cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
Lutfia Okta Riwayati
Contact Email
lutfiakta8@gmail.com
Phone
+6285643145048
Journal Mail Official
lutfiakta8@gmail.com
Editorial Address
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
Location
Kota surakarta,
Jawa tengah
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
 14   15   16   17   18 
PENCIPTAAN TEMBANG DOLANAN “AYO KANCA” DENGAN ILUSTRASI UNTUK ANAK SEKOLAH DASAR DI SURAKARTA SEBAGAI MEDIA EDUKASI VIRUS COVID-19 Waluyo; Basnendar Herry Prilosadoso
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

Wabah virus Covid-19 menjadi wabah pandemi di Indonesia, dimana untuk mencegah dan menanggulangi virus tersebut sudah dilakukan di seluruh daerah. Penyebarluasan informasi seputar wabah Corona ini dibutuhkan bagi kalangan siswa sekolah dasar, dimana pada usia tersebut informasi dapat menjadi pedoman nantinya baik untuk sekarang dan di masa depan. Diperlukan media yang sesuai dan kondisi, serta dibutuhkan alternatif agar informasi yang disampaikan dapat diterima serta menarik. Media alterantif salah satunya melalui tembang dolanan yang mempunyai keunikan serta daya tarik dikarenakan dalam tembang dolanan sarat dengan ajaran serta nilai-nilai dalam kehidupan manusia. Visualisasi nilai yang tampak dari bentuk tembang dolanan dan syair mengandung ajaran moral yang berguna dan dapat digunakan sebagai media penyampaian pesan yang dapat diaplikasikan dalam pelestarian bahasa ibu dan pendidikan budi pekerti. Tujuan penelitian artistik, yaitu : karya tembang dolanan anak yang dikolaborasikan dengan ilustrasi yang berisi materi tentang pencegahan dan penyebaran virus Covid-19 kepada siswa sekolah dasar. Metode penciptaan karya seni ada 6 (enam) tahapan yaitu : Discovery, Interpretation, Ideation, Experimentation, Evolution, dan Implementation. Tembang dolanan “Ayo Kanca” ini diharapkan selain untuk pelestarian tembang dolanan juga memberi informasi dan edukasi mengenai wabah pandemi ini. 
BUKAN HANYA KANCA WINGKING PUSPA KARIMA DALAM STIGMA GENDER MENUJU PANGGUNG INTERNASIONAL Mukhlis Anton Nugroho; Sunarmi; Santosa Soewarlan
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.v23i2.5732

Abstract

The rapid development of the digital era has changed the view of women's roles that were previously confined to household responsibilities, and now the stigma is starting to erode. In Javanese culture, there is the concept of "kanca wingking" which refers to the role of women at home to perform tasks such as cleaning, cooking, taking care of children, and so on. However, with the advent of the women's emancipation movement, the stigma has begun to fade as many women have careers. The same thing happened in the traditional music scene in West Java. Gender stigma also emerged by prohibiting women to play the Rebab instrument in Sundanese karawitan. This paper discusses how Puspa Karima, whose members are all women, tries to change the gender stigma in Sundanese karawitan performances. The method used is qualitative as a research procedure that produces descriptive data in the form of written or spoken words from people through the interview stage. In addition, data can also be collected through observation of people's behavior in the field on the object of research. The results of this paper show that Puspa Karima not only succeeded in changing the gender stigma that applies to Sundanese karawitan performances, but Puspa Karima actually succeeded in bringing gender issues in the case of karawitan art to the international arena. Keywords: Gender Stigma, Kanca Wingking, Women, Sundanese Karawitan
GARAP EKSPRESI TEMBANG DAN ANTAWECANA WAYANG BOCAH SAMPARAN SAMPIRANKU Chikal Safa Nandhita; Nandhang Wisnu Pamenang; Budi Setyastuti; Karyono
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.v23i2.5828

