A Study of Aesthetic Experience in Music: A Shift in Consciousness from Empirical to Immanent A Study of Aesthetic Experience in Music: A Shift in Consciousness from Empirical to Immanent Ovan Bagus Jatmika Indonesian Institute of the Arts Yogyakarta E-mail: ovanjatmika@gmail.
ABSTRACT
This study discusses the presence of immanent consciousness through music.
The issue discussed is how this immanent reality is present in the practice of playing music.
Thus, the locus of this research is a study of the aesthetic experience of musicians when playing music.
This is because, so far, when informants talk about the topic of music performance, the object of study tends to focus on practical matters such as the effectiveness of playing techniques, repertoire selection strategies, music analysis, and performance management.
In Indonesia, music studies that discuss immanent experiences tend to emphasize non-sensory experiences: immanence as a type of transcendent experience that is divine, cosmic, or metaphysical.
Conversely, the role of music in relation to the emergence of immanent experiences has not been widely discussed.
Using DeleuzeAos concept of the virtual, this study elaborates on various immanent experiences in the context of traditional musicians.
Research data was collected through interviews with two traditional musicians: Iwan Gunawan .
and Maspon .
aluang playe.
The data was then categorized into three types of experiences: empirical experiences, threshold experiences, and various sensations felt.
Findings indicate that musical practice facilitates a shift in consciousness, moving from empirical perception toward immanent awareness.
This shift enables musicians to encounter new forms of reality beyond standardized performance normsAiemerging as pre-predicative modes of understanding.
Keywords: music, immanence, virtual.
Deleuze INTRODUCTION The a musical performance allows the audience to experience a sense of Aubeing carried awayAy by the music to the point of reaching a sublime instruments/luthiers, state (McBride, 2.
In such sublime works/composers, audiences, critics, patrons.
These appears to depart from empirical reality, elements influence the technical quality of a responding to the music in ways that evoke However, technical excellence new realitiesAisometimes no longer directly is not the ultimate goal of performance, as connected to the sound itself.
listenerAos what is ultimately pursued is an aesthetic In many studies of the philosophy of experienceAione that enables the audience to art, the presence of sublime experiences is encounter realities rarely found in ordinary categorized as a form of experience that daily life (Brattico et al.
, 2.
For example, transcends the empirical level, but has not Jurnal Panggung V35/N4/12/2025 Ovan Bagus Jatmika yet reached the stage of representational Deleuze terms this condition Aotranscendental consciousness .
(Hulse, 2.
Looking empiricismAo (Adkins, 2018.
Heaney, 2018.
back, the history of philosophical development Rolli, 2.
Conversely, if the informant shows a dichotomy in the way of understanding does not have empirical experience, what is experienced is not immanence, but illusion.
If.
The as Hulse proposes, sublimation is understood ideological group seeks to understand reality as a state that transcends empirical experience through concepts .
: a glass, without yet becoming representational, then for example, can be understood as a Aodrinking it may be regarded as a form of immanent vesselAo.
Understanding a glass as a Aodrinking (Vrahimis, vesselAo is a way of understanding reality Music performances are imbued with through concepts.
in this case, the concept various immanent experiences (De Assis, of AofunctionAo.
As a form of representation of Martinson, 2014.
Pattie, 2.
In fact, reality, this concept is general in nature.
This peopleAos enthusiasm for continuing to perform means that Aodrinking vesselAo does not only music is driven by the desire to experience refer to a glass, but also a bottle, straw, or the sense of immanence that they have felt Empiricists criticise this view, arguing before (Borgo, 2014.
Shepherd, 2.
: there is that understanding a glass solely through a kind of longing for the AopeakAo experience that conceptual representation ignores its concrete they want to relive through music.
Western reality, which remains distinct from objects scholarship has widely demonstrated the role such as bottles or straws.
Empiricism, on the of empirical musical parameters in shaping other hand, emphasizes the importance of immanent experiences (Bidima & Wiedorn, involving various perceptions felt by the senses Lawrence, 2021.
Macarthur et al.
, 2016.
to understand reality.
However, empiricism Moisala et al.
, 2017.
Szepanski, 2.
However, fails to explain various non-sensory empirical studies in IndonesiaAiparticularly regarding For example, one may lose track traditional musicAihave rarely examined the of time while deeply absorbed in playing or relationship between musical parameters listening to music.
and the emergence of immanent experiences.
Beyond ideological-empirical When people talk about tradition, the reviews dichotomy.
Deleuze elaborates on a different that tend to be discussed are the structural type of consciousness, namely immanent aspects of the music (Saptono, et al.
, 2.
or consciousness (Deleuze, 2.
Immanent attempts to explain musical reality through non-musical experience contracts such that the distinction depictions (Parung, et al.
, 2.
