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.
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<![CDATA[KOMPOSISI GAMELAN KELOMPOK SARDULO ANUROGO PADA FESTIVAL REYOG NASIONAL 2019 ]]>
<![CDATA[Sigit Setiawan]]>;
<![CDATA[Anggono Kusumo Wibowo]]>
<![CDATA[ Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 23, No 1 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/keteg.v23i1.5443
<![CDATA[This research reveals the composition of the Reyog Ponorogo gamelan, a case study of the Reyog Sardulo Anurogo group in Jember, East Java, in the context of the 2019 National Reyog Festival. The reason for selecting Sardulo Anurogo as the case study subject is due to the group's interesting pluralism aspect, where Reyog is not only studied by the Javanese Ponoragan ethnic group, but also by other ethnic groups in Jember, Madura. The 2019 National Reyog Festival also marked a significant moment for Sardulo Anurogo, as they achieved a top 3 position in the festival, representing the group's highest achievement. The approach used is based on the ideas of I Wayan Sadra, who proposed four methods for composing music. These are (1) the principle of growth, (2) sound transformation or medium, and (3) range or tonal area. These principles areapplied to analyze the composition of the Reyog Sardulo Anurogo gamelan. The research result is the categorization of Reyog music development methods, which can be used as a prototype for composing and enhancing the creative aspects of Reyog gamelan.]]>
<![CDATA[GÊTHINI : SAJIAN MRABOT DAN KAJIAN GARAP SINDHÈN ]]>
<![CDATA[Sri Wahyuni]]>;
<![CDATA[Ananto Sabdo Aji]]>
<![CDATA[ Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 23, No 1 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/keteg.v23i1.4858
<![CDATA[This research examines the work on sindhenan gendhing Gêthini kethuk kalih kerep minggah sekawan laras slendro pathet sanga and its seies, namely work on mrabot with innovations on sindhenan style Surakarta. In working on musicality in the world of karawitan, the author uses concepts namely the mungguh concept by Bambang Sosodoro, the mandheg concept by Ananto Sabdo aji and the concept worked on by Rahayu Supanggah. The method used is qualitative by way of studying book literature or making observations directly or indirectly in order to broaden knowledge to obtain the history of gending and work on musical performances. As well as need interviews with karawitan experts as inputs, ideas and suggestions for conducting this research. The innovations for working on sindhenan lies in the merong kenong parts one and two in balungan seleh ro can be worked on minir pasren, the ngelik kenong two seleh nem part are also worked on minir, because there are balungan melodies that minir can work on. Innovations made by sindhenan on the inggah section can also be worked on by mandheg on the first kenong seleh ji andegan kinanthi and the second kenong seleh nem mandheg andhegan kacaryan, on kenong lu mandheg you can add amdhegan sekar tengahan bawaraga, that’s where sinden has different variations of andegan and gets innovative ideas work on adding a distraction, because in this innovation work on sindhen can show its potential and expertise when the piece is presented.]]>
<![CDATA[MUSIK TONG-TONG SANGGAR SENI TARARA, BANGKALAN, MADURA ]]>
<![CDATA[Nanang Bayu Aji]]>
<![CDATA[ Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 23, No 1 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/keteg.v23i1.5399
<![CDATA[Madura has a wealth of diverse traditional arts such as kejhungan, saronen, tong-tong, and gamelan. One of the interesting arts is tong-tong music. Tong-tong music is a musical ensemble dominated by wood percussion that used to function as sahur patrol music or music played to wake people up for suhoor in Ramadan. In addition, it isused to call pigeons home to return to their cages. The purpose of this study is to describe several patterns of music playing barrels of Sanggar Seni Tarara Bangkalan. This research is a qualitative research using a realist ethnographic approach. There are several repertoire of tong-tong music described in this study, including West Klapayan, East Klapayan, Ghul-ghul, and Rujurut.]]>
<![CDATA[LARAWUDHU : SAJIAN MRABOT DAN KAJIAN GARAP GENDER ]]>
<![CDATA[Tofiq Hidayah]]>;
<![CDATA[Bambang Sosodoro Rawan Jayantoro]]>
<![CDATA[ Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 23, No 1 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/keteg.v23i1.4794
<![CDATA[ This research is expected to be a vokabuler of mrabot garap with specific studies of gending dynamics and popularization of Larawudhu gendhing using kendang inggah garap. Larawudhu itself is generally served using the inggah-inggahan, namely ladrang Clunthang. In this study, it will be explained about the series of gendings selected to achieve the desired gending dynamics. The concepts used include; the concept of garap by Rahayu Supanggah, the concept of mandheg by Ananto Sabdo Aji, the concept of mungguh by Bambang Sosodoro, and the concept of wiledan gender kembang tiba & ukel pancaran by Sumarsam. The method used is qualitative by means of book literature studies or related research, direct and indirect observations are also carried out to expand the author's knowledge in reviewing this research, as well as interviews with karawitan experts as input or advice for the author in conducting research. The results of this analysis offer or novelty of the work include; Larawudhu is presented using inggah kendang without changing the essence of gending Larawudhu itself, vokabuler offers mrabot with a series of gending – gending that are not similar, garap ciblon irama wiled and rangkep as an alternative garap in the form of inggah, as well as doing garap andhegan with consideration as a reinforcement of prenes elements in the garap of ciblon irama rangkep. ]]>