Abstract

Tembang and antawecana are one of the components of dance which is called the verbal component. These components can be enjoyed through language, speech and the intonation of a sentence. Cultivating the verbal component can influence the results of the expression produced based on the delivery of the verbal component through the intonation of the song and the emphasis of the words in the antawecana. Strengthening the expressions of wayang orang or wayang anak players can be accompanied by tembang and antawecana. It depends on the accuracy of tembang and antawecana used and placed in the right position. The existence and choice of place is also an asset in finding the desired expression for a wayang orang artist. Wayang orang Samparan Sampiranku is one of the children's wayang works that uses songs and antawecana as a form of expression in communicating and conveying emotions. This research emphasizes descriptive analysis carried out to find an analysis of the expressions obtained based on the description of the songs and antawecana contained in the Wayang Bocah work entitled Samparan Sampiranku presented by Sanggar Sarwi Retno Budoyo in 2022 at the Wayang Bocah Festival. Keywords: Tembang, Antawecana, Garap, Expression
IMPLEMENTASI GARAP MINIR DAN GARAP PATHET DALAM REBABAN GENDHING WIYANG Ulung Alif Ghifari; Ananto Sabdo Aji
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

Abstract

This article entitled "Implementasi Garap Minir Dan Garap Pathet Dalam Rebaban Gending Wiyang" contains an analysis, description, and study of the Wiyang garap rebab. The main idea presented in this article is the application of minir céngkok in mérong and the implementation of pathet elaboration located on the second kenong inggah with the application of yo bapak rebab céngkok, enabling it to be elaborated using two pathet interpretations, namely sléndro sångå and sléndro manyurå. This research adopts a qualitative method. Data collection methods include literature review, direct or indirect observation, and interviews with relevant informants. In analyzing this article, several concepts are employed to underpin the author's ideas, namely garap, pathet, and mungguh. The research findings reveal the application of minir céngkok pasrèn in mérong based on the absence of vocal influence and pamijen elaboration, which mandates minir elaboration within it, rendering the minir elaboration in this facultative garap. The application of minir céngkok pasrèn in this yields garap several categories of minir elaboration, including whole minir, half minir, and three-quarters minir. In addition to minir elaboration, the implementation of pathet elaboration on inggah contributes to offering elaboration to make the composition more dynamic. This influences other elaborations, resulting in the perception of dynamism in the presentation of the Wiyang composition.
KAJIAN DAN PENERAPAN GARAP SINDHENAN PADA GENDHING PAMEKASAN WUDHAR SLENDRO SANGA Ar Ribath Diin Nikhmah; Suraji
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.v23i2.5889

Abstract

This article entitled "Pamekasan Wudhar, Gendhing Kethuk 2 Kerep Minggah 4 Laras Sléndro Pathet Sanga: A Study of Garap Sindhèn" analyses, presents and describes the sindhènan of the music in it. The problem in this art thesis is the garap and sindhènan analysis of Gendhing Pamekasan Wudhar. This research uses a type of qualitative research, the method used is qualitative method. Data were collected by interview, observation, and literature study. This problem is analysed through the concept of garap by Rahayu Supanggah, the concept of mungguh by Bambang Sosodoro, and the concept of padhang-ulihan by Martopengrawit. The results of the research on Gendhing Pamekasan Wudhar found that the garap contained in this music includes the placement of sindhènan techniques, garap mandheg, and sindhènan gawan cengkok puthut gelut. The application of the sindhènan céngkok puthut gelut garap is used as a varied garap in this music. Sindhènan gawan cengkok puthut gelut that is not worked on mandheg makes this gending has a unique sindhènan arrangement. As a pesindhèn, she is required to be responsive in presenting sindhènan. This can be supported by understanding the placement of padhang-ulihan so that it can place the application of wangsalan and abon-abon properly. In addition, paying attention to the application of céngkok and wiledan that must be in accordance with the character of the song being presented, the presentation of the right sindhènan technique is also an important thing to note for a pesindhèn.
MANGGALAMUDHA, KAJIAN GARAP SINDHEN Junissa Salsabilla Nuhari Putri Atik Nurgiyatmi; Suyoto
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.v23i2.5902

