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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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KEBERADAAN PAGUYUBAN SENI KARAWITAN KANTOR SETDA KABUPATEN BOYOLALI Anggit Larasati; Nyoman Sukerna
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 19 No. 2 (2019)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v19i2.3079

Abstract

This article is motivated by the employees of the Boyolali District Secretariat who feel bored while working all day at the office. Boredom makes employees not focus on their work. Until in the end they found a solution to solve the problem, namely by having a context. According to them, having charisma can make the mood and mind calm, and from that the Andini Laras community association was formed which consisted of employees of the Boyolali District Secretariat. Based on this background, the problems revealed in this study are (1) How the activities of Setda Boyolali’s gamelan community since it was founded in 1988 until now and (2) Why the Setol regency’s gamelan musical community is still surviving until now. This research is a qualitative research, to answer this question the author uses Marx’s ideas about sociology and Sedyawati’s development. Based on observations, involvement and efforts were made to conduct mental therapy while preserving and preserving Javanese culture. Efforts are made to maintain its existence through activities based on member motivation and external stimulation. The members’ motivation was in the form of a desire to express their joy in music and their desire to do mental therapy. The stimulation that influenced the existence of the musical arts community of the Boyolali District Secretariat office remained in the form of community and government support in Boyolali Regency.Keywords: The existence, Andini Laras, and the Regional Secretariat Staff.
PERKEMBANGAN MUSIK KERONCONG DI RICHMOND VIRGINIA AMERIKA SERIKAT Danis Sugiyanto; Nanang Bayu Aji
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 19 No. 2 (2019)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v19i2.3080

Abstract

Keroncong music is music that has an open nature, this can be seen from the history of music development which always receives various developments both from outside the music Keroncong also always develops developments from within in terms of instrumentation and orchestration. Keroncong music not only flourishes and develops in the archipelago but also grows abroad as happened in the United States. The Keroncong Orchestra (OK) Rumput from Richmond Virginia is a group that is steadly spreading the keroncong music culture that is viral in America and the world. Keroncong music is not only studied musically but also forms the basis of cultural learning for its supporters. The concept of collaboration and philosophy in keroncong music helps strengthen world friendship through the humanitarian field.Keywords: keroncong music development, keroncong Rumput orchestra.
REPRESENTASI LOCAL WISDOM DALAM KARAWITAN MELALUI LAGU GARUDA PANCASILA SEBAGAI UPAYA MEMPERKUAT IDENTITAS BANGSA DI KALANGAN PEMUDA-REMAJA Setya Rahdiyatmi Kurniajati Linuar
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 20 No. 1 (2020)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v20i1.3439

Abstract

The development of science and technology and the rapid flow of globalization have indirectly resulted in the degradation of values and the erosion of national identity, especially among youth. Youth become "easy targets" for HOAKS, intolerance, radicalism, SARA issues, negative gangs, crime, terrorism, and other negative views that increasingly erode Pancasila values as part of the national identity. These negative ideas are internalized either through association, social media, negative doctrine, tantalizing offers, mounts of interests of a group, changes in material and educational orientation, and so on. In this regard, karawitan as a cultural product full of local wisdom can be an alternative means of strengthening national identity. This study tries to represent local wisdom in musikals through the Garuda Pancasila song as a material for introducing and practicing gamelan in RW.04 Tukangan youth. The Garuda Pancasila song was chosen as the material for the song because it is one of the national songs; familiar; contains the aesthetic taste of Pancasila, the spirit of nationality, values, the foundation of the state and national identity. The objectives to be achieved from this research are 1) the creation of the Garuda Pancasila song arrangement using the laras slendro gamelan with the creative pop genre, and 2) the training process in the field is expected to encourage the development of a sense of joy playing the gamelan; activated creativity, innovation and expression; the emergence of togetherness, kinship, tolerance, tolerance, empathy, listening to one another, and others, which can strengthen the identity of the nation which is beginning to be eroded.
GENDING DALAM PERSPEKTIF EKOLOGI STUDI KASUS GENDING-GENDING KARYA TJOKROWARSITO Siswati Siswati
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 20 No. 2 (2020)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v20i2.3536

