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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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CENGKOK GENDERAN DUALOLO SEBAGAI SUMBER IDE PENCIPTAAN KOMPOSISI MUSIK “FANTASIA FROM DUALOLO” KARYA : PURWA ASKANTA Purwa Askanta; Danis Sugiyanto
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 21 No. 1 (2021)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i1.3779

Abstract

This journal is entitled "Cengkok Genderan Dualolo as a Source of Ideas for the Creation of Fantasia From Dualolo Music Composition" by Purwa Askanta. The focus of the problems studied in this paper includes the analysis of musical composition works that use the source of artistic ideas from a dualolo genderan twist in Javanese Karawitan. How the idea is used as a theme and developed to form a sound building in the form of Fantasia in three parts. In this composition, there are several creation systems that need to be expressed in order to understand the reader in order to understand the concept of creating this musical work. The method used in this journal is descriptive analysis with a form of music analysis approach. The findings of this research will show creativity in composing a new musical composition by Purwa Askanta. Meanwhile, the purpose of this research is to contribute in the form of techniques and methods of creating musical works that raise a simple idea from elements of the Javanese musical tradition in the form of the dualolo gendered twisted. It is hoped that the writings in this journal can broaden the readers' insight and become a reference for those who explore the creation of musical works.
FUNGSI TEMBANG SINOM LOGONDHANG LARAS PELOG PATHET BARANG DALAM KARYA TARI PRAWESTRI Nandhang Wisnu Pamenang
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 21 No. 1 (2021)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i1.3784

Abstract

Fungsi tembang sebenarnya adalah memaknai berbagai macam tembang yang terdapat dalam macapat. Macapat terdiri dari sebelas jenis dan memiliki arti sendiri-sendiri. Tembang macapat awalnya adalah berdiri sendiri atau vocal tunggal tetapi dalam perkembanganya disesuaikan dengan gamelan akhirnya menemukan bentuk pengembangan tembag macapat yang lebih menarik. Salah satu perkembangannya adalah dengan digunakannya salah satu jenis tembang macapat sebagai salah satu urutan gending tari yang memunculkan tema dan dinamika musik. Sebagai contoh tembang Sinom Logondhang yang digunakan dalam karya tari Pawestri sebagai awalan dan syairnya berisikan tema tarian. Peranan tembang Sinom Logondhang dalam karya tari Pawestri sangat penting karena sebagai penyampai isi. Kata Kunci : Fungsi, Tembang, Sinom
JINGLE TRANSFORMASI PEGADAIAN (STUDI TENTANG PERAN MUSIK DALAM PEMBENTUKAN BUDAYA PERUSAHAAN PT. PEGADAIAN) Harimas Jati Wikananta; Ananto Sabdo Aji; Purwa Askanta
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 21 No. 2 (2021)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i2.3817

Abstract

"Jingle Transformasi Pegadaian” is the title of a song that was employed as one of many transformation tools in PT Pegadaian (Persero). This study aims to determine the existence of “power” that helped the transformation process in PT Pegadaian (persero). To study the phenomenon this research applies mixed methods research design, which consists of ethnographic and quantitative methods. The research data were derived from in-depth interviews and random sampling questionnaire which was distributed to 390 employees in all work units. The process of jingle composing and the elements in the jingle, such as arrangement, genre, lyrics, and vocals were reviewed and perceived as an interpretation of the transformation process that happened in PT Pegadaian (Persero). Messages related to transformation that is contained in the jingle’s lyrics were accepted, and used as an affirmation of the transformation process by all employees. The jingle internalization process is carried out by playing it continuously in all work units’ corporate activities, both routinely and incidentally. The result of this research shows that by playing the jingle continuously forms a “power” that affects the emotional response of employees, and evoke positive reactions, such as: a sense of enthusiasm, awareness of the transformation process, sense of pride, and sense of belonging.
ANALISIS GARAP LANCARAN GAGAK SETRA DALAM PAKELIRAN GAYA YOGYAKARTA Amrih Tuti Lestari; Bayu Wijayanto; R. Bambang Sri Atmojo
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 21 No. 2 (2021)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i2.3914

