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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 202 Documents
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INTERPRETASI VOKALIS TERHADAP FRASA BALUNGAN CÉNGKOK MATI Nanang Bayu Aji; Bambang Sunarto
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 21, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i1.3679

Abstract

Tulisan ini mengungkap kasus frasa balungan céngkok mati di dalam karawitan gaya Surakarta. Permasalahan yang akan dipaparkan terkait interpretasi vokalis terhadap frasa balungan céngkok mati. Pengumpulan data diperoleh dengan cara studi pustaka, wawancara, dan juga laboratoris. Analisis dilakukan dengan cara menafsirkan kembali pemikiran serta pengalaman pêngrawit vokalis yang diperoleh melalui realitas pragmatik. Penafsiran menggunakan metode interpretasi dan analisis garap. Vokal dalam ensambel gamelan mempunyai cara untuk menginterpretasi frasa balungan céngkok mati. Interpretasi tersebut digunakan dalam rangka mengeksekusi frasa balungan céngkok mati dengan garap balungan céngkok mati. Hal tersebut dikarenakan tidak semua frasa balungan céngkok mati dieksekusi dengan garap balungan céngkok mati. Kehadiran vokal mempunyai peranan penting dalam karawitan, khususnya peranan terhadap gending dan garap gending. Peranan penting vokal dalam sajian karawitan tertentu memposisikan vokal menjadi lebih berwenang dalam menginterpretasi frasa balungan céngkok mati. Kata kunci : vokalis, balungan céngkok mati,  interpretasi, peran, eksekusi
TRANSFORMASI SEKAR MACAPAT DURMA MENJADI GENDING KEMANAK ANGLIRMENDHUNG Suraji Suraji
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 21, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i1.3561

Abstract

Tulisan ini dilatarbelakangi oleh informasi bahwa gending-gending JawaGaya Surakarta banyak yang dibentuk dari ‘sekar’ (tembang). Pembahasan dalamtulisan ini difokuskan pada hubungan yang terdapat pada sekar macapat Durmadan gendhing kemanak Anglirmendhung dengan cara membandingkan alur melodilagu vokal pada lagu sekar macapat Durma dengan gendhing kemanakAnglirmendhung. Studi ini berupaya untuk mendeskripsikan dan mencari korelasi antaragending kemanak Anglirmendhung dengan sekar macapat Durma. Adapun untukmembedah permasalahan tersebut, konsep garap digunakan pada studi ini karenaapa yang terjadi dalam persoalan tersebut sesungguhnya adalah hasil darikreativitas, imajinasi dan interpretasi para pengrawit. Di samping itu, landasanpemikiran Mas Ngabehi Warsapradangga digunakan dalam kerja analisisnya.Dasar pemikirannya adalah bahwa, dasar penciptaan gending pada awalnyabersumber dari lagu vokal (tembang). Ditemukannya jawaban atas permasalahantersebut tentu sangat bermanfaat bagi dunia karawitan, baik dari sudut pandangpraktik maupun keilmuan. Hasil analisis menunjukkan bahwa, dengan membandingkan baris-barisdalam sekar macapat Durma terhadap kalimat lagu gendhing kemanakAnglirmendhung, serta memperhatikan alur melodi dan seleh-selehnya, adalahsalah satu bukti yang membenarkan pemikiran Mas Ngabehi Warsapradangga.
JINGLE TRANSFORMASI PEGADAIAN (STUDI TENTANG PERAN MUSIK DALAM PEMBENTUKAN BUDAYA PERUSAHAAN PT. PEGADAIAN) Harimas Jati Wikananta; Ananto Sabdo Aji; Purwa Askanta
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 21, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i2.3817

Abstract

"Jingle Transformasi Pegadaian” is the title of a song that was employed as one of many transformation tools in PT Pegadaian (Persero). This study aims to determine the existence of “power” that helped the transformation process in PT Pegadaian (persero). To study the phenomenon this research applies mixed methods research design, which consists of ethnographic and quantitative methods. The research data were derived from in-depth interviews and random sampling questionnaire which was distributed to 390 employees in all work units. The process of jingle composing and the elements in the jingle, such as arrangement, genre, lyrics, and vocals were reviewed and perceived as an interpretation of the transformation process that happened in PT Pegadaian (Persero). Messages related to transformation that is contained in the jingle’s lyrics were accepted, and used as an affirmation of the transformation process by all employees. The jingle internalization process is carried out by playing it continuously in all work units’ corporate activities, both routinely and incidentally. The result of this research shows that by playing the jingle continuously forms a “power” that affects the emotional response of employees, and evoke positive reactions, such as: a sense of enthusiasm, awareness of the transformation process, sense of pride, and sense of belonging.
ANALISIS GARAP LANCARAN GAGAK SETRA DALAM PAKELIRAN GAYA YOGYAKARTA Amrih Tuti Lestari; Bayu Wijayanto; R. Bambang Sri Atmojo
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 21, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i2.3914

