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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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GAMELAN SEKATEN DAN PENYEBARAN ISLAM DI JAWA Joko Daryanto
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.v14i1.665

Abstract

The spreading of Islamic faith in Java uses many ways or methods to propagate Islamic faith. One of the medium which is support the spreading of Islam in Java is ‘Gamelan Sekaten’. It is kind of an ensemble which is played on the occasion of Muhammad’s birthday and played as long as 1 week in ‘Bangsal Pagongan’ in front of the Great Mosque Surakarta. Before Javanese people knowing and converting into Islamic faith, Javanese people have been converted into Hindu & Buddhist faith. This psychological social condition of Javanese people becomes the obstacle for the nine muslim saints, Wali Sanga, to spread Islamic faith. Sunan Kalijaga suggested using ‘gamelan’ as the attractiveness of spreading Islam. The ‘Gamelan Sekaten’ which is used as a medium of spreading Islam in Java strongly assumed that this medium has value or element of Islam. The setting of Javanese people in that time still had a strong faith toward Hindu & Buddhist faith, so it required a tool, in this case is a ‘gamelan sekaten’, to facilitate the nine muslim saints in spreading Islamic Faith. This religious proselytizing strategy which is use ‘gamelan sekaten’ as a medium appears to be very interesting & effective to gather people. Begins with feel interest to ‘gameln sekaten’, finally, Javanese people know and convert into Islam as their faith. This Islamization process, called as religious proselytizing using cultural approach.Keywords: Gamelan Sekaten, Spreading of Islamic Faith, Cultural Approach
PROSES KREATIF DAN PERAN WAKIDJO DALAM KENDHANGAN GAYA SURAKARTA Risnandar Risnandar
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.v14i1.669

Abstract

The research project titled the Creative and role Wakidjo in Kendhangan Karawitan Surkarta Style to measures for reconstruct a forming process and in progress of Wakidjo as kendang player. Wakidjo is a drummer with experience, a rich drumming vocabulary, and his own style. His style has spread and influenced other drummers. This research is based on three main questions: Who is Wakidjo? What are the factors that have influenced the formation and development of Wakidjo’s drumming?  This research aims to reveal Wakidjo’s life, his approach to drumming, and his contribution to the world of Solonese style gamelan music, uses a qualitative methodology. Besides drawing on oral accounts from several informants, it also uses literary sources that concern drumming and gamelan musicians. Several psychological theories are used as a basis for writing a profile about Wakidjo.  Among others, this project uses convergence theory from William Stren and theory about the development of talent from Monks and Y. Punberg.  The results of this research are divided into several chapters covering Wakidjo’s life and his artistic ability. The form and development of Wakidjo’s individuality have been influenced by many factors, including the social circles in which he lived, his family, and the twists and turns of his life.  He has been able to develop his artistry to a high degree through a long process.  This process has been affected by both internal factors—such as his talent—and external factors—such as his aesthetic experiences, his interaction with other artists, and the artistic circles in which he has worked.  The product of his artistic journey is the style of his drumming. This research concludes that Wakidjo’s existence as one of the foremost drummers in Surakarta has been influenced by several factors, including his surroundings, his talent, his performance experience, his predecessors, gamelan associations, the gamelan circle at the National Indonesian Radio Station (RRI) in Surakarta, the world of the recording industry, and the world of gamelan music education.Keywords: Wakidjo, creative process. kendangan
PERKEMBANGAN GARAP GENDING JANGKUNG KUNING Sugimin Sugimin
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.v14i1.671

