Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
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
10 Documents
Search results for
, issue
"Vol 22, No 2 (2022)"
:
10 Documents
clear
<![CDATA[BEDANDENG KUTAI: ORNAMENTASI MELISMATIS DALAM BEDANDENG KUTAI ]]>
<![CDATA[Zamrud Whidas Pratama]]>;
<![CDATA[Aris Setyoko]]>;
<![CDATA[Purwanti Purwanti]]>
<![CDATA[ Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 22, No 2 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.33153/keteg.v22i2.4538
<![CDATA[One form of singing or humming that is spread orally is a traditional song or hum that comes from the Kutai tribe called Bedandeng. The purpose of this study was to obtain data on how the history and types contained in the art of Bendadeng. The theory used in this research is historical theory. In addition to the theory about history, the author will also describe the notation of the nyanyain or humming bedandeng. To study it, a qualitative descriptive study was chosen by prioritizing a musicological approach. Data collection is done by (1) literature study, (2) observation, (3) interview, (3) documentation. The stages in analyzing data are (1) data reduction, (2) data presentation, and (3) data analysis (4) conclusion. Clarification of data was again carried out using data triangulation techniques. The results of the study show dandeng or bedandeng is one of the speech arts that exists and develops in Kutai. Bedandeng is a song of lamentation to express what is in the heart. In bedandeng when singing it is not accompanied by any instruments or music and is sung in a recitative way. When viewed from the form of the melody and the lyrics of the bedandeng melody, each melodic phrase has a melismatic ornament. Melismatic ornaments are found at the end of each melodic phrase. It is said to have many melismatic ornaments because in singing Bedandeng, one syllable can be sung with several tones.Kata Kunci: Ornamentasi, Vokal, Bedandeng Kutai.]]>
<![CDATA[GAMELAND: DESAIN PENGEMBANGAN PERTUNJUKAN KARAWITAN BERBASIS VIRTUAL DIGITAL ONLINE METAVERSE SEBAGAI UPAYA PEMAJUAN KEBUDAYAAN ]]>
<![CDATA[Fajar Abed Nego]]>;
<![CDATA[Denis Setiaji]]>
<![CDATA[ Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 22, No 2 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.33153/keteg.v22i2.4706
<![CDATA[Karawitan performing arts is one of the branches of art in Indonesia. The performing arts, which are based on music, still exist are carried out by art activists or karawitan artists. Karawitan is also one of the performing arts that has the potential to develop to the global scene. On the other hand, technology is growing rapidly, forcing everyone to continue to innovate in order to keep up with the world's technological currents. Gameland is one of the innovations sparked for the development of karawitan shows. Although it is still a design, it will be very possible to implement it in the future. The research conducted for Gameland design used descriptive quality methods. By using virtual metaverse technology, this design is expected to be able to be a medium for developing karawitan performances, improving the economy of artists, and promoting culture. Through Gameland's digital technology, artists can play and perform karawitan performances anywhere, anytime, and with anyone without being limited by space and time. Gameland exists as an effort to adapt to the progress of the era so that karawitan artists can continue to exist and develop with seamless connectivity relationships through the virtual world, the metaverse.]]>
<![CDATA[STRUKTUR DAN BENTUK GENDING IRINGAN REOG PONOROGO ]]>
<![CDATA[Faisol Amir]]>;
<![CDATA[Bondet Wrahatnala]]>
<![CDATA[ Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 22, No 2 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.33153/keteg.v22i2.4449
<![CDATA[Reog Ponorogo is a traditional dance that developed in Ponorogo, East Java. The presentation cannot be separated from the music as one of the determining factors for the success of performances. This study aims to describe the structure and form of the Reog Ponorogo gending. The Qualitative research methods that using observation and interview techniques are used to support the data collection process in this study. In its presentation, Reog Ponorogo has standard music (pakem) according to the movement of the characters being played. The gending form of used has a simple colotomic structure with name obyog, patrajayan, ponoragan, sampak and kebogiro. Based on the structure, some of gending have a similarities and different of rhythm, laya and garap/ improvisation. As a traditional performing arts, the gending of Reog Ponorogo has been agreed (conventionally) by the community, one of which is the application of gending in each dance fragment. Gending obyok, ponoragan and sampak have a wider application, namely in all dance fragments even though the different intensity. Meanwhile, gending kebo giro only appears and becomes the main accompaniment of the Bujang Ganong and Klana Sewandana fragments.]]>
<![CDATA[EKSISTENSI SUYARTO SEBAGAI SINDEN LANANG: SEBUAH BIOGRAFI ]]>
<![CDATA[Endah Ayu Prasetyo]]>;
<![CDATA[Prasadiyanto Prasadiyanto]]>;
<![CDATA[Slamet Riyadi]]>
<![CDATA[ Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 22, No 2 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.33153/keteg.v22i2.4366
