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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 8 Documents
 1 
Search results for , issue "Vol. 8 No. 1 (2008)" : 8 Documents clear
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 : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | 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
Pengetahuan Ekspresi Karya Musik Wisnu Mintargo
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 8 No. 1 (2008)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v8i1.611

Abstract

Expression in music is a movement in feeling that is formed through the media of sound. This means that music comes out of the soul’s creator through hearing, experienxed and felt by a human being who gave his whole soul and feelings to enjoy the music. A form of musical statement comes from the nature of thought, imagination and the artis ‘sftelings are influenced by the power outside of him as inspiration. Either than that, the creative process is always in line with music knowledge 
Kajian Aspek Kultural Semar Pagulingan I Ketut Yasa
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 8 No. 1 (2008)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v8i1.613

Abstract

Ever since the spread of Semar Pagulingan to the countryside in Bali (out of the palace walls), it has experienced a significan change in form and function. This change is supposedly caused by an existing influence from non-aesthetic factors such as politics, religion and social issues. On the other hand, this change is also unavoidable from the views and behaviours of the Semar Pagulingan artists who, only depend on one side which is only to stay alive. With this view and attitude of conservation, sometimes without the artist realizing it, the Semar Pagulingan loses its soul. Referring to this, this study expresses various factors which trigger the change of the form and funclion Semar PagulinanKeyword : Semar Pagulingan, change, factors
AKTUALISASI GURITAN DALAM KARAWITAN GAGRAG BANYUMAS Darno Darno
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 8 No. 1 (2008)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | 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  
Sindhenan Banyumasan Muriah Budiarti
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 8 No. 1 (2008)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | 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 
Makna Simbolis Gamelan Kodhok Ngorek Di Keraton Surakarta Panggiyo Panggiyo
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 8 No. 1 (2008)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v8i1.621

Abstract

Speaking about gamelan Kodok Ngorek is in fact speaking about traditional Javanese culture. The palace as development of Javanese culture centre. Many kind of culture product many years a go, is afull symbolical. So that, I try to get a meaningKeyword : by to sharp analyce and deep mind method
Adangiyah Konsep Gendhing-Gendhing Tradisi Gaya Surakarta Suraji Suraji
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 8 No. 1 (2008)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v8i1.623

Abstract

In the Javanesse karawitan ~ society, the term of adangiyah, more perceivable as a lagu ‘s sentence of rebab and bonang barung, it ‘s performed before buka and after adalaras (rebab) or grambyangan (bonang barung) in partly pelog’s gendhings. This comprehension related with the definition ofadangiyahfrom Bau Sastra Jawa and used in the writing ofaksara Jawa have the similar meaning, because the adangiyah in the Javanesse gendhings always posted in the beginning before a buka gendhing.Keyword : adangiyah, buka, angsara jawa
Resensi Buku : Musik Revolusi Indonesia Djohan Salim
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 8 No. 1 (2008)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v8i1.629

Abstract

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