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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
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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.
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Articles 189 Documents
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TEMBANG MACAPAT CENGKOK MERDI LAMBANG (MERSUDI LARAS LAGUNING TEMBANG) Darsono Darsono
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 19 No. 1 (2019)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v19i1.2636

Abstract

Macapat adalah salah satu karya sastra dalam bahasa daerah Jawa, Sunda, Bali dan Madura berbentuk puisi yang disusun menurut kaidah-kaidah tertentu, meliputi guru gatra, guru lagu, dan guru wilangan. Ia memiliki kandungan isi yang berbobot. Penyajiannya melalui proses penggarapan yang halus, lembut, cermat dan mantap serta senantiasa memperhatikan unsur etika dan estetika. Tembang macapat sangat populer sekitar abad XVIII dapat dikatakan menduduki puncak tangga dalam kelompok seni kraton. Tembang macapat mengandung dua unsur seni yaitu seni sastra dan seni embe/suara yang difungsikan sebagai media yang sangat komunikatif untuk menyampaikan petuah atau pesan-pesan pembangunan. Akan tetapi saat ini tinggalah catatan historis dunia sastra jawa, karena tembang macapat kini sudah tidak begitu dikenal oleh pewarisnya. Kesemuanya ini bukan disebabkan pengaruh perkembangan ilmu dan teknologi semata akan tetapi juga disebabkan kurangnya prasarana pengajaran baik berupa buku maupun pengajarnya atau kurang variatif materi tembang yang ada. Berhubungan dengan hal tersebut, sebagai karya sastra yang adiluhung menurut hemat penulis tembangmacapat sangat perlu untuk dilestarikan guna memperkaya khasanah budaya Indonesia. Rencana penciptaan tembang macapat cengkok Merdi Lambang dimaksudkan sebagai wujud tindakan partisipatif dalam upaya pelestarian dan pengembangan.Kata kunci: Tembang Macapat, berkembang, Merdi Lambang.AbstractMacapat is one of the literary works in the languages of Java, Sundanese, Balinese and Madurese in the form of poetry that arranged according to certain rules, including Guru Gatra, Guru Lagu, and Guru Wilangan. It has meaningful content. The presentation of Macapat is through a smooth, gentle, careful and steady cultivation process that always pays attention to ethics and aesthetics elements.Macapat song is very popular around the XVIII century. It said to occupy the top of the hits in the palace of the arts group. Macapat song contains two elements of art that are literary art and ensemble/ sound that is functioned as a very communicative media to convey development advice or messages.However at this time, Macapat remains the historical record in the world of Javanese literature because the song of Macapat now is not very well knew by its heir. All of this matter is not due to the influence of the development of science and technology itself, but it also due to the lack of teaching and supporting facilities both in the form of books and instructors or the lack of variety of existing song material. Inconnection to this, as a valuable literary work, the author has opinion that the song Macapat are very necessary to be preserved, in order to enrich the treasury of Indonesian culture. The plan for the creation of the Macapat tunes for Merdi Lambang are intended to be a form of participatory action for conservationand development efforts.Keywords: Macapat Tunes, Developing, Merdi Lambang.
CENGKOK SINDHEN BERGAYA POP SEBAGAI PENDUKUNG INDUSTRI HIBURAN Siswati Siswati
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 19 No. 1 (2019)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v19i1.2637

