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Muhammad Nur Salim
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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
 17   18   19   20   21 
KONSEP GARAP NGGANTUNG DALAM KARAWITAN GAYA SURAKARTA Mistortoify, Leica De lovi; Salim, Muhammad Nur; Isma'il, Harun
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.v25i1.6773

Abstract

This study discusses the phenomenon, symbols, and meaning of garap nggantung in the context of Surakarta-style gamelan performances. Data were collected through observation, interviews, and literature studies. The method used is qualitative descriptive analysis. In this study, the focus of the analysis is on the phenomenon, symbols, and meanings related to garap nggantung. This study reveals that garap nggantung is the result of a complex creative process, involving balungan notation, interaction between instruments, and individual interpretations of the gamelan player. Garap nggantung is not only a technique, but also a symbol that contains deep meaning. This finding has important implications for the teaching and preservation of Surakarta-style gamelan. By understanding the meaning behind garap nggantung, gamelan learners can better understand the aesthetic richness of gamelan art. In addition, this study also opens up opportunities for further research on other garaps in gamelan texts in depth.
KEPLOK DAN ALOK DALAM KLENENGAN KARAWITAN GAYA SURAKARTA Suryani, Indah Tri; Pambayun, Wahyu Thoyyib
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.v25i1.6833

Abstract

This paper reveals the expressionist aesthetic problem of keplok alok in Surakarta style karawitan based on the forming factors of musical expressionist aesthetics. Data collection is obtained by means of literature studies, observations, and interviews. Using qualitative research methods with descriptive research types and the theoretical foundation of Theodore Adorno (1948) that the factors forming musical expressionist aesthetics, namely emotion, material formation, contrast, and darkness. In depth, the definition of aesthetics is not only a matter of beauty but comes to the problem of taste. A taste will produce an expression which can produce an impression or character in the presentation of gending karawitan. Keplok and alok are the main musical elements in the smallest character and are not standard, but have a major influence on the taste, beauty, character, purpose or expression created from a gending dish.
MODIFIKASI STRATEGI KREATIF PENGAMEN TUNANETRA DALAM MEMBANGUN INTERAKSI SOSIAL: STUDI KASUS : PENGAMEN TUNANETRA DI JALAN MALIOBORO YOGYAKARTA Sitio, Anantha Angriany
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.v25i1.7353

Abstract

The purpose of this study is to identify changes in creative tactics created by blind people in performing busking. Changes in the rules in the arrangement of the Malioboro tourist location by the Yogyakarta government require blind buskers to change their busking strategy, which used to be walking along Malioboro Street (busking by moving around) to having to settle at a point that has been determined by the Yogyakarta government. In practice, the regulation makes changes for blind buskers along Malioboro Street. The changes are related to the strategies that must be changed, which were previously nomadic but must change to being settled. The purpose of this study is to examine the modification of creative tactics built by blind buskers to achieve success in their busking performances. Observation and interview are a combination of data collection methods in this study. The selection of informants with the purposive sampling method. The results of this study indicate that the busking strategy with the nomadic method is different from non-nomadic busking. Creative tactics occur in various elements such as speakers, volume, sharing tasks, direction of face, and pauses.
INOVASI PEMBUATAN REBAB VERSI RAHARJA: KAJIAN ORGANOLOGI DAN AKUSTIKA Hardy, Donovan; Wijayanto, Bayu; Linuar , Setya Rahdiyatmi Kurnia Jati
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.v25i1.7417

Abstract

This research began with the phenomenon of making rebab initiated by Raharja (hereinafter referred to as rebab Raharja). This produk is a realization of the stimulus of the idea of ​​developing musical instruments in 1993, when he studed at ISI Yogyakarta. The idea of ​​creating rebab Raharja was motivated by the emergence of contradictory criticism of the use of conventional rebab in the presentation of Raharja's gamelan in 1993. There are several parts of his musical composition that have a hard nuance and the presentation of the rebab is done in a standing position. Anticipatory efforts were carried out creatively by taking a number of innovative steps. The goal is that the new rebab details can be used in the context of presenting contemporary musical works. The process of making and experimenting with making rebab Raharja has taken place three times, that was in 1994, 2010, and 2023. Each stage produces two products that have differences in physical and non-physical aspects. The purpose of this study was to examine and describe Raharja's innovation. The realization of his ideas has been carried out in several aspects, such as: technology of making the rebab’s body with resin as an alternative material to replace wood, the design of the shape and construction of the rebab, and the application of electrical technology products as sound generating devices. The method applied in this study is qualitative descriptive analysis. The method and nature of the research are applied to analyze and describe the innovation and process of making Raharja’s rebab. The physical aspect is studied using the discipline of organology, while the sound quality and its processing are carried out using acoustics, a branch of physics that discusses sound. The results obtained from this study are in the form of a description of the meaning of innovation, forms of innovation, knowledge of materials, making design shapes and construction, the process of making the rebab’s body and the process of producing sound by applying electrical technology products. The realization of this idea, changing the physical appearance and sound quality can be processed to be more diverse. As far as the author knows, there has been no rebab made like Raharja's idea. The innovation that has been carried out has the opportunity to be applied to other details, either with the same or different thinking. In essence, it has a noble goal to develop and globalize gamelan through the development of its musical instruments, so that it has a functional suitability and technological equality with other musical instruments.
REALITAS PESINDEN DALAM SUDUT PANDANG INDUSTRI BUDAYA OLEH ADORNO DAN HORKHEIMER Pangastuti, Gutami Hayu
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.v25i1.7461

