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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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GÊTHINI : SAJIAN MRABOT DAN KAJIAN GARAP SINDHÈN Sri Wahyuni; Ananto Sabdo Aji
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.v23i1.4858

Abstract

This research examines the work on sindhenan gendhing Gêthini kethuk kalih kerep minggah sekawan laras slendro pathet sanga and its seies, namely work on mrabot with innovations on sindhenan style Surakarta. In working on musicality in the world of karawitan, the author uses concepts namely the mungguh concept by Bambang Sosodoro, the mandheg concept by Ananto Sabdo aji and the concept worked on by Rahayu Supanggah. The method used is qualitative by way of  studying book literature or making observations directly or indirectly in order to broaden knowledge to obtain the history of gending  and work on musical performances. As well as need interviews with karawitan experts as inputs, ideas and suggestions for conducting this research. The innovations for working on sindhenan lies in the merong kenong parts one and two in balungan seleh ro can be worked on minir pasren, the ngelik kenong two seleh nem part are also worked on minir, because there are balungan melodies that minir can work on. Innovations made by sindhenan on the inggah section can also be worked on by mandheg on the first kenong seleh ji andegan kinanthi and the second kenong seleh nem mandheg andhegan kacaryan, on kenong lu mandheg you can add amdhegan sekar tengahan bawaraga, that’s where sinden has different variations of andegan and gets innovative ideas work on adding a distraction, because in this innovation work on sindhen can show its potential and expertise when the piece is presented.
FUNGSI MUSIK RITUAL BRENDUNG DI DESA LANGENSARI KECAMATAN KESESI KABUPATEN PEKALONGAN Amanu Saputro; Sigit Setiawan
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 24 No. 1 (2024): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Brendung is a ritual carried out by the people of Langensari Village, Kesesi District, Pekalongan Regency to ask for rain during the prolonged dry season. Brendung is a ritual of asking for rain in the form of chanting spells in a song form accompanied by musical instruments from kitchen utensils and puppet as a symbol of Mbak Ayu Brendung which is believed to have a harvest of bringing rain. The brendung ritual is usually held on the day of kliwon in the Javanese calendar, starting from the process of stealing dippers made of coconut shell, assembling and making up dolls, placing dolls in tombs, and ritual processions. Villagers use klothekan for the music such as simple home appliances such as boyong, buckets, trays, cans, and pockets. The uniqueness of brendung music is that it is required to use boyong as its musical instrument. There are three spells in the brendung ritual procession, namely the frankincense burning spell, the song spell, and the closing spell to neutralize the puppet. Brendung music has an important function in the implementation of brendung rituals. The functions of music include the attestation function of social institutions and religious ceremonies, the contribution of social integration, physical reactions, means of communication, social norms, and entertainment.
GENDANG AGONG DALAM PERTUNJUKAN KUNTAU DI KABUPATEN PASER KALIMANTAN TIMUR Aris Setyoko; Zamrud Whidas Pratama; Pazru Rahman
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.v23i1.4960

Abstract

This study discusses working on the music of Gendang Agong in the Kuntau performance in Paser Regency, East Kalimantan. Gendang Agong is a traditional musical ensemble based on one of its functions used to accompany Kuntau performances, namely the martial arts or pencak silat traditions of the Paser Tribe. The study of the concept of garap karawitan Rahayu Supanggah related to the material for working on, cultivating, working on equipment, working on furniture/equipment for garap, determining the garap, and consideration on garap is used to analyze it. This research is a qualitative research with analytical descriptive research method. The results of the study show that the garap of Gendang Agong music has a working concept that applies in karawitan scholarship. The material for Gendang Agong is in the form of a transcript of musical notation by writing kepatihan notation with slendro pathet manyura. Cultivators are musicians who have a cultural background as the influence of virtuosity. The working facilities are in the form of quality musical instrument organology to support maximum sound. Furniture/cultivation tools, namely tools/software in the form of musicians' musical ideas that are formed based on their background as the casting of musical practice. The determining factor for garap is in the form of signs for musicians when working on it based on function, namely as an accompaniment for Kuntau. The consideration of working on it is musicians who are ready and responsive to emergencies for creativity when faced with an unsupportive performance venue. The series of six concepts worked on by supanggah is a unified whole that supports each other in forming traditional music compositions to build a musical atmosphere to accompany the Kuntau Paser performance.
MAKNA PSIKOLOGIS MUSIK GONG WANING DALAM RITUAL ADAT KEMATIAN MASYARKAT HEWOKLOANG KABUPATEN SIKKA Katharina Kojaing; Melkior Kian; Agustinus R.A. Elu
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.v23i1.5083