Immanence, in many music studies in Indonesia, tends Immanence still requires empirical experience to be positioned as a type of transcendent as an initial trigger, yet the resulting .
ot transcendenta.
experience, that is, a consciousness transcends empirical reality.
kind of divine experience that is beyond the Jurnal Panggung V35/N4/12/2025 A Study of Aesthetic Experience in Music: A Shift in Consciousness from Empirical to Immanent reach of human empirical experience.
Based material qualities of sound perceived by the on this definition, immanence is ultimately understood as a reality related to religiosity (Tinambunan, 2.
, cosmology (Usman, et al.
, or metaphysics (Permono, 2.
This METHOD interpretation of immanence as transcendent Since this study examines shifts in rather than transcendental has influenced the consciousness within musical appreciation, development of Indonesian music studies, it adopts a qualitative phenomenological particularly in traditional contexts.
As a approach, which aims to reveal experiential result, empirical musical parameters are realities that informants may not yet fully often excluded when explaining immanent recognise and bring them into conscious experiences, and traditional art is viewed as awareness (Eberle, 2014.
Qutoshi, 2.
something accessible only through feelingAi Research data was collected through semi- perceived but not articulated.
structured interviews (Adeoye-Olatunde & Based on this phenomenon, this study Olenik, 2021.
Magaldi & Berler, 2.
with aims to explain the process of the emergence two traditional musicians, namely Iwan of immanent experiences from the empirical Gunawan (Sunda music kendang playe.
and experiences of traditional musicians when Maspon .
aluang playe.
Interviews were playing music.
This case study investigates the chosen because they allowed informants to experiences of two traditional musicians: Iwan recount their experiences as they felt them.
Gunawan, representing Sundanese traditional This is different from observation, because music, and Maspon, representing saluang with observation, the phenomena captured performance practices.
More specifically, the are various things that are highlighted based questions asked are: how is this change in on the researcherAos perspective and have the consciousness from empirical to immanent potential to reduce the experiences of the Informants were selected based on enable informants to experience a change in several criteria.
First, they possessed extensive consciousness from empirical to immanent? experience and in-depth knowledge of musical Answering these questions is expected to Second, they had mastery over a wide offer new perspectives on traditional music musical repertoire.
Third, they demonstrated performanceAinot merely as a passive object, but as an active reality capable of influencing experiences clearly and systematically.
Finally, the consciousness of those who experience it.
they must have an interest in the topic being Furthermore, this study does not attempt to The interviews used open-ended reduce musical AofeelingAo into fixed language, questions, allowing informants to recount their experiences freely without restriction.
experiences of musical appreciation can be Conversations were kept fluidAicloser to interpreted through their relationship to the discussion than a standard question-and- What Jurnal Panggung V35/N4/12/2025 Ovan Bagus Jatmika answer format.
Even though the conversation become aware of many realities.
For example, flowed naturally, the focus of the conversation when playing music, informants become was kept within the scope of the research by aware of various sound perceptions such as directing the conversation towards the points beat, dynamics .
, timbre, texture, of data that were to be explored.
ound expressio.
, and pitch The interview data obtained was then .
Beyond transcribed verbatim to present comprehensive musicians can also perceive various kinesthetic text data that did not reduce the pauses, stimuli such as the feel of their fingers touching emphasis, or even emotions expressed by the the instrument or the vibration of their lips at informants (Loubere, 2.
The verbatim data the end of a wind instrument.
the performance were then coded in two stages (Stuckey, 2.
tage atmospher.
also shapes First, keywords that were considered relevant were identified and then classified into several Musicians can accept these various perceptual terms or important points.
Once the terms that stimuli without disrupting their music playing were considered important had been obtained, as long as they are perceived intuitively, not the coding stage continued to the next phase by Conversely, when these various establishing relationships between the terms stimuli are analyzed, they interfere with each in order to find more general propositions.
other and make music practice confusing.
musiciansAo The two stages of coding the interview this case, the practice process can be seen as data resulted in three categories of experiences an effort to settle analytical awareness into an from musical practice.
First, various stories intuitive bodily experience.
When intuition that reveal the reality of music as experienced guides musical performance, experiential empirically by musicians.
Second, various complexity becomes an asset that enables stories that reveal liminal experiences .
etween musicians to reach the next stage: the threshold non-empirica.
At this point, musicians encounter Third, various stories about the sensations felt two interacting modes of consciousness.
by informants after entering/passing through The presence of these two tendencies of liminal experiences.
consciousness allows musicians to move from one space of consciousness to a new space of consciousness and experience new sensations.
RESULTS AND DISCUSSION
The following is a review:
RESULTS
The results of the interview data analysis show that in the appreciation of music.
Chronological Awareness as a Form of Empirical Experience informants have the potential to encounter The first experience story shared by the various complex experiences.
The complexity informant was about various things that were of the experiences encountered when playing perceived empirically when playing music.
music allows informants to simultaneously In this type of experience, the informant Jurnal Panggung V35/N4/12/2025 A Study of Aesthetic Experience in Music: A Shift in Consciousness from Empirical to Immanent The more intuitive the response, the chronologically in a sequence of moments, more natural and fluid the musical dialogue with one moment of sound followed by the In his statement.
