TRANSFORMASI KONFRONTATIF KOMPOSISI GAMELAN BARU: Revitalisasi Penciptaan Inovatif dan Peran Vital Perguruan Tinggi Seni

Abstract

AbstrakInovasi sebebas-bebasnya tanpa batas adalah persoalan konfrontatif yang sesungguhnya tengah mengancam eksistensi musik tradisi dalam korelasinya dengan masalah jati diri beserta dinamika konservasinya di era tuntutan yang serba mutakhir. Sejatinya orientasi komposisi gamelan baru itu berbasis pada akar tradisinya yang utuh, sebagai wujud inovasi kreatif, puncak dari akumulasi keilmuan karya-karya tradisi sebelumnya, karena desakan dominasi tuntutan kepentingan materialistik, atau memang sebatas ajang pelarian atas sikap frustasinya sebab ketidakmampuan mengusai basis tradisi yang mumpuni – berbagai model kontradiksi semacam ini tentu menjadi persoalan urgensif untuk ditelaah serius. Saat ini kita dapat melihat substansi masalahnya pada wujud karya gamelan non tradisi. Dorongan kuat semangat “modernisasi” berbalut lebat ideologi materialisme memang telah mengkonstruksi kesadaran kuat bahwa gamelan seolah dapat disandingkan dengan instrumen musik apapun, dicampur-sarikan dengan sistem musik apapun, dikolaborasikan dengan hitungan frekuensi apapun, fleksibel ditransformasikan ke dalam bentuk komposisi apapun, dan bahkan bebas direkayasa liar tanpa perlu pertimbangan kognitif yang didasarkan pada pengetahuan yang holistik. Perguruan Tinggi Seni tentu memiliki peran vital dan inheren dengan masalah konfrontasi ini sehingga perlu merumuskan rekonsiliasi ideologis melalui dialektika kritis yang berkesinambungan. Transformasi inovatif gamelan dalam entitas apapun idealnya dapat berjalan konsisten di atas konservasi kemapanan yang dinamis. Tiap hembusan nafas kebaruan yang diciptakan adalah kreasi inovatif yang berbasis pada sintesis dengan progresi intelektualitas yang dinamis, atraktif, impresif, dan konstruktif sehingga memperkaya eksistensi seni tradisi di era mutakhir.Kata Kunci: Konfrontasi, Komposisi, Transformasi, GamelanAbstract Unlimited freedom in innovation is a confronting problem that is seriously threatening the existence of traditional music in with regards to the issue of identity and the dynamics of its conservation in an era that demands one keeps up to date. By right, the orientation of new gamelan compositions should be based on its intact traditional roots: as a form of creative innovation they are the culmination of knowledge found in previous traditional works. However, because of the dominating pressures of materialistic concerns, or indeed as an excuse for the inability to achieve mastery in traditional competencies, this type of contraindicative model is certainly an urgent matter for serious study. At present we can see the substance of the problem in the form of non-traditional gamelan works. The strong impulse of the spirit of “modernization” clad in the ideology of materialism has indeed constructed a strong awareness that the gamelan seems to be juxtaposed with any musical instrument, mixed with any music system, collaborated with any frequency count, flexibly transformed into any composition, and even wildly engineered without the need for cognitive consideration based on holistic knowledge. Higher Education in the Arts certainly has a vital and inherent role with this confronting problem, making it necessary to formulate ideological reconciliation through continuous critical dialectics. The innovative transformation of gamelan in any entity can ideally run consistently above dynamic establishment conservation. Every breath of novelty created is an innovative creation based on synthesis with dynamic, attractive, impressive and constructive intellectual progressions that enrich the existence of traditional art in the current era.Keywords: Confrontation, Composition, Transformation, Gamelan.

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