Abstract

Gong Waning is a traditional musical instrument (gong and drum) originating from Sikka Regency, East Nusa Tenggara. This instrument functions as a dance accompaniment in various rituals, both customary (sacred) and entertainment (profane). The aim of this study was to gain knowledge about the meaning of Gong Waning's psychological music in the funeral rituals of the Hewokloang people. The theory used in this research is the theory of music psychology. In addition to the psychological theory of music, researchers also combine it with a supporting theory, namely the concept of music mythology. In his study using descriptive qualitative research using ethnographic methods where the author lives and directly experiences the ritual events of the death feast. Data collection techniques were carried out by (1) literature study, (2) observation, (3) interviews, and (4) documentation. Meanwhile, in analyzing the data, it is used in several stages, namely (1) data reduction, (2) data presentation, (3) data analysis, and (4) drawing conclusions. Furthermore, data calibration was carried out using triangulation techniques. The results showed that the presence of Gong Waning's psychological music in the death rituals of the Hewokloang community in Sikka district had a meaning of joy. Expressions of joy were expressed by the people, both the mourners and the drummers, through the strains of Gong and Waning (drum) music which presented various types of rhythmic patterns and were played by fast rhythms.
EKOLOGI MASYARAKAT MINANGKABAU PADA LAGU SOSOH DALAM UPACARA TABUIK DI PARIAMAN, SUMATRA BARAT Cameron Malik
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.v23i1.5167

Abstract

The Sosoh song is played during the Tabuik ceremony. Its purpose is to facilitate the battle in the ritual which aims to represent the war experienced by Husein in Karbala, Iraq. The aim of this research is to explore the relationship between the performance of the Sosoh song and the ecological system in Minangkabau culture. This study uses ethnographic methods with primary sources of data being field notes, interviews, and documentation. The results of this study show that the Sosoh song is not only related to the ritual context but also to Minangkabau culture as a whole. This is demonstrated by the reciprocal relationship between the song and cultural construction. It can be seen that the Sosoh song is an actualization of how the concept of resilience in maintaining sovereignty in a nagari within the cultural context is embodied in warfare during the ceremony. In conclusion, the Sosoh song has a significant role in Minangkabau culture and is not just limited to the context of the Tabuik ceremony. The research findings can help to raise awareness and appreciation of the cultural heritage of Minangkabau, and could potentially be used to promote the preservation and development of this unique culture.
MUSIK TONG-TONG SANGGAR SENI TARARA, BANGKALAN, MADURA Nanang Bayu Aji
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.v23i1.5399

Abstract

Madura has a wealth of diverse traditional arts such as kejhungan, saronen, tong-tong, and gamelan. One of the interesting arts is tong-tong music. Tong-tong music is a musical ensemble dominated by wood percussion that used to function as sahur patrol music or music played to wake people up for suhoor in Ramadan. In addition, it isused to call pigeons home to return to their cages. The purpose of this study is to describe several patterns of music playing barrels of Sanggar Seni Tarara Bangkalan. This research is a qualitative research using a realist ethnographic approach. There are several repertoire of tong-tong music described in this study, including West Klapayan, East Klapayan, Ghul-ghul, and Rujurut.
TRANSFORMASI GARAP LADRANG PANGKUR KE DALAM MUSIK KRUMPYUNG DI KABUPATEN PURBALINGGA Galang Pangestu; Muhammad Nur Salim
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.v23i1.5428

