative reference for new music creation methods, particularly for *karawitan* academics, is noteworthy. By demonstrating a structured yet deeply interpretative process for transforming philosophical concepts into musical narratives, this work offers valuable insights for composers and researchers alike. The full paper would benefit from elaborating further on the specific sonic outcomes of "tafsir garap" and how the spiritual message is concretely embodied in the musical texture, rhythm, and instrumentation. Overall, this composition appears to be a significant contribution that not only enriches the *karawitan* repertoire but also inspires new avenues for exploring spirituality and philosophy through musical expression.

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