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All Journal Pendas : Jurnah Ilmiah Pendidikan Dasar Acintya Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Jurnal Riset Rumpun Seni, Desain dan Media (JURRSENDEM) Paradigma: Jurnal Kajian Budaya Al-Zayn: Jurnal Ilmu Sosial & Hukum MANDALA WIDYA: Jurnal Ilmu Pendidikan Jurnal Abdimas Indonesia Jurnal Ekonomi Syariah dan Akuntasi Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Salim, Muhammad Nur
Institut Seni Indonesia Surakarta
Religion Arts Humanities Chemistry Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Environmental Science Health Professions Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Mathematics Medicine & Pharmacology Neuroscience Nursing Public Health Social Sciences Other

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PERKEMBANGAN MUSIK KESENIAN GATHOLOCO CIPTO BUDOYO KABUPATEN TEMANGGUNG Eko Kristiyanto; Muhammad Nur Salim
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 19 No. 1 (2019)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v19i1.2649

Abstract

Penelitian ini bertujuan untuk mengungkap mengenai perkembangan musikal kesenian Gatholoco Cipto Budoyo Desa Kembangsari. Permasalahan utama yang dibahas adalah tentang periodisasi perkembangan musikal serta faktor-faktor yang mempengaruhinya. Untuk menjawab permasalahan tersebut, peneliti menggunakan konsep musik khususnya tentang garap dan konsep tentang perkembangan yang merujuk pada konsep periodisasi dan faktorfaktor penyebab perkembangan. Pendekatan yang digunakan adalah antropologi sosial dan musikologi dengan menggunakan metode deskripstif analisis. Hasil dari peneilitian ini mengungkap bahwa perkembangan musikal kesenian Gatholoco kelompok seni Cipto BudoyoDesa Kembangsari terjadi secara periodik, yakni melalui beberapa tahapan masa atau waktu. Periode pertama terjadi pada tahun 1963-1980, kemudian periode kedua terjadi pada tahun 1981-2000 dan periode ketiga terjadi pada tahun 2001-2018. Perkembangan musikal yang terjadi pada masing-masing periode dapat dilihat dari unsur-unsur garap diantaranya: materi garap, penggarap, sarana garap, prabot atau piranti garap, penentu garap, serta pertimbangan garap. Perkembangan musikal kesenian Gatholoco Cipto Budoyo terjadi karena adanya beberapa faktorpendukung. Faktor-faktor pendukung tersebut berasal dari dalam (internal) dan dari luar (eksternal).Kata kunci: Gatholoco, musikal, periodisasi, perkembangan, faktor-faktor. AbstractThis research aims to reveal the musical development of the Gatholoco Cipto Budoyo Kembangsari Village. The main problem discussed is about the periodization of musical development and the factors that influencing it. To answer this problem, researchers use the concept of music specifically about work and the concept of development that refers to the concept of periodization and the factors that causedevelopment. The approach used is social anthropology and musicology by using descriptive analysis methods. The results of this study revealed that the musical development of the art group Gatholoco Cipto Budoyo, Kembangsari Village that occurred periodically through several stages of time. The first period occurred in 1963-1980, then the second period occurred in 1981-2000 and the third periodoccurred in 2001-2018. Musical developments that occur in each period can be seen from the elements of cultivation including: works on material (garap), instrument players, facilities of the works (garap), instruments and determinants of the works (garap), and the consideration of the works (garap). The musical art development of Gatholoco Cipto Budoyo was due to several supporting factors. These supporting factors come from within (internal) and from outside (external).Keywords: Gatholoco, musical, periodization, development, factors.
TRANSFORMASI GARAP GENDING CUCUR BAWUK KE DALAM MUSIK CAMPURSARI KELOMPOK BALISA Heri Prasetyo; Muhammad Nur Salim
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 19 No. 2 (2019)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v19i2.3078

Abstract

The transformation of garap music into campursari music of the Balisa group in Sragen was motivated by the phenomenon of garap transfer from traditional musical karawitan into campursari musical form. This garap transition is a creative way for Balisa members to work on garap gending, one of which is Gendhing Cucur Bawuk into campursari music. The creative process that occurs in the elements of working on music is manifested in the stages in transforming the processing of gending. The transformation process of gending is influenced by several supporting factors. To answer this problem, the author uses the concept of garap and is supported by thoughts about transformation. This research uses a qualitative methodology, by conducting observations, interviews and literature studies so that information or related data are obtained. The purpose of this study was to determine the process of transformation of music production that occurred in the Balisa Campursari group. The results showed that the transformation of music production in the Campursaari Balisa group went through several stages such as instrument adjustment, laras adjustment, and style adjustment. The factors that support this transformation process are determined by the “penggarap”, garap determinant and garap consideration.Keywords: transformation, campursari music, garap gending.
FUNGSI MUSIK DALAM RITUAL TIBAN DI DESA PURWOKERTO KECAMATAN NGADILUWIH KABUPATEN KEDIRI Viesta Agustina; Muhammad Nur Salim
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 20 No. 1 (2020)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v20i1.3563