Abstract

This research aims to reveal the process and factors that influence the transformation of Ladrang Pangkur into Krumpyung music by Paguyuban Sri Rahayu Tresna Sejati in Purbalingga Regency. The problem is studied using the theory proposed by Suradi related to transformation, and the concept of garap by Rahayu Supanggah. The method used in this research is qualitative research method. The initial stage is data collection by observation, interview, and documentation. The second stage is data analysis using data reduction, data presentation and conclusion drawing techniques. The next stage is data verification before presenting the data. The result of transforming Ladrang Pangkur into Krumpyung Music shows imitation, which can be seen through the technique, pattern, rhythm, laras, and pathet of Javanese gamelan. In addition, the players also create new techniques and patterns in Krumpyung Music.
KOMPOSISI GAMELAN KELOMPOK SARDULO ANUROGO PADA FESTIVAL REYOG NASIONAL 2019 Sigit Setiawan; Anggono Kusumo Wibowo
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.v23i1.5443

Abstract

This research reveals the composition of the Reyog Ponorogo gamelan, a case study of the Reyog Sardulo Anurogo group in Jember, East Java, in the context of the 2019 National Reyog Festival. The reason for selecting Sardulo Anurogo as the case study subject is due to the group's interesting pluralism aspect, where Reyog is not only studied by the Javanese Ponoragan ethnic group, but also by other ethnic groups in Jember, Madura. The 2019 National Reyog Festival also marked a significant moment for Sardulo Anurogo, as they achieved a top 3 position in the festival, representing the group's highest achievement. The approach used is based on the ideas of I Wayan Sadra, who proposed four methods for composing music. These are (1) the principle of growth, (2) sound transformation or medium, and (3) range or tonal area. These principles areapplied to analyze the composition of the Reyog Sardulo Anurogo gamelan. The research result is the categorization of Reyog music development methods, which can be used as a prototype for composing and enhancing the creative aspects of Reyog gamelan.
PITUTUR: SEBUAH KOMPOSISI KARAWITAN DALAM PERSPEKTIF REPRESENTASI KENAKALAN REMAJA Bambang Sri Atmojo; Aji Santoso Nugroho
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 2 (2023): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v23i2.5515

Abstract

This Pitutur composition is a composition of songs worked on lirihan. In the Pitutur composition, the embodiment of the idea or idea of song composition is presented by containing a special ensemble consisting of 4 instruments, namely: Slenthem, Gender barung, gender penerus and ketuk kenong laras pelog patet nem. In this composition there is no kendang instrument, with the premise that in the presentation of his work it is expected that the players will be more sensitive to the ulat-ulatan system and adumanising rasa. As for the vocals of the Pitutur composition, it is more dominated by choral vocals (together). The creation of poetry is based on observing the reality of juvenile delinquency that has hit small towns in Indonesia, such as gangs, graffiti, theft, hold-ups, drunkenness and murder.The research method in creating a speech composition is through two stages, namely the preparation stage and the implementation stage. The results of the work show that the composition works on several gender beats which can give a new flavor, including garap buka which is sung by gender barung and the successor simultaneously so that it creates a dynamic atmosphere, working on the imbal-imbalan is presented at a slow tempo creating a sareh (calm) atmosphere, while at a slow tempo quickly creates an atmosphere of greget (firm), works on kinthilan creates an atmosphere of sigrak (enthusiasm), works on joy, creates an atmosphere of prenes (happy). Kata kunci: Pitutur; ensembel gender; komposisi; lirihan, vokal koor
IDENTITAS GARAP MUSIK JOMBANGAN PADA KESENIAN JARANAN DOR DI KABUPATEN KEDIRI Andre Prasetya Nugraha; Muhammad Nur Salim
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 2 (2023): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v23i2.5640

Abstract

This study aims to analyze the identity of Jombangan music garap and its forming factors in the art of Jaranan Dor art group "Karya Budaya" in Kediri Regency. The problem is analyzed using theories put forward by several figures. In the process of analyzing identity in garap music, Jaranan Dor uses the theory offered by George M. Head and Rahayu Supanggah, and to describe the factors of identity formation using the theory proposed by Stuart Hall. This research uses qualitative methods, with stages of data collection, data analysis, and data presentation. The data collection phase includes interviews, observation, documentation, and transcription. The data analysis stage includes data reduction, data presentation, and conclusions. The data presentation stage is carried out after obtaining the results of the data analysis stage and then presented in a scientific writing work. The identity formed through the elements of music garap in the Jaranan Dor art group "Karya Budaya" is Jombangan. Jombangan identity can be formed due to several factors, including geographical location, cultural conditions of the community, and history.

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