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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
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RAJA MATARAM DAN PERANANNYA DALAM DUNIA KARAWITAN Rabimin Rabimin
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 6, No 2 (2006)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1705.777 KB) | DOI: 10.33153/keteg.v6i2.589

Abstract

The idea of this article was from the author ~ thought to find out about the values within the Javanese karawitan. Appart from that it is also connected to the careness to nowaday c fenomenon that young generation is careless of those values. They are more interested in the skill ofplaying gamelan instead, wich is relatively easier to do. Through a research on “Serat Till Asrf” by Supardal Hardasukarta, particularly on Asmarandana and Mijil Parts, it is known that they convey the activities of King Adiningrat Anyakrawati in Mataram studying karawitan seriously. The result of the analysis shows that after having failed to expand the kingdom teritory, he realized the importance of karawitan functions and values to Javanese’ lives. To understand deeper meaning of karawitan, he asked Sunan Kalijaga to explain the knowledge of reality within karawitan. He later realized that the knowledge of reality leads to the lesson of good manner as a way of live, both during the 4fe and after the death. The impact of that he then wrote a book called “Sastra Gending” as a part of the Sophisticated Karawitan.Keywords : Meaning of Karawitan.
KLASIFIKASI KARAKTER REBABAN GAYA SURAKARTA Bambang Sosodoro
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 14, No 1 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (439.762 KB) | DOI: 10.33153/keteg.v14i1.661

Abstract

In essence, this study examines a concept contained in rebaban Surakarta style. Ie terms that relate to the character or flavor rebaban, such as: prasaja, whole, Alus, anteb, mbranyak, sigrak, tregel, prenes, rongeh, cakrak, and Berag. In Javanese musical life until today, the phenomenon of the terms are still often encountered. Statements about the character rebaban, always pointing at someone (pengrebab). Wahyopangrawit example, is a fairly popular figure pengrebab and phenomenal musical community with the whole character and Alus. Likewise pengrebab-pengrebab others, certainly has character rebaban different. Among musicians, generally found rebaban character is a representation of a personal character, the nature of the person, or a reflection of their daily behavior. On the other hand, the character rebaban also part of working on. Is how the tenants (pengrebab) seeks to match the character of the musical piece, which basically has been built by the games ricikan, especially ricikan working on ngajeng. This study seeks to formulate characters rebaban based on the views by the musicians. Labih Further, these characters are classified or grouped based on its characteristics. Broadly speaking, the character can rebaban dipilahkan into two large families, which is shed and mbranyak. Both of these families have a sub-sub-characters, namely: prasaja and Alus is entered on the whole character of the area, while the character mbranyak include characters: prenes, tregel, cakrak, rongeh, and Berag. Among these characters, there are some that are highly aggregated, but also there are a number of characters that can be said to be similar, identical, or color. Rebaban medium of expression is one of the many mediums in Javanese gamelan. Rebaban also an expression of the artist’s soul, through the game hands and fingers.Keywords: classification, musichal character, rebaban
KONSEP MUSIK PAKELIRAN PILIHAN GARAP K1 PURBO ASMORO Sarno Sarno
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 3, No 1 (2003)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (921.751 KB) | DOI: 10.33153/keteg.v3i1.569

Abstract

The Concept of Wayang Accompaniment of Purbo Asmoro The wayang pe,formance of Pu,bo Asmoro is related It’ condensed shadow puppetperformance (pake/i,~n padat). This can be seen fivm: the dear messages, the efficient treatment of the stofy, and the omission of unnecessary idioms. For thatreason, he does not feel necessary to use the “huge” ensemble of campursari (the hybrid style between game/an and popular music). The concept of musicalaccompaniment makes it possible to use alternate source and be effective in using the music.
Resensi Buku : Musik Revolusi Indonesia Djohan Salim
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 8, No 1 (2008)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1502.266 KB) | DOI: 10.33153/keteg.v8i1.629

