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All Journal Abdi Seni Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Adzkiya : Jurnal Hukum dan Ekonomi Syariah KONSEP DAN TUJUAN PADA TINJUAN BISNIS SYARIAH
sugimin sugimin
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MERETAS URGENSI AUDIT KINERJA DALAM MENCIPTAKAN AKUNTABILITAS KINERJA INSTANSI PEMERINTAH KOTA/KABUPATEN sugimin sugimin
Adzkiya : Jurnal Hukum dan Ekonomi Syariah Vol 6 No 1 (2018): Adzkiya Jurnal Hukum dan Ekonomi Syariah
Publisher : Fakultas Ekonomi dan Bisnis Islam Institut Agama Islam Negeri Meto

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (378.718 KB) | DOI: 10.32332/adzkiya.v6i1.1174

Abstract

This article explains the urgency of an audits performance (value for money audits) in creating of performance accountability at cityor district government instance. This study was conducted by literature study with reference to a number of previous study and related regulations. The results of the study indicate that performance is a formal evaluation instrument for the government program. It helps to increase the public accountability by providing information concerning the government performance that may not be accessible to the public. The understanding of this concept and its implementation will enable to achieve optimal accountability for the public sector. It is concerned about performance audits centered on economic achievement, efficiency, and effectiveness depend on the existence of regulation, planning, assessment, authorization and control over the use of its resources. It is the responsibility of the public policy makers to establish the arrangements and to ensure that they are functioning appropriately. The responsibility of the internal auditor is to independently verify that execution of activities by policymakers have complied with the basic standards.
PERKEMBANGAN GARAP GENDING JANGKUNG KUNING Sugimin Sugimin
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 14, No 1 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (395.118 KB) | DOI: 10.33153/keteg.v14i1.671

Abstract

Gending Jangkung Kuning is one of the repertoire gending Karawitan Surakarta style that has been developing of musical garap. With the ability of creativity, the pengrawit use the wealth of the musical vocabuler such as rhythm, cengkok, dynamics, vocals, and instruments, the has been developed to become a variety of gending Jangkung Kuning. Till now there are three plots gending Jangkung Kuning, Jangkung Kuning as gending klenengan Surakarta style, as golek Dance musical style Yogyakarta and as garap gending klenengan Ki Nartasabdha. The occurrence of variety gending Jangkung kuning, caused by factors other than the creativity of artists, is also caused by other factors, such as the interpretation of garap, cultural environment, serving functions, as well as figure pengrawit.  Gending Jangkung Kuning of Yogyakarta style is a reinterpretation of the gending Jankung Kuning Surakarta style. The development is strongly colored by the culture that flourished in Karawitan Yogyakarta style, namely a change of balungan mlaku become balungan ngracik.  Ki Nartasabdha to develop on rhythm interpretation and vocals interpretation making gending Jangkung Kuning  create an impression of the new flavors. With the advent of a variety of gending Jangkung Kuning, then gending is increasingly popular and is known by the musicians.Keywords: development, garap, gending Jangkung Kuning, Ki Nartasabdha
ANEKA GARAP LADRANG PANGKUR Sugimin Sugimin
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 13, No 1 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (458.645 KB) | DOI: 10.33153/keteg.v13i1.647

Abstract

Along with the developments in karawitan treatment, Ladrang Pangkur Paripurna has experienced quite significant developments in its musical treatment. Beginning as a gending langendriyan, it subsequently developed into a variety of interpretations of Pangkur, performed for a variety of purposes. The musical interpretation of performances of Ladrang Pangkur Paripurna in the form of different interpretations of instrumentation, rhythms, dynamics, tuning (laras), mode (pathet), vocal style, and so on, have been manifested in a variety of interpretations of Pangkur, named according to their dominant elements of treatment, such as Pangkur Pamijèn, Pangkur Jênglèng, Pangkur Gobyog, Pangkur Céngkok Kethoprak, and Pangkur Wolak-walik. A number of interpretations of Pangkur by Ki Nartasabda, such as Pangkur Gala-Gala, Pangkur Padhang Rêmbulan, Pangkur Cêluk, and Pangkur Rog-rog Asêm, are based on vocal interpretations. Due to the appearance of various interpretations or treatments of Pangkur, Ladrang Pangkur has become increasingly popular among the karawitan community. Key words: Ladrang Pangkur, development, musical treatment
GENDING SORAN DALAM KARAWITAN GAYA YOGYAKARTA Sugimin Sugimin
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 6, No 2 (2006)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (844.283 KB) | DOI: 10.33153/keteg.v6i2.591

