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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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GARAP EKSPRESI TEMBANG DAN ANTAWECANA WAYANG BOCAH SAMPARAN SAMPIRANKU Nandhita, Chikal Safa; Pamenang, Nandhang Wisnu; Setyastuti, Budi; Karyono
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 2 (2023): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v23i2.5828

Abstract

Tembang and antawecana are one of the components of dance which is called the verbal component. These components can be enjoyed through language, speech and the intonation of a sentence. Cultivating the verbal component can influence the results of the expression produced based on the delivery of the verbal component through the intonation of the song and the emphasis of the words in the antawecana. Strengthening the expressions of wayang orang or wayang anak players can be accompanied by tembang and antawecana. It depends on the accuracy of tembang and antawecana used and placed in the right position. The existence and choice of place is also an asset in finding the desired expression for a wayang orang artist. Wayang orang Samparan Sampiranku is one of the children's wayang works that uses songs and antawecana as a form of expression in communicating and conveying emotions. This research emphasizes descriptive analysis carried out to find an analysis of the expressions obtained based on the description of the songs and antawecana contained in the Wayang Bocah work entitled Samparan Sampiranku presented by Sanggar Sarwi Retno Budoyo in 2022 at the Wayang Bocah Festival. Keywords: Tembang, Antawecana, Garap, Expression
IMPLEMENTASI GARAP MINIR DAN GARAP PATHET DALAM REBABAN GENDHING WIYANG Alif Ghifari, Ulung; Sabdo Aji, Ananto
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 2 (2023): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

This article entitled "Implementasi Garap Minir Dan Garap Pathet Dalam Rebaban Gending Wiyang" contains an analysis, description, and study of the Wiyang garap rebab. The main idea presented in this article is the application of minir céngkok in mérong and the implementation of pathet elaboration located on the second kenong inggah with the application of yo bapak rebab céngkok, enabling it to be elaborated using two pathet interpretations, namely sléndro sångå and sléndro manyurå. This research adopts a qualitative method. Data collection methods include literature review, direct or indirect observation, and interviews with relevant informants. In analyzing this article, several concepts are employed to underpin the author's ideas, namely garap, pathet, and mungguh. The research findings reveal the application of minir céngkok pasrèn in mérong based on the absence of vocal influence and pamijen elaboration, which mandates minir elaboration within it, rendering the minir elaboration in this facultative garap. The application of minir céngkok pasrèn in this yields garap several categories of minir elaboration, including whole minir, half minir, and three-quarters minir. In addition to minir elaboration, the implementation of pathet elaboration on inggah contributes to offering elaboration to make the composition more dynamic. This influences other elaborations, resulting in the perception of dynamism in the presentation of the Wiyang composition.
KAJIAN DAN PENERAPAN GARAP SINDHENAN PADA GENDHING PAMEKASAN WUDHAR SLENDRO SANGA Diin Nikhmah, Ar Ribath; Suraji
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 2 (2023): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v23i2.5889

Abstract

This article entitled "Pamekasan Wudhar, Gendhing Kethuk 2 Kerep Minggah 4 Laras Sléndro Pathet Sanga: A Study of Garap Sindhèn" analyses, presents and describes the sindhènan of the music in it. The problem in this art thesis is the garap and sindhènan analysis of Gendhing Pamekasan Wudhar. This research uses a type of qualitative research, the method used is qualitative method. Data were collected by interview, observation, and literature study. This problem is analysed through the concept of garap by Rahayu Supanggah, the concept of mungguh by Bambang Sosodoro, and the concept of padhang-ulihan by Martopengrawit. The results of the research on Gendhing Pamekasan Wudhar found that the garap contained in this music includes the placement of sindhènan techniques, garap mandheg, and sindhènan gawan cengkok puthut gelut. The application of the sindhènan céngkok puthut gelut garap is used as a varied garap in this music. Sindhènan gawan cengkok puthut gelut that is not worked on mandheg makes this gending has a unique sindhènan arrangement. As a pesindhèn, she is required to be responsive in presenting sindhènan. This can be supported by understanding the placement of padhang-ulihan so that it can place the application of wangsalan and abon-abon properly. In addition, paying attention to the application of céngkok and wiledan that must be in accordance with the character of the song being presented, the presentation of the right sindhènan technique is also an important thing to note for a pesindhèn.
MANGGALAMUDHA, KAJIAN GARAP SINDHEN Atik Nurgiyatmi, Junissa Salsabilla Nuhari Putri; Suyoto
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 2 (2023): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v23i2.5902