Abstract

Penelitian ini mengkaji mengenai munculnya sindhen di acara-acara televisi dan dunia maya dengan tampilan yang berbeda. Perbedaan tampilan ini mengacu pada sajian lagu-lagu pop yang berbeda dari sindhen pada umumnya. Hipotesis terkait dengan perubahan tampilan berupa lagu lintas genre tersebut, bahwasanya para sindhen mempunyai tujuan utama eksistensi yang berdampak pada penghasilan finansial. Penggunaan kata “sindhen” sebagai label industri akan merubah makna sindhen yang sesungguhnya. Penelitian ini mengambil sampel sindhen yangterjun ke musik lintas genre. Metode penelitian yang digunakan adalah kualitatif dengan pendekatan studi kasus. Hasil penelitian adalah ekonomi merupakan aspek kuat yang melatarbelakangi kemauan untuk menjadi sindhen lintas genre. Dikotomi status sosial dalam masyarakat bahwa memegang erat posisi seni tinggi dan seni rendah. Hal tersebut menjadikan seseorang merasa mempunyai beban kultural sehingga membatasi kebebasan ekspresi dalam dirinya. Serta menjaga kualitas dengan latihan.Kata kunci: cengkok sindhen, lintas genre, gaya pop, industri hiburan.AbstractThis study examines the emergence of sindhen in television shows and cyberspace with different views. This display difference refers to the dish of pop songs that are different from sindhen in general. The hypothesis associated with the change of appearance in the form of songs across the genre, that sindhen have the main purpose of existence that impact on financial income. The use of the word “sindhen” as an industry label will change the true meaning of sindhen. This study takes samples of sindhen that plunge into music across genres. The research method used is qualitative with case study approach. The result of this research is economics is strong aspect which is background of willingness to become sindhen cross genre. The dichotomy of social status in society that holds tightly the position of high artand low art. It makes a person feel has a cultural burden that limits freedom of expression in him. As well as maintaining quality with practice.Keywords: cengkok sindhen, cross genre, pop style, entertainment industry .
KAJIAN MUSIKAL KESENIAN WAROK DI DESA TALUNOMBO, KECAMATAN SAPURAN KABUPATEN WONOSOBO Tri Jeniati; S Suyoto
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 19 No. 1 (2019)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v19i1.2647

Abstract

“Kajian Musikal Kesenian Warok di Desa Talunombo, Kecamatan Sapuran, Kabupaten Wonosobo” dilatarbelakangi bahwa kesenian warok memiliki beberapa ragam bentuk gending dan irama. Permasalahan musikal di dalamnya cukup kompleks, mulai dari instrumentasi, pola-pola garap permainan instrumen. Berbagai permasalahan musikal kesenian warok cukup menarik untuk diungkap, karena memiliki berbagai permasalahan musikal yang cukup kompleks. Persoalannya adalah 1) Bagaimana peran musik di dalam Kesenian Warok di Desa TalunomboKecamatan Sapuran Kabupaten Wonosobo? 2) Bagaimana garap instrumen Kesenian Warok di Desa Talunombo Kecamatan Sapuran Kabupaten Wonosobo? Persoalan dimaksud diungkap dengan menggunakan konsep garap Rahayu Supanggah, dan teori fungsi oleh RM. Soedarsono. Hasil penelitian ditemukan, secara turun-temurun digantikan oleh generasi berikutnya, sehingga masih tetap eksis sampai sekarang. Peran musik dalam kesenian Warok sangat dominan. Kesandapat terbentuk tidak hanya dari kostum, tata rias, atau gerak saja, namun bunyi instrumen pun dapat menciptakan kesan dari sebuah pertunjukan. Bunyi dari pola tabuhan mempunyai kesan yang dapat memperkuat karakter warok. Proses ndadi dipercaya berkaitan dengan polapola tabuhan yang mendukungnya. Musik menjadi media seseorang meningkatkan emosi, kemudian direspon oleh tubuh. Pola tabuhan yang ritmik, menimbulkan rasa untuk bergerak. Ketika musik dalam tempo cepat, dengan kondisi fisik penari yang lelah sangat mudah untuk dirasuki oleh makhluk gaib. Garap gending kesenian Warok dibagi dalam tiga bagian, yaitu bagian pertama garap gending untuk penari putri, bagian ke dua garap gending untuk penariputra, bagian ke tiga garap gending untuk penari putra dan putri.Kata kunci: Gending, Garap, Warok.AbstractThe research background of “Musical Study On Warok Arts In Talunombo Village, Sapuran District Wonosobo Regency” is that Warok art has various forms of musical tunes and rhythms. The problem on its musical aspect is quite complex, ranging from its instrumentation and its playing patterns (garap) on its instruments. Various musical problems in Warok arts is interesting to be reveal because it has complex musical problems. Issues of this research are: 1) what is the role of music in Warok Art in Talunombo Village, Sapuran District, Wonosobo Regency. 2) How is work of instrument (garap) in Warok Arts? The problem of this research revealed using the concept of works of Rahayu Supanggah, and function theory by RM. Soedarsono. The results of the study found that the Warok arts is as existing legacy from generations. The role of music in Warok is very dominant. Impressions fromWarok obtained not only by it costumes, make-up, or movement, but rather to the sound of the musical instruments that could create the impression of a performance. The sound of the wasp pattern has an impression that can strengthen the Warok character. The trance process believed having relation to the wasp patterns that support it. Music becomes a media for a person to increase their emotions and to their body responds. Rhythmic wasp pattern causes a sense to a body movement. When the music played in fast tempo, the tired physical dancers could easily possessed by supernatural beings. Warok art works genre divided into three parts namely: 1.) works (garap) on music for female dancers, 2.) works (garap) on music for male dancers, and 3.) works (garap) on music for both male and female dancers.Keywords: Gending, Garap, Warok.
GARAP MUSIKAL GENDING DALAM FILM SETAN JAWA Hannova Aji Finarno; S Santosa
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 19 No. 1 (2019)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v19i1.2648