Iwan explicitly said:
Iwan Gunawan recounts his experience of playing the Sundanese drum .
hich is semiimprovisational in natur.
as an experience similar to the informant chatting .
He explains:
AuOf course, when playing music intuitively like that, nothing is planned.
it just flows naturally.
similar to how we chat.
Ay (Interview with Iwan.
March 4.
In this statement.
Iwan indirectly shows that his consciousness is dominated by personal consciousness.
He is fully aware that he is having a musical conversation with his playing partner .
s another person interacting with hi.
through the medium of the instrument he is playing.
Iwan is aware that he is AodifferentAo from other informants in his role as a musician.
There is an awareness that Iwan is a subject .
interacting with other subjects, each with their own tasks and roles.
These tasks must be carried out well in order for the musical conversation to take place.
Technically, this musical conversation takes place in the form of call and response.
This means that when there are sound stimuli from a playing partner.
Iwan will respond by producing certain sounds as feedback, which will then be responded to by other musicians.
His sensitivity in responding to sound stimuli from his playing partner is vital because the musicianAos keen response to these sounds will enliven the musical conversation taking AuWe call and respond to each other.
to each other.
sometimes we can follow what he wants, or sometimes we are a little eccentric and offer other topics.
and many thingsAy (Interview with Iwan.
March 4, 2.
IwanAos personal awareness of his role among other His second statement reinforces this by showing that chronological musical practice enables him to recognise himself as a subject interacting with other subjects, collectively bringing music to life and treating it as an object of expression.
In line with what Iwan said.
Maspon revealed that his experience playing the saluang happened naturally.
It should be noted that the saluang is a wind instrument from Padang, which is usually played along with mournful songs.
In this type of music, the rhythm is not as dominant as in dance music, but rather flows in the form of a melody with long notes.
In his experience.
Maspon described that the saluangAos melodic line changes character when combined with more percussive instrumentsAiespecially Western ones, which emphasize strong rhythmic In his statement.
Maspon said:
AuWe donAot count how much it costs.
just go with the flow.
Then, when itAos combined with other instruments, even Western ones, something new emerges for me.
Ay (Interview with Maspon.
March 6, 2.
place on stage.
At this point, intuition becomes Jurnal Panggung V35/N4/12/2025 Ovan Bagus Jatmika Through this statement, it can be MasponAos personal awareness when perceiving said that Iwan, when faced with a specific music chronologically.
He recognizes that moment, realized two things simultaneously he plays a melodically oriented instrument, in his consciousness.
First, his awareness different from rhythm-based instruments, and this awareness distinguishes his role from sequence of musical eventsAiparticularly the other musicians within the ensemble.
The silence between sounds.
At the same time, he presence of this kind of personal awareness sensed micro-rhythms that were not audible, makes musicians aware of their respective but perceptible through inner feeling and tasks and roles in the music production process.
In other words, the consciousness enabling them to intensify certain types of in IwanAos head is divided or split into two tasks and roles within a musical ensemble.
On the one hand, his consciousness IwanAos case, his role as a kendang player leads was focused or directed at the materiality of him to emphasize rhythm, expressed through the musical sounds he was perceiving, while precise pauses and accents (Auwhen there are on the other hand, there was another .
on- many punctual soundsA.
In contrast.
Maspon empirica.
reality that shot out and appeared intensifies the musical atmosphere or mood, in IwanAos consciousness.
This which he views as the main measure of his The non-empirical reality that emerged in performance (Authe measure, for me, is the IwanAos consciousness did not happen suddenly, moodA.
but had a starting point.
He recounted his experience of listening to minimalist music.
Threshold Experience: Encountering Two As repetitive music .
lthough not truly Tendencies of Consciousness repetitive, but rather featuring very subtle The intensification of musical tasks made motif developmen.
, minimalist music sounds the informants aware of new aspects that very mechanical: the brain seems to be invited were not present in the first phase of their to identify moments of repetitive sounds in experience, when music was still perceived detail and specifically.
However, when the For example, when Iwan brain focuses on recognizing these repetitive Gunawan intensified the punctual moments moments of sound, the opposite occurs.
between bursts of sound, he felt the presence is not the details of the motif that remain in of micro-rhythms.
He said:
the informantAos consciousness, but rather the AuItAos like feeling micro-rhythms, feeling the pulse of tempo, and so on.
ItAos really abstract, itAos in your feelings and thoughtsAy (Interview with Iwan.
March 4, 2.
Jurnal Panggung V35/N4/12/2025 general nuances of the sound of the music that remain and enter his consciousness.
In IwanAos words, what initially sounded mechanical eventually led him to experience A Study of Aesthetic Experience in Music: A Shift in Consciousness from Empirical to Immanent AuThere is music such as minimalist music, for example, which is very mechanical, repetitive, but if we listen more closely, we become transcendent, like ritual music that eventually no longer feels.
mechanicalAy (Interview with Iwan.
