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Joko Purwanto
ISI Surakarta
Arts Humanities

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RICIKAN KETHUK PADA KARAWITAN JAWA GAYA SURAKARTA Joko Purwanto
Gelar : Jurnal Seni Budaya Vol 8, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (6712.458 KB) | DOI: 10.33153/glr.v8i2.1333

Abstract

To date, apart from being recognized as one of the structural instruments of the Javanese gamelan, the kethuk has rarely been a topic fordiscussion. It is as though its existence is no more than a  supplementary instrument in a gamelan ageng ensemble. This article is a development of the works by Djojomlojo and Sunardi Wisnusubroto which discuss the function of the ricikan kethuk,  or kethuk instrument in Surakarta style Javanese karawitan. This article attempts to discover the technique, function, and existence of the kethuk ina gamelan ageng ensemble. The ideas presented  in this article are developed through a bibliographical study, observation, and interviews, together with a study of commercial cassette recordings and the writer's own private collection of recordings. The results of this study show that the kethuk can be played using three different patterns,namely limrah, salahan, and banggen. There are two techniques used for producing sound, which result in either a long or short sound. Pitch 2 (gulu) on the kethuk is ideal for all pathet in the slendro tuning, and pitch y (nem) is ideal for all pelog gending. The kethuk, with its own technique, supports the tempo set by the pamurba irama, or the instrument which controls the tempo, namely the kendang. In Surakarta style Javanesekarawitan, the kethuk is also important in connection with  the title of a gending, in that it guides the other musicians in terms of their concept and patterns of treatment applied to the other instruments, in particular the kendang.Key words: kethuk, Djojomlojo and Sunardi, Surakarta Style Javanese Karawitan.
BEBERAPA UNSUR PEMBENTUK ESTETIKA KARAWITAN JAWA GAYA SURAKARTA Joko Purwanto
Gelar : Jurnal Seni Budaya Vol 10, No 1 (2012)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2556.154 KB) | DOI: 10.33153/glr.v10i1.1371

Abstract

This article was written based on a bibliographical study which used a number of references found in the library of Karawitan department at ISI Surakarta. An audio study was also carried out, using various references of Javanese karawitan from both commercial recordings and the writer’s own private collection. Other references were also downloaded from the internet, in particular those related to the topic of the study, namely the subject of aesthetics. From the results of the study it was discovered that there are at least two categories of elements which shape the aesthetics of karawitan, namely the primary elements and the special elements. The primary elements consist of 1) the infrastructure, 2) the tuning and melody, and 3) the artists. All three are equally important in creating the aesthetics of karawitan and all three are connected with one another. The other elements, which are no less important, are categorized as special elements. These include: irama, laya, cengkok, patterns, pathet, treatment, dynamics, time intervals, vocal elements, and culture. All of these elements are extremely important in relation to a karawitan performance. These special elements are also connected to each other. It is through these primary elements and special elements that a karawitan performance can be realized and the aesthetics of karawitan can take shape. Key words :  infrastructure, tuning and melody, artist Pengantar
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