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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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RICIKAN STRUKTURAL SALAH SATU INDIKATOR PADA PEMBENTUKAN GENDING DALAM KARAWITAN JAWA Supardi Supardi
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 13 No. 1 (2013)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v13i1.635

Abstract

Abstract Javanese gamelan set that has been existing since a long time ago untiltoday should be understood by the students of Karawitan Department of Performing Art Faculty of Surakarta Indonesian Art Institute (FSP ISI). Moreover, the acceptance of Learning Model Innovation and Development Proposal of Karawitan Practical Art Profession course in 2007 containing the Javanese gamelan set included the pakurmatan and gamelan ageng sets compulsorily attended by every student of Karawitan Department of ISI Surakarta. Those two gamelan sets should be attended for 7 semesters, in which there are a variety of norms or rules, including component grouping, gending form types, and etc. Martapengrawit, one of Javanese Karawitan Mpu, states that there are 16 gending forms: Lancaran, Ketawang, Ladrang, Merong, Inggah, etc. In addition, Rahayu Supanggah argues that structural composition (ketuk,kempyang,kenong, kempul, gong) is related to the gending form in Javanese karawitan. The writer also argues that component serves as one indicator of gending creation in Javanese karawitan.Key words: Javanese gamelan - exists - past - present-musical form - structural
FUNGSI DAN MAKNA PERTUNJUKAN WAYANG DI KRECEK Tri Mulasno
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 13 No. 1 (2013)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v13i1.637

Abstract

Abstract Wayang kulit purwa (shadow puppet) Performance Function and Meanings, in the village of Krecek. Wayang kulit purwa performance with the story Baratayudha at Syawalan Ceremony is a tradition held annually by the community of Dukuh Dadimulyo, in the village of Krecek, Kecamatan Delanggu, Kabupaten Klaten. This wayang kulit purwa performance is believed by the community to be such an important thing in their lives that they do their best to hold the performance once a year. The research on the wayang kulit purwa performance aimed at understanding and finding out the impacts brought about by the performance which is still held annually by the community. In addition to this, this study aimed to find out the function and meanings of the performance as well as the messages told by the puppeteer. Wayang kulit purwa performance with the story Baratayudha at Syawalan ceremony in Dukuh Dadimulyo, in the village Krecek, is for the community a means of request and medium to express their gratitude to sing bahureksa desa (the spirit guarding the village) or to Almighty God. By carrying out the performance, the community hopes that their lives will be protected so that they can live of life which is happy, prosperous, secure and peaceful, both physically and spiritually and can escape from calamities.Key words: Village clean ceremony, peace and prosperity 
KARAWITAN KARATON KASUNANAN DAN PURA MANGKUNEGARAN PASCA PERJANJIAN GIYANTI Bambang Sosodoro
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 13 No. 1 (2013)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v13i1.641

Abstract

This paper is an examination of the results found in the study entitled: “Karawitan Karaton dan Pura Mangkunegaran Studi Garap Karawitan Tari Srimpi” (The Gamelan Music of the Karaton and Mangkunegaran Palaces: A Study In Accompaniment for the Srimpi Dance). This research is a field study examining the gamelan music of the Surakartan palaces (the Karaton and the Mangkunegaran). This topic was chosen based on historical and musical importance, in that the repertory and performance practice at these two institutions reveal interesting and highly current points of discussion. The Karaton Surakarta and the Mangkunegaran Palace are two important pillars of the Surakarta identity in gamelan music practice. Performance practice existing at the Karaton and Mangkunegaran is a fascinating topic of research from many different angles. This is due to the fact that these two palaces both represent Surkarta-style gamelan practice and yet produce very different results. The musical idioms and vocabulary involved in playing the different parts, the repertory, and the interpretation of pieces is much the same, but the resulting resulting musical aesthetic and feeling is quite different. Performance practice issues became ever more involved and interesting once there was a bonding between the Yogyakarta Principality and the Mangkunegaran, through marriage, as at this time both physical and aesthetic commonalities emerged between these two institutions. Because of the family connection in marriage, a more Yogyanese style emerged at the Mangkunegaran Palace. Although some may say identical to Yogya, in fact many elements of Surakarta style remained. This work attempts to offer the background to the emergence of performance practice at the Karaton and Mangkunegaran post Giyanti agreement. In order to present this background, a contextual approach is used, outlining the various factors that led to the development of differences between the two centers.Key words: historis perspective, style of karawitan
IMBAL: SEBUAH IDE PENCIPTAAN KOMPOSISI MUSIK DALAM PERANGKAT CALUNG Hadi Boediono
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 13 No. 1 (2013)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v13i1.643