Abstract

This article entitled "Manggalamudha Gendhing Kethuk 2 Kerep Minggah 4, Laras Pélog Pathet Barang: A Study of Garap Sindhen" is to analyze and describe garap sindhènan gendhing Manggalamudha. The issues analyzed are garap céngkok, garap wangsalan and abon-abon, garap gregel and wiled, garap mlèsèt, garap angkat-sèlèh, garap mandheg, garap mungguh, and garap dynamics. These are reviewed using a number of concepts and theories in karawitan. The concepts applied are the concept of garap, the concept of mungguh, padhang-ulihan, and the concept ofmandheg. The concept of garap is used in creativity, the concept of mungguh is used for appropriateness in working on céngkok, the concept of padhang ulihan is used to determine wangsalan, while the concept of mandheg is used to work on mandheg in the inggah section of gendhing Manggalamudha which is worked on with andhegan cèngkok ayu kuning, andhegan kacaryan in the third kenong, and andhegan selingan. This research used qualitative research, data collection methods starting from the process of designing the work, determining the view (orientation), and determining the sources. Through literature study, observation, and interviews the author used as steps to collect data. The result of this research is garap mandheg in the inggah section of gendhing Manggalamudha which is worked with andhegan cèngkok ayu kuning, andhegan kacaryan in the third kenong, and andhegan selingan. The use of sindhèn garap in gendhing Manggalamudha is done with several garap, among others: wangsalan and abon- abon, garap gregel wiled, garap mungguh, lift technique, and garap dynamics. All sindhènan garap presented contain high aesthetic value in sindhènan gendhing Manggalamudha.
PEMBIASAAN POLA DAN PERILAKU BERPIKIR POSITIF PESERTA PELATIHAN KARAWITAN DI KOMUNITAS TERAS BUDAYA: - Andry Prasetyo; Sigit Setiawan
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.v23i2.5971

Abstract

Potensi seni yang dimiliki seorang anak kerap kali tidak disadari oleh orang sekitar bahkan dirinya sendiri, sehingga potensi yang ada tidak dapat diasah atau dikembangkan menjadi lebih baik lagi. Kecenderungan ini membuat anak-anak menutup diri atas potensi seni yang dimilikinya. Melalui seni dapat mengajarkan kebiasaan baik dan bermanfaat untuk menciptakn kualitas sumber daya manusia yang unggul di masyarakat.Tujuan: Penelitian ini bertujuan untuk mengaarkan perilaku dan cara berpikir yang baik kepada generasi muda melalui media seni karawitan Metode: Teknik pengambilan data yaitu teknik observasi, teknik wawancara dan teknik studi dokumen dengan menggabungkan pendekatan Psikologi yang mematangkan konsep pelatihan secara sistematis. Langkah yang digunakan untuk mencapai tujuan program ini adalah mengurai roadmap kegiatan, identifkasi potensi, masalah dan kebutuhan masyarakat Mojoroto, membentuk rencana intervensi melalui pendampingan dan pelatihan seni, studi banding, upaya pembentukan sanggar di Mojoroto.. Simpulan: Pemikiran dan perilaku positif pada anak-anak dapat memberikan kontribusi yang signifikan terhadap perkembangan kualitas hidup mereka secara keseluruhan di Mojoroto. Dengan berfokus pada pemikiran dan perilaku positif, anak-anak dapat lebih memahami dan beradaptasi dengan situasi yang mereka pelajari, sehingga menghasilkan kinerja yang lebih baik dan kesuksesan hidup mereka secara keseluruhan.
GADHON SALIN SWARA: INTERPRETASI GAMELAN GADHON Laurentius Hanan; Wahyu Thoyyib Pambayun
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.v23i2.5991