March 4, 2.
The presence of micro-rhythms that appear simultaneously with punctuation or silent pauses places IwanAos consciousness in a liminal state.
Unlike his initial state of full personal awarenessAiwhere he clearly understood his duties and role within the performanceAithis liminal experience gradually distances him from that personal That Iwan immediately abandon his initial role and duties in an ensemble, but rather his consciousness begins to straddle two realities.
Unlike Iwan, who is aware of the presence of micro-rhythms.
Maspon feels the presence of past memories when he intensifies his mood in his saluang playing.
He recalls childhood scenes from his hometownAi playing in the river, wandering through forests and rice fields, and imagining his family.
All of these childhood memories seem to contract in his current consciousness when he plays the In his statement, he says:
AuThere is a kind of longing.
a feeling of nostalgia, perhaps, a feeling of missing imagining family members, playing in the river, on the edge of the forest, in the rice fields when I was little, well, that feeling comes backAy (Interview with Maspon.
March 6, 2.
saluang performance indicates that he, too, experiences two simultaneous tendencies of consciousness.
On one hand, he remains focused on his musical taskAiproducing melodies on the saluang.
On the other hand, a parallel reality surfaces, extending beyond his initial awareness.
This puts him between two realities of consciousness.
Maspon and Iwan enter the threshold of consciousness.
The Presence of Various Sensations and the Loss of Personal Consciousness The informants emboldened them to move beyond their initial awareness, allowing them to experience a new reality that was different from before.
This threshold reality seems to be a gateway for musicians to explore new If the first experienceAiperceiving chronologicallyAiis purely sensory, the third experience remains empirical but is no longer solely sensory.
The first story about this type of experience was shared by Iwan Gunawan.
He said:
AuEven though there are many syncopations, it turns out that when using a slower tempo, even slower than our heartbeat, the tension is higherAy (Interview with Iwan.
March 4, 2.
This statement reveals that sound stimuli .
n this case, syncopated temp.
, which are actually responded to by the ear as an auditory phenomenon, have an impact on kinesthetic sensations .
roviding tension that affects the In this case.
Iwan is experiencing a type Similar to Iwan, the emergence of MasponAos of empirical experience through musical sound stimuli that are no longer bound or limited to Jurnal Panggung V35/N4/12/2025 Ovan Bagus Jatmika the response of the sense of hearing, but are interview.
Iwan still found it difficult to instead responded to by the sense of touch as analyze klenengan tempo.
However, intuitively, a kinesthetic experience.
In other words.
Iwan Iwan was able to bring it into his playing.
is experiencing kinesthetic sensations through He understood the meaning of klenengan auditory stimuli: as a form of empirical tempo through the chaotic sensations in his experience that is not purely sensory .
ound improvisational practice.
The experience of should be heard, not fel.
encountering the reality of chaos in IwanAos In addition to the presence of kinesthetic consciousness, through the gateway of the experience.
Iwan also encountered the reality presence of micro-rhythm reality, allowed him of chaos.
He said that he realized the presence to intuitively place the drumming patterns in relation to the musical tempo: knowing when Everything was unexpected, and this sensation arose, especially after he encountered micro-rhythm He felt as if micro-rhythm showed him that beyond the various tasks and roles of a musician that he was fully aware of and tried to control in his drumming, there was a reality that he could not fully control that continued to color his playing patterns.
Eventually, these unpredictable things became the spice of his He said:
AuWhat I mean is.
there are moments that become magical.
The magic comes from the mistakes made by the improvisers.
a kind of unique spice.
Well, those changes are what ultimately make it unpredictable.
Ay (Interview with Iwan.
March 4, 2.
This chaotic sensation enabled Iwan to perceive a rhythm that transcended This chaotic sensation broadened and deepened his consciousness.
He experienced a shift in awareness related to the reality of tempo in Through his experience, he finally understood the meaning of klenengan rhythm in Sundanese music.
Even at the time of the Jurnal Panggung V35/N4/12/2025 to play strictly, when to be flexible.
Au.
you know klenengan, right? In Sundanese itAos called kliningan.
The tempo is like a gentle breeze.
We canAot use a strict tempo, you know.
The feeling is different.
like when weAore in a boat on calm waters, you know.
there are fluctuations, but very slight ThatAos the feeling of that tempo too, sometimes.
you have to read it ItAos abstract, and even today I find it difficult to analyze.
But there are many musical events like that.
When do we need strictness, when do we need, more or less.
Ay (Interview with Iwan.
March 4, 2.
Similar to Iwan.
Maspon also felt a type of empirical experience that was not purely He experienced sensations in the form of physical responses.
When various childhood memories colored his saluang playing.
Maspon felt physical sensations, namely tears welling up in his eyes.
In his story, he said:
AuWell, that kind of atmosphere now, everything is mixed together, longing for my hometown, longing for the caress of an old informant, well, sometimes while playing the saluang, yes, while cryingAy (Interview with Maspon.