Abstract

Film Setan Jawa merupakan sebuah film bisu hitam putih yang dalam pemutaran filmnya diiringi oleh gamelan secara langung, Pertunjukan Film Setan Jawa mengangkat kisah mitologi Jawa yang diangkat dari kisah kisah nyata dari berbagai daerah. musik gamelan yang mengiringi film Setan Jawa komposer Rahayu Supanggah, dengan garap musik gamelanya yang menjiwai tiap adegan pada film Setan Jawa. Pendekatan yang digunakan adalah pendekatan musikologi.Penelitian ini tentang garap musikal gending, maka konsep yang dipakai adalah konsep-konsep musikologi karawitan Jawa. Konsep ini selain mengkaji tentang garap gending juga membahas konsep pathet, irama, bentuk dan struktur gending. Hasil penelitian ini ditemukan bahwa pada pementasan film Setan Jawa, gending-gending yang digunakan dalam mengiringi setiap adegan memiliki sajian garap yang berbeda dari penyajian adegan satu dengan yang lainnya. Setiap penyajian yang berbeda-beda tersebut mengalami perbedaan serta perubahan dalam sajian tafsir garapnya. Pemilihan gending dalam garap musikal film Setan Jawa, Supanggahmenggunakan gending-gending lama. Hal ini selain digunakan untuk menghidupkan suasana film, pemilihan gending juga disesuaikan dengan konteks dalam adegan cerita.Kata kunci: Setan Jawa, Karawitan, Garap.AbstractThe “Setan Jawa” movie is a silent black and white move that in its screenings is accompanied by a direct gamelan orchestra. “Setan Jawa” movie raised a Javanese mythological story based on true stories from various regions. The gamelan music that accompanies the movie composed by Rahayu Supanggah, with the gamelan music that animates each scene in the movie. The approach that is used is the musicology approach. This research is about working on the movie’s musical tunes (gending), the concepts used are Javanese musical concepts. Apart from studying the concept of gending, this concept also discusses the concept of pathet, rhythm, the shape and structure of gending. The results of this research found that in the staging of “Setan Jawa” movie, the music used to accompany each of the scene has a different presentation from the presentation of one scene to another. Each of these different presentations experiences differences as well as changes in the interpretation of the gending. Supanggah selected old gending for the musical work of the “Setan Jawa” movie. Apart from it, the selection of gending used to liven up the atmosphere of the film as well as adjusting it to the context in the story scene.Keywords: Setan Jawa, Karawitan, Garap.
PERKEMBANGAN MUSIK KESENIAN GATHOLOCO CIPTO BUDOYO KABUPATEN TEMANGGUNG Eko Kristiyanto; Muhammad Nur Salim
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 19 No. 1 (2019)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v19i1.2649

