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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 208 Documents
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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 : Surakarta: Jurusan Karawitan 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."
SISTEM WARISAN BUDAYA TAKBENDA – TANTANGAN PELESTARIAN BUDAYA DALAM PERSPEKTIF LINTAS BUDAYA Poplawska, Marzanna
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 25 No. 2 (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.v25i2.7725

Abstract

This article examines over a decade of research and observations on the development of policies related to Intangible Cultural Heritage (ICH) and their impact on terminology, administrative structures, and types of protective measures. The primary data collection, including extensive fieldwork, took place between 2022 and 2024. I explore the influence of the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (2003) on performing arts and local communities in Indonesia and Poland. The two countries provide distinct examples of different societal contexts: one European and relatively homogeneous, the other postcolonial and highly diverse. The article presents findings from my research on selected performing arts inscribed on the UNESCO list: Indonesia’s angklung and pencak silat, and Poland’s polonaise. Through the analysis of these examples, framed within a broader cultural context, I demonstrate how the ICH system affects, or fails to affect, the status of traditional performing arts, the interpretations of cultural heritage, and the evolving roles of culture.
TRANSLASI BUNYI KE TEKS: MODEL PROJECT-BASED LEARNING DALAM PEMBELAJARAN PENULISAN KARYA SENI DI PROGRAM STUDI ANGKLUNG DAN MUSIK BAMBU Ega Fausta; Dyah Murwaningrum
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 25 No. 2 (2025): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

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Abstract

Students of the Angklung and Bamboo Music Study Program often face challenges in transforming their musical practice excellence into structured academic writing for their final projects. This article identifies a significant gap between practical skills and academic literacy. Based on data collected through literature review, Likert-scale surveys, and interviews with lecturers, the main challenges lie in students’ limited academic literacy and difficulties in linking theory with artistic practice. Although the Art Writing course is considered highly relevant (score 4.6) to the final project, students’ conceptual understanding remains moderate (3.8). The findings highlight an urgent need for cross-course integration (score 4.7). As a strategy to bridge this gap, the study recommends implementing a Project-Based Learning (PjBL) model within an Outcome-Based Education (OBE) framework. Combined with curriculum improvement that strengthens integration, this approach aims to position academic writing not as a separate activity but as an integral part of the creative process of sound-making, thereby enhancing the holistic quality of students’ final projects. Keywords: Sound studies; Art writing; Academic literacy; Angklung and bamboo music; Project-Based Learning;
TUBUH YANG BERTAHAN: STRATEGI SINDEN MAHASISWA MENGELOLA KRAM DI ATAS PANGGUNG Sitio, Anantha Angriany; Indah Cahyasari; Rudi Punto Prabowo; Bagas Surya Muhammad
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 25 No. 2 (2025): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

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Abstract

The purpose of this study is to identify the forms of stage adaptation performed by student sinden (female vocalists in Javanese gamelan) when experiencing leg cramps during a live performance. During performances lasting approximately 40 to 50 minutes, the sinden sit in a static kneeling position, which can lead to muscle tension and cramps in the legs. This condition requires each sinden to develop adaptive strategies to maintain the quality of their vocal and expressive performance despite the physical constraints experienced during the performance. This study employs a qualitative method with a case study approach. The approach was chosen because the research focuses on the phenomenon of cramps experienced by student sinden during recital examinations at the Indonesian Institute of the Arts (ISI) Surakarta. Of the ten sinden who performed, four were selected as research subjects based on varying levels of cramp intensity. In-depth exploration was conducted to reveal their experiences and stage adaptation strategies used to maintain vocal performance and artistic presence amid physical limitations during the performance. The results show four forms of stage adaptation performed by student sinden during the performance: (1) motor stimulation of the right leg, (2) calf muscle stimulation, (3) massage of the calf and shin area, and (4) repositioning of the hands resting on the legs. These adaptations were not performed simultaneously but were adjusted according to each sinden’s physical condition and vocal role. These adaptive activities were generally performed during musical sections without vocals, while during vocal sections, the sinden focused their attention on voice control and musical expression.
ANALISIS MAKNA LIRIK DAN MELODI BUKA LANGSE SEBAGAI STRUKTUR PEMBUKA TEATER ABDUL MULUK DI DESA SEMBUBUK MUARO JAMBI Dinda Assalia Avero Pramasheilla; Gen Dekti; Ikhsan Satria Irianto; Lusi Handayani; Sarbeni
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 25 No. 2 (2025): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