Abstract

The article entitled "The Function of Music in Tiban Rituals in Purwokerto Village, Ngadiluwih District, Kediri Regency" focused on the issue of Tiban ritual forms, Tiban ritual music performance and the function of Tiban ritual music. The results showed that the Tiban ritual was held during the long dry season with the aim for asking for rain through whipping by the perpetrators or what is called petiban. The people believe that the Tiban ritual can bring rain by means of media of blood dripping on the ground. Tiban music has several motifs in the wasp structure that characterizes it. Tiban music has an important function in Tiban rituals. The functions of music include the function of emotional expression, aesthetics, communication, physical reaction, legalization of social institutions and religious ceremonies, cultural sustainability, and community integration.
FUNGSI RITUAL GENDHING TOLAK BALAK PADA PERTUNJUKAN JARANAN KRIDHA BUDAYA DI KABUPATEN TRENGGALEK Rika Wahyuningtyas; Muhammad Nur Salim
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 21 No. 2 (2021)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i2.4097

Abstract

The research started from an interest in ritual phenomena in the Jaranan Kridha Budaya performance. The Ritual of Rejection is defined as a means to convey a special message to God Almighty so as not to bring down calamities, such as natural disasters and disease outbreaks. In the Obong Incense ritual, it is required to use the Reject Balak Gendhing which is a mandatory gending and cannot be replaced with another gending. Gendhing Tolak Balak is a gending that is believed to have a religious ritual function in the Art of Jaranan Kridha Budaya when the Obong Incense Ritual is served. Gendhing Tolak Balak is used as a standard gending which is interpreted as a means to submit a request, or as a form of indirect interaction with God and the dancers of a place. The relationship between the components of gending and ritual, creates a sacred impression and influences the actors and their supporting communities.
RELASI ANTARA GENDING PONORAGAN DENGAN PROSES PAYAH DALAM PERTUNJUKAN JATHILAN DI KABUPATEN SLEMAN Caecilia Maria Andriana Kristyanti; Muhammad Nur Salim; Nil Ikhwan
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 22 No. 2 (2022)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i2.4667

Abstract

The research on the relationship between Gending Ponoragan and the process of payah performance in the Jathilan Krido Budoyo Turonggo Mudo in Sleman Regency reveals the form of Gending Ponoragan's presentation and its relationship with the process of payah formation. The word payah has various equivalent terms such as kerasukan, possession, or trance. This event became the highlight of the performance of Jathilan Krido Budoyo Turonggo Mudo. To reveal the relationship between Gending Ponoragan and the process of payah, Jankowsky's theory of music plays an essential role in stimulating trance experiences. It requires elements to be achieved in melody, rhythm, tempo and volume, and dynamics. In addition, Pilch's theory is also used to dissect issues related to the relationship between trance and music, which states that the best music that leads a person to experience a trance is music that has a regular number of beats and a repeating pattern based on a certain threshold or pitch level. However, the writer does not only look at the textual form of the music but also the context that surrounds it. The results of this study indicate that the activities of the association and the performance property support the process of payah and the conditions that must be met. The conditions for achieving payah include: spirit, offerings, handlers, sound system, dancers' behavior, situation or atmosphere of the performance, and musical presentation. The relationship between Gending Ponoragan and the process of payah does not occur directly but has a role in stimulating dancers to experience payah.
TRANSFORMASI GARAP LADRANG PANGKUR KE DALAM MUSIK KRUMPYUNG DI KABUPATEN PURBALINGGA Galang Pangestu; Muhammad Nur Salim
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 1 (2023)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v23i1.5428

Abstract

This research aims to reveal the process and factors that influence the transformation of Ladrang Pangkur into Krumpyung music by Paguyuban Sri Rahayu Tresna Sejati in Purbalingga Regency. The problem is studied using the theory proposed by Suradi related to transformation, and the concept of garap by Rahayu Supanggah. The method used in this research is qualitative research method. The initial stage is data collection by observation, interview, and documentation. The second stage is data analysis using data reduction, data presentation and conclusion drawing techniques. The next stage is data verification before presenting the data. The result of transforming Ladrang Pangkur into Krumpyung Music shows imitation, which can be seen through the technique, pattern, rhythm, laras, and pathet of Javanese gamelan. In addition, the players also create new techniques and patterns in Krumpyung Music.
IDENTITAS GARAP MUSIK JOMBANGAN PADA KESENIAN JARANAN DOR DI KABUPATEN KEDIRI Andre Prasetya Nugraha; Muhammad Nur Salim
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 2 (2023): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v23i2.5640

