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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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EKSISTENSI SUYARTO SEBAGAI SINDEN LANANG: SEBUAH BIOGRAFI Endah Ayu Prasetyo; Prasadiyanto Prasadiyanto; Slamet Riyadi
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 22, No 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i2.4366

Abstract

This article antitled “The existence of Suyarto As a Sinden Lanang:a Biography” is based on the research by Endah Ayu Prasetyo, primarily examines the existence of Suyarto as a sinden lanang who existed in between 1995-2006.  There are two important issues subject to discussion which are 1) how was the process oftransforming and developing artistry of Suyarto as a sinden lanang until he became famous? and 2) why in between 1995 and 2006 Suyarto’s name was known as sinden lanang?.  Suyarto, who came from a farming family and only attended elementary school, was able to become a successful male sinden in 1995-2006. This research  describes Suyarto’s artistic experience to reach his existence.  The study uses a historical approach by Kuntowijoyo, especially biographies which examine the character’s personality, supportive social forces, historical circumstances of his era, and luck and opportunity. This thought is synergized with Alvin Boskoff’s theory, that a change is influenced by internal and external factors.Collecting the necessary data was carried out by following qualitative research procedures and oral history. Apart from literary data and artifacts, the informants’ testimonies against Suyarto are also a very important source of data in this research.
PENGEMBANGAN KUALITAS PADEPOKAN SAROTAMA DITINJAU DARI ANALISIS SWOT Prasetyo Adhi Tama; Nanang Yulianto
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 22, No 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i2.4548

Abstract

In terms of the intricacies of education in the arts, Padepokan Seni Sarotama cannot be separated from the figure of Mujiono. Mr. Mujiono's struggled as a karawitan teacher and Wayang puppeteer in 1985 when he opened the teaching of puppetry for children. Another motivation behind Mr. Mujiono's built art hermitage is the children who are not from the artist's family and do not yet have means of artistic expression so Padepokan Sarotama is present as a place of recreation and learning for students. The purpose of this research is to develop an organizational strategy at the Padepokan Sarotama. Furthermore, the method used in this research is the SWOT analysis, a strategic planning method used to evaluate Strengths, Weaknesses, Opportunities, and threats in a project or business. Based on that, analysis involves determining the objectives of the business venture or project and identifying internal and external factors, which is excellent and profitable to achieve that goal. Based on IE Matrix (Internal-External) analysis and SWOT quadrant, it can be concluded that the appropriate organizational strategy for Mr. Mujiono is as follows: Combination of generic strategy with a variety of strategies that include: 1) Horizontal integration, 2) Market penetration, and 3) Market development.
GONG BETINO DAN GONG JANTAN: KONSTRUKSI GENDER PADA ALAT MUSIK GONG BULUH KERINCI Amor Seta Gilang Pratama; Masvil Tomi; Dwi Rahariyoso
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 22, No 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i2.4673

Abstract

This research focuses on the relationship between the cultural structure of Kerinci, and the Gong Buluh traditional music. What is being explored is how material culture is, also seen in treating the reed gong as a traditional musical instrument in Kerinci. The method used in this research is a qualitative method with a case study approach. The process of collecting data is by conducting ethnographic interviews. Ethnographic interview is a type of interview that is not too formal, friendly, but inserts ethnographic questions, such as questions that are descriptive, structural, and contrast. There are two stages of data analysis technique. The first stage is to codify the data that has been obtained. The second stage is to carry out an analysis between data, to see the relationship between the structure of the kerinci culture and Gong Buluh, using the theory or concept that has been referred to. The results of the study show that epistemologically, the structure of the reed gong is divided into two parts, namely the gong betina and the gong jantan. Gong betina have a higher sound intensity than gong jantan. The terms betina and jantan in the context of the gong become a duality related to the structure of the Kerinci culture. The Kerinci tribe adheres to a materiallineal system, in which women (ninik mamak, inner child) are the highest customary authority holders. The structure of the gong reed thus has a similarity to the construction of the Kerinci culture which is the basis and convention in rituals traditions, especially Kenduri Sko.
RELASI ANTARA GENDING PONORAGAN DENGAN PROSES PAYAH DALAM PERTUNJUKAN JATHILAN DI KABUPATEN SLEMAN Caecilia Maria Andriana Kristyanti; Muhammad Nur Salim; Nil Ikhwan
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 22, No 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i2.4667

