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
 15   16   17   18   19 
GAMBIR SAWIT SEMBUNG GILANG VERSI NYI M.M RUBINEM Sutrisni; Siswati; Asep Saepudin
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.v24i2.6977

Abstract

Nyi Maria Mahdalena Rubinem is a professional singer from the city of Yogyakarta before 1945 and experienced her heyday in 1955-1973. Nyi Rubinem is the only singer from the city of Yogyakarta who received the title of Maestro Sinden. This is interesting to research to find out how to work on Nyi Rubinem's sinden in more depth.  The discussion in this research is focused on Nyi Rubinem's version of working on sinden in relation to conventional working on sinden norms with the aim of knowing and describing the characteristics of working on sinden and Nyi Rubinem's strengths as a singer. To solve the problems in this research, the descriptive analysis method was used, namely a research method carried out by describing the data that has been collected, then continuing with analysis of working on sindenan. The data analyzed includes: the application of lyrics to the piece, cengkok sindenan, the generation of sinden and the presentation of sinden. The results obtained from the research show that Nyi Rubinem, in working on her sindenan, has distinctive characteristics, including the crooked sindenan srambahan seleh notes 1, 2 and 5. A striking characteristic is the color of her voice which is very shrill and tends to be kêmèng, a characteristic is also found in the repetition of the sindenan Isen-isen with a feminine, feminine accent. Nyi Rubinem's strength as a singer can be seen in her total appearance, both physically and in terms of potential/skills.
NILAI PANCASILA DALAM SYAIR SINDHENAN GAYA SURAKARTA Sukesi
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.v24i2.7080

Abstract

Pancasila is the foundation of the state that has an important position in the life of Indonesian society. Every aspect of the life of the nation and state ranging from law, politics, economics, to art and culture must always be based on the values of Pancasila. In the aspect of arts and culture, Pancasila values are reflected in various traditional art forms, one of which is in Surakarta-style sindhenan poetry. Research on Pancasila Values in Surakarta Style Sindhenan Poetry is an attempt to explore Pancasila values contained in sindhenan poetry commonly used in Surakarta Style Karawitan repertoire. The purpose of this research is to show that the position of the sindhen is not only an object of sound and visual exploitation, but the ability of the sindhen to convey the values of Pancasila which is the basis of the Indonesian state. Thus, this shows that pesindhen have played an active role in socialising the foundation of the state as a way of life as well as the identity of the Indonesian Nation. The result of this research is the existence of Pancasila values and its points as contained in the 2003 TAP MPR RI in Surakarta style sindhenan poetry, especially in the wangsalan section.
EKSPLORASI ORGANOLOGI DAN INSTRUMENTASI DALAM SENI TRADISI TAMBUR MASYARAKAT SASAK Galih Suryadmaja; Mukminah; Nurtikawati; Salniwati; Dewi Puspita Ningsih
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 25 No. 1 (2025): 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.v25i1.7130

Abstract

This research explores the traditional Tambur art of the Sasak community as a cultural artifact possessing historical, organological, and social significance. The Tambur is not merely regarded as an instrument; it also serves as a symbol of identity and a space for contesting narratives between claims of Balinese heritage and the local Sasak roots. The study indicates that the Tambur has undergone a process of localisation, rendering it an inseparable part of the cultural practices of the Wetu Telu Islamic community, particularly within the context of the Perang Topat ritual. From an organological perspective, the Tambur instrument and its ensemble demonstrate the technological skills of the community in transforming natural materials such as wood, metal, skin, and bamboo into musically meaningful and functional instruments. Its rhythmic and collaborative instrumental structure reflects values of mutual cooperation, spirituality, and a connection to the environment. In a social context, the Tambur serves as a binding medium for the community and a link between generations. It functions as a cultural communication tool that preserves the continuity of tradition amidst the challenges of changing times. Therefore, the preservation of the Tambur should be understood as an effort to maintain the identity and vitality of local culture, which is increasingly threatened by global homogenisation.
GENDERAN ADA-ADA GAYA NYI SUWANDA DALAM SAJIAN WAYANG KULIT PURWA GAYA YOGYAKARTA Suharjono; Aji Santosa Nugroho; Siswati Siswati
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 25 No. 1 (2025): 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.v25i1.7258