Abstract

In Javanese karawitan, sindhen plays the role of presenting the music. This activity is referred to as nyindhen with the aim of strengthening the character of the gendhing. The sindhen is not categorized as a solo singer, but rather as part of the instrument, marking her role as not a soloist. Over time, the role of pesinden, especially in pakeliran music, has grown. This is especially true when wayang offerings are expanded through television broadcasts and digital platforms. The public is increasingly familiar with and fond of wayang, especially because of the existence of creativity that is increasingly developed. Instead of introducing the arts of the archipelago, with or without realizing it, it shifts the function and essence of the art actors. So, how does the cultural industry have an involvement in shaping the realm of work of puppeteers? What phenomena are captured from the reality of courtesans in the perspective of the cultural industry? Through analysis with the approach of Adorno and Horkheimer in the Dialectic of Enlightment published by Standford University Press in 2022, it presents a critical point of view around the dialectic of enlightenment including the cultural industry. Using the webtography method, the observation of the data summarized through the article includes two elements, namely the singer and the reality of her work in the cultural industry and the motive of reality as an impact of mass products. The article becomes a form of offer from the description of the reality of the singer who personally conveys an image that cannot be separated as a form of creation.
LELAGON LESTARI BUDAYAKU: GENDING PROPAGANDA BERBASIS SLOGAN Raharja; Saepudin, Asep; Siswati, Siswati
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.v25i1.7626

Abstract

Lelagon Lestari Budayaku  is a musical composition created as one of the selected pieces for the “2023 Inter-Regency/City Yogyakarta Women's Karawitan Festival". The idea is based on the slogan "building a spirit of togetherness in cultural preservation". Based on the function and meaning contained in its lyrics, it falls into the category of propaganda music/songs. This research aims to uncover the background of its creation, methods, strategies, and stages in the process. As implied by the title of the piece, its compositional method prioritizes the aesthetics of traditional karawitan. A common challenge composers face in arranging musical pieces is the opportunity for development. A given musical form is sometimes considered fixed, making it difficult for composers to innovate creatively. For this reason, the lelagon was created in a simple form, allowing festival participants to develop a number of musical innovations. The strategic analysis applied to predict its success used the reception method. Success indicators can be seen from the percentage of participants who preferred the song and the number of views on various platforms where the video recordings were uploaded.
PENGUATKAN IDENTITAS NASIONAL & CINTA TANAH AIR MAHASISWA MELALUI PEMBIASAAN PEMUTARAN LAGU "INDONESIA RAYA" M, Mariyani; Sukma Nur Wardhani, Primandha; Erwin Bria, Makarius
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.v25i1.7632

Abstract

This research aims to explore how the habit of playing the song "Indonesia Raya" in higher education can strengthen national identity and instill the character of love for the homeland among students. Using a qualitative approach with a case study design, data was collected through participatory observation, in-depth interviews, and documentation of campus activities involving the national anthem. Data analysis in this study was carried out through a narrative descriptive approach to the results of in-depth interviews, participatory observations, and documentation of "Indonesia Raya" song playback activities at Primagraha University. The informants in this study were 5 people from different study programs at FKIP and FEB Primagraha University.  The results of the study show that the playing of the song "Indonesia Raya" is not only symbolic, but has a transformative power on students' perspective on the nation, history of struggle, and national values. Certain lyrics evoke a spirit of unity, pride, and responsibility to contribute to the development of the nation. This song also acts as a national identity booster and a source of motivation for students to behave positively in campus and social life. Instilling the character of love for the homeland through national music is a relevant strategy in the era of globalization, where national values need to be integrated into academic and digital spaces creatively. Through meaningful habituation, the national anthem can be a medium of character education that is alive and has a real impact.
NILAI PANCASILA DALAM SYAIR SINDHENAN GAYA SURAKARTA Sukesi
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.v24i2.7080