March 6, 2.
A Study of Aesthetic Experience in Music: A Shift in Consciousness from Empirical to Immanent Indeed, in MasponAos experience, this DISCUSSION bodily response is mainly caused by a The longing for various things he encountered described by the informants show that their in the past.
He longed to relive the pleasant moments associated with those memories.
many layers.
The first layer of consciousness However, referring back to the second type is a type of personal consciousness that is of threshold experience, these past memories experienced empirically.
The second layer surfaced because he intensified his emotional of consciousness is a threshold experience engagement while playing the saluang.
If this that encourages the informants to move mood had not been actualized in the form of beyond empirical experience, and the third the Saluang performance, this bodily response layer of consciousness is an encounter with in the form of tears would not have occurred.
various sensations experienced in the form It is in this case that music takes on the role of of transcending sensory responses.
In order a medium that causes Maspon to experience a to answer the two research questionsAihow shift in consciousness: from the consciousness these changes in consciousness are explained of perceiving sound empirically, to the and what musical parameters can shift the consciousness of nostalgia for childhood informantsAo consciousnessAithe author must first describe the nature of these three types of In addition to experiencing kinesthetic For this purpose, consciousness sensations.
Maspon also experienced a sense of will be examined from DeleuzeAos perspective lost time.
At the peak of his experience playing through the concept of the virtual.
the saluang.
Maspon often did not realize that he had spent the whole night playing the Two Types of Time Consciousness saluang: Ausometimes until morningAy (Maspo.
When This experience of losing track of time shows that when entering the threshold reality, chronological awareness.
Informants identify MasponAos initial personal consciousness .
e is aware that he is playing the saluang with sequential linearity Here, temporal moments a certain technique and producing certain sound.
is left behind and he moves into a When informants identify time new reality that is no longer bound by the in this kind of chronological consciousness, various concepts he is aware of at the personal they are indirectly aware of the spatial consciousness level.
In other words.
Maspon presence of time: there is an event space was experiencing an impersonal reality.
between past, present, and future moments.
was not only an informant playing music.
This chronological awareness of time can be but he was being played by the music he was experienced through an analytical thought Music, as a chronologically present art of sound, will directly confront informants Jurnal Panggung V35/N4/12/2025 Ovan Bagus Jatmika with this type of chronological awareness of that is already in their head.
In this condition, time: informants will naturally analyze the it can be said that the informant is faced with sounds AodoAo.
AoreAo, and AomiAo in a linear sequence two tendencies of consciousness: on the one (AodoAo precedes AoreAo.
AoreAo appears after AodoAo and hand, their consciousness is focused on what before AomiAo, while AomiAo follows the sounds is being perceived, and on the other hand.
AoreAo and AodoA.
The means of analyzing the their consciousness moves backwards to trace sequence of sound moments in music spatially various memories stored in their memory.
is through perception.
Perceptually, the sense other words, the memories previously collected of hearing will identify various things that in consciousness .
hrough our identification of appear and can be captured by the ear, so that the first soun.
begin to contract to influence the informant can say that Aoa certain sound the informantAos perception of the sound that precedes another sound, and will be followed is currently present .
he second soun.
The by the next soundAo.
In other words, through contraction of memory that influences the way perception, the informant analyzes objects the informant perceives objects ultimately captured by the sense of hearing.
produces dynamics within consciousness.
At the same time, chronological awareness This dynamic of tension between perception also allows informants to experience other and memory is what Bergson refers to types of awareness.
When informants listen as temporal consciousness (Hulse, 2.
to a moment of sound, perceptual awareness Bergson describes it as durye .
: there will identify the qualities of the sound present:
is a reality that persists in our consciousness, what color the sound is, how it is articulated, in the form of perception-memory tension, how loud it is, how long it lasts, and so on.
beyond our perception of musical objects that This information is recorded and collected in move chronologically.
When the first sound is followed by The contraction of past memoriesAi another, the informantAos consciousness focuses derived from previously heard soundsAi on perceiving the second sound, including shapes current perception of the sounds its qualities.
Simultaneously, the informant being perceived and simultaneously allows compares it with the previous soundAi informants to anticipate what will come assessing whether it is similar, repetitive.
This allows informants to imagine or different, or a development of the first.
The fantasize about scenarios that will occur.
This way the informant compares the second sound is where the informantAos consciousness begins with the first sound .
hich is no longer actually to encounter various fields of potential that presen.
is by remembering the qualities of the will be actualized in the next moment.
The first sound that are stored in memory.
In other presence of various fantasies in the informantAos words, when the informant identifies the consciousness manifests as virtual reality.
The second sound, their consciousness is not only informantAos encounter with virtual reality in focused on the perception of the second sound, their consciousness allows them to realize and but also involves the memory of the first sound interpret the actuality of objects in their own Jurnal Panggung V35/N4/12/2025 A Study of Aesthetic Experience in Music: A Shift in Consciousness from Empirical to Immanent unique perspectives.
