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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.
Arjuna Subject : -
Articles 189 Documents
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Alan P. Merriam versus Mantle Hood dalam Orientasi Studi Etnomusikologi Slamet Riyadi
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 2 No. 1 (2002)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v2i1.549

Abstract

The anthropological and musicological approaches of ethnomusicology have been extensively discussed by ethnomusicologists. In revealing musical facts, the anthropo­logical approach tends to discern music as a human behavior phenomenon. Meanwhile, the musicological approach considers music as exclusively musical matter.
Bila Dua Sudut Pandang Bertemu: Suatu Kasus dalam Pertunjukan Gamelan Santosa Santosa
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 2 No. 1 (2002)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v2i1.551

Abstract

In attending performances audiences use their woridviews to evaluate and make judgments of the show. Each group of people has different views in which they want to apply to the performances. Two groups of audiences may have conflict when they are present in performances. This paper examines how and why the two views “compete with” one another to fit their taste
Cokrodiharjo Karier Empu Karawitan Di Luar Tembok Karaton Darsono Darsono
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 2 No. 1 (2002)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v2i1.561

Abstract

Cokrodihardjo was born in Boyolali. His grandfather and father were puppeteers, and his mother was a gender player. He is among the best musicians and a respected gamelan teacher. His creative works become models for the court and other musicians. Cokrodihardjo had been a drummer of commercial theater (ketoprak tobong) for thirty-seven years (1931-1968), and more than twenty years he was the drummer of Ki Nyotocarita. He was also the drummer for dances and mask performances. Cokrodihardjo was noted for his rich vocabularies of drumming.
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 : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | 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.
LESUNG BANARATA Karawitan di Akar Rumput Sigit Astono
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 2 No. 1 (2002)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v2i1.565

Abstract

For the Banarata community, Iesung(a hollowed wood for pounding rice) is not only used for pounding rice, but also for expressing aesthetic feeling that has to do with religion and solidarity among the members of the community. The music of the lesung is also important for stimulating the feeling of pride for the owners. That is why even when this music was not played for almost three decades — for political and belief reasons — it can attract the spirit (seniangat), love, proud, musicality. In addition, it can also be used for expressing other feelings.
SAM PELONG Dalam Perspektif Budaya Musik Minangkabau Tety Darlenis
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 2 No. 1 (2002)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v2i1.567

Abstract

Sampelong is not only thought of as an instrument, but also has deep cultural meanings, function and symbol for Minangkabau society. For example, the process ofmaking the instrument is associated with the goal for what the instrument is meant. Moreover, the instrument, that is thought of as the inheritance of Pre-Hindu culture, used to have an bad image in the society, that is used for sending “black magic”. Nowadays, sampelong exists in different contexts.
KONSEP MUSIK PAKELIRAN PILIHAN GARAP K1 PURBO ASMORO Sarno Sarno
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 3 No. 1 (2003)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v3i1.569

Abstract

The Concept of Wayang Accompaniment of Purbo Asmoro The wayang pe,formance of Pu,bo Asmoro is related It’ condensed shadow puppetperformance (pake/i,~n padat). This can be seen fivm: the dear messages, the efficient treatment of the stofy, and the omission of unnecessary idioms. For thatreason, he does not feel necessary to use the “huge” ensemble of campursari (the hybrid style between game/an and popular music). The concept of musicalaccompaniment makes it possible to use alternate source and be effective in using the music.
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.

Page 1 of 19 | Total Record : 189

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