cover
Contact Name
Muhammad Nur Salim
Contact Email
denmassalim88@gmail.com
Phone
+6281392727084
Journal Mail Official
keteg@isi-ska.ac.id
Editorial Address
Jl. Ki Hajar Dewantara No.19, Jebres, Kec. Jebres, Kota Surakarta, Jawa Tengah 57126, Indonesia
Location
Kota surakarta,
Jawa tengah
INDONESIA
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
ISSN : 14122065     EISSN : 27146367     DOI : https://doi.org/10.33153/ktg
Core Subject : Art,
The journal is invited to the original article and has never been published in conjunction with another journal or conference. The publication of scientific articles is the result of research from both the external and internal academic communities of the Surakarta Indonesian Art Institute in the Karawitanologi discipline. The scope of distribution, Karawitan Education and Learning; Historical Study and Development of Karawitan; Study on Karawitan; Karawitan Organology Study; Karawitan Aesthetic Study; Karawitan Composition Study.
Articles 91 Documents
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 : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ktg.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 Wakidjoâ??s drumming?  This research aims to reveal Wakidjoâ??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 Wakidjoâ??s life and his artistic ability. The form and development of Wakidjoâ??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 factorsâ??such as his talentâ??and external factorsâ??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 Wakidjoâ??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
SENI LARASMADYA DESA WONOREJO KABUPATEN SUKOHARJO Panggiyo, Panggiyo
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 4, No 1 (2004)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ktg.v4i1.577

Abstract

Larasmadya contains religious values and promotes moral behavior  according to the Islamic religion, while at the same time presenting an  expression of art. For this reason, although there is a dichotomy  between the older and younger generations, the art of larasmadya in Wonorejo continues to exist.This art form originated from a  Kiyai, or religious leader, by the  name of Imam Suhada, who was an expert in Islam and supernatural  powers from the village of Wonorejo. The existence of larasmadya in  the village of Wonroejo is quite unique in that it has been passed down  from generation to generation within one family of descendants.Keywords: Larasmadya, eksistensi.
KARAWITAN KARATON KASUNANAN DAN PURA MANGKUNEGARAN PASCA PERJANJIAN GIYANTI Sosodoro, Bambang
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 13, No 1 (2013)
Publisher : Institut Seni Indonesia Surakarta

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

Abstract

This paper is an examination of the results found in the study entitled: â??Karawitan Karaton dan Pura Mangkunegaran Studi Garap Karawitan Tari Srimpiâ? (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
Alan P. Merriam versus Mantle Hood dalam Orientasi Studi Etnomusikologi Riyadi, Slamet
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 2, No 1 (2002)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ktg.v2i1.549

Abstract

The anthropological and musicological approaches of ethnomusicology have been extensively discussed by ethnomusicologists. In revealing musical facts, the anthropo­logical approach tends to discern music as a human behavior phenomenon. Meanwhile, the musicological approach considers music as exclusively musical matter.
Pengetahuan Ekspresi Karya Musik Mintargo, Wisnu
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 8, No 1 (2008)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ktg.v8i1.611

Abstract

Expression in music is a movement in feeling that is formed through the media of sound. This means that music comes out of the soulâ??s creator through hearing, experienxed and felt by a human being who gave his whole soul and feelings to enjoy the music. A form of musical statement comes from the nature of thought, imagination and the artis â??sftelings are influenced by the power outside of him as inspiration. Either than that, the creative process is always in line with music knowledge 
VOKAL DALAM KARAWITAN GAYA SURAKARTA (Studi Kasus Kehadiran Kinanthi dalam Gending) Suyoto, S.,; Haryono, Timbul
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 15, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ktg.v15i1.2033

Abstract

Dalam karawitan gaya Surakarta terdapat dua unsur penting, yaitu: instrumen dan vokal. Instrumen adalah sumber bunyi yang dapat menimbulkan nada-nada, sedangkan vokal adalah bunyi atau nadanada yang ditimbulkan dari suara manusia.Vokal dalam karawitan dimaksud antara lain: sindhènan, båwå, gerong, senggakan, dan alok, yang kehadirannya tidak lain untuk menambah indahnya sajian karawitan. Dalam vokal juga terdapat dua hal penting yaitu lagu dan teks. Kehadiran teks yang berujud bahasa itu biasanya dalam bentuk tembang atau cakepan yang lain. Kedudukan teks (cakepan) ada kalanya lebih penting dari instrument, atau setidaknya sejajar dengan instrument dalam perangkatgamelan. Seperti misal pada karawitan agamis, keberadaan text adalah lebih penting daripada instrumen. Gending-gending yang menggunakan cakepan khusus, seperti gending karya Mangkunegara IV, yang semuanya tertata, mulai dari båwå sampai pada cakepan gérong.Teks yang digunakan dalamgending tradisi pada umumnya dipilih dari beberapa alternatif karya sastra yang ada, artinya tidak ada keharusan, apalagi kemutlakan dalam penggunaannya, misalnya cakepan tertentu untuk gending tertentu. Hampir 90% teks Kinanthi diakses sebagai cakepan gerongan gending yang memiliki garap vokal. Penggunaan Kinanthi sebagai gérongan sudah barang tentu didasarkan atas beberapa pertimbangan, antara lain: 1) Kinanthi terdiri 6 gatra,2) memiliki guru wilangan setiap gatra 8 suku kata, sehingga dengan gatra, guru wilangan yang genap akan lebih mudah penerapannya ke dalam gending. Selain Kinanthi sebagai cakepan gérong juga digunakan di dalam cakepan båwå, yaitu, båwåSekar Macapat Kinanthi Mintajiwa, laras slendro pathet manyura, båwå Sekar Macapat Kinanthi céngkok Sekar Gadhung, laras slendro pathet manyura. Kinanthi menjadi gending,yaitu:Kinanthi Sandhung, ketawanglaras slendro pathet manyura, Kinanthi Pawukir, ketawang laras slendro pathet manyura, dan Kinanthi Subakastawa, ketawang laras slendro pathet sanga.Sekar Kinanthi juga digunakan untuk ådå-ådå dalam wayangpurwa, untuk palaran dalam klenengan, untuk cakepan sindhènan dalam gending sekar.Kata kunci: Kinanthi, båwå, gérong, dan gending.
GENDING-GENDING TAYUB GAYA GROBOGAN: STUDI KASUS KELOMPOK KARAWITAN MADYO LARAS Puspasari, Sendang Ayu; Purwanto, Djoko
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 16, No 1 (2016)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ktg.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.
Konsep Dasar Pengembangan Semar Pagulingan "Tirta Sari" Dialog I Ketut Yasa dengan Anak Agung Oka Dalem Yasa, I Ketut
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 4, No 1 (2004)
Publisher : Institut Seni Indonesia Surakarta

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

Abstract

Dialog I Ketut Yasa dengan Anak Agung Made Oka Dalem
PROSES KREATIF ANTONIUS WAHYUDI SUTRISNO SEBAGAI KOMPOSER GAMELAN Gunawan, Ardi; Sugiyanto, Danis
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 14, No 1 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ktg.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
SAM PELONG Dalam Perspektif Budaya Musik Minangkabau Darlenis, Tety
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 2, No 1 (2002)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ktg.v2i1.567

Abstract

Sampelong is not only thought of as an instrument, but also has deep cultural meanings, function and symbol for Minangkabau society. For example, the process ofmaking the instrument is associated with the goal for what the instrument is meant. Moreover, the instrument, that is thought of as the inheritance of Pre-Hindu culture, used to have an bad image in the society, that is used for sending â??black magicâ?. Nowadays, sampelong exists in different contexts.

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