Abstract

The idea of Imbal was inspired when saw on the development of Calung in Banyumas. A development perceived as an element of “coercion”, ie forcing together two cultures, two different tone system, but there is absolutely no aesthetic considerations. Seeing this phenomenon, the composer want to make a few possibilities that can be done on calung’s instrument, such as the beat pattern and interlocking patterns on the basic of existing techniques.Key words: Calung-ideas Musical composition
ANEKA GARAP LADRANG PANGKUR Sugimin Sugimin
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 13 No. 1 (2013)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v13i1.647

Abstract

Along with the developments in karawitan treatment, Ladrang Pangkur Paripurna has experienced quite significant developments in its musical treatment. Beginning as a gending langendriyan, it subsequently developed into a variety of interpretations of Pangkur, performed for a variety of purposes. The musical interpretation of performances of Ladrang Pangkur Paripurna in the form of different interpretations of instrumentation, rhythms, dynamics, tuning (laras), mode (pathet), vocal style, and so on, have been manifested in a variety of interpretations of Pangkur, named according to their dominant elements of treatment, such as Pangkur Pamijèn, Pangkur Jênglèng, Pangkur Gobyog, Pangkur Céngkok Kethoprak, and Pangkur Wolak-walik. A number of interpretations of Pangkur by Ki Nartasabda, such as Pangkur Gala-Gala, Pangkur Padhang Rêmbulan, Pangkur Cêluk, and Pangkur Rog-rog Asêm, are based on vocal interpretations. Due to the appearance of various interpretations or treatments of Pangkur, Ladrang Pangkur has become increasingly popular among the karawitan community. Key words: Ladrang Pangkur, development, musical treatment
TINJAUAN RAGAM BENTUK TLUTUR DAN KORELASINYA Suraji Suraji
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 13 No. 1 (2013)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v13i1.649

Abstract

The background to this paper was the information that many Javanese musical compositions or gending in Surakarta style are formed from ‘sekar’ or tembang (a vocal melody or form of sung poetry). The main focus of this paper is the connections between Sendhon Tlutur, Ketawang Gendhing Tlutur, Ayakayakan Tlutur, Srepeg Tlutur, Sampak Tlutur, Ketawang Dhandhanggula Tlutur, and Sekar Macapat Dhandhanggula Tlutur, which were observed by comparing the vocal melody of Sendhon Tlutur with the musical phrases of the skeleton melody, or balungan, in Ayak-ayakan, Ketawang Gendhing, Srepeg, and Sampak, and the vocal melody of Ketawang Dhandhanggula with Sekar Macapat Dhandhanggula Tlutur. The theoretical basis that was used for analyzing the gending in question is Mantle Hood’s ‘evolution’ theory which states that culture (including the arts) is not static in nature but rather develops according to its needs. In addition to this evolution theory, the gending were analyzed using Mas Ngabehi Warsapradangga’s premise which states that the original source or foundation for composing a gending is a vocal melody or tembang. The results of the analysis of this study show that there are similarities between the melodic line of Sendhon Tlutur and Ayak-ayakan, Srepeg, Sampak, and Ketawang Gendhing Tlutur, while Ketawang Dhandhanggula Tlutur is a development of Sekar Macapat Dhandhanggula Tlutur.Keywords: various forms and correlation of gendhing tlutur 
KEUNIKAN GARAP KENDANGAN MUDJIONO Sri Joko Raharjo
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 13 No. 1 (2013)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v13i1.651

