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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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KÊMBANG JAMBÉ, GÊNDHING KÊTHUK 2 KÊRÊP MINGGAH 4 LARAS SLÉNDRO PATHÊT SANGA: KAJIAN GARAP GENDÈR Irawati, Rika; Siswati
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

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Abstract

The article entitled “Kêmbang Jambé, gêndhing kêthuk 2 kêrêp minggah 4 laras sléndro pathêt sanga: Kajian Garap Gendèr” was compiled to explain the study of gendèran Kêmbang Jambé. Kêmbang Jambé is one of the Surakartan style gendhing repertoires which is included in the Kepatihan gendhing. In this article, the author offers the gêndhing Kêmbang Jambé of Mloyowidodo’s version, guided by the garap of Surakartan style traditional karawitan, including the garap of mrabot, ciblon irama wiled, and rangkep. This artwork research is qualitative research. Data collection has been done through literature studies, observation, and interviews. The series of the gendhing in this artwork thesis has been played referring to the concept of Surakartan style karawitan. The concept that has been used are garap, mrabot, pathêtm and mungguh. The result of the study of Mloyowidodo’s version of garap gendèr gêndhing Kêmbang Jambé is there are several balungans that can be an alternative to the garap ciblon irama rangkep. This study applies céngkok and garap which refers to the other Surakartan style gendhing, to be applied in the irama rangkep. The author refers to the case of garap in the gendhing Onang-onang, then applies it to the gendhing Kêmbang Jambé by paying attention to all aspects, including kemungguhan.
KAJIAN PENGETAHUAN DAN PEMINAT BERMAIN MUSIK SASANDU DALAM KALANGAN MASYARAKAT KABUPATEN ROTE NDAO: KAJIAN PENGETAHUAN DAN PEMINAT BERMAIN MUSIK SASANDU DALAM KALANGAN MASYARAKAT KABUPATEN ROTE NDAO Kojaing, Kataharina; Tolan, Stanislaus Sanga; Kian, Melkior; Saptono, Patricia Petrawati; Efliemsu , Maria Marchindy; Nahak, Petrus
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

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Abstract

Sasandu is a traditional musical instrument typical of the people of Rote Ndao, NTT Province, and has become an icon of NTT province.   However, the activeness of the people of NTT, especially the people of Rote, in playing sasandu music seems to be lacking. It is very rare to find performances playing sasandu music. This research aims to determine knowledge and interest in playing sasandu music among the people of Rote Ndao district.  The research method was a survey and interviews with 440 respondents from four categories, namely: teenagers, parents, village government officials and arts activists, 110 people each. Respondents were found in 110 villages, in 11 sub-districts throughout Rote Ndao Regency, and in each sub-district at least 5 villages. Result of the research, data was obtained that all respondents knew about the sasandu musical instrument, had heard the sound of sasandu music, had watched people playing sasandu and knew that the sasandu musical instrument was an icon of the NTT province. All respondents also stated that they liked hearing the sound of sasandu music. In the aspect of those interested in playing sasandu music, data was obtained that among youth, parents, village officials and music activists, those who stated they wanted to play sasandu music were 43.63%, 16.35%, 25.45% and 83, respectively. 63%. Of this category of respondents, those who stated that they had tried to practice playing sasandu music were: 14.54%, 5.45%, 5.45% and 21.81%.
EKSPLORASI MIXING BINAURAL BEATS PADA BUNYI SULING BAMBU Murwaningrum, Dyah; Mulya, Satria; Gaumantara, Jaka
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 24 No. 2 (2024): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Institut Seni Indonesia Surakarta

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Abstract

The binaural beat phenomenon has shown its effectiveness for the world of health, through testing research. Research generally focuses on testing the effectiveness of binaural beats both psychologically and through EEG testing. Meanwhile, binaural therapy music that is circulating for free is formed from digital signal processing using a generator, not real instruments. That is what often affects the willingness and comfort of users.
This research is an explorative research with an ethnomusicological approach, especially electroacoustics (digital sound processing technology) and applying the principle of brainwave state. This research is an exploration of binaural beat sound processing using original instruments. This exploration aims to explore the sound potential of native instruments through the development of mixing, so that in the future it can be used as part of therapeutic music that can be enjoyed comfortably by its users.
The research began with an exploration of bamboo flute recordings in diatonic scales. Next, a binaural beats-basedmixing experiment using an oscillator was conducted. This research produced several results of flute sound processing in the form of binaural beats in Beta, Alpha, Theta and Delta waves. The sound results were then analysed audibly and described in visual form (spectrum) and written explanation.
SWARA SARONDER: SEBUAH KOMPOSISI KARAWITAN INTERPRETASI UNSUR TIGA DALAM INSTRUMEN GAMELAN JAWA: SEBUAH KOMPOSISI KARAWITAN INTERPRETASI UNSUR TIGA DALAM INSTRUMEN GAMELAN JAWA Suhardjono; Nugroho, Aji Santoso
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 24 No. 2 (2024): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Institut Seni Indonesia Surakarta

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Abstract

Swara Saronder is a work of musical composition inspired by observations of Javanese gamelan and the triple phenomenon of the dominance of pencon-shaped instruments which form tiered strata sequentially from largest to smallest. Each of these instruments has different functions and tasks but forms a unified whole. The existence of three instrumental elements that dominate Javanese gamelan is a source and basis for the creation of musical compositions. Swara Saronder is a musical work that originates from the drumming techniques of the gender and saron groups. Personal experience as a gamelan composer (musician) was the inspiration for this musical composition. Because the technique of playing blade group instruments is interesting to study and develop as a reference for creating a musical composition work. The purpose of creation is to try to express musical anxiety towards Javanese gamelan in the form of interpretations of musical compositions that are not always bound by the rules of conventional musical form. The creation method/process is carried out through several stages, namely observing the source object, processing ideas and the process of pouring out the results.
MAKNA SIMBOLIK KETAWANG UNDUR-UNDUR KAJONGAN DALAM UPACARA TINGALAN JUMENENGAN DALEM DI KARATON SURAKARTA Hermawan, Rival Sandhika; Ikhwan, Nil
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

