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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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AKTUALISASI GURITAN DALAM KARAWITAN GAGRAG BANYUMAS Darno Darno
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 (6992.167 KB) | DOI: 10.33153/keteg.v8i1.615

Abstract

The essence of guritan is a poetry, it is a kind of belles-lettres that aesthetic’s consideration with engaging more strongly in word’s selection, language’s style, rhyme, and poetric meter. In a traditionally manner, Banyumas’ society have known the poetry’s musicality, by getting san a guritan in musical arrangement called gendhing. The existence of guritan in a karawitan gagrag Banyumas have experienced more than belles-lettres. In which it has a aesthetic expression’s process engaging musical media. Else in which engaged to the cultural background, individual’s experience, and emotional contact’s intensity between individual whose became a part of musical’s garap process. Keywords : actualization, guritan, karawitan gagrag Banyumas  
MEMBANGUN KONSEP NUMPANG: SALAH SATU UNSUR SISTEM PELARASAN GAMELAN AGENG DALAM KARAWITAN JAWA GAYA SURAKARTA Dandun Danurwendo
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 (702.858 KB) | DOI: 10.33153/keteg.v15i1.2035

Abstract

Tulisan ini menjelaskan salah satu konsep yang terdapat pada masyarakat seniman karawitan tradisi Jawa yaitu konsep numpang. Konsep numpang yang dimaksud merupakan posisi dan interaksi antar nada sehingga menghasilkan toleransi nada pada sistem pelarasan gamelan di Nusantara khususnyagamelan ageng Jawa. Numpang diartikan dengan nada yang timbul dari instrumen gamelan yang lebih tinggi dari nada fundamentalnya. Tulisan ini berusaha memaparkan unsur pembentuk konsep numpang. Konsep numpang pada awalnya teridentifikasi pada pelarasan instrumen rebab. Kemudiansetelah diamati secara seksama, konsep numpang terdapat pada sistem pelarasan gamelan ageng Jawa. Numpang menjadi salah satu unsur sistem pelarasan gamelan ageng Jawa. Unsur dalam konsep numpangsendiri dibagi menjadi dua, yaitu perabot fisik dan perabot non fisik. Pada perabot fisik terdiri dari instrumen berdawai dan instrumen non dawai. Instrumen non dawai yang dimaksud adalah instrumen yang memiliki tangga nada. Pada perabot non fisik terdiri dari tiga sub, yaitu: (a) nada pokok; (b)kepekaan atas pelarasan; (c) karakter pengrawit dan pelaras. Tulisan ini juga memaparkan salah satu contoh penggunaan konsep numpang pada instrumen gender dalam jangkah satu gembyang nada.Kata Kunci: Numpang, sistem pelarasan, Gamelan Ageng Jawa.
PERAN PAGUYUBAN MAREM DALAM PELESTARIAN KARAWITAN JAWA Wiwik Ernawati; Danis Sugiyanto
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 16, No 1 (2016)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1849.376 KB) | DOI: 10.33153/keteg.v16i1.1767

Abstract

Penelitian ini berisi deskripsi analisis peran paguyuban karawitan Marem di kampung Kemlayan dengansegala kegiatan dan karyanya dalam rangka pelestarian karawitan Jawa. Kampung Kemlayanmerupakan kampung yang terkenal sebagai kampung seniman karawitan di Surakarta. MarsudiRenaning Manah merupakan kepanjangan dari Marem, pada awal mula didirikan sebagai sarana untukmengisi waktu luang serta untuk hiburan, namun pada kenyataannya merupakan sebuah kegiatandalam melestarikan kesenian yang sudah menjadi warisan budaya dari leluhur agar kesenian tidakpunah akibat perkembangan zaman. Dalam perjalanannya Marem didirikan sebagai wadah paraseniman maupun para penikmat seni karawitan untuk bertukar pengalaman baik dalam garap gending,metode pelatihan pengajaran seni karawitan, hingga tempat belajar seniman dari berbagai negaratentang seni karawitan. Hasil deskriptif analisis yang telah dilakukan dapat diketahui bahwa paguyubanMarem memiliki peran dan andil dalam pelestarian karawitan Jawa. Paguyuban ini mengadakan latihanrutin dua kali seminggu dan mengikuti acara karawitan di Surakarta. Paguyuban ini juga membuatkarya ketika mengisi acara tertentu walaupun hanya dalam teks vokal. Selain itu paguyuban ini terbukadengan segala kalangan, dalam arti walaupun memiliki anggota tetap tetapi mau menerima seseorangatau sekelompok orang yang mau mengikuti latihan karawitan bersama. Bahkan paguyuban ini maumenjalin kerjasama dengan institusi yang bergerak dalam pelestaian kesenian karawitan Jawa.Paguyuban ini juga didukung oleh anggotanya dalam menjaga eksistensinya dalam upaya pelestariankarawitan Jawa.Kata kunci: Pelestarian, Karawitan Jawa, Peran, Paguyuban MAREM
GENDING SORAN DALAM KARAWITAN GAYA YOGYAKARTA Sugimin Sugimin
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 (844.283 KB) | DOI: 10.33153/keteg.v6i2.591

