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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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PENGEMBANGAN KUALITAS PADEPOKAN SAROTAMA DITINJAU DARI ANALISIS SWOT Prasetyo Adhi Tama; Nanang Yulianto
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 22 No. 2 (2022)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i2.4548

Abstract

In terms of the intricacies of education in the arts, Padepokan Seni Sarotama cannot be separated from the figure of Mujiono. Mr. Mujiono's struggled as a karawitan teacher and Wayang puppeteer in 1985 when he opened the teaching of puppetry for children. Another motivation behind Mr. Mujiono's built art hermitage is the children who are not from the artist's family and do not yet have means of artistic expression so Padepokan Sarotama is present as a place of recreation and learning for students. The purpose of this research is to develop an organizational strategy at the Padepokan Sarotama. Furthermore, the method used in this research is the SWOT analysis, a strategic planning method used to evaluate Strengths, Weaknesses, Opportunities, and threats in a project or business. Based on that, analysis involves determining the objectives of the business venture or project and identifying internal and external factors, which is excellent and profitable to achieve that goal. Based on IE Matrix (Internal-External) analysis and SWOT quadrant, it can be concluded that the appropriate organizational strategy for Mr. Mujiono is as follows: Combination of generic strategy with a variety of strategies that include: 1) Horizontal integration, 2) Market penetration, and 3) Market development.
MENGALIR DAN MEMBAUR SEBUAH KARYA AKULTURASI MUSIK MINANGKABAU-JAWA Iwan Budi Santoso; Teti Darlenis; Dana Adi Arya Pradipta
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 1 (2023)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v23i1.4570

Abstract

Artistic Research (Art Creation) entitled Flowing and Blending was inspired by the movement and/or migration of Indonesian people from one area to another. This is based on the necessities of life in the area of origin which are considered no longer providing income, so that it has an impact on economic income. The arrival of migrants from an area makes the problem of the culture of origin and those visited sometimes unable to merge. The purpose of this artistic research is to find out the different tone areas. However, in the work Menglir dan Mebaur produces a mixture of musical sounds as measured by the sound ambitus of the instrument when used in cultural communication (music). The process of mutual respect and respect by using the language of communication will be able to flow and blend in the cultural frame, even though both have different backgrounds. Based on the elements of culturalcommunication, it produces cross-cultural values that are mutually respectful and respectful. Musical artwork Flows and Diffuses becomes a manifestation of musical works representing two different cultural elements, however, they can complement each other with the communication language of musical instrument tones when sung. In order to build the musical in this part of the work as a whole, the authors also look for elements of the combination of two cultures, namely Minang and Javanese, with the hope that the concept of assimilation can become a unified musical feeling as amirror or reflection of a togetherness.
DEDIKASI SUPARNI DALAM DUNIA KEPESINDHENAN DI SURAKARTA Riza Indri Hapsari; Rusdiyantoro Rusdiyantoro
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 22 No. 2 (2022)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i2.4666

Abstract

This study explains the factors that make up Suparni as a pesindhèn in the realm of Surakarta-style karawitan. Suparni became one of the senior sindhens who still exists in his world today. Therefore, youcan solvethe problem  of Suparni's form factor into pesindhèn, namely  by using Alvin Boskof's theory of social change f.  Suparni's forming factors are divided into two, namely  internal factors   and external factors. The results of the research that has been carried out, it is known that theinternal actors in Suparni consist of  creativity, talent, as  well as traits and personalities. While external factors consist of the environment and its experience. It is these factors that have shaped Suparni as pesindhèn, even today. 
RELASI ANTARA GENDING PONORAGAN DENGAN PROSES PAYAH DALAM PERTUNJUKAN JATHILAN DI KABUPATEN SLEMAN Caecilia Maria Andriana Kristyanti; Muhammad Nur Salim; Nil Ikhwan
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 22 No. 2 (2022)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i2.4667