Abstract

Basically this observation is done to get a picture about Mudjiono’s kendangan uniqueness phenomenon. Mudjiono as subject has musical’s talent pass through creative process so lays result as uniqueness garap kendangan. Mudjiono’s talent that as musical’s sensitivity, psycomotoric’s ability, and leadership soul that sharpened through esthetic experiences, contiguity with smiths karawitan, appreciation to happening karawitan phenomenon in society forms him as topnotch pengendang. A variety of Mudjiono’s view about the karawitan’s world and its creativity in developing garap kendangan was viewed as a controversial figure. This controversy is observable while compare by karawitan’s society argument in a general way.Key words: unique, garap, kendang
PROSES KREATIF ANTONIUS WAHYUDI SUTRISNO SEBAGAI KOMPOSER GAMELAN Ardi Gunawan; Danis Sugiyanto
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 14 No. 1 (2014)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v14i1.657

Abstract

The creativity of Antonius Wahyudi Sutrisno (Dedek) in creating the composition be an interesting thing for the author to be further investigated. This research was focused on the factors behind Dedek in finding creative ideas. Dedek works based on tradition reiterates that he uses the idiom of tradition in his works. The idioms used a series of structures, motifs or patterns, and techniques. From the idiom invention, the author observed the tradition one, of such pathet space, instruments (gamelan), and a model of the work, which all is associated with the science of Javanese gamelan. Through pathet space, the author assume that Dedek has a unique in terms of the selection range of tones, although, that is uncommonly performed in tradition karawitan. The exploration of the instruments and methods in use in Dedek works, gamelan instruments perceived authors have character and distinctive characteristics. While on the model of Dedek composition is not far from the tradition of serving space and schema structure that resembles a traditional convention. This research reviewed the more clearly about the characters of the existing tradition in Dedek works that came from the tradition idioms.Keywords: creativity, karawitan composition, tradition idioms
KLASIFIKASI KARAKTER REBABAN GAYA SURAKARTA Bambang Sosodoro
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 14 No. 1 (2014)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v14i1.661

Abstract

In essence, this study examines a concept contained in rebaban Surakarta style. Ie terms that relate to the character or flavor rebaban, such as: prasaja, whole, Alus, anteb, mbranyak, sigrak, tregel, prenes, rongeh, cakrak, and Berag. In Javanese musical life until today, the phenomenon of the terms are still often encountered. Statements about the character rebaban, always pointing at someone (pengrebab). Wahyopangrawit example, is a fairly popular figure pengrebab and phenomenal musical community with the whole character and Alus. Likewise pengrebab-pengrebab others, certainly has character rebaban different. Among musicians, generally found rebaban character is a representation of a personal character, the nature of the person, or a reflection of their daily behavior. On the other hand, the character rebaban also part of working on. Is how the tenants (pengrebab) seeks to match the character of the musical piece, which basically has been built by the games ricikan, especially ricikan working on ngajeng. This study seeks to formulate characters rebaban based on the views by the musicians. Labih Further, these characters are classified or grouped based on its characteristics. Broadly speaking, the character can rebaban dipilahkan into two large families, which is shed and mbranyak. Both of these families have a sub-sub-characters, namely: prasaja and Alus is entered on the whole character of the area, while the character mbranyak include characters: prenes, tregel, cakrak, rongeh, and Berag. Among these characters, there are some that are highly aggregated, but also there are a number of characters that can be said to be similar, identical, or color. Rebaban medium of expression is one of the many mediums in Javanese gamelan. Rebaban also an expression of the artist’s soul, through the game hands and fingers.Keywords: classification, musichal character, rebaban
KRONOLOGI PENCIPTAAN KOMPOSISI KARAWITAN MIRATDANA I Ketut Saba
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 14 No. 1 (2014)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v14i1.663

Abstract

Art work creation, one of which is music composition, can occur because a variety of internal and external motives. This music composition entitled Miratdana is created because of concern with various social agitations among a group of people making the society restless as shown in printed and electronic media. For example: murder, robbery, corruption and the similar deeds resulting in other’s loss of both property and even life. Music composition is one means of musing that is expected to bring back the people awareness, because within it there are many song verses of life speech. The person, who had committed crime and tended to be anarchic, in my opinion, has forgotten a variety of life enjoyment the God had bestowed as the universe creator. In Balinese the similar thing is called Miratdana.Keywords: social agitation, music composition, awareness

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