Abstract

This article entitled "Manggalamudha Gendhing Kethuk 2 Kerep Minggah 4, Laras Pélog Pathet Barang: A Study of Garap Sindhen" is to analyze and describe garap sindhènan gendhing Manggalamudha. The issues analyzed are garap céngkok, garap wangsalan and abon-abon, garap gregel and wiled, garap mlèsèt, garap angkat-sèlèh, garap mandheg, garap mungguh, and garap dynamics. These are reviewed using a number of concepts and theories in karawitan. The concepts applied are the concept of garap, the concept of mungguh, padhang-ulihan, and the concept ofmandheg. The concept of garap is used in creativity, the concept of mungguh is used for appropriateness in working on céngkok, the concept of padhang ulihan is used to determine wangsalan, while the concept of mandheg is used to work on mandheg in the inggah section of gendhing Manggalamudha which is worked on with andhegan cèngkok ayu kuning, andhegan kacaryan in the third kenong, and andhegan selingan. This research used qualitative research, data collection methods starting from the process of designing the work, determining the view (orientation), and determining the sources. Through literature study, observation, and interviews the author used as steps to collect data. The result of this research is garap mandheg in the inggah section of gendhing Manggalamudha which is worked with andhegan cèngkok ayu kuning, andhegan kacaryan in the third kenong, and andhegan selingan. The use of sindhèn garap in gendhing Manggalamudha is done with several garap, among others: wangsalan and abon- abon, garap gregel wiled, garap mungguh, lift technique, and garap dynamics. All sindhènan garap presented contain high aesthetic value in sindhènan gendhing Manggalamudha.
PEMBIASAAN POLA DAN PERILAKU BERPIKIR POSITIF PESERTA PELATIHAN KARAWITAN DI KOMUNITAS TERAS BUDAYA: - Prasetyo, Andry; Setiawan, Sigit
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 2 (2023): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v23i2.5971

Abstract

Potensi seni yang dimiliki seorang anak kerap kali tidak disadari oleh orang sekitar bahkan dirinya sendiri, sehingga potensi yang ada tidak dapat diasah atau dikembangkan menjadi lebih baik lagi. Kecenderungan ini membuat anak-anak menutup diri atas potensi seni yang dimilikinya. Melalui seni dapat mengajarkan kebiasaan baik dan bermanfaat untuk menciptakn kualitas sumber daya manusia yang unggul di masyarakat.Tujuan: Penelitian ini bertujuan untuk mengaarkan perilaku dan cara berpikir yang baik kepada generasi muda melalui media seni karawitan Metode: Teknik pengambilan data yaitu teknik observasi, teknik wawancara dan teknik studi dokumen dengan menggabungkan pendekatan Psikologi yang mematangkan konsep pelatihan secara sistematis. Langkah yang digunakan untuk mencapai tujuan program ini adalah mengurai roadmap kegiatan, identifkasi potensi, masalah dan kebutuhan masyarakat Mojoroto, membentuk rencana intervensi melalui pendampingan dan pelatihan seni, studi banding, upaya pembentukan sanggar di Mojoroto.. Simpulan: Pemikiran dan perilaku positif pada anak-anak dapat memberikan kontribusi yang signifikan terhadap perkembangan kualitas hidup mereka secara keseluruhan di Mojoroto. Dengan berfokus pada pemikiran dan perilaku positif, anak-anak dapat lebih memahami dan beradaptasi dengan situasi yang mereka pelajari, sehingga menghasilkan kinerja yang lebih baik dan kesuksesan hidup mereka secara keseluruhan.
GADHON SALIN SWARA: INTERPRETASI GAMELAN GADHON Hanan, Laurentius; Pambayun, Wahyu Thoyyib
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 2 (2023): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v23i2.5991

Abstract

This article recounts the author's experience in the process of composing "Gadhon Salin Swara." The composition is inspired by the gadhon gamelan. Drawing from the gadhon gamelan, the author is motivated to interpret rhythmic patterns that encompass cengkok, sekaran, gerongan, balungan, and the relationships between instruments. The stages of composition include orientation, observation, exploration, composition, and evaluation. Through this process, the author generates new approaches to approaching instrument crafting, particularly within the context of the gadhon gamelan. The author's approach involves developing patterns, maximizing traditional techniques to create dynamics in the composition, and fostering connections between instruments. It is expected that this article will be useful in understanding the author's creative process in composing "Gadhon Salin Swara."
FUNGSI MUSIK RUWATAN BERSIH DESA DI DESA SIDOREJO KABUPATEN BLITAR Rosida, Silvia Nafisatur; Sabdo Aji, Ananto
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 24 No. 1 (2024): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v24i1.6311

Abstract

This article entitled "The Function of Ruwatan Bersih Desa Music in Sidorejo Village, Blitar Regency" focuses on the issue of the function of ruwatan bersih desa music in Sidorejo Village. The results show that the village clean ruwatan is held during the harvest season once a year. Ruwatan is believed by the people of Sidorejo Village to prevent the village from danger. The ruwatan procession has requirements, namely time, place, ruwatan actors, properties, and offerings. The structure of the ruwatan ceremony has three parts, namely the opening part, the core part and the closing part. Each music presented also has a function and meaning. Music has an important function in ruwatan bersih desa. There are five prominent functions of music. (1) the entertainment function aims to appreciate culture and liven up the atmosphere. (2) the communication function aims for spiritual communication and message delivery. (3) the symbolic representation function aims for purification symbols, sacred symbols, happiness symbols, and spirit symbols. (4) The function of contribution to cultural continuity and stability aims at tradition-keeping and regeneration. (5) The function of contribution to community integration aims to build togetherness and strengthen social ties.
PERKEMBANGAN GARAP MUSIK KESENIAN REOG KENDANG SANGGAR SENI PRANA KESUMA AJI DI KABUPATEN TULUNGAGUNG Ardianto, Wahyu; Salim, Muhammad Nur
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 24 No. 1 (2024): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v24i1.6354

