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Siswati Siswati
Institut Seni Indonesia Surakarta
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GENDING DALAM PERSPEKTIF EKOLOGI STUDI KASUS GENDING-GENDING KARYA TJOKROWARSITO Siswati Siswati
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 20, No 2 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v20i2.3536

Abstract

Penelitian ini mengkaji gending-gending Tjokrowarsito yang bertema tentang lingkungan secara khusus dan secara umum. Gending yang dikaji merupakan karya yang berkaitan tentang program-program pemerintahan di masanya. Lancaran Penghijauan merupakan salah satu karya yang digunakan sebagai objek analisis gending dengan tema lingkungan hidup. Dengan menganalisis teks gending yang terdiri dari lirik/ cakepan dan melodi pada gending karya ki Tjokrowarsito, dapat ditemukan bahwasanya Lancaran penghijauan sebagai media untuk mempromosikan program pemerintah dalam merespon kondisi lingkungan alam yang terjadi saat itu. Hasil penelitian ini diharapkan mampu menelaah kajian garap gending karya Tjokrowarsito beserta faktor-faktor apa saja yang menjadi pembentuk ide-ide karya Tjokrowarsito.  
PERAN ENDANG SRI SEDEP DALAM PADEPOKAN SENI PANDHANSARI DI KABUPATEN KARANGANYAR Roni Kesuma; I Nyoman Sukerna; Siswati Siswati
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 23, No 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v23i1.4817

Abstract

The journal entitled “The role of Endang Sri Sedepin the Pandhansari Art Padepokan in Karanganyar Regency”, aims to reveal (1) What is the role of Endang Sri Sedep in managing art performance activities at the Pandhansari Art Padepokan? (2) Why and what factors made the Pandhansari Art POPULAR IN Karanganyar Regency? Endang Sri Sedep has a very important role in the Pandhansari Art Padepokan, this cannot be separated fromEndang who is a businessman, artist, and owner of the Pandhansari Art Padepokan. The background of thisresearch is Endang Sri Sedep abilityto manage the activities of the Pandhansari Art Padepokan using financial respurces independenthly, unlike art hermitages in general which raise donors for their activities. Apart from that, the Pandhansari Art Padepokan does not only focus on educationor training, butalso focuseson providingart performance space for the people in Karanganyar Regency both in festivals, competitions or concerts. This research is a qualulative research using analitic descrptive method. The author uses thethoughts of Soerjono Soekanto and Sedyawati. Based on this, it can be seen the role of Endang Sri Sedep in managing art performance activities and factors in the existenceof the popular Pandhansari Art Padepokan in Karanganyar Regency.
PERAN ENDANG SRI SEDEP DALAM PADEPOKAN SENI PANDHANSARI DI KABUPATEN KARANGANYAR Roni Kesuma; I Nyoman Sukerna; Siswati Siswati
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.v23i1.4817

Abstract

The journal entitled “The role of Endang Sri Sedepin the Pandhansari Art Padepokan in Karanganyar Regency”, aims to reveal (1) What is the role of Endang Sri Sedep in managing art performance activities at the Pandhansari Art Padepokan? (2) Why and what factors made the Pandhansari Art POPULAR IN Karanganyar Regency? Endang Sri Sedep has a very important role in the Pandhansari Art Padepokan, this cannot be separated fromEndang who is a businessman, artist, and owner of the Pandhansari Art Padepokan. The background of thisresearch is Endang Sri Sedep abilityto manage the activities of the Pandhansari Art Padepokan using financial respurces independenthly, unlike art hermitages in general which raise donors for their activities. Apart from that, the Pandhansari Art Padepokan does not only focus on educationor training, butalso focuseson providingart performance space for the people in Karanganyar Regency both in festivals, competitions or concerts. This research is a qualulative research using analitic descrptive method. The author uses thethoughts of Soerjono Soekanto and Sedyawati. Based on this, it can be seen the role of Endang Sri Sedep in managing art performance activities and factors in the existenceof the popular Pandhansari Art Padepokan in Karanganyar Regency.
GENDERAN ADA-ADA GAYA NYI SUWANDA DALAM SAJIAN WAYANG KULIT PURWA GAYA YOGYAKARTA Suharjono; Aji Santosa Nugroho; Siswati Siswati
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.v25i1.7258

Abstract

This study was conducted to find out and explore the techniques, patterns and dynamics of genderan ada-ada wayang kulit purwa Yogyakarta style performed by Nyi Suwanda. In addition, this study is also a means of documenting genderan wayang kulit Yogyakarta style, especially female genderan. In ancient times, especially in the puppetry environment, genderan wayang was generally performed by female genderan. However, along with the progress of the era and the development of karawitan, there has been a shift with the emergence of male genderan in pakeliran karawitan. The uniqueness of the female genderan style of Nyi Suwanda, it is important to document in writing, with the aim that it can be known and studied by the next generation. Thus, the history of genderan wayang originating from female genderan is not interrupted. The research method used is descriptive analysis. The analysis is carried out through several stages, namely: observation by listening to recordings, participatory observation of transcription, identification of techniques, patterns, dynamics and drawing conclusions. Based on the analysis conducted, this study successfully obtained several findings regarding the elements of technique, pattern, dynamics, and laya performed by Nyi Suwanda in the presentation of ada-ada wayang kulit purwa in the style of Yogyakarta. The elements of technique that were successfully found included gembyungan and pipilan. The elements of pattern found included kawitan, baku, rambatan, and panutup. The elements of dynamics found included hard and lirih, while the elements of laya were found to tend to be magak (steady) and firm.
LELAGON LESTARI BUDAYAKU: GENDING PROPAGANDA BERBASIS SLOGAN Raharja; Asep Saepudin; Siswati Siswati
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.v25i1.7626

Abstract

Lelagon Lestari Budayaku  is a musical composition created as one of the selected pieces for the “2023 Inter-Regency/City Yogyakarta Women's Karawitan Festival". The idea is based on the slogan "building a spirit of togetherness in cultural preservation". Based on the function and meaning contained in its lyrics, it falls into the category of propaganda music/songs. This research aims to uncover the background of its creation, methods, strategies, and stages in the process. As implied by the title of the piece, its compositional method prioritizes the aesthetics of traditional karawitan. A common challenge composers face in arranging musical pieces is the opportunity for development. A given musical form is sometimes considered fixed, making it difficult for composers to innovate creatively. For this reason, the lelagon was created in a simple form, allowing festival participants to develop a number of musical innovations. The strategic analysis applied to predict its success used the reception method. Success indicators can be seen from the percentage of participants who preferred the song and the number of views on various platforms where the video recordings were uploaded.
Co-Authors Aji Santosa Nugroho Asep Saepudin I Nyoman Sukerna Raharja Roni Kesuma Suharjono