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Lutfia Okta Riwayati
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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. 6 No. 2 (2006)" : 7 Documents clear
RAJA MATARAM DAN PERANANNYA DALAM DUNIA KARAWITAN Rabimin Rabimin
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 6 No. 2 (2006)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | 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.
GENDING SORAN DALAM KARAWITAN GAYA YOGYAKARTA Sugimin Sugimin
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 6 No. 2 (2006)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | 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.
MENGENAL MUSIK TRADISIONAL TALEMPONG PACIK DI MINANGKABAU Teti Darlenis
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 6 No. 2 (2006)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | 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
Sebuah Wacana Progresifitas Karawitan Jawa, Nilai dan Harapan FX. Purwa Askanta
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 6 No. 2 (2006)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v6i2.595

Abstract

Ivowaaay industrial music has no! been thought as an unvaluable kind of music anymore because it has become the need of society or certain community. The excistence of industrial music is a part of a long history of music development, and it finds the character, which is to be able to have its mean, and has been looked for in certain porpuse Owing to the fact that nowadays situation slows down the development and the excistence of traditional .Javanese karawitan, it is necesary that the progresivity and inovac)’ of karawitan has to be directed to an industrialization.Keywords:   Industrial music, valuie, tradition
Ngamen Kreatif Ujud Sutrisno Bondet Wrahatnala
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 6 No. 2 (2006)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v6i2.597

Abstract

Creativity is inseperable from human l~fe, including the fulJIlment of human needs. For this goal, man carries out ailforms of activities in accordance with abilities to support the profession of this choice. This is true in the case of Sujud Sutrisno, a street musician who has been creative and consistent in carying out his profession for 28 years. Sujud chose the kendhang ketipung as the instrument to begin his work as Street musician. He felt that he had never come across anyone performing with a kendhang in his day. The concepts of dangdut and humour were his next choice, as Sujud felt that both of these factors coul relate closely to the community, and were also practical media for entertaining the community, which was Sujudc main goal in his profession.Keyword:  the concepts of Sujud’s creativity
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 : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | 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
Wacana Pathetan Bambang Sosodoro
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 6 No. 2 (2006)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | 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

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