cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
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
Published by Institut Seni Indonesia Surakarta
ISSN : 14122065     EISSN : 27146367     DOI : https://doi.org/10.33153/ktg
Core Subject : Art,
Arts
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.
Arjuna Subject : Seni dan Humaniora - Musik
Articles 8 Documents
 1 
Search results for , issue "Vol 14, No 1 (2014)" : 8 Documents clear
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 | Full PDF (374.827 KB) | 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
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 : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (361.874 KB) | 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
PERKEMBANGAN GARAP GENDING JANGKUNG KUNING Sugimin Sugimin
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 | Full PDF (395.118 KB) | 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
KLASIFIKASI KARAKTER REBABAN GAYA SURAKARTA Bambang Sosodoro
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 | Full PDF (439.762 KB) | 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
KOMPOSISI MUSIK BUBARAN LEAR KOMPOSER RAHAYU SUPANGGAH Dandun Danurwendo
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 | Full PDF (1491.109 KB) | 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
KRONOLOGI PENCIPTAAN KOMPOSISI KARAWITAN MIRATDANA I Ketut Saba
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 | Full PDF (227.232 KB) | 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
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 : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (296.646 KB) | 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
GAMELAN SEKATEN DAN PENYEBARAN ISLAM DI JAWA Joko Daryanto
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 | Full PDF (276.325 KB) | 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

Page 1 of 1 | Total Record : 8

 1 

Filter by Year

2014 2014


Reset
Filter By Issues
All Issue Vol. 23 No. 2 (2023): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 23, No 1 (2023) Vol 22, No 2 (2022) Vol 22, No 1 (2022) Vol 21, No 2 (2021) Vol 21, No 1 (2021) Vol 20, No 2 (2020) Vol 20, No 1 (2020) Vol 19, No 2 (2019) Vol 19, No 1 (2019) Vol 18, No 2 (2018) Vol 18, No 1 (2018) Vol 17, No 2 (2017) Vol 17, No 1 (2017) Vol 16, No 1 (2016) Vol 15, No 1 (2015) Vol 14, No 1 (2014) Vol 13, No 1 (2013) Vol 8, No 1 (2008) Vol 6, No 2 (2006) Vol 4, No 1 (2004) Vol 3, No 1 (2003) Vol 2, No 1 (2002) More Issue