Abstract

Gending Soran is a Javanese piece performed with accent certain instruments, such as balungan, bonang, and drum. The way to play those instruments is by hitting strongly, and it impacts a loud sound (Javanese: sora). By Javanese ic society, the piece which is performed loudly, is called gending soran. The existence of gending soran injogyanese karawitan is very much influenced by psychological factors of the authoritative people during the Sultan Hamengku Buana I, who wonted to express the military spirit into the way of playing witan. Gending soran is pretended to have the feeling of heaviness which contains expression of seriousness and the noble of the Sultan Hamengku Buana I.Keywords: gending soran, military spirit, expression of seriousness.
KRONOLOGI PENCIPTAAN KOMPOSISI KARAWITAN MIRATDANA I Ketut Saba
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 (227.232 KB) | DOI: 10.33153/keteg.v14i1.663

Abstract

Art work creation, one of which is music composition, can occur because a variety of internal and external motives. This music composition entitled Miratdana is created because of concern with various social agitations among a group of people making the society restless as shown in printed and electronic media. For example: murder, robbery, corruption and the similar deeds resulting in other’s loss of both property and even life. Music composition is one means of musing that is expected to bring back the people awareness, because within it there are many song verses of life speech. The person, who had committed crime and tended to be anarchic, in my opinion, has forgotten a variety of life enjoyment the God had bestowed as the universe creator. In Balinese the similar thing is called Miratdana.Keywords: social agitation, music composition, awareness
SENI SUARA DAERAH SEBAGAI MEDIA PENDIDIKAN APRESIASI SENI Isti Kurniatun
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 (3725.444 KB) | DOI: 10.33153/keteg.v4i1.573

Abstract

This research 'on the art of Javanse singing as education ill art  appreciation thought in Elementary Schools ill Surakarta aims to discover  all incongruity between. the goals of the Local Curriculum and its  implementation. The incongruity can be found until the recent time, and  therefore the goals of the Local Curriculum, which is perserving national  culture totally unsucceeds. The art observers, academics and relevant  institution have to react concretly to anticipate these konditions in order  to succeed the goals of the Local Curriculum.Key words: Javanese singing, education, art appreciation, Elementery Schools
RICIKAN STRUKTURAL SALAH SATU INDIKATOR PADA PEMBENTUKAN GENDING DALAM KARAWITAN JAWA Supardi Supardi
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 (351.145 KB) | DOI: 10.33153/keteg.v13i1.635

Abstract

Abstract Javanese gamelan set that has been existing since a long time ago untiltoday should be understood by the students of Karawitan Department of Performing Art Faculty of Surakarta Indonesian Art Institute (FSP ISI). Moreover, the acceptance of Learning Model Innovation and Development Proposal of Karawitan Practical Art Profession course in 2007 containing the Javanese gamelan set included the pakurmatan and gamelan ageng sets compulsorily attended by every student of Karawitan Department of ISI Surakarta. Those two gamelan sets should be attended for 7 semesters, in which there are a variety of norms or rules, including component grouping, gending form types, and etc. Martapengrawit, one of Javanese Karawitan Mpu, states that there are 16 gending forms: Lancaran, Ketawang, Ladrang, Merong, Inggah, etc. In addition, Rahayu Supanggah argues that structural composition (ketuk,kempyang,kenong, kempul, gong) is related to the gending form in Javanese karawitan. The writer also argues that component serves as one indicator of gending creation in Javanese karawitan.Key words: Javanese gamelan - exists - past - present-musical form - structural
TEMBANG MACAPAT DALAM PENGEMBANGAN BENTUK MUSIKALNYA D., Darsono
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 (548.02 KB) | DOI: 10.33153/keteg.v15i1.2029