Abstract

Gending Jangkung Kuning is one of the repertoire gending Karawitan Surakarta style that has been developing of musical garap. With the ability of creativity, the pengrawit use the wealth of the musical vocabuler such as rhythm, cengkok, dynamics, vocals, and instruments, the has been developed to become a variety of gending Jangkung Kuning. Till now there are three plots gending Jangkung Kuning, Jangkung Kuning as gending klenengan Surakarta style, as golek Dance musical style Yogyakarta and as garap gending klenengan Ki Nartasabdha. The occurrence of variety gending Jangkung kuning, caused by factors other than the creativity of artists, is also caused by other factors, such as the interpretation of garap, cultural environment, serving functions, as well as figure pengrawit.  Gending Jangkung Kuning of Yogyakarta style is a reinterpretation of the gending Jankung Kuning Surakarta style. The development is strongly colored by the culture that flourished in Karawitan Yogyakarta style, namely a change of balungan mlaku become balungan ngracik.  Ki Nartasabdha to develop on rhythm interpretation and vocals interpretation making gending Jangkung Kuning  create an impression of the new flavors. With the advent of a variety of gending Jangkung Kuning, then gending is increasingly popular and is known by the musicians.Keywords: development, garap, gending Jangkung Kuning, Ki Nartasabdha
KOMPOSISI MUSIK BUBARAN LEAR KOMPOSER RAHAYU SUPANGGAH Dandun Danurwendo
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.v14i1.677

Abstract

This study describes the music composition of Bubaran Lear. Bubaran Lear is a work of musical composition created by Rahayu Supanggah. This study describes the journey of Bubaran Lear from stage to stage. This study emphasizes the staging associated with changes and developments Bubaran Lear. All performances are related to Bubaran Lear not been able to presented in this study, but there is a phase where dispersal lear changing and evolving. The phase includes performances in Bedaya Kartini, King Lear, the film Opera Jawa, Taklim’s concerts, and Opera Jawa Tusuk Konde. Until now, the composition of dispersal lear still growing and developing. Beginning only of the order of tones flowing to get vocal collaboration therein. In this paper also describes the musical inspiration of the musical composition. According to its creator, dispersal Lear inspired by ketawang Undur-Undur Kajongan. Undur-Undur Kajongan a pretty song tradition maintained. Ketawang Undur-Undur Kajongan one selected musical works and still maintained as one of the musical special in the palace compound of Surakarta. When present ketawang Undur-Undur Kajongan only used in the king’s memorial and sung only once a year. This study also describes something that becomes an element of inspiration received composers to become a musical composition Bubaran Lear.Keywords: music composition, Bubaran Lear, Rahayu Supanggah
PERAN GENDHING JATHILAN DALAM PROSES NDADI PADA KESENIAN JATHILAN KELOMPOK TURONGGO MUDO DESA BOROBUDUR Muhammad Nur Salim
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.v14i1.679

Abstract

This research is motivated on the phenomenon of ndadi in Jathilan Turonggo Mudo performance. Ndadi phenomena associated with the world of the cosmos and there are several steps that must be done to achieve it. One way to achieve ndadi conditions is the use of music. Music, which in this case is a gendhing Jathilan believed to help as a bridge in the process of achieving ndadi. This study aims to reveal the role of music as an element that supports ndadi conditions. Gendhing Jathilan became one of preconditions required the establishment of the relation. Ndadi in Jathilan performances occurs when gendhing jathilan is presented as a musical accompaniment. Nevertheless gendhing Jathilan is not create or form someone to ndadi but as a facilitator in delivering a dancer to experience ndadi. It is based on the gendhing Jathilan relation with the other context of ndadi. Gendhing Jathilan becomes a stimulus to bring a behavior called the ndadi. Gendhing Jathilan has the potential characteristics in ndadi conditioning process. The characters in addition to referring to the gendhing jathilan performance, also the form / structure of gendhing such as strophic form, ostinato, and repetitive. Gendhing Jathilan in the final round performances jathilan presented three times. In each of these perform have the respective roles in the process of ndadi. Gendhing Jathilan has some role in every phase of the ndadi process such as gendhing as a conductor of ndadi, gendhing as ndadi accompaniment and gendhing in healing of ndadi.Keywords: ndadi, role, characters, gendhing Jathilan
KOMPOSITORIS LAGU DOLANAN ANAK Sri Lestariningsih; R., Rusdiyantoro
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 16 No. 1 (2016)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v16i1.1761

