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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 206 Documents
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"NYLlNGUK" Darno Darno
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 (4223.52 KB) | DOI: 10.33153/keteg.v4i1.583

Abstract

"Nylinguk" is a musical composition, taken from the compositional  concept of bamboo music (calung), which originates from traditional  sources found in the residency of Banyumas during the era of the  lengger art form, from the 1970s until the present day. The existence  of lengger is reflected in the form of a performance of lengger calung,  using a variety of musical approaches, such as Sunda, Cirebon,  Surakarta, and Banyumas style karawitan.Key words: Tradition, Inovation, Progressive
TINJAUAN RAGAM BENTUK TLUTUR DAN KORELASINYA Suraji Suraji
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 (414.092 KB) | DOI: 10.33153/keteg.v13i1.649

Abstract

The background to this paper was the information that many Javanese musical compositions or gending in Surakarta style are formed from ‘sekar’ or tembang (a vocal melody or form of sung poetry). The main focus of this paper is the connections between Sendhon Tlutur, Ketawang Gendhing Tlutur, Ayakayakan Tlutur, Srepeg Tlutur, Sampak Tlutur, Ketawang Dhandhanggula Tlutur, and Sekar Macapat Dhandhanggula Tlutur, which were observed by comparing the vocal melody of Sendhon Tlutur with the musical phrases of the skeleton melody, or balungan, in Ayak-ayakan, Ketawang Gendhing, Srepeg, and Sampak, and the vocal melody of Ketawang Dhandhanggula with Sekar Macapat Dhandhanggula Tlutur. The theoretical basis that was used for analyzing the gending in question is Mantle Hood’s ‘evolution’ theory which states that culture (including the arts) is not static in nature but rather develops according to its needs. In addition to this evolution theory, the gending were analyzed using Mas Ngabehi Warsapradangga’s premise which states that the original source or foundation for composing a gending is a vocal melody or tembang. The results of the analysis of this study show that there are similarities between the melodic line of Sendhon Tlutur and Ayak-ayakan, Srepeg, Sampak, and Ketawang Gendhing Tlutur, while Ketawang Dhandhanggula Tlutur is a development of Sekar Macapat Dhandhanggula Tlutur.Keywords: various forms and correlation of gendhing tlutur 
GENDHING NDADI Musik dalam Angguk Non-Cerita di Kebumen Rabimin Rabimin
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 (3093.115 KB) | DOI: 10.33153/keteg.v2i1.563

Abstract

This point focuses on the explanation of musicality context that is generated by supernatural creed called ndadiin the Angguk folk art in the villages of Kebumen. It is intended to show the typicality of the musical environment.
Sindhenan Banyumasan Muriah Budiarti
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 (3976.269 KB) | DOI: 10.33153/keteg.v8i1.619

Abstract

Sindhenan is a vocal material in which many elements must be processed and translated in to musical’s language, the elements are songs and texts. In the Gendhings’ Banyumasan ‘s Sindhenan there are two groups call Sindhenan Umum and Sindhenan Khusus. Sindhenan in Banyumas’ gendings have an relationship elements, first in text elements called wangsalan, abon-abon/isen-isen, parikan, senggakan, macapat, sekar ageng, sekar tengahan and sekar bebas. And the second is song’s elements, there are irama, laras, cengkok, and pathel. in the Banyumas’ art workers usually found the term to call garap technique which have Banyumas ‘style, and for the Surakarta and Yogyakarta’s style call garap wetanan, and Sundanesse style call kulonan  Keyword : Sindhenan and the elements which is to build sindhenan 
SEKATEN DAN LEGITIMASI KEKUASAAN RAJA KARATON SURAKARTA Joko Daryanto
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 (800.146 KB) | DOI: 10.33153/keteg.v16i1.1769