Abstract

The research on the relationship between Gending Ponoragan and the process of payah performance in the Jathilan Krido Budoyo Turonggo Mudo in Sleman Regency reveals the form of Gending Ponoragan's presentation and its relationship with the process of payah formation. The word payah has various equivalent terms such as kerasukan, possession, or trance. This event became the highlight of the performance of Jathilan Krido Budoyo Turonggo Mudo. To reveal the relationship between Gending Ponoragan and the process of payah, Jankowsky's theory of music plays an essential role in stimulating trance experiences. It requires elements to be achieved in melody, rhythm, tempo and volume, and dynamics. In addition, Pilch's theory is also used to dissect issues related to the relationship between trance and music, which states that the best music that leads a person to experience a trance is music that has a regular number of beats and a repeating pattern based on a certain threshold or pitch level. However, the writer does not only look at the textual form of the music but also the context that surrounds it. The results of this study indicate that the activities of the association and the performance property support the process of payah and the conditions that must be met. The conditions for achieving payah include: spirit, offerings, handlers, sound system, dancers' behavior, situation or atmosphere of the performance, and musical presentation. The relationship between Gending Ponoragan and the process of payah does not occur directly but has a role in stimulating dancers to experience payah.
DEDIKASI SUPARNI DALAM DUNIA KEPESINDHENAN DI SURAKARTA Riza Indri Hapsari; Rusdiyantoro Rusdiyantoro
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 22, No 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i2.4666

Abstract

This study explains the factors that make up Suparni as a pesindhèn in the realm of Surakarta-style karawitan. Suparni became one of the senior sindhens who still exists in his world today. Therefore, youcan solvethe problem  of Suparni's form factor into pesindhèn, namely  by using Alvin Boskof's theory of social change f.  Suparni's forming factors are divided into two, namely  internal factors   and external factors. The results of the research that has been carried out, it is known that theinternal actors in Suparni consist of  creativity, talent, as  well as traits and personalities. While external factors consist of the environment and its experience. It is these factors that have shaped Suparni as pesindhèn, even today. 
GARAP LAGU BAJU HÉJO: DAMPAK ADAPTASI SALENDRO 15 NADA PADA ANGKLUNG PENTATONIS RAGAM LARAS Ega Fausta; Ananto Sabdo Aji
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 22, No 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i2.4796

Abstract

Angklung Pentatonic Ragam Laras (APRL) is one of the innovative angklung products created in 2017 through an experimental process by Endah Irawan et al. A variety of tunings pentatonic angklung (APRL) is a musical ensemble consisting of several types of instruments made of bamboo material that apply the concept of collaborative instrumentation between gamelan orchestration and Western music. This ensemble is a new innovation in the world of traditional Sundanese art because it has a distinctive tuning pattern/scale system that collects several tuning patterns in Sundanese karawitan, namely Salendro, Degung and Madenda in different ensembles. The concept of the scale system is adapted from the concept of the Salendro 15 tone scale by R.M.A. Koesoemadinata.This study uses a mixed convergent parallel type method by obtaining both qualitative and quantitative data in order to answer the problem formulation comprehensively.  The research results show that the adoption of the 15-tones saléndro tuning by Koesoemadinata R.M.A. affects the musikal work on Baju Hejo song that have been re-arranged especially in terms    of the development of percussion and melodic patterns, tuning modulation and surupan, as well as the application of insert tones (miring and malang).
STRUKTUR DAN BENTUK GENDING TARI HANDAGA BUGIS DI PURA MANGKUNEGARAN Indah Ayu Saputri
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 22, No 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i2.4807

