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Jl. Ki Hajar Dewantara No.19, Jebres, Kec. Jebres, Kota Surakarta, Jawa Tengah 57126, Indonesia
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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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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 : Surakarta: Jurusan Karawitan 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 : Surakarta: Jurusan Karawitan 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.
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 : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

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

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 : Surakarta: Jurusan Karawitan 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 : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v24i2.6548

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 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 : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v24i2.6567

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 : Surakarta: Jurusan Karawitan 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 : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v24i2.6977

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.
EKSPLORASI ORGANOLOGI DAN INSTRUMENTASI DALAM SENI TRADISI TAMBUR MASYARAKAT SASAK Suryadmaja, Galih; Mukminah; Nurtikawati; Salniwati; Ningsih, Dewi Puspita
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 25 No. 1 (2025): 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.v25i1.7130

Abstract

This research explores the traditional Tambur art of the Sasak community as a cultural artifact possessing historical, organological, and social significance. The Tambur is not merely regarded as an instrument; it also serves as a symbol of identity and a space for contesting narratives between claims of Balinese heritage and the local Sasak roots. The study indicates that the Tambur has undergone a process of localisation, rendering it an inseparable part of the cultural practices of the Wetu Telu Islamic community, particularly within the context of the Perang Topat ritual. From an organological perspective, the Tambur instrument and its ensemble demonstrate the technological skills of the community in transforming natural materials such as wood, metal, skin, and bamboo into musically meaningful and functional instruments. Its rhythmic and collaborative instrumental structure reflects values of mutual cooperation, spirituality, and a connection to the environment. In a social context, the Tambur serves as a binding medium for the community and a link between generations. It functions as a cultural communication tool that preserves the continuity of tradition amidst the challenges of changing times. Therefore, the preservation of the Tambur should be understood as an effort to maintain the identity and vitality of local culture, which is increasingly threatened by global homogenisation.
PROSES PENCIPTAAN KOMPOSISI KRAAAK! OLEH GRUP EKLIPTIKLANG COLLECTIVE Hanuraga, Sri; Pambayun, Wahyu Thoyyib; Sukawiadnyana, I Gede Yogi; Srayamurtikanti, Ni Nyoman
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.v24i2.6453

Abstract

The creation of musical compositions can be inspired by various motives, both internal and external. The composition titled “Kraaak!” is a work by the music group Ekliptiklang Collective, commissioned by MelatiSuryodarmo and Rebecca Kezia as curators for the Ekayana program of the Indonesia Bertutur Festival in 2024. Thiscommission required the Ekliptiklang Collective to incorporate the intangible cultural heritage of Bali, specifically theSubak Bali concept. Through the dissertation by Mawiti Infantri Yekti, titled “Role of Reservoir Operation inSustainable Water Supply to Subak Irrigation Schemes in Yeh Ho River Basin,” Ekliptiklang Collective discoveredthat Subak is an organization of water users for fields of its members to obtain water from the same source, which hasa complex structure that ensures both autonomy and, at the same time, interdependence among its members. Thisstructure was then adapted by Ekliptiklang Collective to create a long-duration composition that integrates threedifferent musical traditions and four personal reflections on water from the regions of each member of the group.

Page 18 of 21 | Total Record : 202

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