<![CDATA[This article antitled “The existence of Suyarto As a Sinden Lanang:a Biography” is based on the research by Endah Ayu Prasetyo, primarily examines the existence of Suyarto as a sinden lanang who existed in between 1995-2006. There are two important issues subject to discussion which are 1) how was the process oftransforming and developing artistry of Suyarto as a sinden lanang until he became famous? and 2) why in between 1995 and 2006 Suyarto’s name was known as sinden lanang?. Suyarto, who came from a farming family and only attended elementary school, was able to become a successful male sinden in 1995-2006. This research describes Suyarto’s artistic experience to reach his existence. The study uses a historical approach by Kuntowijoyo, especially biographies which examine the character’s personality, supportive social forces, historical circumstances of his era, and luck and opportunity. This thought is synergized with Alvin Boskoff’s theory, that a change is influenced by internal and external factors.Collecting the necessary data was carried out by following qualitative research procedures and oral history. Apart from literary data and artifacts, the informants’ testimonies against Suyarto are also a very important source of data in this research.]]>
<![CDATA[PENGEMBANGAN KUALITAS PADEPOKAN SAROTAMA DITINJAU DARI ANALISIS SWOT ]]>
<![CDATA[Prasetyo Adhi Tama]]>;
<![CDATA[Nanang Yulianto]]>
<![CDATA[ Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 22, No 2 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.33153/keteg.v22i2.4548
<![CDATA[In terms of the intricacies of education in the arts, Padepokan Seni Sarotama cannot be separated from the figure of Mujiono. Mr. Mujiono's struggled as a karawitan teacher and Wayang puppeteer in 1985 when he opened the teaching of puppetry for children. Another motivation behind Mr. Mujiono's built art hermitage is the children who are not from the artist's family and do not yet have means of artistic expression so Padepokan Sarotama is present as a place of recreation and learning for students. The purpose of this research is to develop an organizational strategy at the Padepokan Sarotama. Furthermore, the method used in this research is the SWOT analysis, a strategic planning method used to evaluate Strengths, Weaknesses, Opportunities, and threats in a project or business. Based on that, analysis involves determining the objectives of the business venture or project and identifying internal and external factors, which is excellent and profitable to achieve that goal. Based on IE Matrix (Internal-External) analysis and SWOT quadrant, it can be concluded that the appropriate organizational strategy for Mr. Mujiono is as follows: Combination of generic strategy with a variety of strategies that include: 1) Horizontal integration, 2) Market penetration, and 3) Market development.]]>
<![CDATA[GONG BETINO DAN GONG JANTAN: KONSTRUKSI GENDER PADA ALAT MUSIK GONG BULUH KERINCI ]]>
<![CDATA[Amor Seta Gilang Pratama]]>;
<![CDATA[Masvil Tomi]]>;
<![CDATA[Dwi Rahariyoso]]>
<![CDATA[ Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 22, No 2 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.33153/keteg.v22i2.4673
<![CDATA[This research focuses on the relationship between the cultural structure of Kerinci, and the Gong Buluh traditional music. What is being explored is how material culture is, also seen in treating the reed gong as a traditional musical instrument in Kerinci. The method used in this research is a qualitative method with a case study approach. The process of collecting data is by conducting ethnographic interviews. Ethnographic interview is a type of interview that is not too formal, friendly, but inserts ethnographic questions, such as questions that are descriptive, structural, and contrast. There are two stages of data analysis technique. The first stage is to codify the data that has been obtained. The second stage is to carry out an analysis between data, to see the relationship between the structure of the kerinci culture and Gong Buluh, using the theory or concept that has been referred to. The results of the study show that epistemologically, the structure of the reed gong is divided into two parts, namely the gong betina and the gong jantan. Gong betina have a higher sound intensity than gong jantan. The terms betina and jantan in the context of the gong become a duality related to the structure of the Kerinci culture. The Kerinci tribe adheres to a materiallineal system, in which women (ninik mamak, inner child) are the highest customary authority holders. The structure of the gong reed thus has a similarity to the construction of the Kerinci culture which is the basis and convention in rituals traditions, especially Kenduri Sko.]]>
<![CDATA[RELASI ANTARA GENDING PONORAGAN DENGAN PROSES PAYAH DALAM PERTUNJUKAN JATHILAN DI KABUPATEN SLEMAN ]]>
<![CDATA[Caecilia Maria Andriana Kristyanti]]>;
<![CDATA[Muhammad Nur Salim]]>;
<![CDATA[Nil Ikhwan]]>
<![CDATA[ Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 22, No 2 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.33153/keteg.v22i2.4667