Abstract

Penelitian ini mengkaji gending-gending Tjokrowarsito yang bertema tentang lingkungan secara khusus dan secara umum. Gending yang dikaji merupakan karya yang berkaitan tentang program-program pemerintahan di masanya. Lancaran Penghijauan merupakan salah satu karya yang digunakan sebagai objek analisis gending dengan tema lingkungan hidup. Dengan menganalisis teks gending yang terdiri dari lirik/ cakepan dan melodi pada gending karya ki Tjokrowarsito, dapat ditemukan bahwasanya Lancaran penghijauan sebagai media untuk mempromosikan program pemerintah dalam merespon kondisi lingkungan alam yang terjadi saat itu. Hasil penelitian ini diharapkan mampu menelaah kajian garap gending karya Tjokrowarsito beserta faktor-faktor apa saja yang menjadi pembentuk ide-ide karya Tjokrowarsito.  
SKEMA MANDHÊG DALAM STRUKTUR GENDHING GAYA SURAKARTA Ananto Sabdo Aji
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 20 No. 1 (2020)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v20i1.3541

Abstract

This thesis reveals mandhêg as one of the local concepts of Javanese music, especially the Surakarta style. Several issues to be explored are related to the mandhêg scheme in each musical structure. The data collection was carried out by literature study, interviews, and also as a participant observer. The analysis is carried out by reinterpreting the thoughts and experience of the pêngrawit through pragmatic reality. The interpretation uses interpretation method and garap analysis. The explanation and getting conclusions are carried out by the inductive method. Each mandhêg structure has a different mandhêg location or position, there is a mandhêg location that has become an optional convention or standard, there is also a mandhêg gawan which must be presented, pengendang must be able to know the location of the mandhêg in each piece he is going to present. The main factor is the empirical factor of a controller to be able to determine the mandhêg position of each musical structure.
GARAP GEMBYANG DAN KEMPYUNG DALAM GENDÈRAN GENDHING GAYA SURAKARTA Ema Mega Mustika; Djoko Purwanto
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 20 No. 2 (2020)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v20i2.3545

Abstract

Penelitian ini mengungkap tentang garap gembyang kempyung dalam gendèran gendhing gaya Surakarta.  Permasalahan yang dibahas terkait dengan pengertian gembyang kempyung, ricikan yang memiliki gembyang kempyung, hal-hal yang menjadi pertimbangan garap gembyang kempyung  dalam gendèran, dan faktor-faktor yang mempengaruhi terjadinya perbedaan tafsir oleh penggendèr  akademis maupun alam. Data diperoleh melalui pengamatan pertunjukan, wawancara, dan studi pustaka.  Metode yang digunakan adalah metode kualitatif yang menekankan pada deskriptif analitik.  Permasalahan garap gembyang kempyung  dalam gendèran gending gaya Surakarta dikupas dengan menggunakan pendekatan pemikiran Supanggah mengenai unsur garap dan hal-hal yang berpengaruh dalam pembentukanan seorang pengrawit, dan teori lingkaran kempyung oleh Martopangrawit mengenai pathet.  Hasil dari studi ini menunjukkan, bahwa dalam garap gembyang dan kempyung diperlukan beberapa pertimbangan antara lain; alur balungan gending, cengkok mati, pathet, dan arah nada.  Pada praktiknya terdapat perbedaan hasil tafsir gembyang kempyung oleh para penggendèr alam maupun akademik.  Terjadinya perbedaan tafsir tersebut dikarenakan beberapa hal yakni, modal penggendèr, pertimbangan garap, kontinuitas garap, kemantapan rasa masing-masing penggendèr, dan adanya kebebasan tafsir dalam karawitan.
LANA GENDHING KETHUK 4 KEREP MINGGAH 8 KAJIAN GARAP GENDÈR Atmaja Dita Emhar; Hadi Boediono
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 20 No. 1 (2020)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v20i1.3546

Abstract

Skripsi karya seni berjudul Lana Gendhing kethuk 4 kerep minggah 8: Kajian Garap Gender ini disusun untuk menjelaskan kajian gendèran Gendhing Lana. Pada umumnya Gendhing Lana disajikan dalam laras sléndro pathet nem dengan garap inggah kendhang irama dadi. Dalam skripsi karya seni ini Gendhing Lana disajikan dengan berbagai inovasi garap dalam tradisi karawitan gaya Surakarta yang sudah ada, diantaranya adalah: alih laras, mandheg, garap ciblon irama wiled, dan rangkep.  Kajian dalam skripsi karya seni ini adalah analisis gendèran yang meliputi tafsir céngkok dan wiledan. Penelitian karya seni ini merupakan penelitian kualitatif.  Metode penelitian yang digunakan adalah studi pustaka, observasi, dan wawancara. Sementara menyajiannya penulis menggunakan beberapa konsep garap, alih laras, pathet, dan mandheg.            Hasil dari alih laras dalam sajian Gendhing Lana, gendhing kethuk 4 kerep minggah 8 merubah karakter dan rasa gending tersebut.  Dalam proses alih laras muncul beberapa penawaran garap baru diantaranya adalah garap ciblon wiled, rangkep, dan mandheg.  Dari eksperimen yang dilakukan, jika disajikan dalam laras sléndro pathet nem karakter dan rasa Gendhing Lana adalah regu, anteb, dan wibawa, sementara jika dialih laras ke laras pélog pathet nem karakter dan rasa berubah menjadi bérag, prenes, dan gagah.
GARAP KENDANG GAYA SURAKARTA DAN YOGYAKARTA DALAM RANGKAIAN MRABOT (STUDI KASUS: GENDING MADUWARAS) Wiliyan Bagus Dwi Krismiatin; Suyoto Suyoto
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 20 No. 2 (2020)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v20i2.3551