Abstract

This study was conducted to find out and explore the techniques, patterns and dynamics of genderan ada-ada wayang kulit purwa Yogyakarta style performed by Nyi Suwanda. In addition, this study is also a means of documenting genderan wayang kulit Yogyakarta style, especially female genderan. In ancient times, especially in the puppetry environment, genderan wayang was generally performed by female genderan. However, along with the progress of the era and the development of karawitan, there has been a shift with the emergence of male genderan in pakeliran karawitan. The uniqueness of the female genderan style of Nyi Suwanda, it is important to document in writing, with the aim that it can be known and studied by the next generation. Thus, the history of genderan wayang originating from female genderan is not interrupted. The research method used is descriptive analysis. The analysis is carried out through several stages, namely: observation by listening to recordings, participatory observation of transcription, identification of techniques, patterns, dynamics and drawing conclusions. Based on the analysis conducted, this study successfully obtained several findings regarding the elements of technique, pattern, dynamics, and laya performed by Nyi Suwanda in the presentation of ada-ada wayang kulit purwa in the style of Yogyakarta. The elements of technique that were successfully found included gembyungan and pipilan. The elements of pattern found included kawitan, baku, rambatan, and panutup. The elements of dynamics found included hard and lirih, while the elements of laya were found to tend to be magak (steady) and firm.
KROMONGAN MUARA ENIM SUMATERA SELATAN: SEBUAH KAJIAN BENTUK, SISTEM PELARASAN DAN KOHESI SOSIAL Tika Puspita Sari; Lutfia Okta Riwayati
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 25 No. 1 (2025): 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.v25i1.7302

Abstract

This research explores the kromongan in Muara Enim, South Sumatera, as a form of traditional art that has aesthetic, musical, and social value. The study focuses on three main aspects, namely presentation form, tuning system, and social cohesion. This study uses descriptive analysis methods. As a form of qualitative research, data is obtained from actual events, without any intervention from the researcher. Data processing was carried out using inductive analysis techniques, namely by interpreting the data based on patterns, themes, and categories that emeged during the research process. To support the collection of songs in kromongan games, namely Jarum Pelitas, Rejung tetambang, Siamang Jauh, and Saluang Mudik. These five forms can be seen from the structure of the peninting instrument. For the people of Muara Enim Rancap, Jarum pelitas, Rejung Tetambang, Siamang Jauh, and Saluang mudik are important entities in kromongan because these five things are manifestations of the art and culture of the Kromongan Muara Enim community, contributing to the creation of a solid and socially empowered society.
MODIFIKASI STRATEGI KREATIF PENGAMEN TUNANETRA DALAM MEMBANGUN INTERAKSI SOSIAL: STUDI KASUS : PENGAMEN TUNANETRA DI JALAN MALIOBORO YOGYAKARTA Anantha Angriany Sitio
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 25 No. 1 (2025): 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.v25i1.7353

Abstract

The purpose of this study is to identify changes in creative tactics created by blind people in performing busking. Changes in the rules in the arrangement of the Malioboro tourist location by the Yogyakarta government require blind buskers to change their busking strategy, which used to be walking along Malioboro Street (busking by moving around) to having to settle at a point that has been determined by the Yogyakarta government. In practice, the regulation makes changes for blind buskers along Malioboro Street. The changes are related to the strategies that must be changed, which were previously nomadic but must change to being settled. The purpose of this study is to examine the modification of creative tactics built by blind buskers to achieve success in their busking performances. Observation and interview are a combination of data collection methods in this study. The selection of informants with the purposive sampling method. The results of this study indicate that the busking strategy with the nomadic method is different from non-nomadic busking. Creative tactics occur in various elements such as speakers, volume, sharing tasks, direction of face, and pauses.
MODIFIKASI GARAP GENDHING OREK-OREK GAYA REMBANG Prayugalihingtyas Dwi Hapsari; Muhammad Nur Salim; Ananto Sabdo Aji
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 25 No. 2 (2025): 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.v25i2.7394

Abstract

The research entitled "Modification garap of Gendhing Orek-Orek gaya Rembangan" aims to analyse the modification that occur in Gendhing Orek-Orek gaya Rembangan, as well as describe the factors that influence the modification. Analyzing the modification that occur in Gendhing Orek-Orek gaya Rembangan uses the theory offered by Supandi and Rahayu Supanggah. To describe the modification factors using the theory offered by Shils and Rahayu Supanggah. The metode used in the research is a qualitative research method with the stages carried out, namely data collection and data analysis. The modification that occurs in Gendhing Orek-Orek gaya Rembangan is done by a process that produces a new Gendhing Orek-Orek by changing the structure and performance. The structure has the addition of suwuk gropak and buka celuk. Garap experienced changes and additions to the materi garap, sarana garap, and prabot garap. The occurrence of modifications is caused by factors such as the awareness of the performer, the quality of the individual, and other driving factors such as garap considerations, public tastes, and revitalization of the arts.
INOVASI PEMBUATAN REBAB VERSI RAHARJA: KAJIAN ORGANOLOGI DAN AKUSTIKA Donovan Hardy; Bayu Wijayanto; Setya Rahdiyatmi Kurnia Jati Linuar
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 25 No. 1 (2025): 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.v25i1.7417

