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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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LELAGON LESTARI BUDAYAKU: GENDING PROPAGANDA BERBASIS SLOGAN Raharja; Asep Saepudin; 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.v25i1.7626

Abstract

Lelagon Lestari Budayaku  is a musical composition created as one of the selected pieces for the “2023 Inter-Regency/City Yogyakarta Women's Karawitan Festival". The idea is based on the slogan "building a spirit of togetherness in cultural preservation". Based on the function and meaning contained in its lyrics, it falls into the category of propaganda music/songs. This research aims to uncover the background of its creation, methods, strategies, and stages in the process. As implied by the title of the piece, its compositional method prioritizes the aesthetics of traditional karawitan. A common challenge composers face in arranging musical pieces is the opportunity for development. A given musical form is sometimes considered fixed, making it difficult for composers to innovate creatively. For this reason, the lelagon was created in a simple form, allowing festival participants to develop a number of musical innovations. The strategic analysis applied to predict its success used the reception method. Success indicators can be seen from the percentage of participants who preferred the song and the number of views on various platforms where the video recordings were uploaded.
PENGUATKAN IDENTITAS NASIONAL & CINTA TANAH AIR MAHASISWA MELALUI PEMBIASAAN PEMUTARAN LAGU "INDONESIA RAYA" Mariyani M; Primandha Sukma Nur Wardhani; Makarius Erwin Bria
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.v25i1.7632

Abstract

This research aims to explore how the habit of playing the song "Indonesia Raya" in higher education can strengthen national identity and instill the character of love for the homeland among students. Using a qualitative approach with a case study design, data was collected through participatory observation, in-depth interviews, and documentation of campus activities involving the national anthem. Data analysis in this study was carried out through a narrative descriptive approach to the results of in-depth interviews, participatory observations, and documentation of "Indonesia Raya" song playback activities at Primagraha University. The informants in this study were 5 people from different study programs at FKIP and FEB Primagraha University.  The results of the study show that the playing of the song "Indonesia Raya" is not only symbolic, but has a transformative power on students' perspective on the nation, history of struggle, and national values. Certain lyrics evoke a spirit of unity, pride, and responsibility to contribute to the development of the nation. This song also acts as a national identity booster and a source of motivation for students to behave positively in campus and social life. Instilling the character of love for the homeland through national music is a relevant strategy in the era of globalization, where national values need to be integrated into academic and digital spaces creatively. Through meaningful habituation, the national anthem can be a medium of character education that is alive and has a real impact.
FUNGSI KESENIAN TONGKIR PADA PAGUYUBAN SENI TONGKIR SELERA HATI DI DESA NGARINGAN KABUPATEN BLITAR Dinda Rahayu; Ananto Sabdo Aji
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.v25i1.7650

Abstract

The research titled “The Function of Tongkir Art in the Selera Hati Tongkir Art Community in Ngaringan Village” is motivated by the researcher’s interest in the functional aspects of tongkir art, which remains preserved within the community. This art form reflects strong social dynamics, where its social functions emerge through cultural interaction and musical innovation, particularly through the integration of gamelan instruments. Thepurpose of this study is to describe and analyze the functions of tongkir art within the socio-cultural context of thelocal society. The research employs a qualitative approach with data collection techniques including observation, interviews, and documentation. The functions of the art are analyzed using Allan P. Merriam’s theoretical framework, which encompasses entertainment, communication, and cultural preservation functions. The results show that tongkir art serves as a means of entertainment, a medium for social and expressive communication, and a tool for thetransmission of cultural values. The Selera Hati Tongkir Art Community plays a key role in maintaining the existence and continuity of tongkir art in Blitar Regency.
SISTEM WARISAN BUDAYA TAKBENDA – TANTANGAN PELESTARIAN BUDAYA DALAM PERSPEKTIF LINTAS BUDAYA Marzanna Poplawska
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.v25i2.7725

Abstract

This article examines over a decade of research and observations on the development of policies related to Intangible Cultural Heritage (ICH) and their impact on terminology, administrative structures, and types of protective measures. The primary data collection, including extensive fieldwork, took place between 2022 and 2024. I explore the influence of the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (2003) on performing arts and local communities in Indonesia and Poland. The two countries provide distinct examples of different societal contexts: one European and relatively homogeneous, the other postcolonial and highly diverse. The article presents findings from my research on selected performing arts inscribed on the UNESCO list: Indonesia’s angklung and pencak silat, and Poland’s polonaise. Through the analysis of these examples, framed within a broader cultural context, I demonstrate how the ICH system affects, or fails to affect, the status of traditional performing arts, the interpretations of cultural heritage, and the evolving roles of culture.
PERAN KENDANG DALAM SAJIAN MRABOT GENDHING REGENG LARAS PÉLOG PATHET BARANG Nanda Indah Nur Risqia; Suyoto
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

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Abstract

This study discusses the role of the kendang in the performance of Gendhing Regeng in the mrabot form, tuned to pélog pathet barang. The research focuses on how the kendang is elaborated in relation to aspects of rhythm, tempo (laya), ornamental patterns (sekaran), and variations (wiledan). The aim is to describe the function of the kendang not only as a timekeeper but also as a structural and expressive element in the presentation of the gendhing. This study employs a qualitative method, with data collected through literature review, direct observation, and interviews with karawitan practitioners. The analysis applies the theory of garap and the concept of mandheg in Surakarta-style karawitan. The results indicate that the kendang functions as the controller of rhythm and tempo, while also shaping dynamics through accents, stresses, volume, and rhythmic patterns. In the inggah section, variations of mandheg are found in wiled and rangkep tempos, along with sekaran presented in several wiledan variations. Types of kendhangan such as matut, tangguh, and mungguh are employed to emphasize both light and heavy sèlèh, enriching the musical expression of the gendhing. Overall, the kendang plays not only a controlling role but also determines the character and aesthetic color of Gendhing Regeng in pélog pathet barang.
TRANSLASI BUNYI KE TEKS: MODEL PROJECT-BASED LEARNING DALAM PEMBELAJARAN PENULISAN KARYA SENI DI PROGRAM STUDI ANGKLUNG DAN MUSIK BAMBU Ega Fausta; Dyah Murwaningrum
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