Abstract

Penelitian ini bertujuan untuk mengungkap mengenai perkembangan musikal kesenian Gatholoco Cipto Budoyo Desa Kembangsari. Permasalahan utama yang dibahas adalah tentang periodisasi perkembangan musikal serta faktor-faktor yang mempengaruhinya. Untuk menjawab permasalahan tersebut, peneliti menggunakan konsep musik khususnya tentang garap dan konsep tentang perkembangan yang merujuk pada konsep periodisasi dan faktorfaktor penyebab perkembangan. Pendekatan yang digunakan adalah antropologi sosial dan musikologi dengan menggunakan metode deskripstif analisis. Hasil dari peneilitian ini mengungkap bahwa perkembangan musikal kesenian Gatholoco kelompok seni Cipto BudoyoDesa Kembangsari terjadi secara periodik, yakni melalui beberapa tahapan masa atau waktu. Periode pertama terjadi pada tahun 1963-1980, kemudian periode kedua terjadi pada tahun 1981-2000 dan periode ketiga terjadi pada tahun 2001-2018. Perkembangan musikal yang terjadi pada masing-masing periode dapat dilihat dari unsur-unsur garap diantaranya: materi garap, penggarap, sarana garap, prabot atau piranti garap, penentu garap, serta pertimbangan garap. Perkembangan musikal kesenian Gatholoco Cipto Budoyo terjadi karena adanya beberapa faktorpendukung. Faktor-faktor pendukung tersebut berasal dari dalam (internal) dan dari luar (eksternal).Kata kunci: Gatholoco, musikal, periodisasi, perkembangan, faktor-faktor. AbstractThis research aims to reveal the musical development of the Gatholoco Cipto Budoyo Kembangsari Village. The main problem discussed is about the periodization of musical development and the factors that influencing it. To answer this problem, researchers use the concept of music specifically about work and the concept of development that refers to the concept of periodization and the factors that causedevelopment. The approach used is social anthropology and musicology by using descriptive analysis methods. The results of this study revealed that the musical development of the art group Gatholoco Cipto Budoyo, Kembangsari Village that occurred periodically through several stages of time. The first period occurred in 1963-1980, then the second period occurred in 1981-2000 and the third periodoccurred in 2001-2018. Musical developments that occur in each period can be seen from the elements of cultivation including: works on material (garap), instrument players, facilities of the works (garap), instruments and determinants of the works (garap), and the consideration of the works (garap). The musical art development of Gatholoco Cipto Budoyo was due to several supporting factors. These supporting factors come from within (internal) and from outside (external).Keywords: Gatholoco, musical, periodization, development, factors.
TITIK TENGAH SEBAGAI DASAR SISTEM KLASIFIKASI CENGKOK GENDER Ethan Schwartz
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 20 No. 1 (2020)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v20i1.2749

Abstract

Cengkok merupakan kosakata musikal dasar dari beberapa instrument dalam gamelan Jawa Tengah. Gender barung memiliki sistem cengkok yang mungkin paling kompleks. Dengan pengembangan pendidikan formal kesenian setelah Kemerdekaan Indonesia, terjadi dorongan ke arah kodifikasi dan klasifikasi cengkok-cengkok gender. Pekerjaan paling signifikan di bidang ini dilakukan oleh R.L. Martopangrawit pada awal tahun 1970-an. Sebagian besar, metode yang dikembangkan oleh Martopangrawit dan rekan-rekannya tetap digunakan untuk mengajar gender di konteks pendidikan formal. Namun, ada sejumlah cara di mana metode ini gagal dalam aplikasi praktis dan teoretis. Artikel ini menjelajahi potensi untuk membuat sistem klasifikasi cengkok gender baru, yang bersifat obyektif dan juga mudah untuk digunakan. Diharap bahwa sistem baru ini akan mempermudahkan komunikasi dalam komunitas karawitan yang semakin global.
NGELIK SILIHAN DALAM KARAWITAN GAYA SURAKARTA Uni Ambarwati; Suyoto Suyoto
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 19 No. 2 (2019)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v19i2.3075

