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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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JAVANESE GAMELAN MUSIC, ITS PURPOSE AND HUMAN LIFE: CROSS-CULTURAL COMPARISONS AND REFt.ECTIONS Prasadiyanto Prasadiyanto
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 4 No. 1 (2004)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v4i1.579

Abstract

Dalam karawitan Jawa gaya Surakarta dikenal tiga buah pathet pada  masing-masing larasnya. Pergantian dari satu pathet ke pathet yang lain  menjadikan suasana yang seeara progresive semakin 'panas '. Hal ini  dapat diamati terutama dalam pertunjukan wayang kulit. dimana  pergantian pathet tersebut dapat dikaitkan dengan siklus kehidupan  manusia, sedangkan konsep perubahan yang secara progresive tersebut  berbeda dengan konsep yang digunakan dalam musik barat.Klasifikasi instrumen gamelan Jawa yang berdasarkan fungsi  musikalnya dapat dikaitkan dengan kehidupan manusia dan bagaimana  manusia menjalani dan mengisi kehidupannya. Cara mengklasifikasi  instrumen tersebut saugat berbeda dengan yang digunakan bangsa Cina  yang mengkaitkan bahan dengan alam, yaitu iklim dan arah mata angin.Dalam kehidupan karawitan penggunaan  notasi tidaklah begitu  penting, apalagi didalamnya tidak terdapat petunjuk garap yang dapat  dijadikan panduan bagi pengrawit. Satu-satunya notasi yang digunakatt  yaitu notasi balungan gending yang masili harus ditafsir lagi oleh  pengrawit, terutama untuk instrumen garap. Ha! ini berbeda dengan  tradisi musik barat yang mana notasi mempunyai peran utama dalam  budaya musiknya.Sajian gending-gending mrabot dapat dikaitkan dengan tahapan-  tahapan kehidupan manusia, mulai muneulnya kehidupan hillgga  kematian, termasuk upacara-upacara religiusnya.Kata-kata kunci : Karawitan Jawa. Hubungan, Siklus.
CAK KISAH SENI MAGIS PERINTIS PERTUNJUKAN TURISTIK Kadek Suartaya
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 4 No. 1 (2004)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v4i1.581

Abstract

As a performing art form, Cak was designed as an aesthetical  presentation to be performed before an audience. It originated in the  village of Bedulu, a place also known for its traditional ritual dances,  Sanghyang Dedari and Sanghyang Jaran, for keeping away evil spirits.Artist (painter) WaIter Spies, who had the idea for this dance and the  dancer Baris I Wayang Limbak, who was the main creator and  performer. are the two people responsible for creating a performing art  work adopted from the sacred religious rituals mentioned above. The  excess of tourists which followed the journey of Cak in Bedulu led to  its development in the neighboring village of Bona, Gianyar.Although it has been adopted as a tourist perfo'rmance, the  tradition of performing Sanghyang in a religious context still continues  in the village of Bona. Therefore, Cak still exists as an  accompaniment to Sanghyang for various religious rituals, in particular  the dewa yadnya ceremony (offering a holy sacrifice to the gods) and  the buta yadnya ceremony (offering a holy sacrifice to the evil spirits)Key words: Cek, tourist performance, magic.
"NYLlNGUK" Darno Darno
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 4 No. 1 (2004)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v4i1.583

Abstract

"Nylinguk" is a musical composition, taken from the compositional  concept of bamboo music (calung), which originates from traditional  sources found in the residency of Banyumas during the era of the  lengger art form, from the 1970s until the present day. The existence  of lengger is reflected in the form of a performance of lengger calung,  using a variety of musical approaches, such as Sunda, Cirebon,  Surakarta, and Banyumas style karawitan.Key words: Tradition, Inovation, Progressive
Resensi Buku BAGAlMANA MEMAHAMI MUSIK? Santosa Santosa
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 4 No. 1 (2004)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v4i1.585

Abstract

Resensi BukuCook, Nicholas.1992. Music, Imagination, and Culture. Oxford: Clarendon Press. 256 halaman. Illustrasi. Indeks.Bagaimana memahami musik.
Konsep Dasar Pengembangan Semar Pagulingan "Tirta Sari" Dialog I Ketut Yasa dengan Anak Agung Oka Dalem I Ketut Yasa
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 4 No. 1 (2004)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v4i1.587