Abstract

The research on the relationship between Gending Ponoragan and the process of payah performance in the Jathilan Krido Budoyo Turonggo Mudo in Sleman Regency reveals the form of Gending Ponoragan's presentation and its relationship with the process of payah formation. The word payah has various equivalent terms such as kerasukan, possession, or trance. This event became the highlight of the performance of Jathilan Krido Budoyo Turonggo Mudo. To reveal the relationship between Gending Ponoragan and the process of payah, Jankowsky's theory of music plays an essential role in stimulating trance experiences. It requires elements to be achieved in melody, rhythm, tempo and volume, and dynamics. In addition, Pilch's theory is also used to dissect issues related to the relationship between trance and music, which states that the best music that leads a person to experience a trance is music that has a regular number of beats and a repeating pattern based on a certain threshold or pitch level. However, the writer does not only look at the textual form of the music but also the context that surrounds it. The results of this study indicate that the activities of the association and the performance property support the process of payah and the conditions that must be met. The conditions for achieving payah include: spirit, offerings, handlers, sound system, dancers' behavior, situation or atmosphere of the performance, and musical presentation. The relationship between Gending Ponoragan and the process of payah does not occur directly but has a role in stimulating dancers to experience payah.
GONG BETINO DAN GONG JANTAN: KONSTRUKSI GENDER PADA ALAT MUSIK GONG BULUH KERINCI Amor Seta Gilang Pratama; Masvil Tomi; Dwi Rahariyoso
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 22 No. 2 (2022)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i2.4673

Abstract

This research focuses on the relationship between the cultural structure of Kerinci, and the Gong Buluh traditional music. What is being explored is how material culture is, also seen in treating the reed gong as a traditional musical instrument in Kerinci. The method used in this research is a qualitative method with a case study approach. The process of collecting data is by conducting ethnographic interviews. Ethnographic interview is a type of interview that is not too formal, friendly, but inserts ethnographic questions, such as questions that are descriptive, structural, and contrast. There are two stages of data analysis technique. The first stage is to codify the data that has been obtained. The second stage is to carry out an analysis between data, to see the relationship between the structure of the kerinci culture and Gong Buluh, using the theory or concept that has been referred to. The results of the study show that epistemologically, the structure of the reed gong is divided into two parts, namely the gong betina and the gong jantan. Gong betina have a higher sound intensity than gong jantan. The terms betina and jantan in the context of the gong become a duality related to the structure of the Kerinci culture. The Kerinci tribe adheres to a materiallineal system, in which women (ninik mamak, inner child) are the highest customary authority holders. The structure of the gong reed thus has a similarity to the construction of the Kerinci culture which is the basis and convention in rituals traditions, especially Kenduri Sko.
GAMELAND: DESAIN PENGEMBANGAN PERTUNJUKAN KARAWITAN BERBASIS VIRTUAL DIGITAL ONLINE METAVERSE SEBAGAI UPAYA PEMAJUAN KEBUDAYAAN Fajar Abed Nego; Denis Setiaji
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 22 No. 2 (2022)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i2.4706

Abstract

Karawitan performing arts is one of the branches of art in Indonesia. The performing arts, which are based on music, still exist are carried out by art activists or karawitan artists. Karawitan is also one of the performing arts that has the potential to develop to the global scene. On the other hand, technology is growing rapidly, forcing everyone to continue to innovate in order to keep up with the world's technological currents. Gameland is one of the innovations sparked for the development of karawitan shows. Although it is still a design, it will be very possible to implement it in the future. The research conducted for Gameland design used descriptive quality methods. By using virtual metaverse technology, this design is expected to be able to be a medium for developing karawitan performances, improving the economy of artists, and promoting culture. Through Gameland's digital technology, artists can play and perform karawitan performances anywhere, anytime, and with anyone without being limited by space and time. Gameland exists as an effort to adapt to the progress of the era so that karawitan artists can continue to exist and develop with seamless connectivity relationships through the virtual world, the metaverse.
LARAWUDHU : SAJIAN MRABOT DAN KAJIAN GARAP GENDER Tofiq Hidayah; Bambang Sosodoro Rawan Jayantoro
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 1 (2023)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v23i1.4794