Abstract

Pengembangan musikalitas yang terjadi pada lagu dolanan adalah bentuk kreativitas yang patutdiapresiasi. Keberadaan musik gamelan dalam penyajian perkembangan lagu terjadi secarakompositoris, itu membuat lagu-lagu yang disajikan dalam bentuk gending tertentu, yaitu srepeg,ladrang, dan ketawang. Sayangnya itu tidak memperhitungkan kondisi anak. Perkembangan ini benarbenar membuat lagu tidak sesuai dengan kebutuhan, kemampuan dan kesehatan mental anak .Kata kunci: kompositoris, lagu, dolanan.
GENDING-GENDING TAYUB GAYA GROBOGAN: STUDI KASUS KELOMPOK KARAWITAN MADYO LARAS Sendang Ayu Puspasari; Djoko Purwanto
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 16 No. 1 (2016)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v16i1.1763

Abstract

Penelitian ini difokuskan pada garap gending Tayub Gaya Grobogan khususnya yang disajikan olehkelompok karawitan Madyo Laras. Permasalahan yang dibahas adalah mengenai perkembangan dangarap musikal repertoar gending Tayub Grobogan kelompok karawitan Madyo Laras. Gending yangdisajikan oleh kelompok karawitan Madyo Laras adalah berbentuk lancaran, ketawang, ladrang, danlanggam, sedangkan gending kethuk kalih kerep jarang digunakan. Terdapat tiga pola jengglengan danpada setiap sajian Tayub terdiri dari dua gending yang disajikan berurutan biasa disebut walik gending.Saat ini kelompok karawitan Madyo Laras lebih banyak menyajikan gending Tayub yang disusunoleh para pengrawit setempat, misalnya nonton Tayub, bakul sayur, dhaster jingga dan sebagainya. Dalampenyajiannya, terdapat dua jenis garap Tayub yaitu alus dan gecul. Selain itu, ada juga garap khususuntuk bentuk gending-gending tertentu. Kekhasan dari garap Tayub Grobogan adalah pada garapinstrumen yaitu kendhang, irama, dan laya, dan garap-garap lain seperti bonang, balungan, ricikanstruktural.Kata kunci: perkembangan, garap, gending, tayub.
BEBERAPA PANDANGAN TENTANG TEMBANG MACAPAT D., Darsono
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 16 No. 1 (2016)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v16i1.1765

Abstract

Tulisan ini berisi berbagai pandangan penulis berdasarkan pengalaman mengenai tembang macapat.Tembang macapat dapat dilihat dari berbagai macam aspek yang meliputi pengertian tembang danmacapat, fungsi sosial, ragam cengkok, ciri struktural, sandi asma, sasmita, jumlah tembang macapat,pathet, pencipta tembang macapat, watak tembang dan perkembangan musikal tembang macapat.Tembang macapat mempunyai struktur sebagai konvensi tradisi sebagai pengikatnya. Setiap tembangmacapat dan syair tembang memiliki berbagai ungkapan yang membawa fungsi sosial sebagai cerminperilaku pribadi dan masyarakat. Perkembangan tembang macapat dipengaruhi oleh berbagai situasizaman dan tahap musikal.Kata kunci: pandangan, tembang, macapat.
PERAN PAGUYUBAN MAREM DALAM PELESTARIAN KARAWITAN JAWA Wiwik Ernawati; Danis Sugiyanto
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 16 No. 1 (2016)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v16i1.1767