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Abstract

This study aims to reveal the meaning of the lyrics and their relationship with the melodic structure of Buka Langse as the opening segment in the traditional theater performance Abdul Muluk. The research employs a qualitative approach using a descriptive-analytical method through observation, interviews, and documentation study. The findings show that each verse of the Buka Langse lyrics carries both denotative and connotative meanings that reflect the religious, social, and moral values of the Malay Jambi community. The greetings, introduction of the play, and expressions of apology within the lyrics represent the interaction between performers and the audience. In addition to serving as a marker of the performance’s commencement and a medium for transmitting spiritual values, the lyrics also represent the cultural identity of the Sembubuk community, positioning this traditional theater as both an expressive art form and a means of preserving cultural heritage.  
GARAP KENDHANGAN INGGAH LAMBANGSARI: YOGYAKARTA, SURAKARTA, DAN NARTOSABDAN Ismail, Harun; Leny Nur Ekasari; Sri Eko Widodo
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 25 No. 2 (2025): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

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Abstract

This research describes the variations of kendhangan (drumming) techniques in the inggah of Gendhing Lambangsari, which can be presented in three distinct styles: Yogyakarta, Surakarta, and Nartosabdan. The focus of the problem in this article lies in how the drumming patterns of the three styles are presented in the Lambangsari gendhing and what the characteristics of the musical taste of each style are.The study employs a descriptive-analytical qualitative method, utilizing literature review, field observations, and in-depth interviews with karawitan masters (empu). Data analysis was conducted by deconstructing technical aspects based on the concept of garap, supported by musical parameters such as laya (tempo), irama (rhythm), and pematut (appropriateness).The results indicate clear aesthetic distinctions within each style: (1) the Yogyakarta style tends to evoke an antal (steady) and lugas (straightforward); (2) the Surakarta style tends to convey a prenes (flirtatious) and kenes (charming); and (3) the Nartosabdan style tends to project a gumyak (cheerful) and gobyok (lively). These findings confirm that integrating these three styles into a single performance not only enriches the musical presentation but also enhances the aesthetic value and appeal of the karawitan performance.
MODIFIKASI GARAP GENDHING OREK-OREK GAYA REMBANG Prayugalihingtyas Dwi Hapsari; Muhammad Nur Salim; Ananto Sabdo Aji
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 25 No. 2 (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.v25i2.7394

Abstract

The research entitled "Modification garap of Gendhing Orek-Orek gaya Rembangan" aims to analyse the modification that occur in Gendhing Orek-Orek gaya Rembangan, as well as describe the factors that influence the modification. Analyzing the modification that occur in Gendhing Orek-Orek gaya Rembangan uses the theory offered by Supandi and Rahayu Supanggah. To describe the modification factors using the theory offered by Shils and Rahayu Supanggah. The metode used in the research is a qualitative research method with the stages carried out, namely data collection and data analysis. The modification that occurs in Gendhing Orek-Orek gaya Rembangan is done by a process that produces a new Gendhing Orek-Orek by changing the structure and performance. The structure has the addition of suwuk gropak and buka celuk. Garap experienced changes and additions to the materi garap, sarana garap, and prabot garap. The occurrence of modifications is caused by factors such as the awareness of the performer, the quality of the individual, and other driving factors such as garap considerations, public tastes, and revitalization of the arts.
PERAN KENDANG DALAM SAJIAN MRABOT GENDHING REGENG LARAS PÉLOG PATHET BARANG Nanda Indah Nur Risqia; Suyoto
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 25 No. 2 (2025): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

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Abstract

This study discusses the role of the kendang in the performance of Gendhing Regeng in the mrabot form, tuned to pélog pathet barang. The research focuses on how the kendang is elaborated in relation to aspects of rhythm, tempo (laya), ornamental patterns (sekaran), and variations (wiledan). The aim is to describe the function of the kendang not only as a timekeeper but also as a structural and expressive element in the presentation of the gendhing. This study employs a qualitative method, with data collected through literature review, direct observation, and interviews with karawitan practitioners. The analysis applies the theory of garap and the concept of mandheg in Surakarta-style karawitan. The results indicate that the kendang functions as the controller of rhythm and tempo, while also shaping dynamics through accents, stresses, volume, and rhythmic patterns. In the inggah section, variations of mandheg are found in wiled and rangkep tempos, along with sekaran presented in several wiledan variations. Types of kendhangan such as matut, tangguh, and mungguh are employed to emphasize both light and heavy sèlèh, enriching the musical expression of the gendhing. Overall, the kendang plays not only a controlling role but also determines the character and aesthetic color of Gendhing Regeng in pélog pathet barang.

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