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All Journal Sainteks Jurnal INKOM Jurnal Buana Informatika Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Jurnal Karya Pendidikan Matematika Jurnal Ilmiah MTG Jurnal Sistem dan Informatika Seminar Nasional Informatika (SEMNASIF) Media Penelitian Pendidikan : Jurnal Penelitian dalam Bidang Pendidikan dan Pengajaran SASINDO JURNAL EDUCATION AND DEVELOPMENT Jurnal Bahtera - Jurnal Pendidikan Bahasa Sastra dan Budaya Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Jurnal Pendidikan Surya Edukasi (JPSE) Grouper: Jurnal Ilmiah Perikanan Budapest International Research and Critics Institute-Journal (BIRCI-Journal): Humanities and Social Sciences Didaktika: Jurnal Pemikiran Pendidikan jurnal dikdas bantara NUSANTARA: Jurnal Pengabdian Kepada Masyarakat Media Ekonomi Cendekia: Jurnal Ilmu Sosial, Bahasa dan Pendidikan Jurnal Riset Rumpun Ilmu Bahasa (JURRIBAH) Jurnal Pelayanan dan Pengabdian Masyarakat Indonesia Sasindo : Jurnal Pendidikan Bahasa dan Sastra Indonesia Simpati: Jurnal Penelitian Pendidikan dan Bahasa Jurnal Abdimas Indonesia International Journal of Economics and Management Research
Suyoto Suyoto
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Journal : Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi

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KONDISI KLENÈNGAN GAYA SURAKATA DI WILAYAH SOLO RAYA (2000-2017) Suyoto suyoto
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 17, No 2 (2017)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (782.765 KB) | DOI: 10.33153/keteg.v17i2.2390

Abstract

AbstractThis research focuses on the condition of Surakarta style karawitan that is performed independently, also known as klenèngan, in the Greater Solo district. The research uses a musicological perspective and analyzes various aspects related to an ideal klenèngan performance. In accordance with the developments in the present era, the condition of klenèngan in the Greater Solo district has experienced a significant development in terms of its quantity. From the point of view of quality, aspects such as form, packaging of gending, and concept of patet are given insufficient attention in the performance of klenèngan in the Greater Solo district, and as a result, an ideal klenèngan performance has not been achieved. The results of this research show that in order to achieve an ideal klenèngan performance, there are a number of determining criteria, such as: (1) condition of the gamelan, (2) place and position of the gamelan, (3) sufficient number of musicians, (4) time, (5) continuity of performance, and (6) weather.  Keywords: gamelan, klenèngan, ideal. Abstrak Penelitian ini difokuskan pada kondisi karawitan gaya Surakarta yang bersifat mandiri yang disebut klenèngan, di wilayah Solo Raya. Penelitian ini  menggunakan perspektif musikologis, dengan menganalisis berbagai aspek berkaitan dengan penyajian klenèngan yang ideal. Sesuai dengan perkembangan zaman kondisi sajian klenèngan di wilayah Solo Raya dalam kehidupannya dari tahun ke tahun secara kuantitas telah mengalami perkembangan yang cukup signifikan.  Sajian klenèngan di wilayah Solo Raya,  pada umumnya secara kualitas terutama bentuk, kemasan gending, konsep patet kurang diperhatikan, sehingga  tidak  dicapai sajian klenèngan yang ideal.  Hasil penelitian ini ditemukan bahwa untuk mencapai sajian klenèngan yang ideal terdapat beberapa kreteria antara lain, (1) kondisi gamelan, (2) tempat dan posisi gamelan, (3) kelengkapan pengrawit, (4) waktu, (5) kelancaran sajian, dan (6) cuaca. Kata Kunci: gamelan, klenèngan, ideal
REAKTUALISASI GARAP MUSIK KESENIAN PENTHUL MELIKAN DI DUSUN MELIKAN DESA TEMPURAN KABUPATEN NGAWI Wahyu Paramita Jati; Suyoto Suyoto
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 18, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (499.18 KB) | DOI: 10.33153/keteg.v18i1.2395