Abstract

This article recounts the author's experience in the process of composing "Gadhon Salin Swara." The composition is inspired by the gadhon gamelan. Drawing from the gadhon gamelan, the author is motivated to interpret rhythmic patterns that encompass cengkok, sekaran, gerongan, balungan, and the relationships between instruments. The stages of composition include orientation, observation, exploration, composition, and evaluation. Through this process, the author generates new approaches to approaching instrument crafting, particularly within the context of the gadhon gamelan. The author's approach involves developing patterns, maximizing traditional techniques to create dynamics in the composition, and fostering connections between instruments. It is expected that this article will be useful in understanding the author's creative process in composing "Gadhon Salin Swara."
KAJIAN MUSIKAL KOMPOSISI GAMELAN LOGDRO BANGSAKU KARYA BLACIUS SUBONO Wibi Endah Pambudi; Purwa Askanta; Guruh Purbo Pramono
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 24 No. 2 (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 | DOI: 10.33153/keteg.v24i2.6010

Abstract

The jurnal entitled “The Study of Musical Composition of Gamelan Logdro Bangsaku by Blacius Subono” basically aims to examine the musical elements in the composition of Gamelan Logdro Bangsaku. The problems contained in this study include: 1. How is the process of creativity of B. Subono in creating the composition of Gamelan Logdro Bangsaku, 2. How is the musical study in the composition of Gamelan Logdro Bangsaku. The type of research used is qualitative research with data collection techniques including interviews, transcriptions, observations and literature studies. After going through the analysis process, the following conclusions and findings were found. First, the creation of Gamelan Logdro's composition was formed from the manifestation of B. Subono's artistic journey. Secondly, the creation of the composition of Gamelan Logdro Bangsaku also created a new interval of composing slendro and pelog tones sequentially with araka intervals that are not too far away. Third, the melody of the clash of notes that focuses on the beauty of the song's sentences. Fourth, there is a lot of musicality in the compositional work of Gamelan Lodgro Bangsaku.
SISTEM PELARASAN PADA GAMELAN KYAI KANJENG Agus Setiawan; Muhammad Nur Salim; Ananto Sabdo Aji
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 24 No. 2 (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 | DOI: 10.33153/keteg.v24i2.6215

Abstract

This article is a research that aims to determine the tunning system in Gamelan Kyai Kanjeng and the factors that influence the tunning system in Gamelan Kyai Kanjeng. This research combines two methods, namely, qualitative and quantitative. Qualitative data collection techniques were carried out using literature studies, observations, interviews and documentation studies. The quantitative data collection technique in this research was carried out by recording tones and measuring the frequency of Kyai Kanjeng’s Gamelan. The results of the research show that the tunning system in Gamelan Kyai Kanjeng is a flexible tunning system that can cover several music genres with diatonic tonality. The tunning system applied to Kyai Kanjeng’s Gamelan is influenced by several factors including the influence of Emha Ainun Nadjib, the empirical experience of gamelan makers and the repertoire of Kyai Kanjeng.

Page 16 of 19 | Total Record : 189

 14   15   16   17   18 

Filter by Year

2002 2025


Reset
Filter By Issues
All Issue Vol. 25 No. 2 (2025): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 25 No. 1 (2025): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 24 No. 2 (2024): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 24 No. 1 (2024): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 2 (2023): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 1 (2023) Vol. 22 No. 2 (2022) Vol. 22 No. 1 (2022) Vol. 21 No. 2 (2021) Vol. 21 No. 1 (2021) Vol. 20 No. 2 (2020) Vol. 20 No. 1 (2020) Vol. 19 No. 2 (2019) Vol. 19 No. 1 (2019) Vol. 18 No. 2 (2018) Vol. 18 No. 1 (2018) Vol. 17 No. 2 (2017) Vol. 17 No. 1 (2017) Vol. 16 No. 1 (2016) Vol. 15 No. 1 (2015) Vol. 14 No. 1 (2014) Vol. 13 No. 1 (2013) Vol. 8 No. 1 (2008) Vol. 6 No. 2 (2006) Vol. 4 No. 1 (2004) Vol. 3 No. 1 (2003) Vol. 2 No. 1 (2002) More Issue