Abstract

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MUNGGUH DALAM GARAP KARAWITAN GAYA SURAKARTA: SUBJEKTIFITAS PENGRAWIT DALAM MENGINTERPRETASI SEBUAH TEKS MUSIKAL Bambang Sosodoro
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 15, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1287.948 KB) | DOI: 10.33153/keteg.v15i1.2025

Abstract

Pada hakikatnya, tulisan ini mengkaji sebuah konsep yang terkandung dalam garap karawitan gaya Surakarta, yakni mungguh. Secara prinsip, masyarakat karawitan Jawa memaknai mungguh sebagai persoalan yang menyangkut tentang etika-estetika, nilai-nilai keindahan, dan keidealan pengrawitdalam menyikapi ricikannya. Mulai dari sikap duduk menabuh, teknik memainkan atau menyuarakan instrumen, hingga ke persoalan musikal, yakni garap gendhing atau instrumen. Mungguh adalah bahasa Jawa yang berarti: patut atau pantes, manggon, trep, gathuk, dan penak (pantas, sesuai pada tempatnya, pas, cocok, dan enak). Studi ini mengkaji secara tekstual, yaitu menempatkan karawitan Jawa sebagai sebuah teks (musikal), artinya sesuatu yang perlu dibaca dan ditafsir. Adapun fokusnya adalah menyoroti perkembangan mungguh pada garap, berikut pandangan-pandangan oleh para pengrawit khususnya di Surakarta. Kelenturan jenis musik ini menawarkan sejumlah alternatif garap, maka tidak mengherankan jika muncul banyak perbedaan pandangan, keyakinan, dan selera di antara para pengrawit. Dalam menggarap gendhing “klasik”, sebagian besar pengrawit selalu mempertimbangkan konsep-konsep estetika Jawa, salah satunya ialah mungguh. Mungguh sesungguhnya adalah persoalan kebiasaan, kelaziman garap yang telah mapan, disepakati secara kolektif oleh masyarakat karawitanJawa. Bahkan, sifatnya sangat subyektif dan terikat oleh ruang dan waktu. Untuk mengungkap dan mengkaji konsep mungguh, diperlukan konsep garap. Konsep tersebut dipandang cukup relevan, karena pada hakikatnya mungguh adalah konsep estetika yang selalu melekat dan terkandung dalam konsepgarap itu sendiri. Dalam penerapannya, konsep garap tersebut dielaborasi sesuai dengan tujuan dan kebutuhan penelitian ini, sehingga terwujud sebuah model baru.Kata Kunci: mungguh, garap, subyektifitas.
REVITALISASI GENDING-GENDING BANVUMAS DALAM GAMELAN CALUNG SEBUAH TAWARAN KARYASENI Darno Darno
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 6, No 2 (2006)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1802.32 KB) | DOI: 10.33153/keteg.v6i2.603

Abstract

This work is a bid to revitalize traditional Banyumas compositions for calung gamelan, an effort to enable the re-emergence of a traditional art form which has recently been deemed to have become extinct. The musical works are the composers attempt, in so far as is possible, to interpret and rediscover the depth of potential of calung and traditional Banyumas compositions in an innovative way. Traditional Banyumas compositions for calung which are typically performed in a careful, static manner, both rhythmically and melodically, are presented here in a more energetic and varied way. Various dynamic processes such as irama [rhythym], tempo, melodic contour and register are explored as well as using more established and transparent techniques. Through these processes, the composer makes a deliberate effort to create a system whereby other musicians can easily learn and imitate the techniques presented in these works.Keywords : Revitalitation, Calung, Alternative
KOMPOSISI MUSIK BUBARAN LEAR KOMPOSER RAHAYU SUPANGGAH Dandun Danurwendo
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 14, No 1 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1491.109 KB) | DOI: 10.33153/keteg.v14i1.677