Abstract

Abstrak “ Reaktualisasi Garap Musik Kesenian Penthul Melikan Di Dusun Melikan Desa Tempuran Kabupaten Ngawi” pada dasarnya membahas garap musik kesenian Penthul Melikan Kabupaten Ngawi setelah mengalami perubahan yang kemudian disebut Reaktualisasi.Inti permasalahan yang diungkap dalam penelitian ini adalah (1) Bagaimana bentuk garap musik pada kesenian Penthul Melikan di Dusun Melikan, Desa Tempuran, Kecamatan Paron Kabupaten Ngawi (2) Faktor penyebab perubahan musik pada kesenian Penthul Melikan di Dusun Melikan, Desa Tempuran, Kecamatan Paron Kabupaten Ngawi. Penelitian ini adalah penelitian kualitatif, metode yang digunakan adalah metode penelitian kualitatif, meliputi observasi, pengumpulan data, dan analisis data.Penelitian ini menggunakan teori, konsep-konsep, dan pemikiran dari beberapa tokoh. Landasan konseptual Reaktualisasi menurut Geriya bahwa adanya proses transformasi dalam perubahan bentuk dan fungsi namun tetap dalam esensi spesiesnya. Teori kreativitas diungkapkan Munandar, bahwa manusia yang memiliki kreativitas sehingga mampu untuk menciptakan sesuatu dari tidak ada menjadi ada, dari yang sudah ada menjadi lebih baru lagi. Penelitian ini juga menggunakan teori perubahan yang ditawarkan Boskoff ketika mengupas tentang perubahan atau pembaharuan, yang pada dasarnya disebabkan oleh dua faktor, yaitu faktor internal dan faktor eksternal. Teori garap Supanggah, bahwasanya Reaktualisasi musik pada kesenian Penthul Melikan terdapat beberapa unsur garap meliputi; (1) materi garap, (2) penggarap, (3) sarana garap, (4) perabot garap, (5) penentu garap, dan (6) pertimbangan garap.Dari hasil penelitian disimpulkan bahwa ada pengaruh positif terhadap kesenian Penthul Melikan setelah mengalami reaktualisasi, adanya perubahan garap dan bentuk baru pada kesenian Penthul Melikan yang kemudian dinamakan Ganongan Melikan, membuat kesenian Penthul Melikan dengan bentuk dan garap yang lama kembali dikenal masyarakat dan semakin berkembang.Kata kunci: Reaktualisasi, Garap, Kesenian Penthul Melikan.Abstract“A reactualisation of the musical style of Penthul Melikan in Dusun Melikan, Desa Tempuran, Ngawi Regency” is a discussion of the musical style found in the Penthul Melikan performance which has changed through a process Geriya terms “reactualisation”. This research explores the following issues: 1) What is the musical style of Penthul Melikan in Dusun Melikan, Desa Tempuran, located within the Paron sub-district of the Ngawi Regency, as well as 2) the factors that changed the music of this art form. This qualitative research uses qualitiative methods including observation, data collection and data analysis. This research employs the theories, concepts and ideas of several figures. Geriya’s Reactualisation involves, as its foundation, a transformation within the art form in formal and functional qualities while nonetheless retaining the essence of its species. Munandar’s theory of creativity explores the human ability to create something from nothing, and the new from the currently existing. Change and renewal are discussed through Boskoff’s theory of change which focuses on internal and external factors. Supanggah’s theory of garap, which discusses the musical materials and tools at the disposal of the musicians is also relevant to studying the reactualisation of Penthul Melikan.The findings suggest that reactualisation has had a positive effect on Penthul Melikan, which later became known as Ganongan Melikan. This has allowed the former style of Penthul Melikan to re-enter its community and develop further.Keywords: Reactualisation, Garap, Penthul Melikan
NGELIK SILIHAN DALAM KARAWITAN GAYA SURAKARTA Uni Ambarwati; Suyoto Suyoto
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 19, No 2 (2019)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1629.467 KB) | DOI: 10.33153/keteg.v19i2.3075