Abstract

Penelitian pada Maduwaras, Gendhing Kethuk 2 Kerep Minggah 4: Kajian Garap Kendang, Gaya Surakarta dan Yogyakarta Dalam Rangkaian Mrabot” adalah menganalisis garap kendang gendhing Maduwaras.  Gagasan dalam penelitian ini adalah kolaborasi garap dua gaya Karawitan yaitu gaya Surakarta dan Yogyakarta dengan rangkaian; Maduwaras, gendhing gendhing kethuk 2 kerep minggah 4 kalajengaken ladrang Mara Lagu, suwuk, trus lagon Sanga Wetah, ada-ada kasambet Playon kaseling rambangan Kinanthi, Sinom, Durma laras sléndro pathet sanga.  Dalam rangkaian tersebut terdapat dua gaya karawitan yang berbeda dengan berbagai macam garap kendhangan.  Permasalahan tersebut dikaji sesuai dengan kaidah-kaidah karawitan pada kedua gaya tersebut.Penelitian ini menggunakan metode kualitatif.  Penelitian dimulai dari proses rancangan penelitian karya, pemilihan sumber dan jenis data. Teknik pengumpulan data dimulai dari studi pustaka, observasi, dan wawancara.  Dalam analisa penelitiannya menggunakan tiga pendekatan konsep yaitu konsep garap (materi garap dan prabot garap), konsep mungguh, konsep matut dan konsep padhang ulihan.Hasil yang diperoleh adalah kedua gaya yang memiliki latar belakang berbeda dapat dikolaborasi dengan baik dengan memperhatikan kaidah-kaidah yang berlaku dari kedua gaya tersebut khususnya garap kendhangan.  Perbedaan garap kendhangan pada masing-masing bentuk gending dapat menghasilkan berbagai karakter, warna dan dramatik musikal dengan didukung oleh beberapa aspek kendhangan antara lain; penerapan sekaran, laya, wiledan, serta dinamika dengan tetap memperhatikan konsep mungguh. Kata kunci : gending, kendhangan, garap, gaya
SUBAKASTAWA DALAM PERSPEKTIF RAGAM GARAP PENYAJIANNYA Sigit Setiawan
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 20 No. 2 (2020)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v20i2.3553

Abstract

Subakastawa dalam Perspektif Ragam Garap Penyajiannya This study intends to describe the variety of Subakastawa's musical works. The method used is descriptive-analytic using Kuntowijoyo's developmental approach and Rahayu Supanggah's approach to work. The development of Kuntowijoyo helps to see the variety and interpretation of musical works from one period to another which is identical to the usefulness of the music itself, while the working approach is used as a tool to dissect the musical situation in the intended musical. The result of this research is that there are five types of work on Subakastawa, namely; Working on the public, Subakastawa Cara Balen, Subakastawa Winangun, Subakastawa Rinengga and Subakastawa in the context of shadow puppet shows.
KOMPOSISI KARAWITAN ISMUNING CAHYA: INTERPRETASI KEESAAN TUHAN MELALUI TOKOH SEMAR Danis Sugiyanto; Sigit Setiawan
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 20 No. 2 (2020)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v20i2.3555

Abstract

This work is entitled "Ismuning Cahya", is a work of contemporary Javanese gamelan music composition with the theme "the form of the Oneness of God” represented by the wayang character, Semar. The purpose of the creation of this works is to prove the existence of contemporary music (gamelan), as a reference for gamelan students who are interested in creating works of art (music). The output of this artistic research work is in the form of works (both live and/ or audio documentation) and scientific works which contain the process of developing the works "Ismuning Cahya". From there, it is hoped that this work will be able to become a model for the creation of works of art, especially the creation of contemporary gamelan.  

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