Abstract

Pancasila is the foundation of the state that has an important position in the life of Indonesian society. Every aspect of the life of the nation and state ranging from law, politics, economics, to art and culture must always be based on the values of Pancasila. In the aspect of arts and culture, Pancasila values are reflected in various traditional art forms, one of which is in Surakarta-style sindhenan poetry. Research on Pancasila Values in Surakarta Style Sindhenan Poetry is an attempt to explore Pancasila values contained in sindhenan poetry commonly used in Surakarta Style Karawitan repertoire. The purpose of this research is to show that the position of the sindhen is not only an object of sound and visual exploitation, but the ability of the sindhen to convey the values of Pancasila which is the basis of the Indonesian state. Thus, this shows that pesindhen have played an active role in socialising the foundation of the state as a way of life as well as the identity of the Indonesian Nation. The result of this research is the existence of Pancasila values and its points as contained in the 2003 TAP MPR RI in Surakarta style sindhenan poetry, especially in the wangsalan section.
GENDERAN ADA-ADA GAYA NYI SUWANDA DALAM SAJIAN WAYANG KULIT PURWA GAYA YOGYAKARTA Suharjono; Santosa Nugroho, Aji; Siswati, Siswati
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.v25i1.7258

Abstract

This study was conducted to find out and explore the techniques, patterns and dynamics of genderan ada-ada wayang kulit purwa Yogyakarta style performed by Nyi Suwanda. In addition, this study is also a means of documenting genderan wayang kulit Yogyakarta style, especially female genderan. In ancient times, especially in the puppetry environment, genderan wayang was generally performed by female genderan. However, along with the progress of the era and the development of karawitan, there has been a shift with the emergence of male genderan in pakeliran karawitan. The uniqueness of the female genderan style of Nyi Suwanda, it is important to document in writing, with the aim that it can be known and studied by the next generation. Thus, the history of genderan wayang originating from female genderan is not interrupted. The research method used is descriptive analysis. The analysis is carried out through several stages, namely: observation by listening to recordings, participatory observation of transcription, identification of techniques, patterns, dynamics and drawing conclusions. Based on the analysis conducted, this study successfully obtained several findings regarding the elements of technique, pattern, dynamics, and laya performed by Nyi Suwanda in the presentation of ada-ada wayang kulit purwa in the style of Yogyakarta. The elements of technique that were successfully found included gembyungan and pipilan. The elements of pattern found included kawitan, baku, rambatan, and panutup. The elements of dynamics found included hard and lirih, while the elements of laya were found to tend to be magak (steady) and firm.
TRANSFORMASI MEDIA KOMUNIKASI TAHURI DARI PENANDA BUDAYA HINGGA KE PENANDA MUSIKAL Walalayo, Mentari Cklaudita
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.v25i1.7440

Abstract

This study aims to understand the phenomenon of the transformation of Tahuri, a traditional medium of communication, from a cultural symbol into a musical symbol within the social life of the Hutumuri community. The analysis of this phenomenon is linked to auditory perception, musical creativity, and the collective memory of the community. To support this analysis, several theoretical frameworks are employed. The concepts of Victor Turner and Maurice Halbwachs are utilized to examine the emergence of the idea and conceptual transformation of Tahuri through the reflective experiences of its initiators. Auguste Comte’s sociological perspective is used to understand the social construction of the new function of Tahuri as a musical instrument within the Hutumuri community. Furthermore, the theories of Andrew Gregory and Djohan are applied to explore the influence of music on the community’s enthusiasm for preserving Tahuri as cultural heritage. To achieve these objectives, this research adopts a qualitative approach, using semi-structured interviews with eight informants who are directly involved in the use and preservation of Tahuri. The findings of this study indicate that the transformative idea of Tahuri originated from the reflective experiences of its initiators, who recognized both the musical and cultural potentials inherent in the instrument. This idea was positively received by the Hutumuri community, who also acknowledged Tahuri’s musical potential and considered that its use as a musical instrument does not interfere with its function as a cultural symbol. Therefore, transforming Tahuri into a musical instrument represents an effective strategy to foster the enthusiasm of the Hutumuri community in preserving Tahuri. The productivity of musical activities and the optimization of performance quality have contributed to the personal development of Tahuri musicians, enabling their active participation in musical activities at the Sanggar Kakoya Tahuri Hutumuri.

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