Abstract

The research entitled Lancaran Gagak Setra in Pakeliran Gaya Yogyakarta discusses pathet, garap, presentation structure, performance structure, and the transition of pathet Lancaran Gagak Setra in the budhalan scene in pakeliran style in Yogyakarta. This study uses a qualitative research approach with descriptive analysis research methods by analyzing in two contexts, namely textual and contextual. The textual analysis in this study analyzes the pathet, the transition of Lancaran Gagak Setra in the Yogyakarta style pakeliran, the musical factors considered in the pathet transition, and the structure of the Lancaran Gagak Setra presentation in the Suryatmaja Krama theater play by analyzing the work of several ricikan. Contextual analysis analyzes the structure of the Lancaran Gagak Setra performance in the budhalan scene in the Suryatmaja Krama play. Gagak Setra is one of the genres used in the budhalan scene with calluses or jaranan in the Yogyakarta style pakeliran. Lancaran Gagak Setra in the Yogyakarta style pakeliran is presented in the realm of pathet nem time, however, the balungan gending Lancaran Gagak Setra focuses more on pathet sanga. The difference in pathet in the realm of presentation time results in differences in the perception of pathet in Lancaran Gagak Setra. The presentation of the Lancaran Gagak Setra in different packages, of course, has a pathet transition. There are musical factors to consider in this pathet transition. Bendhe Tengara is the transition from pathet manyura to pathet sanga, and grambyangan is the transition from pathet sanga to pathet nem. These two musical factors will make the transition between pathet nem, manyura, sanga, and nem happen slowly or gradually. A sense of pathet is achieved from Lancaran Gagak Setra, which supports the dramatic atmosphere in the budhalan scene with calluses in the Yogyakarta-style pakeliran.
KARAWITAN TARI BALA: AKULTURASI BUDAYA DI DESA WIRATA AGUNG, KECAMATAN SEPUTIH MATARAM, KABUPATEN LAMPUNG TENGAH, PROVINSI LAMPUNG Gutami Hayu Pangastuti; Nil Ikhwan
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 21, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i2.4095

Abstract

Wirata Agung adalah salah satu desa di Provinsi Lampung, terbentuk dari peristiwa transmigrasi pada tahun 1963-1964 pasca letusan Gunung Agung, Bali. Masyarakat Bali dan Lampung hidup berdampingan, saling berinteraksi, dan beradaptasi membentuk akulturasi budaya, demi mempertahankan identitas terlihat pada kebiasaan harian, tak terkecuali seni. Karawitan Tari Bala sebagai sebuah karya, diciptakan oleh I Wayan Kartiana Saputra dengan mengkolaborasikan unsur-unsur Bali dan Lampung, didengar pada akulturasi dan transfer melodi melalui alunan karawitan. Fokus permasalahan fenomena Karawitan Tari Bala di Desa Wirata Agung, Kecamatan Seputih Mataram, Kabupaten Lampung Tengah, Provinsi Lampung dianalisis melalui metode pengumpulan data, analisis data, dan penyajian analisis data, bertujuan untuk mengetahui struktur, bentuk akulturasi, unsur-unsur pembentuk, proses akulturasi budaya, dan faktor-faktor terciptanya karawitan Tari Bala. Secara deduktif, hasil penelitian dijabarkan menjadi teks deskriptif dari umum ke khusus sebagai bentuk penyesuaian diri, adaptasi, dan aplikasi fenomena, berkacamata dari sudut pandang seorang seniman yang tertuang pada sajian Karawitan Tari Bala.
GATI LAMBANGSIH LARAS SLENDRO PATHET MANYURA SEBAGAI KARYA INOVASI KARAWITAN GAYA YOGYAKARTA: KAJIAN MUSIKALITAS DAN KARAKTER GENDING Anon Suneko; Trustho Trustho; Salsa Bila
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 21, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i2.4100

Abstract

Gati Lambangsih laras slendro pathet manyura is one of the Yogyakarta musical styles which was created during the reign of Sri Sultan Hamengku Buwono X. This new creation in the ladrang format complements Beksan Bedaya's aesthetic Lambangsari, which was held at the Uyon-Uyon Hadiluhung event on December 28, 2020, at Kagungan Dalem Ward Srimanganti. Unlike other gending Gati, Gati This symbol is presented with a slendro-barreled gamelan in collaboration with brass section western wind music. Of course, the new taste of Gending Gati cannot be separated from the motivation and concept of its creation. However, musically, working and blending Gamelan and brass sections require carefulness in achieving harmony in the musical presentation. 
KEBERTAHANAN KLENENGAN SELASA LEGEN DI BALAI SOEDJATMOKO SURAKARTA TAHUN 2009-2018 Mustika Wati; Prasadiyanto Prasadiyanto
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 21, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i2.3927

