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Muhammad Nur Salim
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denmassalim88@gmail.com
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+6281392727084
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keteg@isi-ska.ac.id
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Jl. Ki Hajar Dewantara No.19, Jebres, Kec. Jebres, Kota Surakarta, Jawa Tengah 57126, Indonesia
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Kota surakarta,
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INDONESIA
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Published by Institut Seni Indonesia Surakarta
ISSN : 14122065     EISSN : 27146367     DOI : https://doi.org/10.33153/ktg
Core Subject : Art,
Arts
The journal is invited to the original article and has never been published in conjunction with another journal or conference. The publication of scientific articles is the result of research from both the external and internal academic communities of the Surakarta Indonesian Art Institute in the Karawitanologi discipline. The scope of distribution, Karawitan Education and Learning; Historical Study and Development of Karawitan; Study on Karawitan; Karawitan Organology Study; Karawitan Aesthetic Study; Karawitan Composition Study.
Arjuna Subject : Seni dan Humaniora - Musik
Articles 6 Documents
 1 
Search results for , issue "Vol 19, No 2 (2019)" : 6 Documents clear
PERUBAHAN MOTIF KENDANGAN JAIPONG PADA PERTUNJUKAN WAYANG KULIT KI SENO NUGROHO Asep Saepudin; Sigit Setiawan
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 (1294.397 KB) | DOI: 10.33153/keteg.v19i2.3077

Abstract

Acculturation of Sundanese and Javanese culture one of which appears in the Sundanese jaipong kendang motif that is adapted so that it becomes Javanese in character. This can be seen in the appearance of Wayang Kulit Ki Seno Nugroho. This study aims to analyze changes in kendang jaipong’s motives using the observation methode. Observation was carried out by revealing a systematic picture of the shadow puppet show, the player’s behavior, and paying attention to the space, place, actors, activities, time, and events. From the observation, it was found that there was a change in the jaipong drum construction on the improvisation, ayak-ayak patterns, various pangjadi motives, bukaan, mincid, ngala, and tepak ngeureunkeun. The results of this study concluded that althought the presentation of jaipong drums imitated the Sundanese style, the resulting motives were generally not Sundanese motifs. All jaipong kendang motifs are responded creatively to new motifs by Seno Nugroho drummer so that the results of their work are not Sundanese but Javanese.Keywords: tepak, jaipong, mincid, seno.
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 : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1269.493 KB) | 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.
KEBERADAAN PAGUYUBAN SENI KARAWITAN KANTOR SETDA KABUPATEN BOYOLALI Anggit Larasati; Nyoman Sukerna
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 (1343.569 KB) | DOI: 10.33153/keteg.v19i2.3079

Abstract

This article is motivated by the employees of the Boyolali District Secretariat who feel bored while working all day at the office. Boredom makes employees not focus on their work. Until in the end they found a solution to solve the problem, namely by having a context. According to them, having charisma can make the mood and mind calm, and from that the Andini Laras community association was formed which consisted of employees of the Boyolali District Secretariat. Based on this background, the problems revealed in this study are (1) How the activities of Setda Boyolali’s gamelan community since it was founded in 1988 until now and (2) Why the Setol regency’s gamelan musical community is still surviving until now. This research is a qualitative research, to answer this question the author uses Marx’s ideas about sociology and Sedyawati’s development. Based on observations, involvement and efforts were made to conduct mental therapy while preserving and preserving Javanese culture. Efforts are made to maintain its existence through activities based on member motivation and external stimulation. The members’ motivation was in the form of a desire to express their joy in music and their desire to do mental therapy. The stimulation that influenced the existence of the musical arts community of the Boyolali District Secretariat office remained in the form of community and government support in Boyolali Regency.Keywords: The existence, Andini Laras, and the Regional Secretariat Staff.
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.
PERKEMBANGAN MUSIK KERONCONG DI RICHMOND VIRGINIA AMERIKA SERIKAT Danis Sugiyanto; Nanang Bayu Aji
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 (1268.363 KB) | DOI: 10.33153/keteg.v19i2.3080

Abstract

Keroncong music is music that has an open nature, this can be seen from the history of music development which always receives various developments both from outside the music Keroncong also always develops developments from within in terms of instrumentation and orchestration. Keroncong music not only flourishes and develops in the archipelago but also grows abroad as happened in the United States. The Keroncong Orchestra (OK) Rumput from Richmond Virginia is a group that is steadly spreading the keroncong music culture that is viral in America and the world. Keroncong music is not only studied musically but also forms the basis of cultural learning for its supporters. The concept of collaboration and philosophy in keroncong music helps strengthen world friendship through the humanitarian field.Keywords: keroncong music development, keroncong Rumput orchestra.
KREATIVITAS SURYATI DALAM MENYAJIKAN CENGKOK SINDHENAN BANYUMASAN Muriah Budiarti; Siswati Siswati
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 (1304.943 KB) | DOI: 10.33153/keteg.v19i2.3076

Abstract

This research topic is raising about Suryati as one of the Banyumas sinden who contributed to the development of Banyumas style of music. Suryati’s artistic process is formed by several factors, Suryati’s family environment support helped his success in finding the soul of sindhen in himself. that are The Suryati’s selfishness and her persistence which are very important factors that shaped her creativity. So that her styles and “anggit” that Suryati brought were the essence of her artistic environment. Suryati’s character is identical with prenes, meticulous, actualized titen into suryati Sindhenan style twists. So people who hear Suryati’s twisted can guess that it is a form of Suryati’s twisted characteristic. With the ethnographic method, several factors forming the creativity of Suryati’s artistic style will be explained. One of the results of Suryati’s efforts was to introduce “gendhing Banyumasan” in Java and its surrounding area.Keywords: Sinden, karawitan, Banyumasan, Suryati, ethnography.

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