Abstract

The research entitled Lancaran Gagak Setra in Pakeliran Gaya Yogyakarta discusses pathet, garap, presentation structure, performance structure, and the transition of pathet Lancaran Gagak Setra in the budhalan scene in pakeliran style in Yogyakarta. This study uses a qualitative research approach with descriptive analysis research methods by analyzing in two contexts, namely textual and contextual. The textual analysis in this study analyzes the pathet, the transition of Lancaran Gagak Setra in the Yogyakarta style pakeliran, the musical factors considered in the pathet transition, and the structure of the Lancaran Gagak Setra presentation in the Suryatmaja Krama theater play by analyzing the work of several ricikan. Contextual analysis analyzes the structure of the Lancaran Gagak Setra performance in the budhalan scene in the Suryatmaja Krama play. Gagak Setra is one of the genres used in the budhalan scene with calluses or jaranan in the Yogyakarta style pakeliran. Lancaran Gagak Setra in the Yogyakarta style pakeliran is presented in the realm of pathet nem time, however, the balungan gending Lancaran Gagak Setra focuses more on pathet sanga. The difference in pathet in the realm of presentation time results in differences in the perception of pathet in Lancaran Gagak Setra. The presentation of the Lancaran Gagak Setra in different packages, of course, has a pathet transition. There are musical factors to consider in this pathet transition. Bendhe Tengara is the transition from pathet manyura to pathet sanga, and grambyangan is the transition from pathet sanga to pathet nem. These two musical factors will make the transition between pathet nem, manyura, sanga, and nem happen slowly or gradually. A sense of pathet is achieved from Lancaran Gagak Setra, which supports the dramatic atmosphere in the budhalan scene with calluses in the Yogyakarta-style pakeliran.
KEBERTAHANAN KLENENGAN SELASA LEGEN DI BALAI SOEDJATMOKO SURAKARTA TAHUN 2009-2018 Mustika Wati; Prasadiyanto Prasadiyanto
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 21 No. 2 (2021)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i2.3927

Abstract

The research entitled Survival of Klenengan Tuesday Legen at Balai Soedjatmoko Surakarta was motivated by the existence of an activity held at Balai Soedjatmoko. This activity aims to provide a platform for musical groups who feel marginalized. This activity is held every 35 days by inviting musical groups from various cities to ensure that musical arts and activities continue to develop and survive. Based on this background, the problems were revealed in this study. (1) What is the basic concept of the Klenengan Tuesday Legen activity at the Soedjatmoko Hall? (2) Why does the Klenengan Tuesday Legen activity persist at the Soedjatmoko Hall? This research is qualitative research using the descriptive-analytical method. The author uses the thoughts of William and Achsan (Achsan Permas et al., 2003). With this approach, we get an overview of the Soedjatmoko Balai Soedjatmoko Klenengan and the factors causing the Soedjatmoko Hall's survival. Based on observations, the involvement of the implementing management of Klenengan Tuesday Legen Balai Soedjatmoko was one of the factors driving the sustainability of the activity. The activities carried out by the management include planning, organizing, implementing, and controlling activities. Through activities based on member motivation and external stimulation, efforts are being made to maintain klenengan activities on Tuesday Legen Balai Soedjadmoko. The member's motivation is in the form of a desire to express a sense of pleasure for musical instruments gathering with people who have the same interest in the arts. Stimulation that affects the survival of Klenengan Tuesday Legen is the support from Bentara Budaya.
KARAWITAN TARI BALA: AKULTURASI BUDAYA DI DESA WIRATA AGUNG, KECAMATAN SEPUTIH MATARAM, KABUPATEN LAMPUNG TENGAH, PROVINSI LAMPUNG Gutami Hayu Pangastuti; Nil Ikhwan
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 21 No. 2 (2021)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i2.4095

Abstract

Wirata Agung adalah salah satu desa di Provinsi Lampung, terbentuk dari peristiwa transmigrasi pada tahun 1963-1964 pasca letusan Gunung Agung, Bali. Masyarakat Bali dan Lampung hidup berdampingan, saling berinteraksi, dan beradaptasi membentuk akulturasi budaya, demi mempertahankan identitas terlihat pada kebiasaan harian, tak terkecuali seni. Karawitan Tari Bala sebagai sebuah karya, diciptakan oleh I Wayan Kartiana Saputra dengan mengkolaborasikan unsur-unsur Bali dan Lampung, didengar pada akulturasi dan transfer melodi melalui alunan karawitan. Fokus permasalahan fenomena Karawitan Tari Bala di Desa Wirata Agung, Kecamatan Seputih Mataram, Kabupaten Lampung Tengah, Provinsi Lampung dianalisis melalui metode pengumpulan data, analisis data, dan penyajian analisis data, bertujuan untuk mengetahui struktur, bentuk akulturasi, unsur-unsur pembentuk, proses akulturasi budaya, dan faktor-faktor terciptanya karawitan Tari Bala. Secara deduktif, hasil penelitian dijabarkan menjadi teks deskriptif dari umum ke khusus sebagai bentuk penyesuaian diri, adaptasi, dan aplikasi fenomena, berkacamata dari sudut pandang seorang seniman yang tertuang pada sajian Karawitan Tari Bala.
ALIH LARAS DALAM GARAP GÊNDER GENDING KÊNCÊNG LARAS PÉLOG PATHÊT NEM Lia Tri Lestari; Bambang Sosodoro Rawan Jayantoro
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 22 No. 1 (2022)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i1.4096

