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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
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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 8 Documents
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Search results for , issue "vol. 4 no. 1 (2004)" : 8 Documents clear
SENI SUARA DAERAH SEBAGAI MEDIA PENDIDIKAN APRESIASI SENI Isti Kurniatun
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 4 No. 1 (2004)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | 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
FLEKSIBILlTAS MUSIKAL SULUKAN GAYA SURAKARTA Suyoto Suyoto
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 4 No. 1 (2004)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | 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.
SENI LARASMADYA DESA WONOREJO KABUPATEN SUKOHARJO Panggiyo Panggiyo
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 4 No. 1 (2004)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v4i1.577

Abstract

Larasmadya contains religious values and promotes moral behavior  according to the Islamic religion, while at the same time presenting an  expression of art. For this reason, although there is a dichotomy  between the older and younger generations, the art of larasmadya in Wonorejo continues to exist.This art form originated from a  Kiyai, or religious leader, by the  name of Imam Suhada, who was an expert in Islam and supernatural  powers from the village of Wonorejo. The existence of larasmadya in  the village of Wonroejo is quite unique in that it has been passed down  from generation to generation within one family of descendants.Keywords: Larasmadya, eksistensi.
JAVANESE GAMELAN MUSIC, ITS PURPOSE AND HUMAN LIFE: CROSS-CULTURAL COMPARISONS AND REFt.ECTIONS Prasadiyanto Prasadiyanto
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 4 No. 1 (2004)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v4i1.579

Abstract

Dalam karawitan Jawa gaya Surakarta dikenal tiga buah pathet pada  masing-masing larasnya. Pergantian dari satu pathet ke pathet yang lain  menjadikan suasana yang seeara progresive semakin 'panas '. Hal ini  dapat diamati terutama dalam pertunjukan wayang kulit. dimana  pergantian pathet tersebut dapat dikaitkan dengan siklus kehidupan  manusia, sedangkan konsep perubahan yang secara progresive tersebut  berbeda dengan konsep yang digunakan dalam musik barat.Klasifikasi instrumen gamelan Jawa yang berdasarkan fungsi  musikalnya dapat dikaitkan dengan kehidupan manusia dan bagaimana  manusia menjalani dan mengisi kehidupannya. Cara mengklasifikasi  instrumen tersebut saugat berbeda dengan yang digunakan bangsa Cina  yang mengkaitkan bahan dengan alam, yaitu iklim dan arah mata angin.Dalam kehidupan karawitan penggunaan  notasi tidaklah begitu  penting, apalagi didalamnya tidak terdapat petunjuk garap yang dapat  dijadikan panduan bagi pengrawit. Satu-satunya notasi yang digunakatt  yaitu notasi balungan gending yang masili harus ditafsir lagi oleh  pengrawit, terutama untuk instrumen garap. Ha! ini berbeda dengan  tradisi musik barat yang mana notasi mempunyai peran utama dalam  budaya musiknya.Sajian gending-gending mrabot dapat dikaitkan dengan tahapan-  tahapan kehidupan manusia, mulai muneulnya kehidupan hillgga  kematian, termasuk upacara-upacara religiusnya.Kata-kata kunci : Karawitan Jawa. Hubungan, Siklus.
CAK KISAH SENI MAGIS PERINTIS PERTUNJUKAN TURISTIK Kadek Suartaya
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 4 No. 1 (2004)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | 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.
"NYLlNGUK" Darno Darno
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 4 No. 1 (2004)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | 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
Resensi Buku BAGAlMANA MEMAHAMI MUSIK? Santosa Santosa
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 4 No. 1 (2004)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v4i1.585

Abstract

Resensi BukuCook, Nicholas.1992. Music, Imagination, and Culture. Oxford: Clarendon Press. 256 halaman. Illustrasi. Indeks.Bagaimana memahami musik.
Konsep Dasar Pengembangan Semar Pagulingan "Tirta Sari" Dialog I Ketut Yasa dengan Anak Agung Oka Dalem I Ketut Yasa
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 4 No. 1 (2004)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v4i1.587

Abstract

Dialog I Ketut Yasa dengan Anak Agung Made Oka Dalem

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