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Karawitan Department, Faculty of Performing Art Indonesian Institute of the Arts, Surakarta, Indonesia Jl. Ki Hajar Dewantara No.19, Jebres, Kec. Jebres, Kota Surakarta, Jawa Tengah 57126
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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/keteg.v25i1.7302
Core Subject :
Focus And Scope Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi is a peer-reviewed, open-access journal advancing the study of sound, music, and performing arts. We exclusively publish high-quality, original research and review articles that demonstrate significant scientific novelty, supported by a clear state-of-the-art and gap analysis. We welcome both empirical and practice-based/practice-led research. Our core scope includes, but is not limited to: Sound Studies & Acoustics: Multidisciplinary research on auditory culture, soundscapes, and the physical/technological aspects of music. Ethnomusicology & Cultural Studies: Critical analysis of sound and music within socio-cultural and historical contexts. Karawitanologi & Traditional Performing Arts: In-depth studies on Indonesian traditional music, including its education, history, aesthetics, and organology. Contemporary Arts & Composition: Research on modern musical composition, contemporary performance, and creative processes. Keteg strongly encourages interdisciplinary approaches, inviting global scholars and practitioners to enrich the academic discourse on "sound" in all its dimensions.
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Articles 7 Documents
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Search results for , issue "Vol. 22 No. 1 (2022)" : 7 Documents clear
ALIH LARAS DALAM GARAP GÊNDER GENDING KÊNCÊNG LARAS PÉLOG PATHÊT NEM Lia Tri Lestari; Bambang Sosodoro Rawan Jayantoro
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 22 No. 1 (2022)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i1.4096

Abstract

This study aimed to review, analyze, and describe working on Gendèran gending Kenceng. The song is one of the Surakarta style gendèr repertoire whose source is the laras Slendro pathet Sanga, and the tuning is converted to the laras Pelog pathet Nem. Two problems in this study, namely (1) How to change the laras of Kenceng gending, which was initially a laras slendro pathêt sanga to a laras pélog pathêt nem. (2) why the gending Kenceng is interesting to be converted into a laras pélog pathêt nem. This type of art research is descriptive qualitative research. The work method starts by designing the work, determining the source and type of data, then collecting data. The data were collected by literature study, observation, and interviews. This problem is studied based on the rules in gendèran, the concept of pathet, the idea of garap, and the concept of mungguh. The study's results showed that in changing the laras of the Kenceng gending dish, there was a change in the arrangement of the balungan grooves. In a Kenceng gending, there is also a balungan arrangement that has the potential to be worked on by applying another céngkok gawan gending to be used to Kenceng gending but still in the rules of Surakarta-style karawitan.
PEMETAAN POLA TABUHAN BONANG PENERUS: SEBUAH UPAYA PELESTARIAN KARAWITAN GAYA YOGYAKARTA Tri Suhatmini Rokhayatun; Setya Rahdiyatmi Kurnia Jatilinuar
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 22 No. 1 (2022)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i1.4146

Abstract

Bonang is one of the essential instruments in the Yogyakarta-style musical, especially in strengthening the Yogyakarta-style musical wasp pattern. There are no notes or special learning modules for the bonang Yogyakarta style, so that indirectly there is a problem in the bonang transmission process in the education process. First, it complicates the teaching and learning process. Second, the learning process becomes ineffective. Third, minimal reading materials impact the lack of literature for students, which results in the method of transmitting working patterns not running optimally. Therefore, to compile a definite way of Yogyakarta-style bonang, it is necessary to make an effort to map various models of Yogyakarta-style garap bonang interpretations as writing or treatise, which later becomes material in lectures on the practice of karawitan style. Yogyakarta. The specific purpose of this study was to record and document the work of the Yogyakarta-style wasp bonang. The method used in this study is a qualitative method with data collection techniques of observation, literature study, questionnaires, and interviews. While the data analysis techniques used are data reduction, data presentation, data verification. The results of this study are in the form of reports, journals, and Yogyakarta-style bonang learning modules.
KENONG GOYANG: SUATU KAJIAN GARAP MUSIKAL DALAM KARAWITAN GAYA SURAKARTA Nur Sholikhah; Djoko Purwanto; Prasadiyanto Prasadiyanto
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 22 No. 1 (2022)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i1.4182