Abstract

Sekaten telah ada sejak zaman Demak yang berfungsi sebagai salah satu sarana penyebaran agamaIslam di Pulau Jawa. Ide penyebaran agama Islam dengan gamelan Sekaten dimunculkan oleh walisanga, sembilan pemimpin Islam penasehat Sultan Demak I (Raden Patah) pada abad ke -16.Penggunaan gamelan Sekaten sebagai sarana penyebaran agama Islam yang dimulai sejak zamanDemak mengalami pasang surut, artinya pada periode tertentu gamelan Sekaten tidak menampakkaneksistensinya. Setelah runtuhnya Demak, tidak ditemukan informasi yang jelas tentang keberadaangamelan Sekaten. Perjalanan Kasultanan Demak pasca keruntuhan akhirnya sampai pada masapemerintahan Sultan Agung, raja terbesar Mataram. Sultan Agung berusaha kembali menghidupkansimbol-imbol keagungan seorang raja, sejak saat itu gamelan Sekaten memiliki peran baru, yaitu sebagaipusaka kepraboning nata atau dengan kata lain sebagai salah satu alat legitimasi kekuasaan raja atausarana untuk memperkuat kedudukan seorang raja. Sampai pada masa Karaton Surakarta, raja-rajaSurakarta masih menggunakan Sekaten sebagai alat legitimasi kekuasaan. Bahkan dalam periodetertentu, penyelenggaraan Upacara Sekaten dilakukan secara besar-besaran. Penyelenggaraan upacaratradisi karaton yang dilaksanakan dengan secara besar-besaran sangat berkaitan dengan usahamenunjukkan kebesaran raja beserta perangkat pendukungnya. Dengan cara ini diharapkankewibawaan karaton serta kedudukan raja diakui oleh masyarakat. Melalui penyelenggaraan upacaraSekaten, kewibawaan Karaton Surakarta dapat ditunjukkan kepada masyarakat. Kebesaran sebuahupacara sangat berkaitan dengan kultus kemegahan, hal ini dikarenakan kultus kemegahan merupakansalah satu cara untuk menunjukkan kewibawaan raja Surakarta.Kata kunci: Sekaten, alat legitimasi kekuasaan raja, kultus kemegahan.
MENGENAL MUSIK TRADISIONAL TALEMPONG PACIK DI MINANGKABAU Teti Darlenis
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 (1298.721 KB) | DOI: 10.33153/keteg.v6i2.593

Abstract

Minangkabau society have several kinds of talempong ensemble music, such as Talempong Pacik, Talempong Unggan, Talempong Batu, Talempong Jao, Talempong Batuang, Talempong Sambilu, and Talempong Kayu, also other kinds of talempong. Among the ensembles, talempong pacik is the most popular It grows and is developed all over the countries, and becomes a musical identity of the society. The way ofplaying the instruments is by holding them, that ~ why it is called pacik, literally means being held. Every group of talempong ensemble have thefr own repertoire of songs, which is influenced by the back ground of the local composer And therefore it becomes the pride of the country and functions to entertain the society in ritual and social activities.Keyword: Talempong Pacik, interlocking technic, nagari
GAMELAN SEKATEN DAN PENYEBARAN ISLAM DI JAWA Joko Daryanto
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 (276.325 KB) | DOI: 10.33153/keteg.v14i1.665

Abstract

The spreading of Islamic faith in Java uses many ways or methods to propagate Islamic faith. One of the medium which is support the spreading of Islam in Java is ‘Gamelan Sekaten’. It is kind of an ensemble which is played on the occasion of Muhammad’s birthday and played as long as 1 week in ‘Bangsal Pagongan’ in front of the Great Mosque Surakarta. Before Javanese people knowing and converting into Islamic faith, Javanese people have been converted into Hindu & Buddhist faith. This psychological social condition of Javanese people becomes the obstacle for the nine muslim saints, Wali Sanga, to spread Islamic faith. Sunan Kalijaga suggested using ‘gamelan’ as the attractiveness of spreading Islam. The ‘Gamelan Sekaten’ which is used as a medium of spreading Islam in Java strongly assumed that this medium has value or element of Islam. The setting of Javanese people in that time still had a strong faith toward Hindu & Buddhist faith, so it required a tool, in this case is a ‘gamelan sekaten’, to facilitate the nine muslim saints in spreading Islamic Faith. This religious proselytizing strategy which is use ‘gamelan sekaten’ as a medium appears to be very interesting & effective to gather people. Begins with feel interest to ‘gameln sekaten’, finally, Javanese people know and convert into Islam as their faith. This Islamization process, called as religious proselytizing using cultural approach.Keywords: Gamelan Sekaten, Spreading of Islamic Faith, Cultural Approach
FLEKSIBILlTAS MUSIKAL SULUKAN GAYA SURAKARTA Suyoto Suyoto
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 (4680.787 KB) | DOI: 10.33153/keteg.v4i1.575