Abstract

This study examines ngelik silihan in Surakarta style music. The problems revealed in this study are (1) How can ngelik in Surakarta style music, (2) Why does the Eling-eling ladrang dish generally use ngelik?, (3) Any factors that support a loan of ngelik silihan. This research is a qualitative research, data obtained from literature studies, observations, and interviews. The theory used as the basis for analyzing in accordance with the formulation of the problem is the creativity theory by Wallas about the process of creativity, and the theory of musical interaction by Benjamin Briner about musical interactions that occur in gending, and the theory of melodic contour by Judith Bekker about the melody flow obtained in theory worked on by Rahayu Supanggah, in the theory of the melodic contour it can emphasize the problem of the melody flow in the interconnected selection. The results of this study found that the use of ngelik silihan there are three factors, namely: 1. Shifting the function of the presentation, 2. Creativity of the artists. The use of ngelik silihan with consideration of the same melodic and song gong grooves, so that it is aligned with the borrowed portion of the loan, 3. Pathet factors for the lending and borrowed selection. In addition there is a historical statement that the Pangkur ladrang borrowed the Eling-eling ladrang. Information on the artist community that the Eling-eling ladrang borrowed the Pangkur ladrang, the reasons are: 1. Recognition of the perpetual artists acquired, 2. Manuscripts in the Mloyowidodo notation book, 3. Commercial cassette tapes which first popularized the Eling-ladrang ladrang from at Pangkur ladrang.Keywords: Ngelik, Silihan, Song, Sèlèh, Gending.
FLEKSIBILlTAS MUSIKAL SULUKAN GAYA SURAKARTA Suyoto Suyoto
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 4, No 1 (2004)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4680.787 KB) | DOI: 10.33153/keteg.v4i1.575

Abstract

Wayang kulit is a representation of human life since the birth  until the death which is presented in patMt (musical concept or  musical atmosphere). Sulukan is an important medium and it is the  "soul" of the performance. Sulukan is divided into three: patMtan  (songs of the puppeteer accompanied by small gamelan ensemble),  senanon (the same genre as sulukan with specific musical effect), and  ada-ada (songs of the pupetteerto present tense atmospheres). Texts  used in sulukan are tembang gedhe (songs with long phrases),  tembang tengahan (songs with medium phrases), and tembang  macapat (songs with short phrases), those are different from other  songs. For that reason, the structure of sulukan is like that of  tembang in which rules are used. In sulukan there is kombangan  (songs with "vocal" expression rather than consonant) usually with the  word (long. " The kombangan becomes the special character of the  wayang kulit. Musically speaking, the kombangan is the "intermission"  between phrases. The texts relate to the social life and they are  contained in the texts of the sulukan; the contents of the sulukan are:  education of life, ethics, and mysticism in Javanese life.Keywords: Sulukan, fleksible musical, wayang kulit.
Co-Authors A. Djoko Budiyanto Adhi, Antono Herry Purnomo Agung Miftahudin Agus Subekti Agus Wismanto Ahmad Hasan Saifurrisal Ajar Siswandono Aminuyati Ana Heryana Antono Herry Purnomo Adhi Arif Lukman Aris Ginajar Kusuma Putra Arisul Ulumuddin Arum Ratnaningsih Basilius Agung Widya Wirawan Benny Sendi Baihaqi Bhiaztika Ristyana Delima Eka Puspita Djoko Soelistya Elisabeth Denis Setiani Erny Rachmawati Faisol Mas’ud Ferdian Yunazar Ginting, Rosalina Br. Hadi Pramono Hasan Arafat Hengky Widhiandono Laila Nur Ajizah Larasati Larasati Latif Anshori Kurniawan Maryanto Maryanto Mita Hapsari Jannah Mochamad Noer Arief Basuki Rachmadhani Mualafina Rawinda Fitrotul Muhammad Agus fanani Muhammad Arrofiq Mukhlis Mukhlis Murwantobroto Murwantobroto Nanuk Qomariyah NUR FAUZIYAH Nur Widyasari Nurul Ilmiyah Paulus Mudjihartono Petrus Petrus Pradika Sakti Premi Rahayu Rizkia Putri Perdana Siswanto PHM Sri Uchtiawati Sri Wahyuningsih Sukma Ragil Putra Thomas Adi Purnomo Shidi Thomas Suselo Titi Anjarini Triana Susilowati Umiyati UMIYATI Uni Ambarwati Wahyu Paramita Jati Wijayanti, Tri Cicik Y. Maryono Yundaryati Yundaryati