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Abstract

Ketawang Undur-Undur Kajongan is a gending pakurmatan relic of Sultan Agung during the Islamic Mataram kingdom for the purpose of the tingalan jumenengan ceremony, and presented at the jengkar dalem procession. The use of Ketawang Undur-Undur Kajongan for the tingalan jumenengan ceremonies was continued by the Surakarta Kasunanan Palace for the jengkar dalem of Susuhunan Pakubuwana. Ketawang Undur-Undur Kajongan specifically to honor the king and only with the king's permission Ketawang Undur-Undur Kajongan can be performed. The use of gambang gangsa instruments in the gamelan ageng instrument makes Ketawang UndurUndur Kajongan has an own unique and also becomes one of the categories of gending pamijen. Ketawang UndurUndur Kajongan has two functions as a symbolic representation of the king's greatness, as well as a marker in the tingalan jumenengan ceremony. To dissect the problems in the material object, researcher uses a qualitative method with observation, interview and data analysis. Using the theory of music function by Alan P. Merriam with using two elements of function, namely the function of music as communication and the function of music as a symbol representation, as well as the semiotic theory of Marcel Danesi to sharpen the argument about symbolism. Chapter two discusses an overview of Surakarta Palace and an overview of the tingalan jumen ceremony. Overview of the tingalan jumenengandalem ceremony, chapter three discusses the the structure of Ketawang Undur-Undur Kajongan from the point of view of musical communication in the ceremony, and chapter three. Musical communication in the ceremony, and chapter four discusses the symbolic meaning of Ketawang Undur-Undur Kajongan.
GAMBIR SAWIT SEMBUNG GILANG VERSI NYI M.M RUBINEM Sutrisni; Siswati; Asep Saepudin
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 24 No. 2 (2024): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Institut Seni Indonesia Surakarta

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Abstract

Nyi Maria Mahdalena Rubinem is a professional singer from the city of Yogyakarta before 1945 and experienced her heyday in 1955-1973. Nyi Rubinem is the only singer from the city of Yogyakarta who received the title of Maestro Sinden. This is interesting to research to find out how to work on Nyi Rubinem's sinden in more depth.  The discussion in this research is focused on Nyi Rubinem's version of working on sinden in relation to conventional working on sinden norms with the aim of knowing and describing the characteristics of working on sinden and Nyi Rubinem's strengths as a singer. To solve the problems in this research, the descriptive analysis method was used, namely a research method carried out by describing the data that has been collected, then continuing with analysis of working on sindenan. The data analyzed includes: the application of lyrics to the piece, cengkok sindenan, the generation of sinden and the presentation of sinden. The results obtained from the research show that Nyi Rubinem, in working on her sindenan, has distinctive characteristics, including the crooked sindenan srambahan seleh notes 1, 2 and 5. A striking characteristic is the color of her voice which is very shrill and tends to be kêmèng, a characteristic is also found in the repetition of the sindenan Isen-isen with a feminine, feminine accent. Nyi Rubinem's strength as a singer can be seen in her total appearance, both physically and in terms of potential/skills.
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 : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

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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 : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

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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. 
KAJIAN MUSIKAL KOMPOSISI GAMELAN LOGDRO BANGSAKU KARYA BLACIUS SUBONO Pambudi, Wibi Endah; Askanta, Purwa; Pramono, Guruh Purbo
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 24 No. 2 (2024): 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.v24i2.6010

Abstract

The jurnal entitled “The Study of Musical Composition of Gamelan Logdro Bangsaku by Blacius Subono” basically aims to examine the musical elements in the composition of Gamelan Logdro Bangsaku. The problems contained in this study include: 1. How is the process of creativity of B. Subono in creating the composition of Gamelan Logdro Bangsaku, 2. How is the musical study in the composition of Gamelan Logdro Bangsaku. The type of research used is qualitative research with data collection techniques including interviews, transcriptions, observations and literature studies. After going through the analysis process, the following conclusions and findings were found. First, the creation of Gamelan Logdro's composition was formed from the manifestation of B. Subono's artistic journey. Secondly, the creation of the composition of Gamelan Logdro Bangsaku also created a new interval of composing slendro and pelog tones sequentially with araka intervals that are not too far away. Third, the melody of the clash of notes that focuses on the beauty of the song's sentences. Fourth, there is a lot of musicality in the compositional work of Gamelan Lodgro Bangsaku.
SISTEM PELARASAN PADA GAMELAN KYAI KANJENG Agus Setiawan; Salim, Muhammad Nur; Aji, Ananto Sabdo
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 24 No. 2 (2024): 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.v24i2.6215

Abstract

This article is a research that aims to determine the tunning system in Gamelan Kyai Kanjeng and the factors that influence the tunning system in Gamelan Kyai Kanjeng. This research combines two methods, namely, qualitative and quantitative. Qualitative data collection techniques were carried out using literature studies, observations, interviews and documentation studies. The quantitative data collection technique in this research was carried out by recording tones and measuring the frequency of Kyai Kanjeng’s Gamelan. The results of the research show that the tunning system in Gamelan Kyai Kanjeng is a flexible tunning system that can cover several music genres with diatonic tonality. The tunning system applied to Kyai Kanjeng’s Gamelan is influenced by several factors including the influence of Emha Ainun Nadjib, the empirical experience of gamelan makers and the repertoire of Kyai Kanjeng.

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