Abstract

This study examines ngelik silihan in Surakarta style music. The problems revealed in this study are (1) How can ngelik in Surakarta style music, (2) Why does the Eling-eling ladrang dish generally use ngelik?, (3) Any factors that support a loan of ngelik silihan. This research is a qualitative research, data obtained from literature studies, observations, and interviews. The theory used as the basis for analyzing in accordance with the formulation of the problem is the creativity theory by Wallas about the process of creativity, and the theory of musical interaction by Benjamin Briner about musical interactions that occur in gending, and the theory of melodic contour by Judith Bekker about the melody flow obtained in theory worked on by Rahayu Supanggah, in the theory of the melodic contour it can emphasize the problem of the melody flow in the interconnected selection. The results of this study found that the use of ngelik silihan there are three factors, namely: 1. Shifting the function of the presentation, 2. Creativity of the artists. The use of ngelik silihan with consideration of the same melodic and song gong grooves, so that it is aligned with the borrowed portion of the loan, 3. Pathet factors for the lending and borrowed selection. In addition there is a historical statement that the Pangkur ladrang borrowed the Eling-eling ladrang. Information on the artist community that the Eling-eling ladrang borrowed the Pangkur ladrang, the reasons are: 1. Recognition of the perpetual artists acquired, 2. Manuscripts in the Mloyowidodo notation book, 3. Commercial cassette tapes which first popularized the Eling-ladrang ladrang from at Pangkur ladrang.Keywords: Ngelik, Silihan, Song, Sèlèh, Gending.
KREATIVITAS SURYATI DALAM MENYAJIKAN CENGKOK SINDHENAN BANYUMASAN Muriah Budiarti; Siswati Siswati
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 19 No. 2 (2019)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v19i2.3076

Abstract

This research topic is raising about Suryati as one of the Banyumas sinden who contributed to the development of Banyumas style of music. Suryati’s artistic process is formed by several factors, Suryati’s family environment support helped his success in finding the soul of sindhen in himself. that are The Suryati’s selfishness and her persistence which are very important factors that shaped her creativity. So that her styles and “anggit” that Suryati brought were the essence of her artistic environment. Suryati’s character is identical with prenes, meticulous, actualized titen into suryati Sindhenan style twists. So people who hear Suryati’s twisted can guess that it is a form of Suryati’s twisted characteristic. With the ethnographic method, several factors forming the creativity of Suryati’s artistic style will be explained. One of the results of Suryati’s efforts was to introduce “gendhing Banyumasan” in Java and its surrounding area.Keywords: Sinden, karawitan, Banyumasan, Suryati, ethnography.
PERUBAHAN MOTIF KENDANGAN JAIPONG PADA PERTUNJUKAN WAYANG KULIT KI SENO NUGROHO Asep Saepudin; Sigit Setiawan
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 19 No. 2 (2019)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v19i2.3077

Abstract

Acculturation of Sundanese and Javanese culture one of which appears in the Sundanese jaipong kendang motif that is adapted so that it becomes Javanese in character. This can be seen in the appearance of Wayang Kulit Ki Seno Nugroho. This study aims to analyze changes in kendang jaipong’s motives using the observation methode. Observation was carried out by revealing a systematic picture of the shadow puppet show, the player’s behavior, and paying attention to the space, place, actors, activities, time, and events. From the observation, it was found that there was a change in the jaipong drum construction on the improvisation, ayak-ayak patterns, various pangjadi motives, bukaan, mincid, ngala, and tepak ngeureunkeun. The results of this study concluded that althought the presentation of jaipong drums imitated the Sundanese style, the resulting motives were generally not Sundanese motifs. All jaipong kendang motifs are responded creatively to new motifs by Seno Nugroho drummer so that the results of their work are not Sundanese but Javanese.Keywords: tepak, jaipong, mincid, seno.
TRANSFORMASI GARAP GENDING CUCUR BAWUK KE DALAM MUSIK CAMPURSARI KELOMPOK BALISA Heri Prasetyo; Muhammad Nur Salim
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 19 No. 2 (2019)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v19i2.3078

Abstract

The transformation of garap music into campursari music of the Balisa group in Sragen was motivated by the phenomenon of garap transfer from traditional musical karawitan into campursari musical form. This garap transition is a creative way for Balisa members to work on garap gending, one of which is Gendhing Cucur Bawuk into campursari music. The creative process that occurs in the elements of working on music is manifested in the stages in transforming the processing of gending. The transformation process of gending is influenced by several supporting factors. To answer this problem, the author uses the concept of garap and is supported by thoughts about transformation. This research uses a qualitative methodology, by conducting observations, interviews and literature studies so that information or related data are obtained. The purpose of this study was to determine the process of transformation of music production that occurred in the Balisa Campursari group. The results showed that the transformation of music production in the Campursaari Balisa group went through several stages such as instrument adjustment, laras adjustment, and style adjustment. The factors that support this transformation process are determined by the “penggarap”, garap determinant and garap consideration.Keywords: transformation, campursari music, garap gending.

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