Abstract

Tembang macapat merupakan salah satu karya sastra Jawa yang pernah mengalami jaman keemasan sekitar abad XVIII. Secara instrinsik mengandung dua unsur seni yaitu seni sastra dan seni musik (suara). Dari segi musikalnya, tembang macapat memiliki ciri-ciri di antaranya: lagu dan cengkoksederhana, tempo sedang, perubahan laya mendukung cerita, artikulasi yang jelas, ritme yang mendukung isi dan suasana cerita dan pernapasan diatur sesuai dengan isi kalimat dan tidak memutus kata. Meskipun demikian, sejalan dengan perkembangan seni karawitan, tembang macapat tidak sekedar memenuhi ciri-ciri tersebut, melainkan juga mengalami beberapa pengembangan dari segibentuk dan rasa musikalnya.Kata kunci: pengembangan, musikal, macapat.
Wacana Pathetan Bambang Sosodoro
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 (1079.553 KB) | DOI: 10.33153/keteg.v6i2.605

Abstract

This study is based on the understanding that music has a number of similarities with language. The basic assumption is that people make music in the same way that people speak. This research is the experimental attempt to analyze music offavanese karawitan, in particular the rebab,from a linguistic approach, by choosing a study of discourse as one of the analytical tools. The study of musical discourse involves observing the rebaban in terms of its grammatical (internal) aspects, such as its musical patterns and techniques, and also its pragmatic (external) aspects, namely the musical role ofrebaban as applied to its context.A discourse is an expression and utterance in which one complete sentence with semantical and gramatical elements to attain intelligible sentence. Rebaban is one of expressive medium in karawitan. Using the perspective in linguistic, the complete meaningful expression is called a discourse. For that reason, expression of rebab can interact and communicate with other instruments (especially the main instruments) to form musical unity: this means that rebab also has musical discourse.Keywords:    Rebaban, Pathetan, Analitical Tools, Discourse
PERAN GENDHING JATHILAN DALAM PROSES NDADI PADA KESENIAN JATHILAN KELOMPOK TURONGGO MUDO DESA BOROBUDUR Muhammad Nur Salim
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 (296.646 KB) | DOI: 10.33153/keteg.v14i1.679

Abstract

This research is motivated on the phenomenon of ndadi in Jathilan Turonggo Mudo performance. Ndadi phenomena associated with the world of the cosmos and there are several steps that must be done to achieve it. One way to achieve ndadi conditions is the use of music. Music, which in this case is a gendhing Jathilan believed to help as a bridge in the process of achieving ndadi. This study aims to reveal the role of music as an element that supports ndadi conditions. Gendhing Jathilan became one of preconditions required the establishment of the relation. Ndadi in Jathilan performances occurs when gendhing jathilan is presented as a musical accompaniment. Nevertheless gendhing Jathilan is not create or form someone to ndadi but as a facilitator in delivering a dancer to experience ndadi. It is based on the gendhing Jathilan relation with the other context of ndadi. Gendhing Jathilan becomes a stimulus to bring a behavior called the ndadi. Gendhing Jathilan has the potential characteristics in ndadi conditioning process. The characters in addition to referring to the gendhing jathilan performance, also the form / structure of gendhing such as strophic form, ostinato, and repetitive. Gendhing Jathilan in the final round performances jathilan presented three times. In each of these perform have the respective roles in the process of ndadi. Gendhing Jathilan has some role in every phase of the ndadi process such as gendhing as a conductor of ndadi, gendhing as ndadi accompaniment and gendhing in healing of ndadi.Keywords: ndadi, role, characters, gendhing Jathilan

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