Abstract

The research entitled "Kenong Goyang: A Study on Musical Work in Surakarta Style Karawitan" is a type of qualitative research using an analytical descriptive approach. This study refers to the musical aspect of traditional Javanese music, namely karawitan. This research aims to explain and investigate musical garap as well as the formation factors of garap kenong goyang by using the garap theory from Rahayu Supanggah. While the formation factor of working on kenong goyang caused by the arrangement of the balungan and working on the instrumen kendang as well as other supporting factors such as the form of the cultivator's gending and style. Based on written evidence, working on kenong goyang only occurs in the ladrang form of gending, namely, ladrang Sobrang pelog barang, ladrang Surung Dayung pelog nem, ladrang Kuwung pelog barang and ladrang Lengker pelog nem. However, in accordance with the development of work, kenonggoyang can also be served or worked into the slendro tuning system. With a note the shape and name of the gending is the same as the classification of the gending in the pelog tuning system which is adjusted to the balungan arrangement.  Kenong goyang is free or loose. This means that it can be served using kenong goyang or not, it depends on the gending treatment.
SITER BARUNG GAYA SURAKARTA TEKNIK DAN PENERAPANNYA Sigit Astono
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 22 No. 1 (2022)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i1.4302

Abstract

Siter Barung is one of the instruments (ricikan) found in Javanese Gamelan. Siter Barung is increasingly being marginalized by Siter Successor due to the increasing popularity of the Campursari genre and its accompaniments. This is solely due to the choice of recording production, which is more concerned with the variation of the high (small) sound contained in the Siter Penerus ricikan. On the other hand, the sound produced by Siter Barung tends to be softer and lower pitched (more significant) than Siter Successor. If faced with Siter barung, then, of course, the choice fell on Siter Successor because his voice was louder, higher, and more prominent. Inside the keyboard, musical instruments can be played similarly to the sound of the Keroncong musical instrument Cak. This phenomenon causes the younger generation to lack attention and enthusiasm to learn Siter Barung because they are not appreciated in the industrial world or performances. To anticipate the extinction of Siter Barung's ricikan, the author tries to convey the technique, twist, and its application in a gending, so that Siter Barung gets more attention from the next generation.
GARAP GENDING ALIH PATHET DALAM LARAS SLÈNDRO GAYA SURAKARTA Harun Isma'il; Bambang Sunarto
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 22 No. 1 (2022)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i1.4414

Abstract

This paper contains an explanation of the garap gending alih pathêt. The problems revealed are related to changes of the system garap gending and considerations for doing of alih pathêt. The two problems are studied using the concept of garap and supported by other concepts including: balungan, sèlèh, and phrase. The garap alih pathêt is focused in the gending-gending laras slèndro. The gending used as the analysis material was selected based on the phenomenon of presentation carried out by pêngrawit. This study uses a qualitative research method with a descriptive analysis approach. The results showed that there were several categories of changes system garap gending in the laras sléndro. First, the change of the system garap gending by raising or lowering (N/T) one note bar in the case of Sinom Parijatha pathêt manyurå to pathêt sångå. Second, the change of the system garap gending by raising or lowering (N/T) two tone bars in the case of the Mugirahayu pathêt manyurå to Grompol pathêt nêm. One element of consideration for garap gending alih pathêt is the similarity of the contours of the balungan melody. Garap gending alih pathêt cannot occur when the contour elements of the balungan melody are not the same.
GARAP SINDHÈNAN INGGAH LONTHANG (Versi Martapangrawit dan Mlayawidada) Ananto Sabdo Aji
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 22 No. 1 (2022)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i1.4447

Abstract

Penelitian ini merupakan hasil komparasi garap sindenan dalam inggah gending Lonthang, dengan menggunakan pendekatan garap oleh Rahayu Supanggah. Dalam penelitian ini dihasilkan bahwa ada dua versi tafsir garap sindenan; yang pertama versi Martapangrawit; sedangkan yang kedua merupakan versi Mlayawidada. Dari kedua versi tersebut dapat ditarik sebuah kesimpulan bahwa seorang pesinden dapat menggarap atau menafsir sebuah balungan dengan tafsir ambah-ambahan sedang dan besar, mengacu pada kasus kedua versi tersebut.
RANGKEP DALAM KARAWITAN JAWA : STUDI KASUS RICIKAN KENDANG Sigit Setiawan; Supardi Supardi; Sukamso Sukamso
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 22 No. 1 (2022)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i1.4448

Abstract

This paper is based on the idea that the term deep musical used in Javanese karawitan is also the daily term of the Javanese people. One of them looks at the concept of duplicate. This concept is seen from the point of view of the musicality of the drums. The theory used to reveal the dual concept is the Schutz approach which views humans as "self-elucidation" or "self-explanation," which, in carrying out research, explores more: what they say, what they think, and what they interpret about their world. (Walsh and Wals, 1967). "They," in the context of Schutz, are musicians, especially musicians in Surakarta. A literature review of several writings related to drums was carried out in this study. The method used is qualitative with a descriptive analysis approach. The results of this study suggest several things; the existence of sekaran rangkep in the vocabulary kendang, sekaran rangkep can also involve sekaran ciblon gambyong, the existence of singgetan rangkep, and proving that rangkep is more inclined to one garap rather than stating one level of rhythm.

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