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Abstract

Students of the Angklung and Bamboo Music Study Program often face challenges in transforming their musical practice excellence into structured academic writing for their final projects. This article identifies a significant gap between practical skills and academic literacy. Based on data collected through literature review, Likert-scale surveys, and interviews with lecturers, the main challenges lie in students’ limited academic literacy and difficulties in linking theory with artistic practice. Although the Art Writing course is considered highly relevant (score 4.6) to the final project, students’ conceptual understanding remains moderate (3.8). The findings highlight an urgent need for cross-course integration (score 4.7). As a strategy to bridge this gap, the study recommends implementing a Project-Based Learning (PjBL) model within an Outcome-Based Education (OBE) framework. Combined with curriculum improvement that strengthens integration, this approach aims to position academic writing not as a separate activity but as an integral part of the creative process of sound-making, thereby enhancing the holistic quality of students’ final projects. Keywords: Sound studies; Art writing; Academic literacy; Angklung and bamboo music; Project-Based Learning;
TUBUH YANG BERTAHAN: STRATEGI SINDEN MAHASISWA MENGELOLA KRAM DI ATAS PANGGUNG Anantha Angriany Sitio; Indah Cahyasari; Rudi Punto Prabowo; Bagas Surya Muhammad
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

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Abstract

The purpose of this study is to identify the forms of stage adaptation performed by student sinden (female vocalists in Javanese gamelan) when experiencing leg cramps during a live performance. During performances lasting approximately 40 to 50 minutes, the sinden sit in a static kneeling position, which can lead to muscle tension and cramps in the legs. This condition requires each sinden to develop adaptive strategies to maintain the quality of their vocal and expressive performance despite the physical constraints experienced during the performance. This study employs a qualitative method with a case study approach. The approach was chosen because the research focuses on the phenomenon of cramps experienced by student sinden during recital examinations at the Indonesian Institute of the Arts (ISI) Surakarta. Of the ten sinden who performed, four were selected as research subjects based on varying levels of cramp intensity. In-depth exploration was conducted to reveal their experiences and stage adaptation strategies used to maintain vocal performance and artistic presence amid physical limitations during the performance. The results show four forms of stage adaptation performed by student sinden during the performance: (1) motor stimulation of the right leg, (2) calf muscle stimulation, (3) massage of the calf and shin area, and (4) repositioning of the hands resting on the legs. These adaptations were not performed simultaneously but were adjusted according to each sinden’s physical condition and vocal role. These adaptive activities were generally performed during musical sections without vocals, while during vocal sections, the sinden focused their attention on voice control and musical expression.
ANALISIS MAKNA LIRIK DAN MELODI BUKA LANGSE SEBAGAI STRUKTUR PEMBUKA TEATER ABDUL MULUK DI DESA SEMBUBUK MUARO JAMBI Dinda Assalia Avero Pramasheilla; Gen Dekti; Ikhsan Satria Irianto; Lusi Handayani; Sarbeni
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

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Abstract

This study aims to reveal the meaning of the lyrics and their relationship with the melodic structure of Buka Langse as the opening segment in the traditional theater performance Abdul Muluk. The research employs a qualitative approach using a descriptive-analytical method through observation, interviews, and documentation study. The findings show that each verse of the Buka Langse lyrics carries both denotative and connotative meanings that reflect the religious, social, and moral values of the Malay Jambi community. The greetings, introduction of the play, and expressions of apology within the lyrics represent the interaction between performers and the audience. In addition to serving as a marker of the performance’s commencement and a medium for transmitting spiritual values, the lyrics also represent the cultural identity of the Sembubuk community, positioning this traditional theater as both an expressive art form and a means of preserving cultural heritage.  
GARAP KENDHANGAN INGGAH LAMBANGSARI: YOGYAKARTA, SURAKARTA, DAN NARTOSABDAN Harun Ismail; Leny Nur Ekasari; Sri Eko Widodo
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

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Abstract

This research describes the variations of kendhangan (drumming) techniques in the inggah of Gendhing Lambangsari, which can be presented in three distinct styles: Yogyakarta, Surakarta, and Nartosabdan. The focus of the problem in this article lies in how the drumming patterns of the three styles are presented in the Lambangsari gendhing and what the characteristics of the musical taste of each style are.The study employs a descriptive-analytical qualitative method, utilizing literature review, field observations, and in-depth interviews with karawitan masters (empu). Data analysis was conducted by deconstructing technical aspects based on the concept of garap, supported by musical parameters such as laya (tempo), irama (rhythm), and pematut (appropriateness).The results indicate clear aesthetic distinctions within each style: (1) the Yogyakarta style tends to evoke an antal (steady) and lugas (straightforward); (2) the Surakarta style tends to convey a prenes (flirtatious) and kenes (charming); and (3) the Nartosabdan style tends to project a gumyak (cheerful) and gobyok (lively). These findings confirm that integrating these three styles into a single performance not only enriches the musical presentation but also enhances the aesthetic value and appeal of the karawitan performance.

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