Abstract

Gending Soran is a Javanese piece performed with accent certain instruments, such as balungan, bonang, and drum. The way to play those instruments is by hitting strongly, and it impacts a loud sound (Javanese: sora). By Javanese ic society, the piece which is performed loudly, is called gending soran. The existence of gending soran injogyanese karawitan is very much influenced by psychological factors of the authoritative people during the Sultan Hamengku Buana I, who wonted to express the military spirit into the way of playing witan. Gending soran is pretended to have the feeling of heaviness which contains expression of seriousness and the noble of the Sultan Hamengku Buana I.Keywords: gending soran, military spirit, expression of seriousness.
GARAP ROG-ROG ASEM DALAM GENDING GAYA SURAKARTA Sugimin Sugimin; Eko Nopi Astuti
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 17, No 1 (2017)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (568.371 KB) | DOI: 10.33153/keteg.v17i1.2382

Abstract

AbstractGarap Rog-rog Asem is a kind of garap (treatment or interpretation) which accentuates the treatment of dynamics, in terms of irama, tempo, and volume, and with the use of andhegan. The performance of garap Rog-rog Asem is formed by a number of different elements, such as the form of gendhing, garap ricikan (treatment of the different instruments), treatment of dynamics, and treatment of the vocal melody. In general, garap Rog-rog Asem is performed in gending sekar in the form of ketawang, in which the main melody contains balungan plesedan and or balungan nggantung, such as Ketawang Sinom, Ketawang Kinanthi Sandhung, and Ketawang Gambuh. The most prominent treatment of the instruments in garap Rog-rog Asem is the treatment of the kendhang, balungan, and structural instruments. The function of the kendhang is to give signs (ater) using specific patterns and kendhangan pematut. The play on dynamics by the balungan instruments in garap Rog-rog Asem is to use balungan plesedan and or balungan nggantung which is developed to become balungan ngracik performed in a fast tempo and with a loud volume. The function of the structural instruments in garap Rog-rog Asem is to play like in the form of srepeg. These different elements combine to form a musical interaction and create a unity of garap known as garap Rog-rog Asem. A number of factors that highlight garap Rog-rog Asem include the interpretation of garap, differences in function, and the creativity of the artists. In addition to its use in klenengan, garap Rog-rog Asem is also often used in karawitan tari (dance accompaniment), karawitan pakeliran (accompaniment for shadow puppet theatre), and karawitan kethoprak (accompaniment for traditional stage dramas). It is believed that garap Rog-rog Asem was originally used for the accompaniment of dance.  Keywords: Rog-rog Asem, dynamic play, and gending sekar. AbstrakGarap Rog-rog Asem adalah garap yang menonjolkan garap dinamik, baik irama, tempo sajian, maupun volume tabuhan dengan menggunakan andhegan. Sajian garap Rog-rog Asem dibentuk oleh beberapa unsur yaitu bentuk gendhing, garap ricikan, garap dinamik, dan garap vokal. Garap Rog-rog Asem pada umumnya   disajikan pada gending sekar bentuk ketawang yang pada bagian lagu pokoknya terdapat balungan plesedan dan atau balungan nggantung, seperti Ketawang Sinom, Ketawang Kinanthi Sandhung, dan Ketawang Gambuh. Sementara garap ricikan yang menonjol dalam garap Rog-rog Asem adalah ricikan kendhang, ricikan balungan, dan ricikan struktural.  Ricikan kendhang berfungsi untuk memberi tanda atau ater dengan pola-pola tertentu dengan  menggunakan pola kendhangan pematut. Permainan dinamik yang dilakukan oleh ricikan balungan dalam garap Rog-rog Asem adalah menggarap balungan plesedan dan atau balungan nggantung yang dikembangkan menjadi balungan ngracik yang disajikan dengan tempo cepat serta volume yang keras. Sementara fungsi ricikan struktural dalam garap Rog-rog Asem adalah menyajikan garapan seperti bentuk srepeg. Berbagai unsur tersebut bekerja secara bersamaan sehingga membentuk suatu interaksi musikal dan menjadi kesatuan garap yang disebut dengan garap Rog-rog Asem. Beberapa faktor yang  memunculkan garap Rog-rog Asem, di antaranya adalah tafsir garap, perbedaan fungsi, dan kreativitas seniman. Selain disajikan dalam acara klenengan, garap Rog-rog Asem juga sering digunakan sebagai karawitan tari, karawitan pakeliran, dan karawitan kethoprak. Terdapat dugaan bahwa  garap Rog-rog Asem pada mulanya digunakan untuk keperluan karawitan  tari.Kata kunci: Rog-rog Asem, permainan dinamik, dan gending sekar.
MERETAS URGENSI AUDIT KINERJA DALAM MENCIPTAKAN AKUNTABILITAS KINERJA INSTANSI PEMERINTAH KOTA/KABUPATEN sugimin sugimin
Adzkiya : Jurnal Hukum dan Ekonomi Syariah Vol 6 No 1 (2018): Adzkiya Jurnal Hukum dan Ekonomi Syariah
Publisher : Fakultas Ekonomi dan Bisnis Islam Institut Agama Islam Negeri Meto