Abstract

This study describes the music composition of Bubaran Lear. Bubaran Lear is a work of musical composition created by Rahayu Supanggah. This study describes the journey of Bubaran Lear from stage to stage. This study emphasizes the staging associated with changes and developments Bubaran Lear. All performances are related to Bubaran Lear not been able to presented in this study, but there is a phase where dispersal lear changing and evolving. The phase includes performances in Bedaya Kartini, King Lear, the film Opera Jawa, Taklim’s concerts, and Opera Jawa Tusuk Konde. Until now, the composition of dispersal lear still growing and developing. Beginning only of the order of tones flowing to get vocal collaboration therein. In this paper also describes the musical inspiration of the musical composition. According to its creator, dispersal Lear inspired by ketawang Undur-Undur Kajongan. Undur-Undur Kajongan a pretty song tradition maintained. Ketawang Undur-Undur Kajongan one selected musical works and still maintained as one of the musical special in the palace compound of Surakarta. When present ketawang Undur-Undur Kajongan only used in the king’s memorial and sung only once a year. This study also describes something that becomes an element of inspiration received composers to become a musical composition Bubaran Lear.Keywords: music composition, Bubaran Lear, Rahayu Supanggah
CAK KISAH SENI MAGIS PERINTIS PERTUNJUKAN TURISTIK Kadek Suartaya
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 4, No 1 (2004)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2248.051 KB) | DOI: 10.33153/keteg.v4i1.581

Abstract

As a performing art form, Cak was designed as an aesthetical  presentation to be performed before an audience. It originated in the  village of Bedulu, a place also known for its traditional ritual dances,  Sanghyang Dedari and Sanghyang Jaran, for keeping away evil spirits.Artist (painter) WaIter Spies, who had the idea for this dance and the  dancer Baris I Wayang Limbak, who was the main creator and  performer. are the two people responsible for creating a performing art  work adopted from the sacred religious rituals mentioned above. The  excess of tourists which followed the journey of Cak in Bedulu led to  its development in the neighboring village of Bona, Gianyar.Although it has been adopted as a tourist perfo'rmance, the  tradition of performing Sanghyang in a religious context still continues  in the village of Bona. Therefore, Cak still exists as an  accompaniment to Sanghyang for various religious rituals, in particular  the dewa yadnya ceremony (offering a holy sacrifice to the gods) and  the buta yadnya ceremony (offering a holy sacrifice to the evil spirits)Key words: Cek, tourist performance, magic.
ANEKA GARAP LADRANG PANGKUR Sugimin Sugimin
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 13, No 1 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (458.645 KB) | DOI: 10.33153/keteg.v13i1.647

Abstract

Along with the developments in karawitan treatment, Ladrang Pangkur Paripurna has experienced quite significant developments in its musical treatment. Beginning as a gending langendriyan, it subsequently developed into a variety of interpretations of Pangkur, performed for a variety of purposes. The musical interpretation of performances of Ladrang Pangkur Paripurna in the form of different interpretations of instrumentation, rhythms, dynamics, tuning (laras), mode (pathet), vocal style, and so on, have been manifested in a variety of interpretations of Pangkur, named according to their dominant elements of treatment, such as Pangkur Pamijèn, Pangkur Jênglèng, Pangkur Gobyog, Pangkur Céngkok Kethoprak, and Pangkur Wolak-walik. A number of interpretations of Pangkur by Ki Nartasabda, such as Pangkur Gala-Gala, Pangkur Padhang Rêmbulan, Pangkur Cêluk, and Pangkur Rog-rog Asêm, are based on vocal interpretations. Due to the appearance of various interpretations or treatments of Pangkur, Ladrang Pangkur has become increasingly popular among the karawitan community. Key words: Ladrang Pangkur, development, musical treatment
Cokrodiharjo Karier Empu Karawitan Di Luar Tembok Karaton Darsono Darsono
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 2, No 1 (2002)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4322.697 KB) | DOI: 10.33153/keteg.v2i1.561

Abstract

Cokrodihardjo was born in Boyolali. His grandfather and father were puppeteers, and his mother was a gender player. He is among the best musicians and a respected gamelan teacher. His creative works become models for the court and other musicians. Cokrodihardjo had been a drummer of commercial theater (ketoprak tobong) for thirty-seven years (1931-1968), and more than twenty years he was the drummer of Ki Nyotocarita. He was also the drummer for dances and mask performances. Cokrodihardjo was noted for his rich vocabularies of drumming.

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