This means that the same he plays must AoconnectAo with his playing musical object can be interpreted differently Otherwise, the musical conversation by each informant depending on the potential will not be established.
In other words, what virtuality that arises in their consciousness.
Iwan plays must be coherent with what In this sense, it can be said that music can be other musicians play.
As a Sunda drum a medium that allows informants to develop percussionist, rhythmic motifs are the primary their consciousness, as long as they encounter means through which he maintains coherence virtual reality.
Otherwise, informants will only in performance.
This is because drums cannot be trapped in the perceptual consciousness of play melodies or chords.
In this case.
IwanAos the music they hear.
Informants will not be perceptual awareness of music is intensified aware of anything other than the sequence of to focus on playing rhythmic motifs: he sounds captured by their ears.
even explicitly mentions the term Aumicrorhythm.
Ay Rhythmic motifs become musical From Empirical to Immanent elements that Iwan perceives empirically to If Bergson explains the virtual as temporal be presented and actualized in his playing.
consciousness that allows informants to move Indeed, during musical performance, a wide beyond perceptual consciousness.
Deleuze range of elements may be perceivedAitone positions the virtual as a form of immanent color, dynamics, rhythm, melody, harmony, experience: that is, a type of experience that texture, articulation, expression, and bodily is still empirical .
equiring our perception However, in IwanAos case, awareness of object.
, but transcends sensory matters of rhythm is vital.
This does not mean that .
reating tension between perception and Iwan ignores other musical parameters, but memor.
(Deleuze, 2.
Immanence is rather that he strives to intensify his perceptual present when this tension between perception awareness of rhythmic elements.
and memory is dominated by memory.
In this Focusing on rhythmic elements allows case, our perception .
mpirical experienc.
of Iwan to identify existing rhythm patterns in objects is not lost, but rather our consciousness This ultimately enables Iwan to recall is captivated and preoccupied with the various moments of rhythmic sound in his various simultaneities of memory contractions His mind is filled with memories of in our heads .
ltimately, we no longer only existing rhythm patterns, which ultimately hear sounds through our ears, but through become an important asset for him to play anything, according to the image of thought with his perceptual awareness of music.
This that is forme.
is evident in his story when he perceives the Iwan, when he says that playing the pauses between bursts of sound.
Just like Sundanese drum is similar to AochattingAo in a conversation, moments of silence occur .
all and respons.
, indirectly shows how between exchanges.
When these moments he perceives the sound of the drum in the of silence occur, the various memories of performance: that is, the sound response rhythmic motifs collected in his memory Jurnal Panggung V35/N4/12/2025 Ovan Bagus Jatmika begin to contract and influence the way Iwan he plays returns to him in the form of chaos.
perceives these moments of silence.
In his Music no longer exists in IwanAos consciousness consciousness.
Iwan does not perceive silence as a passive object, but rather as something as a moment without sound, but rather he active that seems to interact with him.
This hears many micro-rhythms in his head.
is where the boundary between subject this point, when virtual sounds echo within (Iwa.
and object .
Personal his mind.
Iwan enters a threshold state.
His consciousness is divided between two On one side, he perceives silence When Iwan empirically as it appears in performance.
experiences through rhythm .
ntramusical on the other, his consciousness is pulled element.
Maspon describes his musical toward contracting rhythmic motifs that echo sensations through the way he perceives moments .
xtramusical element.
In his The presence of micro rhythms also experience, he recounts that his mood greatly became a new space of consciousness, a new determines the melody he plays on the realm that Iwan became aware of, and made This statement is understandable him brave enough to enter it.
When Iwan because, as explained in the experience data, entered this new realm, he began to leave the saluang is a type of wind instrument his old consciousness behind and experience played to accompany mournful songs.
All forms of experience he had this type of lament, the accent of the rhythm in this realm of immanence transcended all becomes less important and, conversely, the sensory responses.
Iwan no longer listened flow of the melody becomes very dominant.
to rhythmic patterns auditorily, but rather the playerAos mood is right, the melody played experienced them in the form of chaotic will sound more natural .
n terms of the AufeelAy The experience became wholly of the lamen.
MasponAos awareness of the The chaos Iwan experienced importance of mood in producing a mournful did not mean that the music he played was sound makes him focus on intensifying his On an empirical level, his drumming awareness of his inner mood when playing.
was fine and he was able to play rhythms He tries to connect his inner experience with coherently with his ensemble.
Chaos was his playing of the saluang.
In other words, present in IwanAos consciousness as a sensory on an empirical level.
Maspon always tries to experience of his encounter with memories experience his music as a form of expression that contracted and intervened in the way he of his inner mood: he does not just produce perceived the actual sounds of the music.
The sounds from a particular instrument using a sensation of chaos was present as a new form particular technique, but tries to connect them of consciousness that transcended empirical with his mental state.