Abstract

Wayang kulit is a representation of human life since the birth  until the death which is presented in patMt (musical concept or  musical atmosphere). Sulukan is an important medium and it is the  "soul" of the performance. Sulukan is divided into three: patMtan  (songs of the puppeteer accompanied by small gamelan ensemble),  senanon (the same genre as sulukan with specific musical effect), and  ada-ada (songs of the pupetteerto present tense atmospheres). Texts  used in sulukan are tembang gedhe (songs with long phrases),  tembang tengahan (songs with medium phrases), and tembang  macapat (songs with short phrases), those are different from other  songs. For that reason, the structure of sulukan is like that of  tembang in which rules are used. In sulukan there is kombangan  (songs with "vocal" expression rather than consonant) usually with the  word (long. " The kombangan becomes the special character of the  wayang kulit. Musically speaking, the kombangan is the "intermission"  between phrases. The texts relate to the social life and they are  contained in the texts of the sulukan; the contents of the sulukan are:  education of life, ethics, and mysticism in Javanese life.Keywords: Sulukan, fleksible musical, wayang kulit.
FUNGSI DAN MAKNA PERTUNJUKAN WAYANG DI KRECEK Tri Mulasno
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 (296.571 KB) | DOI: 10.33153/keteg.v13i1.637

Abstract

Abstract Wayang kulit purwa (shadow puppet) Performance Function and Meanings, in the village of Krecek. Wayang kulit purwa performance with the story Baratayudha at Syawalan Ceremony is a tradition held annually by the community of Dukuh Dadimulyo, in the village of Krecek, Kecamatan Delanggu, Kabupaten Klaten. This wayang kulit purwa performance is believed by the community to be such an important thing in their lives that they do their best to hold the performance once a year. The research on the wayang kulit purwa performance aimed at understanding and finding out the impacts brought about by the performance which is still held annually by the community. In addition to this, this study aimed to find out the function and meanings of the performance as well as the messages told by the puppeteer. Wayang kulit purwa performance with the story Baratayudha at Syawalan ceremony in Dukuh Dadimulyo, in the village Krecek, is for the community a means of request and medium to express their gratitude to sing bahureksa desa (the spirit guarding the village) or to Almighty God. By carrying out the performance, the community hopes that their lives will be protected so that they can live of life which is happy, prosperous, secure and peaceful, both physically and spiritually and can escape from calamities.Key words: Village clean ceremony, peace and prosperity 
Musik Ritual"TARAWANGSA" di Desa Rancakalong,Kabupaten Sumedang, Jawa barat Cucup Cahripin
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 (3319.942 KB) | DOI: 10.33153/keteg.v8i1.607

Abstract

Indonesian people consist of many kind of tribes. Each ethnic has hereditary cultural tradition. In West Java, most of the society is Sunda Ethnic, so their culture is “SUDANESE”, included the language, traditional art which has their own characteristic and it’s defferent from the other ethnic. Essspecially, Rancakalong society in Sumedang has hereditary ritual tradition and it’s colled jentreng-Ngek-Ngek, because the music instrumental used in ritual ceremony consist of one strings instrumental, named KACAPI and rubs instrumental named TARAWANGSA. So the public society usually call it “TARAWANGSA The poins of this exotics traditional art Tarawangsa is a ritual ceremony to respect Rice-plants Goddess, or DEW! SRI, who believes as a Goddess, that bless the rice plants ftrtility. So, this ritual ceremony held when harvest comes. This Tarawangsa has some values. They are praying to god almighty, solidarity, dance art, music art, performing art, attraction for tourism and etc. Also the import tant, it can bring up the unity and society as Indonesia people by taking possesion of it, taking care of it, and developing ii. By Individually, they feel sates fled, it erashes in the incrassiation of prosperity mentally spiritually, and physically material, and also esthetic valve. This spirit also can be in crease the production of food, so that “the defence of food” increases.Keyword : Rice-plant Goddess, God almighty, solidarity, Performing art, and defence of food

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