Abstract

The research entitled Survival of Klenengan Tuesday Legen at Balai Soedjatmoko Surakarta was motivated by the existence of an activity held at Balai Soedjatmoko. This activity aims to provide a platform for musical groups who feel marginalized. This activity is held every 35 days by inviting musical groups from various cities to ensure that musical arts and activities continue to develop and survive. Based on this background, the problems were revealed in this study. (1) What is the basic concept of the Klenengan Tuesday Legen activity at the Soedjatmoko Hall? (2) Why does the Klenengan Tuesday Legen activity persist at the Soedjatmoko Hall? This research is qualitative research using the descriptive-analytical method. The author uses the thoughts of William and Achsan (Achsan Permas et al., 2003). With this approach, we get an overview of the Soedjatmoko Balai Soedjatmoko Klenengan and the factors causing the Soedjatmoko Hall's survival. Based on observations, the involvement of the implementing management of Klenengan Tuesday Legen Balai Soedjatmoko was one of the factors driving the sustainability of the activity. The activities carried out by the management include planning, organizing, implementing, and controlling activities. Through activities based on member motivation and external stimulation, efforts are being made to maintain klenengan activities on Tuesday Legen Balai Soedjadmoko. The member's motivation is in the form of a desire to express a sense of pleasure for musical instruments gathering with people who have the same interest in the arts. Stimulation that affects the survival of Klenengan Tuesday Legen is the support from Bentara Budaya.
PEMANFAATAN AUDIO RECORDING EQUIPMENT DALAM PEMBELAJARAN PRAKTIK INSTRUMEN REBAB, KENDANG DAN GENDER Wahyu Thoyyib Pambayun
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 21, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i2.4119

Abstract

This research is entitled "Utilization of Audio Recording Equipment in Practical Learning of Rebab, Kendang and Gender Instrument." The problems described in this study are: how are the types of audio recording equipment that can be used in learning the practice of fiddle, drum, and gender instrument, how to set and use audio recording equipment, and how to use audio recording equipment in learning the practice of fiddle, drums, and gender instrument. This research is qualitative research that uses descriptive analysis research methods. Data were collected by means of observation, literature study, and interviews. The data analysis technique used includes four stages: data collection, data reduction, data display, and concluding. The purpose of this study is to provide recommendations for types of audio recording equipment that can be used in learning the practice of fiddle, drum, and gender instrument, provide an understanding of how to set and use audio recording equipment, as well as provide an understanding of how to use audio recording equipment in learning the practice of the fiddle instrument. Drums and gender.
GARAP KARAWITAN PAKELIRAN; PAKELIRAN SANDOSA LAKON KEMBANG KUDHUP PUPUS (Perspektif Estetika Pakeliran Nuskma dan Mungguh) Catur Nugroho; Ananto Sabdo Aji
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 21, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i2.4118

Abstract

This research discusses the work of karawitan pakeliran in a Pakeliran Sandosa with story Kembang Kudhup Pupus, which is explored through the basic aesthetic perspective of pakeliran, namely the concept of nuksma and respectively. The purpose of this discussion is to understand the extent to which an element of performing karawitan pakeliran can determine the achievement of an aesthetic puppet show. The results of the analysis show that the work of karawitan pakeliran in Pakeliran Sandosa Lakon Kembang Kudhup Pupus can be understood to reach the aesthetic level of pakeliran respectively. This can be seen through the creation of accuracy, harmony, and appropriateness between the composition of the performance karawitan pakeliran including gendhing and tembang to the needs of the events of the play and the inner atmosphere experienced by the puppet. As for the achievement of the aesthetics of pakeliran nuksma which is able to motivate the effect of catharsis for the admirer in the framework of karawitan pakeliran can be felt through the pattern of melody and gendhing songs and songs arranged in such a way; by paying attention to the compatibility between vocal techniques, beats, and musical graphic arrangements that are oriented to the dynamics of the gendhing sense.
FUNGSI RITUAL GENDHING TOLAK BALAK PADA PERTUNJUKAN JARANAN KRIDHA BUDAYA DI KABUPATEN TRENGGALEK Rika Wahyuningtyas; Muhammad Nur Salim
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 21, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i2.4097

Abstract

The research started from an interest in ritual phenomena in the Jaranan Kridha Budaya performance. The Ritual of Rejection is defined as a means to convey a special message to God Almighty so as not to bring down calamities, such as natural disasters and disease outbreaks. In the Obong Incense ritual, it is required to use the Reject Balak Gendhing which is a mandatory gending and cannot be replaced with another gending. Gendhing Tolak Balak is a gending that is believed to have a religious ritual function in the Art of Jaranan Kridha Budaya when the Obong Incense Ritual is served. Gendhing Tolak Balak is used as a standard gending which is interpreted as a means to submit a request, or as a form of indirect interaction with God and the dancers of a place. The relationship between the components of gending and ritual, creates a sacred impression and influences the actors and their supporting communities.

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