NGGÊNDHINGI THE AESTHETICS PEAK OF SOLONESE KARAWITAN

Abstract

Nggêndhingi is a musical aesthetic concept that serves as a benchmark for the quality of musical presentation and musicality in Javanese karawitan. The concept of nggêndhingi can be observed in karawitan presentation events, especially in klenengan. There are two aspects to achieving the quality of nggêndhingi interpretation and musical interaction. Both are important competencies that must be performed by the pengrawit simultaneously when presenting the music. Interpretation is how the pengrawit interprets or translates the musical language through the instrument, while musical interaction is how the pengrawit interacts with other pengrawit so as to build unity and balance. Musical interaction in karawitan is commonly referred to as mat-sinamatan, the awareness to listen and respond to each other. Unity in karawitan is called rampak, while balance is called rêmpêg. There are three basic concepts used by pengrawit in interpreting music: niteni, niru, and ngembangne. The interconnectedness of interpretation and musical interaction will create an aesthetic called nggêndhingi. This study employs qualitative techniques and a emic phenomenological approach. Emic refers to from the perspective of the subject being studied, i.e., adhering to the values of the culture's creator or supporting community. The conclusion of this paper shows that nggêndhingi is an aesthetic concept as the peak quality of musicality in Solonese karawitan.
Keywords: Nggêndhingi; Musical Aesthetics; Javanese Gamelan