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (378.718 KB) | DOI: 10.32332/adzkiya.v6i1.1174

Abstract

This article explains the urgency of an audits performance (value for money audits) in creating of performance accountability at cityor district government instance. This study was conducted by literature study with reference to a number of previous study and related regulations. The results of the study indicate that performance is a formal evaluation instrument for the government program. It helps to increase the public accountability by providing information concerning the government performance that may not be accessible to the public. The understanding of this concept and its implementation will enable to achieve optimal accountability for the public sector. It is concerned about performance audits centered on economic achievement, efficiency, and effectiveness depend on the existence of regulation, planning, assessment, authorization and control over the use of its resources. It is the responsibility of the public policy makers to establish the arrangements and to ensure that they are functioning appropriately. The responsibility of the internal auditor is to independently verify that execution of activities by policymakers have complied with the basic standards.
Pelatihan Karawitan Karang Taruna Dusun Karangrejo Desa Tibayan Kecamatan Jatinom Kabupaten Klaten Sugimin Sugimin
Abdi Seni Vol 1, No 1 (2009)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4612.365 KB) | DOI: 10.33153/abdiseni.v1i1.37

Abstract

Kegiatan ini bertujuan untuk melatih karawitan kepada kelompok karawitan Karang Taruna Dukuh Karangrejo Desa Tibayan Kecamatan Jatinom Kabupaten Klaten, yang saat ini sedang mulai tertarik mempelajari karawitan. Kegiatan ini juga melibatkan beberapa mahasiswa Jurusan Karawitan sebagai ajang pembelajaran bagi mahasiswa untuk menambah kepekaan musikalnya. Metode yang digunakan dalam pelatihan ini adalah dengan cara trainer participation. Metode ini mencakup cara seorang tutor menularkan pengetahuan dan keterampilan seni karawitan, yaitu: drill, demonstrasi, dan dialog. Pelatih karawitan juga menjadi musisi gamelan. Pendekatan personal diutamakan supaya materi cepat diserap oleh peserta pelatihan. Hasil kegiatan menunjukkan bahwa gending-gending yang digunakan sebagai materi pelatihan karawitan dapat diserap dan disajikan dengan cukup baik oleh peserta pelatihan.  Keyword : pelatihan karawitan, trainer participation, gamelan
Co-Authors Eko Nopi Astuti