Abstract

The Handaga Bugis dance at Mangkunegaran Temple is a wireng genre dance. The presentation of this dance cannot be separated from the musical accompaniment as one of the determining factors for the success of the performance both in welcoming guests at the Mangkunegaran Temple and in a festival. This study aims to describe the structure and form of music in the Handaga Bugis dance performance at Mangkunegaran Temple. Qualitative research methods with observation and interview techniques are used to support the data collection process in this study. In its presentation, this dance has standard music/accompaniment (standard) as a form of wireng dance. The forms of gending used are sampak sanga, lancaran kandhang bubrah pelog pathet nem, ketawang puspanjala pelog pathet nem, kemudha pelog pathet nem, ayak-ayak sanga wiled. Based on the structure, several gending have similarities and differences in the level of rhythm, beat and execution.
KOMPOSISI GAMELAN KELOMPOK SARDULO ANUROGO PADA FESTIVAL REYOG NASIONAL 2019 Sigit Setiawan; Anggono Kusumo Wibowo
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.v23i1.5443

Abstract

This research reveals the composition of the Reyog Ponorogo gamelan, a case study of the Reyog Sardulo Anurogo group in Jember, East Java, in the context of the 2019 National Reyog Festival. The reason for selecting Sardulo Anurogo as the case study subject is due to the group's interesting pluralism aspect, where Reyog is not only studied by the Javanese Ponoragan ethnic group, but also by other ethnic groups in Jember, Madura. The 2019 National Reyog Festival also marked a significant moment for Sardulo Anurogo, as they achieved a top 3 position in the festival, representing the group's highest achievement. The approach used is based on the ideas of I Wayan Sadra, who proposed four methods for composing music. These are (1) the principle of growth, (2) sound transformation or medium, and (3) range or tonal area. These principles areapplied to analyze the composition of the Reyog Sardulo Anurogo gamelan. The research result is the categorization of Reyog music development methods, which can be used as a prototype for composing and enhancing the creative aspects of Reyog gamelan.
GÊTHINI : SAJIAN MRABOT DAN KAJIAN GARAP SINDHÈN Sri Wahyuni; Ananto Sabdo Aji
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.v23i1.4858

Abstract

This research examines the work on sindhenan gendhing Gêthini kethuk kalih kerep minggah sekawan laras slendro pathet sanga and its seies, namely work on mrabot with innovations on sindhenan style Surakarta. In working on musicality in the world of karawitan, the author uses concepts namely the mungguh concept by Bambang Sosodoro, the mandheg concept by Ananto Sabdo aji and the concept worked on by Rahayu Supanggah. The method used is qualitative by way of  studying book literature or making observations directly or indirectly in order to broaden knowledge to obtain the history of gending  and work on musical performances. As well as need interviews with karawitan experts as inputs, ideas and suggestions for conducting this research. The innovations for working on sindhenan lies in the merong kenong parts one and two in balungan seleh ro can be worked on minir pasren, the ngelik kenong two seleh nem part are also worked on minir, because there are balungan melodies that minir can work on. Innovations made by sindhenan on the inggah section can also be worked on by mandheg on the first kenong seleh ji andegan kinanthi and the second kenong seleh nem mandheg andhegan kacaryan, on kenong lu mandheg you can add amdhegan sekar tengahan bawaraga, that’s where sinden has different variations of andegan and gets innovative ideas work on adding a distraction, because in this innovation work on sindhen can show its potential and expertise when the piece is presented.
MUSIK TONG-TONG SANGGAR SENI TARARA, BANGKALAN, MADURA Nanang Bayu Aji
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.v23i1.5399

Abstract

Madura has a wealth of diverse traditional arts such as kejhungan, saronen, tong-tong, and gamelan. One of the interesting arts is tong-tong music. Tong-tong music is a musical ensemble dominated by wood percussion that used to function as sahur patrol music or music played to wake people up for suhoor in Ramadan. In addition, it isused to call pigeons home to return to their cages. The purpose of this study is to describe several patterns of music playing barrels of Sanggar Seni Tarara Bangkalan. This research is a qualitative research using a realist ethnographic approach. There are several repertoire of tong-tong music described in this study, including West Klapayan, East Klapayan, Ghul-ghul, and Rujurut.

Page 14 of 21 | Total Record : 202

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