<![CDATA[TRANSFORMASI GARAP LADRANG PANGKUR KE DALAM MUSIK KRUMPYUNG DI KABUPATEN PURBALINGGA ]]>
<![CDATA[Galang Pangestu]]>;
<![CDATA[Muhammad Nur Salim]]>
<![CDATA[ Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 23, No 1 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/keteg.v23i1.5428
<![CDATA[This research aims to reveal the process and factors that influence the transformation of Ladrang Pangkur into Krumpyung music by Paguyuban Sri Rahayu Tresna Sejati in Purbalingga Regency. The problem is studied using the theory proposed by Suradi related to transformation, and the concept of garap by Rahayu Supanggah. The method used in this research is qualitative research method. The initial stage is data collection by observation, interview, and documentation. The second stage is data analysis using data reduction, data presentation and conclusion drawing techniques. The next stage is data verification before presenting the data. The result of transforming Ladrang Pangkur into Krumpyung Music shows imitation, which can be seen through the technique, pattern, rhythm, laras, and pathet of Javanese gamelan. In addition, the players also create new techniques and patterns in Krumpyung Music.]]>
<![CDATA[MENGALIR DAN MEMBAUR SEBUAH KARYA AKULTURASI MUSIK MINANGKABAU-JAWA ]]>
<![CDATA[Iwan Budi Santoso]]>;
<![CDATA[Teti Darlenis]]>;
<![CDATA[Dana Adi Arya Pradipta]]>
<![CDATA[ Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 23, No 1 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/keteg.v23i1.4570
<![CDATA[Artistic Research (Art Creation) entitled Flowing and Blending was inspired by the movement and/or migration of Indonesian people from one area to another. This is based on the necessities of life in the area of origin which are considered no longer providing income, so that it has an impact on economic income. The arrival of migrants from an area makes the problem of the culture of origin and those visited sometimes unable to merge. The purpose of this artistic research is to find out the different tone areas. However, in the work Menglir dan Mebaur produces a mixture of musical sounds as measured by the sound ambitus of the instrument when used in cultural communication (music). The process of mutual respect and respect by using the language of communication will be able to flow and blend in the cultural frame, even though both have different backgrounds. Based on the elements of culturalcommunication, it produces cross-cultural values that are mutually respectful and respectful. Musical artwork Flows and Diffuses becomes a manifestation of musical works representing two different cultural elements, however, they can complement each other with the communication language of musical instrument tones when sung. In order to build the musical in this part of the work as a whole, the authors also look for elements of the combination of two cultures, namely Minang and Javanese, with the hope that the concept of assimilation can become a unified musical feeling as amirror or reflection of a togetherness.]]>
<![CDATA[MAKNA PSIKOLOGIS MUSIK GONG WANING DALAM RITUAL ADAT KEMATIAN MASYARKAT HEWOKLOANG KABUPATEN SIKKA ]]>
<![CDATA[Katharina Kojaing]]>;
<![CDATA[Melkior Kian]]>;
<![CDATA[Agustinus R.A. Elu]]>
<![CDATA[ Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 23, No 1 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/keteg.v23i1.5083
<![CDATA[Gong Waning is a traditional musical instrument (gong and drum) originating from Sikka Regency, East Nusa Tenggara. This instrument functions as a dance accompaniment in various rituals, both customary (sacred) and entertainment (profane). The aim of this study was to gain knowledge about the meaning of Gong Waning's psychological music in the funeral rituals of the Hewokloang people. The theory used in this research is the theory of music psychology. In addition to the psychological theory of music, researchers also combine it with a supporting theory, namely the concept of music mythology. In his study using descriptive qualitative research using ethnographic methods where the author lives and directly experiences the ritual events of the death feast. Data collection techniques were carried out by (1) literature study, (2) observation, (3) interviews, and (4) documentation. Meanwhile, in analyzing the data, it is used in several stages, namely (1) data reduction, (2) data presentation, (3) data analysis, and (4) drawing conclusions. Furthermore, data calibration was carried out using triangulation techniques. The results showed that the presence of Gong Waning's psychological music in the death rituals of the Hewokloang community in Sikka district had a meaning of joy. Expressions of joy were expressed by the people, both the mourners and the drummers, through the strains of Gong and Waning (drum) music which presented various types of rhythmic patterns and were played by fast rhythms.]]>