Abstract

 This research is expected to be a vokabuler of mrabot garap with specific studies of gending dynamics and popularization of Larawudhu gendhing using kendang inggah garap. Larawudhu itself is generally served using the inggah-inggahan, namely ladrang Clunthang. In this study, it will be explained about the series of gendings selected to achieve the desired gending dynamics. The concepts used include; the concept of garap by Rahayu Supanggah, the concept of mandheg by Ananto Sabdo Aji, the concept of mungguh by Bambang Sosodoro, and the concept of wiledan gender kembang tiba & ukel pancaran by Sumarsam. The method used is qualitative by means of book literature studies or related research, direct and indirect observations are also carried out to expand the author's knowledge in reviewing this research, as well as interviews with karawitan experts as input or advice for the author in conducting research. The results of this analysis offer or novelty of the work include; Larawudhu is presented using inggah kendang without changing the essence of gending Larawudhu itself, vokabuler offers mrabot with a series of gending – gending that are not similar, garap ciblon irama wiled and rangkep as an alternative garap in the form of inggah, as well as doing garap andhegan with consideration as a reinforcement of prenes elements in the garap of ciblon irama rangkep.  
GARAP LAGU BAJU HÉJO: DAMPAK ADAPTASI SALENDRO 15 NADA PADA ANGKLUNG PENTATONIS RAGAM LARAS Ega Fausta; Ananto Sabdo Aji
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 22 No. 2 (2022)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i2.4796

Abstract

Angklung Pentatonic Ragam Laras (APRL) is one of the innovative angklung products created in 2017 through an experimental process by Endah Irawan et al. A variety of tunings pentatonic angklung (APRL) is a musical ensemble consisting of several types of instruments made of bamboo material that apply the concept of collaborative instrumentation between gamelan orchestration and Western music. This ensemble is a new innovation in the world of traditional Sundanese art because it has a distinctive tuning pattern/scale system that collects several tuning patterns in Sundanese karawitan, namely Salendro, Degung and Madenda in different ensembles. The concept of the scale system is adapted from the concept of the Salendro 15 tone scale by R.M.A. Koesoemadinata.This study uses a mixed convergent parallel type method by obtaining both qualitative and quantitative data in order to answer the problem formulation comprehensively.  The research results show that the adoption of the 15-tones saléndro tuning by Koesoemadinata R.M.A. affects the musikal work on Baju Hejo song that have been re-arranged especially in terms    of the development of percussion and melodic patterns, tuning modulation and surupan, as well as the application of insert tones (miring and malang).
STRUKTUR DAN BENTUK GENDING TARI HANDAGA BUGIS DI PURA MANGKUNEGARAN Indah Ayu Saputri
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 22 No. 2 (2022)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i2.4807

Abstract

The Handaga Bugis dance at Mangkunegaran Temple is a wireng genre dance. The presentation of this dance cannot be separated from the musical accompaniment as one of the determining factors for the success of the performance both in welcoming guests at the Mangkunegaran Temple and in a festival. This study aims to describe the structure and form of music in the Handaga Bugis dance performance at Mangkunegaran Temple. Qualitative research methods with observation and interview techniques are used to support the data collection process in this study. In its presentation, this dance has standard music/accompaniment (standard) as a form of wireng dance. The forms of gending used are sampak sanga, lancaran kandhang bubrah pelog pathet nem, ketawang puspanjala pelog pathet nem, kemudha pelog pathet nem, ayak-ayak sanga wiled. Based on the structure, several gending have similarities and differences in the level of rhythm, beat and execution.
PERAN ENDANG SRI SEDEP DALAM PADEPOKAN SENI PANDHANSARI DI KABUPATEN KARANGANYAR Roni Kesuma; I Nyoman Sukerna; Siswati Siswati
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 1 (2023)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v23i1.4817

Abstract

The journal entitled “The role of Endang Sri Sedepin the Pandhansari Art Padepokan in Karanganyar Regency”, aims to reveal (1) What is the role of Endang Sri Sedep in managing art performance activities at the Pandhansari Art Padepokan? (2) Why and what factors made the Pandhansari Art POPULAR IN Karanganyar Regency? Endang Sri Sedep has a very important role in the Pandhansari Art Padepokan, this cannot be separated fromEndang who is a businessman, artist, and owner of the Pandhansari Art Padepokan. The background of thisresearch is Endang Sri Sedep abilityto manage the activities of the Pandhansari Art Padepokan using financial respurces independenthly, unlike art hermitages in general which raise donors for their activities. Apart from that, the Pandhansari Art Padepokan does not only focus on educationor training, butalso focuseson providingart performance space for the people in Karanganyar Regency both in festivals, competitions or concerts. This research is a qualulative research using analitic descrptive method. The author uses thethoughts of Soerjono Soekanto and Sedyawati. Based on this, it can be seen the role of Endang Sri Sedep in managing art performance activities and factors in the existenceof the popular Pandhansari Art Padepokan in Karanganyar Regency.

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