Iwan does not deliberately His focus on engaging his mood in the create chaotic music, but rather the music performance allowed Maspon to encounter Jurnal Panggung V35/N4/12/2025 A Study of Aesthetic Experience in Music: A Shift in Consciousness from Empirical to Immanent Memories sensation in the form of a physical response:
from his past seemed to surface through the falling of tears.
It was here that Maspon the sound of the saluang, flowing into his experienced a shift in consciousness from the consciousness in tandem with the melody empirical to the immanent.
Music, which is he played.
The presence of these various actually experienced by the sense of hearing, memories from the past allowed Maspon to had an impact on and was responded to by the experience two tendencies of consciousness kinesthetic senses.
MasponAos consciousness at once.
Simultaneously, he is aware of two seemed to be hijacked, shifting from the things happening at once.
On one side, he consciousness of playing the saluang with a remains conscious of his saluang-playing certain expression and atmosphere to a feeling on the other, images of childhood of longing for his hometown.
In this case, the memories stream through his awareness.
peak of MasponAos experience of immanence stands between two spaces of consciousness:
was an experience of nostalgia.
The sound of perceptual consciousness of the sound of music evokes longing.
His preoccupation with the saluang, and memorial consciousness of longing ultimately caused him to experience childhood experiences.
The presence of past a sensation of losing track of time.
He is no memories did not necessarily eliminate and longer aware of how long he has been playing replace musical consciousness, but rather the saluang.
The longing that seemed to appear these memories accompanied the musical in a flash has actually consumed several hours These various memories arose due of playing time.
Awareness of time as an to the stimuli of the sound of the saluang.
indication of personal consciousness was lost Without the sound stimuli, these memories and replaced by impersonal consciousness.
could not have emerged.
Even with the Maspon played transcendentally.
presence of various past memories.
Maspon could not be sure what moments from the past Intensification of Awareness as the Gateway would emerge.
Everything appears outside of to Immanence MasponAos intention.
His only deliberate act is The shift from empirical consciousness, to attune his emotional state to the expression perceiving drum rhythms, toward immanent of lamentation and translate it into his consciousness represented by a sensation of The act of blowing the saluang then chaos arose from the intensification of IwanAos appears to stimulate the emergence of various focus during performance.
The intensification past memories.
Maspon does not deliberately of awareness of the perceived object allows the remember a specific moment from his past informant to identify the object, in this case, experiences, but rather the moment just rhythm, not only at the molar .
appears on its own.
level, but also at the molecular level (Campbell.
The threshold reality experienced by 2013, p.
When the informant realizes the Maspon culminated in his inability to hold reality of the object at the molecular level, the back his tears.
He experienced a kinesthetic informant will experience an encounter with Jurnal Panggung V35/N4/12/2025 Ovan Bagus Jatmika a wealth of information about the object he A similar case also occurs in what This is where the informant will Maspon said.
By intensifying his awareness of have a lot of memory input to be collected in certain inner states when playing the saluang, his memory.
The richer the character or nature Maspon not only identifies the timbre of the of the object that is realized and stored in saluangAos sound, but can also identify specific memory, the richer the possibility that these elements in the saluangAos melody in relation various memories will contract and influence to the inner state he is trying to achieve.
the informantAos perception of the object.
For example, in the melody of the saluang.
This is why, when entering the threshold Maspon might identify the trill sound, two region.
Iwan included the term micro in his notes played alternately in rapid succession, statement about rhythm.
Even though he forming an up-and-down sound movement, could not really explain it analytically.
Iwan not only as a sound produced by the saluang intuitively witnessed the rhythmic events when played with a certain technique, but also of the sounds he played at a fairly detailed associates it with certain emotional states that level of identification.
He may be aware of are in harmony with the inner experience he is the articulation, dynamics, patterns, intensity, trying to achieve, such as a feeling of vibration, and even certain expressions of the rhythm turmoil, and so on.
This will ultimately be he hears .
olecular awareness of rhythmic stored in his memory as a sound with certain In other words, he does not only hear rhythm as a combination of tone values moments can contract and interrupt MasponAos with repeating patterns .
olar awareness of perception of the sound of the saluang.
This The various realities of rhythm at means that by always associating the sound this molecular level are only possible if the of the saluang with certain inner conditions, informant intensifies their awareness when Maspon will identify particular aspects of perceiving a particular object.
As long as the the sound of the saluang at the molecular informant only perceives objects casually, level .
n the sense that certain sounds are their perceptual awareness of the objects they not only identified as musical sounds, but encounter will almost certainly be limited to also have certain characteristics according to common sense understanding.
If this kind his interpretatio.
This would be different if of common understanding is embedded in Maspon did not involve his inner feelings in memory and contracts to influence perception, his playing.
His perception of the sound of the its effect on the way we perceive objects will saluang would only stop at the awareness of also only result in common sense meanings.
the sound produced by the saluang musical In such conditions, it is usually difficult instrument with a certain tone.
In this case, for informants to move from empirical to the informant would only identify the sound immanent experience: informants will tend to of the saluang at the molar level .
be stuck only in the reality of objects that they can experience empirically.