Abstract

Dialog I Ketut Yasa dengan Anak Agung Made Oka Dalem
RAJA MATARAM DAN PERANANNYA DALAM DUNIA KARAWITAN Rabimin Rabimin
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 6 No. 2 (2006)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v6i2.589

Abstract

The idea of this article was from the author ~ thought to find out about the values within the Javanese karawitan. Appart from that it is also connected to the careness to nowaday c fenomenon that young generation is careless of those values. They are more interested in the skill ofplaying gamelan instead, wich is relatively easier to do. Through a research on “Serat Till Asrf” by Supardal Hardasukarta, particularly on Asmarandana and Mijil Parts, it is known that they convey the activities of King Adiningrat Anyakrawati in Mataram studying karawitan seriously. The result of the analysis shows that after having failed to expand the kingdom teritory, he realized the importance of karawitan functions and values to Javanese’ lives. To understand deeper meaning of karawitan, he asked Sunan Kalijaga to explain the knowledge of reality within karawitan. He later realized that the knowledge of reality leads to the lesson of good manner as a way of live, both during the 4fe and after the death. The impact of that he then wrote a book called “Sastra Gending” as a part of the Sophisticated Karawitan.Keywords : Meaning of Karawitan.
GENDING SORAN DALAM KARAWITAN GAYA YOGYAKARTA Sugimin Sugimin
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 6 No. 2 (2006)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v6i2.591

Abstract

Gending Soran is a Javanese piece performed with accent certain instruments, such as balungan, bonang, and drum. The way to play those instruments is by hitting strongly, and it impacts a loud sound (Javanese: sora). By Javanese ic society, the piece which is performed loudly, is called gending soran. The existence of gending soran injogyanese karawitan is very much influenced by psychological factors of the authoritative people during the Sultan Hamengku Buana I, who wonted to express the military spirit into the way of playing witan. Gending soran is pretended to have the feeling of heaviness which contains expression of seriousness and the noble of the Sultan Hamengku Buana I.Keywords: gending soran, military spirit, expression of seriousness.
MENGENAL MUSIK TRADISIONAL TALEMPONG PACIK DI MINANGKABAU Teti Darlenis
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 6 No. 2 (2006)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v6i2.593

Abstract

Minangkabau society have several kinds of talempong ensemble music, such as Talempong Pacik, Talempong Unggan, Talempong Batu, Talempong Jao, Talempong Batuang, Talempong Sambilu, and Talempong Kayu, also other kinds of talempong. Among the ensembles, talempong pacik is the most popular It grows and is developed all over the countries, and becomes a musical identity of the society. The way ofplaying the instruments is by holding them, that ~ why it is called pacik, literally means being held. Every group of talempong ensemble have thefr own repertoire of songs, which is influenced by the back ground of the local composer And therefore it becomes the pride of the country and functions to entertain the society in ritual and social activities.Keyword: Talempong Pacik, interlocking technic, nagari
Sebuah Wacana Progresifitas Karawitan Jawa, Nilai dan Harapan FX. Purwa Askanta
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 6 No. 2 (2006)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v6i2.595

Abstract

Ivowaaay industrial music has no! been thought as an unvaluable kind of music anymore because it has become the need of society or certain community. The excistence of industrial music is a part of a long history of music development, and it finds the character, which is to be able to have its mean, and has been looked for in certain porpuse Owing to the fact that nowadays situation slows down the development and the excistence of traditional .Javanese karawitan, it is necesary that the progresivity and inovac)’ of karawitan has to be directed to an industrialization.Keywords:   Industrial music, valuie, tradition
Ngamen Kreatif Ujud Sutrisno Bondet Wrahatnala
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 6 No. 2 (2006)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v6i2.597

Abstract

Creativity is inseperable from human l~fe, including the fulJIlment of human needs. For this goal, man carries out ailforms of activities in accordance with abilities to support the profession of this choice. This is true in the case of Sujud Sutrisno, a street musician who has been creative and consistent in carying out his profession for 28 years. Sujud chose the kendhang ketipung as the instrument to begin his work as Street musician. He felt that he had never come across anyone performing with a kendhang in his day. The concepts of dangdut and humour were his next choice, as Sujud felt that both of these factors coul relate closely to the community, and were also practical media for entertaining the community, which was Sujudc main goal in his profession.Keyword:  the concepts of Sujud’s creativity

Page 2 of 19 | Total Record : 189

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