<![CDATA[The research on the relationship between Gending Ponoragan and the process of payah performance in the Jathilan Krido Budoyo Turonggo Mudo in Sleman Regency reveals the form of Gending Ponoragan's presentation and its relationship with the process of payah formation. The word payah has various equivalent terms such as kerasukan, possession, or trance. This event became the highlight of the performance of Jathilan Krido Budoyo Turonggo Mudo. To reveal the relationship between Gending Ponoragan and the process of payah, Jankowsky's theory of music plays an essential role in stimulating trance experiences. It requires elements to be achieved in melody, rhythm, tempo and volume, and dynamics. In addition, Pilch's theory is also used to dissect issues related to the relationship between trance and music, which states that the best music that leads a person to experience a trance is music that has a regular number of beats and a repeating pattern based on a certain threshold or pitch level. However, the writer does not only look at the textual form of the music but also the context that surrounds it. The results of this study indicate that the activities of the association and the performance property support the process of payah and the conditions that must be met. The conditions for achieving payah include: spirit, offerings, handlers, sound system, dancers' behavior, situation or atmosphere of the performance, and musical presentation. The relationship between Gending Ponoragan and the process of payah does not occur directly but has a role in stimulating dancers to experience payah.]]>
<![CDATA[DEDIKASI SUPARNI DALAM DUNIA KEPESINDHENAN DI SURAKARTA ]]>
<![CDATA[Riza Indri Hapsari]]>;
<![CDATA[Rusdiyantoro Rusdiyantoro]]>
<![CDATA[ Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 22, No 2 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.33153/keteg.v22i2.4666
<![CDATA[This study explains the factors that make up Suparni as a pesindhèn in the realm of Surakarta-style karawitan. Suparni became one of the senior sindhens who still exists in his world today. Therefore, youcan solvethe problem of Suparni's form factor into pesindhèn, namely by using Alvin Boskof's theory of social change f. Suparni's forming factors are divided into two, namely internal factors and external factors. The results of the research that has been carried out, it is known that theinternal actors in Suparni consist of creativity, talent, as well as traits and personalities. While external factors consist of the environment and its experience. It is these factors that have shaped Suparni as pesindhèn, even today. ]]>
<![CDATA[GARAP LAGU BAJU HÉJO: DAMPAK ADAPTASI SALENDRO 15 NADA PADA ANGKLUNG PENTATONIS RAGAM LARAS ]]>
<![CDATA[Ega Fausta]]>;
<![CDATA[Ananto Sabdo Aji]]>
<![CDATA[ Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 22, No 2 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.33153/keteg.v22i2.4796
<![CDATA[Angklung Pentatonic Ragam Laras (APRL) is one of the innovative angklung products created in 2017 through an experimental process by Endah Irawan et al. A variety of tunings pentatonic angklung (APRL) is a musical ensemble consisting of several types of instruments made of bamboo material that apply the concept of collaborative instrumentation between gamelan orchestration and Western music. This ensemble is a new innovation in the world of traditional Sundanese art because it has a distinctive tuning pattern/scale system that collects several tuning patterns in Sundanese karawitan, namely Salendro, Degung and Madenda in different ensembles. The concept of the scale system is adapted from the concept of the Salendro 15 tone scale by R.M.A. Koesoemadinata.This study uses a mixed convergent parallel type method by obtaining both qualitative and quantitative data in order to answer the problem formulation comprehensively. The research results show that the adoption of the 15-tones saléndro tuning by Koesoemadinata R.M.A. affects the musikal work on Baju Hejo song that have been re-arranged especially in terms of the development of percussion and melodic patterns, tuning modulation and surupan, as well as the application of insert tones (miring and malang).]]>
<![CDATA[STRUKTUR DAN BENTUK GENDING TARI HANDAGA BUGIS DI PURA MANGKUNEGARAN ]]>
<![CDATA[Indah Ayu Saputri]]>
<![CDATA[ Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 22, No 2 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.33153/keteg.v22i2.4807
<![CDATA[The Handaga Bugis dance at Mangkunegaran Temple is a wireng genre dance. The presentation of this dance cannot be separated from the musical accompaniment as one of the determining factors for the success of the performance both in welcoming guests at the Mangkunegaran Temple and in a festival. This study aims to describe the structure and form of music in the Handaga Bugis dance performance at Mangkunegaran Temple. Qualitative research methods with observation and interview techniques are used to support the data collection process in this study. In its presentation, this dance has standard music/accompaniment (standard) as a form of wireng dance. The forms of gending used are sampak sanga, lancaran kandhang bubrah pelog pathet nem, ketawang puspanjala pelog pathet nem, kemudha pelog pathet nem, ayak-ayak sanga wiled. Based on the structure, several gending have similarities and differences in the level of rhythm, beat and execution.]]>