Abstract

This study aims to analyze the identity of Jombangan music garap and its forming factors in the art of Jaranan Dor art group "Karya Budaya" in Kediri Regency. The problem is analyzed using theories put forward by several figures. In the process of analyzing identity in garap music, Jaranan Dor uses the theory offered by George M. Head and Rahayu Supanggah, and to describe the factors of identity formation using the theory proposed by Stuart Hall. This research uses qualitative methods, with stages of data collection, data analysis, and data presentation. The data collection phase includes interviews, observation, documentation, and transcription. The data analysis stage includes data reduction, data presentation, and conclusions. The data presentation stage is carried out after obtaining the results of the data analysis stage and then presented in a scientific writing work. The identity formed through the elements of music garap in the Jaranan Dor art group "Karya Budaya" is Jombangan. Jombangan identity can be formed due to several factors, including geographical location, cultural conditions of the community, and history.
SISTEM PELARASAN PADA GAMELAN KYAI KANJENG Agus Setiawan; Muhammad Nur Salim; Ananto Sabdo Aji
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 24 No. 2 (2024): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v24i2.6215

Abstract

This article is a research that aims to determine the tunning system in Gamelan Kyai Kanjeng and the factors that influence the tunning system in Gamelan Kyai Kanjeng. This research combines two methods, namely, qualitative and quantitative. Qualitative data collection techniques were carried out using literature studies, observations, interviews and documentation studies. The quantitative data collection technique in this research was carried out by recording tones and measuring the frequency of Kyai Kanjeng’s Gamelan. The results of the research show that the tunning system in Gamelan Kyai Kanjeng is a flexible tunning system that can cover several music genres with diatonic tonality. The tunning system applied to Kyai Kanjeng’s Gamelan is influenced by several factors including the influence of Emha Ainun Nadjib, the empirical experience of gamelan makers and the repertoire of Kyai Kanjeng.
PERKEMBANGAN GARAP MUSIK KESENIAN REOG KENDANG SANGGAR SENI PRANA KESUMA AJI DI KABUPATEN TULUNGAGUNG Wahyu Ardianto; Muhammad Nur Salim
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 24 No. 1 (2024): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v24i1.6354

Abstract

This research aims to analyze the development of music production and the factors driving development in the Reog Kendang Performing Art Prana Kesuma Aji Art Studio in Tulungagung Regency (2017-2021). This problem was analyzed using theories put forward by several figures. In the process of analyzing the development of music production, Reog Kendang Performing Art uses theories from Edy Sedyawati, Rahayu Supanggah, and Kuntowijoyo, and to explain the driving factors using Koentjoroningrat theory. This research uses qualitative methods, with stages of data collection, data analysis, and data presentation. Data collection stages include interviews, observation, documentation and transcription. Data analysis stages include data reduction, data presentation, and drawing conclusions. The data presentation stages are obtained from the results of data collection and data analysis and then presented in a scientific work. The development that occurred was the addition and change of garap elements in the Reog Kendang Performing Art of the Prana Kesuma Aji Art Studio, including garap materials, garap materials, garap facilities, garap furniture or tools, garap determinants, and garap considerations. Development occurs due to the influence of driving factors including individual awareness, quality of expertise, and stimulating systems.
KONSEP GARAP NGGANTUNG DALAM KARAWITAN GAYA SURAKARTA Leica De lovi Mistortoify; Muhammad Nur Salim; Harun Isma'il
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 25 No. 1 (2025): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v25i1.6773

Abstract

This study discusses the phenomenon, symbols, and meaning of garap nggantung in the context of Surakarta-style gamelan performances. Data were collected through observation, interviews, and literature studies. The method used is qualitative descriptive analysis. In this study, the focus of the analysis is on the phenomenon, symbols, and meanings related to garap nggantung. This study reveals that garap nggantung is the result of a complex creative process, involving balungan notation, interaction between instruments, and individual interpretations of the gamelan player. Garap nggantung is not only a technique, but also a symbol that contains deep meaning. This finding has important implications for the teaching and preservation of Surakarta-style gamelan. By understanding the meaning behind garap nggantung, gamelan learners can better understand the aesthetic richness of gamelan art. In addition, this study also opens up opportunities for further research on other garaps in gamelan texts in depth.
Co-Authors AA Sudharmawan, AA Agus Setiawan Ananto Sabdo Aji Andre Prasetya Nugraha Bayu Pujo Pangesti Budiono, Arifin Nur Caecilia Maria Andriana Kristyanti Devy Aufia Abshor Dewi Nur Wakhidah Dhimaz Anggoro Putro Eko Kristiyanto Galang Pangestu Hamdani Budiman Hanin Fitria Harun Isma'il Harun Isma'il Heri Prasetyo Herri Wijaya Isma'il, Harun Ismail Ismail Jesica Vernanda Artanti Leica De lovi Mistortoify M Zainul Hafizi Maryatin Muhammad Hanafiah Nadhifah, Tuti Nil Ikhwan Nugraha, Andre Prasetya Prayugalihingtyas Dwi Hapsari Regina Cintya Arumba Rika Wahyuningtyas Suciati Suciati Sugito Sugito Sugiyanto, Danis Supardi Supardi Viesta Agustina Wahyu Ardianto Wahyu Ardianto Widya Nanda