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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 KESENIAN TONGKIR PADA PAGUYUBAN SENI TONGKIR SELERA HATI DI DESA NGARINGAN KABUPATEN BLITAR Rahayu, Dinda; Sabdo Aji, Ananto
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.v25i1.7650

Abstract

The research titled “The Function of Tongkir Art in the Selera Hati Tongkir Art Community in Ngaringan Village” is motivated by the researcher’s interest in the functional aspects of tongkir art, which remains preserved within the community. This art form reflects strong social dynamics, where its social functions emerge through cultural interaction and musical innovation, particularly through the integration of gamelan instruments. Thepurpose of this study is to describe and analyze the functions of tongkir art within the socio-cultural context of thelocal society. The research employs a qualitative approach with data collection techniques including observation, interviews, and documentation. The functions of the art are analyzed using Allan P. Merriam’s theoretical framework, which encompasses entertainment, communication, and cultural preservation functions. The results show that tongkir art serves as a means of entertainment, a medium for social and expressive communication, and a tool for thetransmission of cultural values. The Selera Hati Tongkir Art Community plays a key role in maintaining the existence and continuity of tongkir art in Blitar Regency.
KROMONGAN MUARA ENIM SUMATERA SELATAN: SEBUAH KAJIAN BENTUK, SISTEM PELARASAN DAN KOHESI SOSIAL Puspita Sari, Tika; Lutfia Okta Riwayati
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.v25i1.7302

Abstract

This research explores the kromongan in Muara Enim, South Sumatera, as a form of traditional art that has aesthetic, musical, and social value. The study focuses on three main aspects, namely presentation form, tuning system, and social cohesion. This study uses descriptive analysis methods. As a form of qualitative research, data is obtained from actual events, without any intervention from the researcher. Data processing was carried out using inductive analysis techniques, namely by interpreting the data based on patterns, themes, and categories that emeged during the research process. To support the collection of songs in kromongan games, namely Jarum Pelitas, Rejung tetambang, Siamang Jauh, and Saluang Mudik. These five forms can be seen from the structure of the peninting instrument. For the people of Muara Enim Rancap, Jarum pelitas, Rejung Tetambang, Siamang Jauh, and Saluang mudik are important entities in kromongan because these five things are manifestations of the art and culture of the Kromongan Muara Enim community, contributing to the creation of a solid and socially empowered society.
PITUTUR: SEBUAH KOMPOSISI KARAWITAN DALAM PERSPEKTIF REPRESENTASI KENAKALAN REMAJA Atmojo, Bambang Sri; Nugroho, Aji Santoso
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 2 (2023): 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.v23i2.5515

Abstract

This Pitutur composition is a composition of songs worked on lirihan. In the Pitutur composition, the embodiment of the idea or idea of song composition is presented by containing a special ensemble consisting of 4 instruments, namely: Slenthem, Gender barung, gender penerus and ketuk kenong laras pelog patet nem. In this composition there is no kendang instrument, with the premise that in the presentation of his work it is expected that the players will be more sensitive to the ulat-ulatan system and adumanising rasa. As for the vocals of the Pitutur composition, it is more dominated by choral vocals (together). The creation of poetry is based on observing the reality of juvenile delinquency that has hit small towns in Indonesia, such as gangs, graffiti, theft, hold-ups, drunkenness and murder.The research method in creating a speech composition is through two stages, namely the preparation stage and the implementation stage. The results of the work show that the composition works on several gender beats which can give a new flavor, including garap buka which is sung by gender barung and the successor simultaneously so that it creates a dynamic atmosphere, working on the imbal-imbalan is presented at a slow tempo creating a sareh (calm) atmosphere, while at a slow tempo quickly creates an atmosphere of greget (firm), works on kinthilan creates an atmosphere of sigrak (enthusiasm), works on joy, creates an atmosphere of prenes (happy). Kata kunci: Pitutur; ensembel gender; komposisi; lirihan, vokal koor
IDENTITAS GARAP MUSIK JOMBANGAN PADA KESENIAN JARANAN DOR DI KABUPATEN KEDIRI Nugraha, Andre Prasetya; Salim, Muhammad Nur
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 2 (2023): 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.v23i2.5640

Abstract

This study aims to analyze the identity of Jombangan music garap and its forming factors in the art of Jaranan Dor art group "Karya Budaya" in Kediri Regency. The problem is analyzed using theories put forward by several figures. In the process of analyzing identity in garap music, Jaranan Dor uses the theory offered by George M. Head and Rahayu Supanggah, and to describe the factors of identity formation using the theory proposed by Stuart Hall. This research uses qualitative methods, with stages of data collection, data analysis, and data presentation. The data collection phase includes interviews, observation, documentation, and transcription. The data analysis stage includes data reduction, data presentation, and conclusions. The data presentation stage is carried out after obtaining the results of the data analysis stage and then presented in a scientific writing work. The identity formed through the elements of music garap in the Jaranan Dor art group "Karya Budaya" is Jombangan. Jombangan identity can be formed due to several factors, including geographical location, cultural conditions of the community, and history.
BUKAN HANYA KANCA WINGKING PUSPA KARIMA DALAM STIGMA GENDER MENUJU PANGGUNG INTERNASIONAL Nugroho, Mukhlis Anton; Sunarmi; Soewarlan, Santosa
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 2 (2023): 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.v23i2.5732

Abstract

The rapid development of the digital era has changed the view of women's roles that were previously confined to household responsibilities, and now the stigma is starting to erode. In Javanese culture, there is the concept of "kanca wingking" which refers to the role of women at home to perform tasks such as cleaning, cooking, taking care of children, and so on. However, with the advent of the women's emancipation movement, the stigma has begun to fade as many women have careers. The same thing happened in the traditional music scene in West Java. Gender stigma also emerged by prohibiting women to play the Rebab instrument in Sundanese karawitan. This paper discusses how Puspa Karima, whose members are all women, tries to change the gender stigma in Sundanese karawitan performances. The method used is qualitative as a research procedure that produces descriptive data in the form of written or spoken words from people through the interview stage. In addition, data can also be collected through observation of people's behavior in the field on the object of research. The results of this paper show that Puspa Karima not only succeeded in changing the gender stigma that applies to Sundanese karawitan performances, but Puspa Karima actually succeeded in bringing gender issues in the case of karawitan art to the international arena. Keywords: Gender Stigma, Kanca Wingking, Women, Sundanese Karawitan
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 : Surakarta: Jurusan Karawitan 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 : Surakarta: Jurusan Karawitan 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 : Surakarta: Jurusan Karawitan 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 : Surakarta: Jurusan Karawitan 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 : Surakarta: Jurusan Karawitan 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.

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