Abstract

This research began with the phenomenon of making rebab initiated by Raharja (hereinafter referred to as rebab Raharja). This produk is a realization of the stimulus of the idea of ​​developing musical instruments in 1993, when he studed at ISI Yogyakarta. The idea of ​​creating rebab Raharja was motivated by the emergence of contradictory criticism of the use of conventional rebab in the presentation of Raharja's gamelan in 1993. There are several parts of his musical composition that have a hard nuance and the presentation of the rebab is done in a standing position. Anticipatory efforts were carried out creatively by taking a number of innovative steps. The goal is that the new rebab details can be used in the context of presenting contemporary musical works. The process of making and experimenting with making rebab Raharja has taken place three times, that was in 1994, 2010, and 2023. Each stage produces two products that have differences in physical and non-physical aspects. The purpose of this study was to examine and describe Raharja's innovation. The realization of his ideas has been carried out in several aspects, such as: technology of making the rebab’s body with resin as an alternative material to replace wood, the design of the shape and construction of the rebab, and the application of electrical technology products as sound generating devices. The method applied in this study is qualitative descriptive analysis. The method and nature of the research are applied to analyze and describe the innovation and process of making Raharja’s rebab. The physical aspect is studied using the discipline of organology, while the sound quality and its processing are carried out using acoustics, a branch of physics that discusses sound. The results obtained from this study are in the form of a description of the meaning of innovation, forms of innovation, knowledge of materials, making design shapes and construction, the process of making the rebab’s body and the process of producing sound by applying electrical technology products. The realization of this idea, changing the physical appearance and sound quality can be processed to be more diverse. As far as the author knows, there has been no rebab made like Raharja's idea. The innovation that has been carried out has the opportunity to be applied to other details, either with the same or different thinking. In essence, it has a noble goal to develop and globalize gamelan through the development of its musical instruments, so that it has a functional suitability and technological equality with other musical instruments.
TRANSFORMASI MEDIA KOMUNIKASI TAHURI DARI PENANDA BUDAYA HINGGA KE PENANDA MUSIKAL Mentari Cklaudita Walalayo
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 25 No. 1 (2025): 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.v25i1.7440

Abstract

This study aims to understand the phenomenon of the transformation of Tahuri, a traditional medium of communication, from a cultural symbol into a musical symbol within the social life of the Hutumuri community. The analysis of this phenomenon is linked to auditory perception, musical creativity, and the collective memory of the community. To support this analysis, several theoretical frameworks are employed. The concepts of Victor Turner and Maurice Halbwachs are utilized to examine the emergence of the idea and conceptual transformation of Tahuri through the reflective experiences of its initiators. Auguste Comte’s sociological perspective is used to understand the social construction of the new function of Tahuri as a musical instrument within the Hutumuri community. Furthermore, the theories of Andrew Gregory and Djohan are applied to explore the influence of music on the community’s enthusiasm for preserving Tahuri as cultural heritage. To achieve these objectives, this research adopts a qualitative approach, using semi-structured interviews with eight informants who are directly involved in the use and preservation of Tahuri. The findings of this study indicate that the transformative idea of Tahuri originated from the reflective experiences of its initiators, who recognized both the musical and cultural potentials inherent in the instrument. This idea was positively received by the Hutumuri community, who also acknowledged Tahuri’s musical potential and considered that its use as a musical instrument does not interfere with its function as a cultural symbol. Therefore, transforming Tahuri into a musical instrument represents an effective strategy to foster the enthusiasm of the Hutumuri community in preserving Tahuri. The productivity of musical activities and the optimization of performance quality have contributed to the personal development of Tahuri musicians, enabling their active participation in musical activities at the Sanggar Kakoya Tahuri Hutumuri.
REALITAS PESINDEN DALAM SUDUT PANDANG INDUSTRI BUDAYA OLEH ADORNO DAN HORKHEIMER Gutami Hayu Pangastuti
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 25 No. 1 (2025): 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.v25i1.7461

Abstract

In Javanese karawitan, sindhen plays the role of presenting the music. This activity is referred to as nyindhen with the aim of strengthening the character of the gendhing. The sindhen is not categorized as a solo singer, but rather as part of the instrument, marking her role as not a soloist. Over time, the role of pesinden, especially in pakeliran music, has grown. This is especially true when wayang offerings are expanded through television broadcasts and digital platforms. The public is increasingly familiar with and fond of wayang, especially because of the existence of creativity that is increasingly developed. Instead of introducing the arts of the archipelago, with or without realizing it, it shifts the function and essence of the art actors. So, how does the cultural industry have an involvement in shaping the realm of work of puppeteers? What phenomena are captured from the reality of courtesans in the perspective of the cultural industry? Through analysis with the approach of Adorno and Horkheimer in the Dialectic of Enlightment published by Standford University Press in 2022, it presents a critical point of view around the dialectic of enlightenment including the cultural industry. Using the webtography method, the observation of the data summarized through the article includes two elements, namely the singer and the reality of her work in the cultural industry and the motive of reality as an impact of mass products. The article becomes a form of offer from the description of the reality of the singer who personally conveys an image that cannot be separated as a form of creation.

Page 18 of 19 | Total Record : 189

 15   16   17   18   19 

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