<![CDATA[GENDANG AGONG DALAM PERTUNJUKAN KUNTAU DI KABUPATEN PASER KALIMANTAN TIMUR ]]>
<![CDATA[Aris Setyoko]]>;
<![CDATA[Zamrud Whidas Pratama]]>;
<![CDATA[Pazru Rahman]]>
<![CDATA[ Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 23, No 1 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/keteg.v23i1.4960
<![CDATA[This study discusses working on the music of Gendang Agong in the Kuntau performance in Paser Regency, East Kalimantan. Gendang Agong is a traditional musical ensemble based on one of its functions used to accompany Kuntau performances, namely the martial arts or pencak silat traditions of the Paser Tribe. The study of the concept of garap karawitan Rahayu Supanggah related to the material for working on, cultivating, working on equipment, working on furniture/equipment for garap, determining the garap, and consideration on garap is used to analyze it. This research is a qualitative research with analytical descriptive research method. The results of the study show that the garap of Gendang Agong music has a working concept that applies in karawitan scholarship. The material for Gendang Agong is in the form of a transcript of musical notation by writing kepatihan notation with slendro pathet manyura. Cultivators are musicians who have a cultural background as the influence of virtuosity. The working facilities are in the form of quality musical instrument organology to support maximum sound. Furniture/cultivation tools, namely tools/software in the form of musicians' musical ideas that are formed based on their background as the casting of musical practice. The determining factor for garap is in the form of signs for musicians when working on it based on function, namely as an accompaniment for Kuntau. The consideration of working on it is musicians who are ready and responsive to emergencies for creativity when faced with an unsupportive performance venue. The series of six concepts worked on by supanggah is a unified whole that supports each other in forming traditional music compositions to build a musical atmosphere to accompany the Kuntau Paser performance.]]>
<![CDATA[PERAN ENDANG SRI SEDEP DALAM PADEPOKAN SENI PANDHANSARI DI KABUPATEN KARANGANYAR ]]>
<![CDATA[Roni Kesuma]]>;
<![CDATA[I Nyoman Sukerna]]>;
<![CDATA[Siswati Siswati]]>
<![CDATA[ Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 23, No 1 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/keteg.v23i1.4817
<![CDATA[The journal entitled “The role of Endang Sri Sedepin the Pandhansari Art Padepokan in Karanganyar Regency”, aims to reveal (1) What is the role of Endang Sri Sedep in managing art performance activities at the Pandhansari Art Padepokan? (2) Why and what factors made the Pandhansari Art POPULAR IN Karanganyar Regency? Endang Sri Sedep has a very important role in the Pandhansari Art Padepokan, this cannot be separated fromEndang who is a businessman, artist, and owner of the Pandhansari Art Padepokan. The background of thisresearch is Endang Sri Sedep abilityto manage the activities of the Pandhansari Art Padepokan using financial respurces independenthly, unlike art hermitages in general which raise donors for their activities. Apart from that, the Pandhansari Art Padepokan does not only focus on educationor training, butalso focuseson providingart performance space for the people in Karanganyar Regency both in festivals, competitions or concerts. This research is a qualulative research using analitic descrptive method. The author uses thethoughts of Soerjono Soekanto and Sedyawati. Based on this, it can be seen the role of Endang Sri Sedep in managing art performance activities and factors in the existenceof the popular Pandhansari Art Padepokan in Karanganyar Regency.]]>
<![CDATA[EKOLOGI MASYARAKAT MINANGKABAU PADA LAGU SOSOH DALAM UPACARA TABUIK DI PARIAMAN, SUMATRA BARAT ]]>
<![CDATA[Cameron Malik]]>
<![CDATA[ Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 23, No 1 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/keteg.v23i1.5167
<![CDATA[The Sosoh song is played during the Tabuik ceremony. Its purpose is to facilitate the battle in the ritual which aims to represent the war experienced by Husein in Karbala, Iraq. The aim of this research is to explore the relationship between the performance of the Sosoh song and the ecological system in Minangkabau culture. This study uses ethnographic methods with primary sources of data being field notes, interviews, and documentation. The results of this study show that the Sosoh song is not only related to the ritual context but also to Minangkabau culture as a whole. This is demonstrated by the reciprocal relationship between the song and cultural construction. It can be seen that the Sosoh song is an actualization of how the concept of resilience in maintaining sovereignty in a nagari within the cultural context is embodied in warfare during the ceremony. In conclusion, the Sosoh song has a significant role in Minangkabau culture and is not just limited to the context of the Tabuik ceremony. The research findings can help to raise awareness and appreciation of the cultural heritage of Minangkabau, and could potentially be used to promote the preservation and development of this unique culture.]]>