Abstract

This research aims to analyze the development of music production and the factors driving development in the Reog Kendang Performing Art Prana Kesuma Aji Art Studio in Tulungagung Regency (2017-2021). This problem was analyzed using theories put forward by several figures. In the process of analyzing the development of music production, Reog Kendang Performing Art uses theories from Edy Sedyawati, Rahayu Supanggah, and Kuntowijoyo, and to explain the driving factors using Koentjoroningrat theory. This research uses qualitative methods, with stages of data collection, data analysis, and data presentation. Data collection stages include interviews, observation, documentation and transcription. Data analysis stages include data reduction, data presentation, and drawing conclusions. The data presentation stages are obtained from the results of data collection and data analysis and then presented in a scientific work. The development that occurred was the addition and change of garap elements in the Reog Kendang Performing Art of the Prana Kesuma Aji Art Studio, including garap materials, garap materials, garap facilities, garap furniture or tools, garap determinants, and garap considerations. Development occurs due to the influence of driving factors including individual awareness, quality of expertise, and stimulating systems.
FUNGSI MUSIK RITUAL BRENDUNG DI DESA LANGENSARI KECAMATAN KESESI KABUPATEN PEKALONGAN Saputro, Amanu; Setiawan, Sigit
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 24 No. 1 (2024): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Brendung is a ritual carried out by the people of Langensari Village, Kesesi District, Pekalongan Regency to ask for rain during the prolonged dry season. Brendung is a ritual of asking for rain in the form of chanting spells in a song form accompanied by musical instruments from kitchen utensils and puppet as a symbol of Mbak Ayu Brendung which is believed to have a harvest of bringing rain. The brendung ritual is usually held on the day of kliwon in the Javanese calendar, starting from the process of stealing dippers made of coconut shell, assembling and making up dolls, placing dolls in tombs, and ritual processions. Villagers use klothekan for the music such as simple home appliances such as boyong, buckets, trays, cans, and pockets. The uniqueness of brendung music is that it is required to use boyong as its musical instrument. There are three spells in the brendung ritual procession, namely the frankincense burning spell, the song spell, and the closing spell to neutralize the puppet. Brendung music has an important function in the implementation of brendung rituals. The functions of music include the attestation function of social institutions and religious ceremonies, the contribution of social integration, physical reactions, means of communication, social norms, and entertainment.
PENCIPTAAN TEMBANG DOLANAN “AYO KANCA” DENGAN ILUSTRASI UNTUK ANAK SEKOLAH DASAR DI SURAKARTA SEBAGAI MEDIA EDUKASI VIRUS COVID-19 Waluyo; Prilosadoso, Basnendar Herry
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 24 No. 1 (2024): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Wabah virus Covid-19 menjadi wabah pandemi di Indonesia, dimana untuk mencegah dan menanggulangi virus tersebut sudah dilakukan di seluruh daerah. Penyebarluasan informasi seputar wabah Corona ini dibutuhkan bagi kalangan siswa sekolah dasar, dimana pada usia tersebut informasi dapat menjadi pedoman nantinya baik untuk sekarang dan di masa depan. Diperlukan media yang sesuai dan kondisi, serta dibutuhkan alternatif agar informasi yang disampaikan dapat diterima serta menarik. Media alterantif salah satunya melalui tembang dolanan yang mempunyai keunikan serta daya tarik dikarenakan dalam tembang dolanan sarat dengan ajaran serta nilai-nilai dalam kehidupan manusia. Visualisasi nilai yang tampak dari bentuk tembang dolanan dan syair mengandung ajaran moral yang berguna dan dapat digunakan sebagai media penyampaian pesan yang dapat diaplikasikan dalam pelestarian bahasa ibu dan pendidikan budi pekerti. Tujuan penelitian artistik, yaitu : karya tembang dolanan anak yang dikolaborasikan dengan ilustrasi yang berisi materi tentang pencegahan dan penyebaran virus Covid-19 kepada siswa sekolah dasar. Metode penciptaan karya seni ada 6 (enam) tahapan yaitu : Discovery, Interpretation, Ideation, Experimentation, Evolution, dan Implementation. Tembang dolanan “Ayo Kanca” ini diharapkan selain untuk pelestarian tembang dolanan juga memberi informasi dan edukasi mengenai wabah pandemi ini. 

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