Jurnal Panggung V35/N4/12/2025 Both informants above show that intensifying A Study of Aesthetic Experience in Music: A Shift in Consciousness from Empirical to Immanent he realizes after experiencing the sensation of perceived allows informants to see particular chaos that echoes in the form of micro rhythms elements of an object.
This particularity is in his head.
The shift in consciousness that important because it allows informants to Iwan experiences is about the back-and-forth realize the different properties of the same movement between virtual and actual reality Only through awareness of these that swings like a pendulum.
As described particular sonic details can perceptual richness above.
Iwan begins the experience by playing enter memory and subsequently shape future music in reality.
In his intensification of the encounters with the object.
This differentiation actual sounds being played, he experienced of meaning, arising from the awareness of a threshold experience in the form of the sonic particularity, forms the gateway through presence of micro-rhythms.
This threshold which empirical consciousness may shift into experience ultimately became a gateway for immanent experience.
This means that in him to experience the sensation of chaos.
experiencing the same object, each informant The presence of this sensation appeared in is able to see the reality of the imagination IwanAos consciousness as virtual reality.
This is with different sensations.
where Iwan experiences various potentials of consciousness that are ready to be actualized Music and Consciousness Development The informantsAo After Iwan experiences virtual reality, his consciousness begins to swing back to actual to sensory experiences, show that when However, when he returns to this informants appreciate the music being played, actual reality.
Iwan has brought with him a they can experience a shift in consciousness.
new consciousness that is completely different That consciousness can shift, become dynamic, from his old consciousness.
At this point, he and ultimately develop.
In what Iwan realizes how to present the tempo klenengan, recounts, his encounter with the sensation not analytically, but intuitively.
in his concrete experience of playing music.
of chaos ultimately made him aware of the phenomenon of tempo klenengan .
type of accent that is not entirely in sync with the CONCLUSION Analytically, he cannot really talk about In addressing the first research question, it in detail, but intuitively, he can play it in the this study concludes that immanence in music It is as if that kind of rhythm can only be understood in relation to empirical exists in his body: he is aware of the drumming The reason is that immanence is the pattern outside the metric measure that can effect of memory contraction that interrupts be presented intuitively in the performance.
In order for informants to have What Iwan experienced indirectly shows that memories, they must have experiences.
This is his awareness of the phenomenon of rhythm where empirical experience becomes important is developing.
There is something new that as a crucial foundation for informants to be able Jurnal Panggung V35/N4/12/2025 Ovan Bagus Jatmika to experience immanence in music.
However.
However, it is important to remember that empirical experience alone is not enough.
the encounter with a striking moment in empirical experience, the informant must be musical sound does not occur analytically, but able to find the particularity of the object being intuitively (Deleuze, 2004, p.
Therefore, if The informant must be able to find various forms of knowledge are to be utilized the uniqueness of the object in their perceptual as a means of discovering musical intensity, consciousness at the molecular level.
This that knowledge must be internalized, not is only possible if the informant intensifies merely in cognitive awareness, but in the their focus of consciousness when perceiving Such embodied knowledge enables both musical objects.
In other words, the music we informants to encounter musical intensity are perceiving must be truly internalized.
within immanent consciousness.
Without deep appreciation, music will The only be present in our ears as a sequence of experience and the various sensations that sounds, nothing more.
Answering the second accompany it ultimately leads the informant question, the musical parameters that enable to realize a completely new reality, one that informants to experience immanence can be cannot .
nd perhaps cannot b.
categorized In IwanAos case, the entry point is into musicological or artistic categories.
an intramusical element .
, while in Iwan, with his awareness of kleneng, and MasponAos case, the entry point is an extra- Maspon, with his kinesthetic responsiveness, musical element .
nner stat.
In this case, it demonstrate that such experience arises should be explained that appreciation is not outside conventional performance categories, the same as Aomusicological analysisAo.
Each such as the culture of Aunot playing wrong,Ay informant is free to appreciate music in their stage formalities, or technical mastery.
Instead, own way.
Even informants who do not have what they experience is a pre-reflective type a musical background can appreciate music in of experience, one that may occur frequently their own way.
What matters is that informants but is not widely noticed and becomes a identify particular elements of the musical shared reflection that is then standardized in object capable of leaving a deep impressionAi the concept of performance.
In the authorAos something that stings their consciousness personal interpretation, music allows them to during perception.
It is this sting that has encounter the essence of life, not just normative the potential to kidnap the informantAos This is one of the phenomena of the consciousness and crystallize it in a particular depth of the informantsAo experience with moment (Deleuze, 2019, p.
from the music that still needs to be explored further.
sequence of moments of sound in music.
The broader an informantAos musical knowledge, the greater their potential to recognize unique musical qualities, and thus the more possible Jurnal Panggung V35/N4/12/2025 *** A Study of Aesthetic Experience in Music: A Shift in Consciousness from Empirical to Immanent
International Journal
REFERENCES