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Fransisca Pramesti, S.Si, M.Eng.
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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 194 Documents
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The The Musical Performance Identity of Ayak Gedhog in the Siswa Laras Tayub Ensemble, Trenggalek Regency, East Java Martha Ranty Nurvika; Ananto Sabdo Aji; Win Maw Oo
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 26 No. 1 (2026): 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.v26i1.6990

Abstract

This article, titled “The Musical Performance Identity of Ayak Gedhog in the Siswa Laras Tayub Ensemble, Trenggalek Regency, East Java,” investigates the unique musical and cultural characteristics of this specific repertoire. Utilizing Martin and Nakayama's theory of ethnic and cultural identity, alongside George M.'s identity framework, this study aims to dissect the elements shaping the ensemble's distinct musical treatment. Data were systematically collected through observation, in-depth interviews, and literature studies focusing on the garap (musical treatment) of the Ayak Gedhog by the Siswa Laras ensemble. The findings reveal four key points. First, Ayak Gedhog possesses a specific musical form and an ayak-ayakan structural framework, with a presentation sequence flowing from the bukå (opening), to the main balungan (skeletal melody), and ending with the suwuk (conclusion). Second, the repertoire serves three primary functions: as the opening piece for the tayub performance, as a dance accompaniment for the gedhog tayub, and as a welcoming tribute for distinguished guests. Third, the identity-forming elements of Ayak Gedhog are categorized into stable garap elements (encompassing performance material, performers, facilities, and tools) and situational garap elements (comprising performance determinants and considerations). Finally, the performance identity of the Tulungagungan tayub plays a pivotal role in formulating the garap identity developed by the Siswa Laras ensemble in Trenggalek.
The Soundmark of Tradition: Communicative Functions of Pentatonic Music in the Gula Gending Street Trade of West Nusa Tenggara Galih Suryadmaja; Nurtikawati Nurtikawati; Salniwati Salniwati; Qian Xiang Yun
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 26 No. 1 (2026): 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.v26i1.8313

Abstract

This study investigates the communicative functions of pentatonic music in the Gula Gending street vending practice in West Nusa Tenggara, Indonesia, positioning it as a culturally embedded soundmark within everyday economic activity. While previous soundscape scholarship has largely foregrounded environmental listening, relatively little attention has been paid to the ways in which structured musical systems function as active communicative agents in informal economic contexts. Adopting an ethnomusicological ethnographic approach, this research integrates participant observation, in-depth interviews, and audio-visual documentation to examine the intersections between musical structure, performance practice, and socio-cultural context. The findings demonstrate that Gula Gending music operates as a multi-layered communicative system: it serves as an auditory marker of identity, a mechanism for attracting attention, a medium for transmitting cultural memory, and a facilitator of social interaction between vendors and consumers. The deployment of pentatonic structures enhances perceptual accessibility, enabling rapid recognition and response within fluid and dynamic street environments. Beyond its functional dimension, the music embodies symbolic meanings that link individual experience to broader collective cultural identities. This study contributes to ethnomusicology and sound studies by reconceptualizing the notion of soundmark as an active semiotic and economic practice rather than a passive acoustic phenomenon. Furthermore, it highlights the capacity of traditional musical forms to operate as adaptive communicative strategies within contemporary informal economies, offering critical implications for cultural sustainability and policy formulation.
Klothekan Music in the Brendung Ritual: An Ethnomusicological Analysis of Rain-Invoking Traditions in Pekalongan Beny Permana; Dewi Puspita Ningsih; Muhammad Fajar Putranto; Gerry de Gerald
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 26 No. 1 (2026): 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.v26i1.8335

Abstract

The Brendung ritual represents a rain-invocation tradition that continues to be practiced by the community of Langensari Village, Kesesi District, Pekalongan Regency, Indonesia. This ritual incorporates klothekan music, performed using various household objects as musical instruments. This study aims to analyze the musical structure of klothekan within the Brendung ritual, to examine the relationship between musical structure and ritual processes, and to interpret its cultural significance within the community’s social life. A qualitative research design was employed using an ethnomusicological approach. Data were collected through participant observation, in-depth interviews with ritual specialists, musicians, and community leaders, as well as audiovisual documentation during ritual performances. The analysis focused on musical structure, including rhythmic patterns, inter-instrumental relationships, and emergent musical dynamics within klothekan performance. The findings indicate that klothekan music is constructed through simple yet interdependent rhythmic patterns performed collectively using an interlocking system among instruments such as boyong, bamboo slit drums (kentongan), buckets, cans, and metal trays. Repetitive rhythmic structures function to generate a ritual atmosphere that facilitates trance states and intensifies participants’ emotional engagement. Furthermore, klothekan music holds significant cultural meanings, functioning as a medium for ritual legitimization, social integration, spiritual communication, and the reinforcement of cultural identity. These findings demonstrate that klothekan music operates not merely as an accompaniment to ritual activities, but as a symbolic medium that sustains and amplifies collective ritual experience within the Brendung tradition.
The Sparks of the Phonograph, Echoes of Revolution: Béla Bartók and the Birth of Modern Ethnomusicology as a Scholarly Discipline Rahmat Kurniawan
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 26 No. 1 (2026): 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.v26i1.8345

Abstract

Folk music in nineteenth-century Europe was frequently perceived in a romanticized manner as a symbol of national identity, thereby obscuring a scholarly understanding of its authentic traditions. This article aims to examine the central role of Béla Bartók in establishing the foundational principles of modern ethnomusicology, with particular focus on his use of the phonograph as a revolutionary instrument in folk music research. The study employs a qualitative approach grounded in historical and descriptive-analytical literature review, synthesizing Bartók's own primary writings with secondary sources drawn from a range of academic musicological studies. The findings demonstrate that the phonograph enabled Bartók to conduct objective field recordings, execute microscopically precise transcriptions, and systematically classify melodic materials, while simultaneously correcting prevalent misconceptions between authentic Hungarian peasant music and the so-called style hongrois. Bartók's ethnomusicological discoveries not only forged a new scientific methodology for the cross-cultural study of music, but also fundamentally transformed his compositional practice through an organic synthesis of folkloric elements and twentieth-century modernism. The study concludes that Bartók's contributions marked a fundamental paradigm shift in the way the world perceived folk music from an object of romanticization to a subject of rigorous scholarly inquiry leaving a methodological legacy that remains relevant to contemporary ethnomusicology

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