Abstract

Penelitian ini berisi deskripsi analisis peran paguyuban karawitan Marem di kampung Kemlayan dengansegala kegiatan dan karyanya dalam rangka pelestarian karawitan Jawa. Kampung Kemlayanmerupakan kampung yang terkenal sebagai kampung seniman karawitan di Surakarta. MarsudiRenaning Manah merupakan kepanjangan dari Marem, pada awal mula didirikan sebagai sarana untukmengisi waktu luang serta untuk hiburan, namun pada kenyataannya merupakan sebuah kegiatandalam melestarikan kesenian yang sudah menjadi warisan budaya dari leluhur agar kesenian tidakpunah akibat perkembangan zaman. Dalam perjalanannya Marem didirikan sebagai wadah paraseniman maupun para penikmat seni karawitan untuk bertukar pengalaman baik dalam garap gending,metode pelatihan pengajaran seni karawitan, hingga tempat belajar seniman dari berbagai negaratentang seni karawitan. Hasil deskriptif analisis yang telah dilakukan dapat diketahui bahwa paguyubanMarem memiliki peran dan andil dalam pelestarian karawitan Jawa. Paguyuban ini mengadakan latihanrutin dua kali seminggu dan mengikuti acara karawitan di Surakarta. Paguyuban ini juga membuatkarya ketika mengisi acara tertentu walaupun hanya dalam teks vokal. Selain itu paguyuban ini terbukadengan segala kalangan, dalam arti walaupun memiliki anggota tetap tetapi mau menerima seseorangatau sekelompok orang yang mau mengikuti latihan karawitan bersama. Bahkan paguyuban ini maumenjalin kerjasama dengan institusi yang bergerak dalam pelestaian kesenian karawitan Jawa.Paguyuban ini juga didukung oleh anggotanya dalam menjaga eksistensinya dalam upaya pelestariankarawitan Jawa.Kata kunci: Pelestarian, Karawitan Jawa, Peran, Paguyuban MAREM
SEKATEN DAN LEGITIMASI KEKUASAAN RAJA KARATON SURAKARTA Joko Daryanto
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 16 No. 1 (2016)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v16i1.1769

Abstract

Sekaten telah ada sejak zaman Demak yang berfungsi sebagai salah satu sarana penyebaran agamaIslam di Pulau Jawa. Ide penyebaran agama Islam dengan gamelan Sekaten dimunculkan oleh walisanga, sembilan pemimpin Islam penasehat Sultan Demak I (Raden Patah) pada abad ke -16.Penggunaan gamelan Sekaten sebagai sarana penyebaran agama Islam yang dimulai sejak zamanDemak mengalami pasang surut, artinya pada periode tertentu gamelan Sekaten tidak menampakkaneksistensinya. Setelah runtuhnya Demak, tidak ditemukan informasi yang jelas tentang keberadaangamelan Sekaten. Perjalanan Kasultanan Demak pasca keruntuhan akhirnya sampai pada masapemerintahan Sultan Agung, raja terbesar Mataram. Sultan Agung berusaha kembali menghidupkansimbol-imbol keagungan seorang raja, sejak saat itu gamelan Sekaten memiliki peran baru, yaitu sebagaipusaka kepraboning nata atau dengan kata lain sebagai salah satu alat legitimasi kekuasaan raja atausarana untuk memperkuat kedudukan seorang raja. Sampai pada masa Karaton Surakarta, raja-rajaSurakarta masih menggunakan Sekaten sebagai alat legitimasi kekuasaan. Bahkan dalam periodetertentu, penyelenggaraan Upacara Sekaten dilakukan secara besar-besaran. Penyelenggaraan upacaratradisi karaton yang dilaksanakan dengan secara besar-besaran sangat berkaitan dengan usahamenunjukkan kebesaran raja beserta perangkat pendukungnya. Dengan cara ini diharapkankewibawaan karaton serta kedudukan raja diakui oleh masyarakat. Melalui penyelenggaraan upacaraSekaten, kewibawaan Karaton Surakarta dapat ditunjukkan kepada masyarakat. Kebesaran sebuahupacara sangat berkaitan dengan kultus kemegahan, hal ini dikarenakan kultus kemegahan merupakansalah satu cara untuk menunjukkan kewibawaan raja Surakarta.Kata kunci: Sekaten, alat legitimasi kekuasaan raja, kultus kemegahan.

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