Abstract

This study aimed to review, analyze, and describe working on Gendèran gending Kenceng. The song is one of the Surakarta style gendèr repertoire whose source is the laras Slendro pathet Sanga, and the tuning is converted to the laras Pelog pathet Nem. Two problems in this study, namely (1) How to change the laras of Kenceng gending, which was initially a laras slendro pathêt sanga to a laras pélog pathêt nem. (2) why the gending Kenceng is interesting to be converted into a laras pélog pathêt nem. This type of art research is descriptive qualitative research. The work method starts by designing the work, determining the source and type of data, then collecting data. The data were collected by literature study, observation, and interviews. This problem is studied based on the rules in gendèran, the concept of pathet, the idea of garap, and the concept of mungguh. The study's results showed that in changing the laras of the Kenceng gending dish, there was a change in the arrangement of the balungan grooves. In a Kenceng gending, there is also a balungan arrangement that has the potential to be worked on by applying another céngkok gawan gending to be used to Kenceng gending but still in the rules of Surakarta-style karawitan.
FUNGSI RITUAL GENDHING TOLAK BALAK PADA PERTUNJUKAN JARANAN KRIDHA BUDAYA DI KABUPATEN TRENGGALEK Rika Wahyuningtyas; Muhammad Nur Salim
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 21 No. 2 (2021)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i2.4097

Abstract

The research started from an interest in ritual phenomena in the Jaranan Kridha Budaya performance. The Ritual of Rejection is defined as a means to convey a special message to God Almighty so as not to bring down calamities, such as natural disasters and disease outbreaks. In the Obong Incense ritual, it is required to use the Reject Balak Gendhing which is a mandatory gending and cannot be replaced with another gending. Gendhing Tolak Balak is a gending that is believed to have a religious ritual function in the Art of Jaranan Kridha Budaya when the Obong Incense Ritual is served. Gendhing Tolak Balak is used as a standard gending which is interpreted as a means to submit a request, or as a form of indirect interaction with God and the dancers of a place. The relationship between the components of gending and ritual, creates a sacred impression and influences the actors and their supporting communities.
GATI LAMBANGSIH LARAS SLENDRO PATHET MANYURA SEBAGAI KARYA INOVASI KARAWITAN GAYA YOGYAKARTA: KAJIAN MUSIKALITAS DAN KARAKTER GENDING Anon Suneko; Trustho Trustho; Salsa Bila
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 21 No. 2 (2021)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i2.4100

Abstract

Gati Lambangsih laras slendro pathet manyura is one of the Yogyakarta musical styles which was created during the reign of Sri Sultan Hamengku Buwono X. This new creation in the ladrang format complements Beksan Bedaya's aesthetic Lambangsari, which was held at the Uyon-Uyon Hadiluhung event on December 28, 2020, at Kagungan Dalem Ward Srimanganti. Unlike other gending Gati, Gati This symbol is presented with a slendro-barreled gamelan in collaboration with brass section western wind music. Of course, the new taste of Gending Gati cannot be separated from the motivation and concept of its creation. However, musically, working and blending Gamelan and brass sections require carefulness in achieving harmony in the musical presentation. 
GARAP KARAWITAN PAKELIRAN; PAKELIRAN SANDOSA LAKON KEMBANG KUDHUP PUPUS (Perspektif Estetika Pakeliran Nuskma dan Mungguh) Catur Nugroho; Ananto Sabdo Aji
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 21 No. 2 (2021)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i2.4118

Abstract

This research discusses the work of karawitan pakeliran in a Pakeliran Sandosa with story Kembang Kudhup Pupus, which is explored through the basic aesthetic perspective of pakeliran, namely the concept of nuksma and respectively. The purpose of this discussion is to understand the extent to which an element of performing karawitan pakeliran can determine the achievement of an aesthetic puppet show. The results of the analysis show that the work of karawitan pakeliran in Pakeliran Sandosa Lakon Kembang Kudhup Pupus can be understood to reach the aesthetic level of pakeliran respectively. This can be seen through the creation of accuracy, harmony, and appropriateness between the composition of the performance karawitan pakeliran including gendhing and tembang to the needs of the events of the play and the inner atmosphere experienced by the puppet. As for the achievement of the aesthetics of pakeliran nuksma which is able to motivate the effect of catharsis for the admirer in the framework of karawitan pakeliran can be felt through the pattern of melody and gendhing songs and songs arranged in such a way; by paying attention to the compatibility between vocal techniques, beats, and musical graphic arrangements that are oriented to the dynamics of the gendhing sense.

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