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oai:ojs.journal.isi.ac.id:article/256 2022-11-07T08:14:19Z fenomen:ART

oai:ojs.journal.isi.ac.id:article/14797 2026-01-23T03:39:41Z ars:ART

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oai:ojs.journal.isi.ac.id:article/12065 2024-01-20T15:24:54Z TUMATA:ART

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oai:ojs.journal.isi.ac.id:article/7369 2023-07-10T01:57:10Z JAP:ART

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oai:ojs.journal.isi.ac.id:article/10395 2023-08-02T05:12:21Z ekspresi:ART

INTERPRETASI KONSERTO CELLO NO. 4 KARYA GEORG GOLTERMANN PADA PRAKTIK PEMBELAJARAN CELLO Swara, Lintang Pramudia AbstrakKomposisi konserto karya Georg Goltermann telah terkenal dan menjadi basis materi bagi pelajar cello di seluruh dunia. Salah satu yang paling terkenal yakni konserto cello no. 4 dalam G Mayor Opus 65 karena kekuatan karakter melodinya maupun muatan unsur musiknya. Karya ini populer di kalangan pelajar cello sebagai student concerto karena menawarkan berbagai material musikal yang mendukung pengembangkan teknik permainan dimulai dari fingering, shifting, framing, serta kekayaan dan keindahan musiknya. Komposisi ini juga memberikan kesempatan bagi para cellist untuk mengonsep bagaimana interpretasi yang akan diolah. Artikel ini hendak mengungkap bagaimana material interpretasi yang diinstruksikan oleh Goltermann dapat dikonsep sebagai opsi yang mampu diolah ulang demi terbangunnya ekspresi musik yang tepat dan memikat. Metode yang digunakan adalah observasi latihan dan studi literatur berkenaan dengan komposer dan notasi karya musik. Singkatnya, penulis menemukan bahwa diversitas material yang dimuat dalam karya ini menjadi faktor utama yang berperan dalam membentuk pemahaman tentang interpretasi karyanya. Instrumen cello mengalami deformasi peran dan menawarkan tata cara yang baru lewat berbagai misi pedagogis yang diupayakan oleh komposer seperti Georg Goltermann. Karya konserto-nya menjadi bahan pembelajaran yang penting untuk pengembangan aspek teknis dan interpretatif.Kata kunci: cello, Goltermann, interpretasi, pedagogi, teknik AbstractGeorg Goltermann's cello concertos have achieved worldwide renown and serve as foundational material for cello students across the globe. Among them, Cello Concerto No. 4 in G Major, Opus 65 stands out as particularly renowned due to the strength of its melodic character and the richness of its musical elements. This composition has gained popularity among cello students as a staple concerto, offering a wide range of musical materials that support the development of technical proficiency, including fingering, shifting, and framing, as well as its musical richness and beauty. Moreover, this work allows cellists to conceive their own interpretations. This article aims to unveil the interpretative materials prescribed by Goltermann and how they can be reinterpreted to achieve precise and captivating musical expressions. The research methodology employs observations of practice sessions and a study of literature pertaining to the composer and the musical notation. In conclusion, the author discovers that the diversity of materials presented in this concerto plays a pivotal role in shaping the understanding of its interpretation. The cello as an instrument undergoes a redefined role and offers novel techniques through various pedagogical missions envisioned by a composer such as Georg Goltermann. His concerto works stand as crucial educational resources for advancing technical and interpretative aspects.Keywords: cello, Goltermann, interpretation, pedagogy, techniques Institut Seni Indonesia Yogyakarta 2023-05-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/10395 10.24821/ekp.v12i1.10395 Ekspresi; Vol 12, No 1 (2023) 2964-5921 1411-4305 10.24821/ekp.v12i1 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/10395/3250 Copyright (c) 2023 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/14235 2024-12-09T08:19:45Z ekspresi:ART

Diskontinuitas Perkembangan Sejarah Musik Barat dan Pengaruhnya terhadap Eksistensi Musik Gereja Sasongko, Michael Hari Chrisnahanungkara, Ariel Januar Perjalanan sejarah musik Barat pada dasarnya merupakan sejarah perkembangan dialektika musikal. Satu periode sebagai “tesis” berhadapan dengan suatu keadaan lain sebagai “antitesis”, dan melahirkan sintesis baru, yakni sebuah periode baru, yang mencakup nilai-nilai estetis dan segi bentuk dan isi. Sejak Periode Abad Pertengahan sampai Periode Romantik, dialektika ini berjalan secara linear. Inilah sejarah “Musik Klasik”. Linearitas ini bersentuhan dengan eksistensi liturgi gereja Kristen, sehingga hasil-hasil sintesis musikal itu dipakai oleh gereja dalam membangun sistem liturginya. Musik/komposisi ciptaan dari high culture dipakai oleh gereja yang melahirkn “simbiosis mutualisme”. Akan tetapi menghadapi fase Periode Modern, kenyaaan itu berubah. “kemesraan” antara gereja dangan high culture ini hilang, dan gereja mulai menggunakan bentuk-bentuk musikal yang lazim di dalm low culture, yang telah muncul di Abad Pertengahan Fase III. Hasil analisis menyatakan bahwa faktor eksternal memang peranan penting di dalam fenomena perubahan itu. Kata kunci: sejarah musik, musik klasik, musik gereja, periodisasi, perubahan. AbstractDiscontinuities in the Historical Development of Western Music and Their Impact on the Existence of Church Music. The course of Western music history is basically a history of the development of musical dialectics. One period as a "thesis" faces another condition as an "antithesis", and gives birth to a new synthesis, namely a new period, which includes aesthetic values and aspects of form and content. From the Middle Ages to the Romantic Period, this dialectic runs linearly. This is the history of "Classical Music". " This linearity touches on the existence of the liturgy of the Christian church, so that the results of the musical synthesis are used by the church in building its liturgical system. Music/compositions created from high culture are used by the church which gives birth to "mutualistic symbiosis". However, facing the Modern Period phase, this reality changes. The "intimacy" between the church and high culture is lost, and the church begins to use musical forms that are common in low culture, which have emerged in the Middle Ages Phase III. The results of the analysis state that external factors do play an important role in the phenomenon of change Keywords: music history, classical music, church music, periodization, change. Institut Seni Indonesia Yogyakarta 2024-12-09 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/14235 10.24821/ekp.v13i2.14235 Ekspresi; Vol 13, No 2 (2024) 2964-5921 1411-4305 10.24821/ekp.v13i2 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/14235/3964 Copyright (c) 2024 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/13771 2025-01-13T07:17:35Z ekspresi:ART

Kursus Musik sebagai Sarana untuk Menemukan Potensi Anak Sejak Dini (Studi Kasus: Majesty Music Course) Padang, Weslay Pradana Leonard Potensi pada anak sebaiknya digali dan ditemukan sejak usia dini sehingga potensi tersebut dapat dikembangkan dengan lebih terarah. Ada begitu banyak cara untuk menemukan serta mengembangkan potensi anak, salah satunya kursus musik. Kursus musik merupakan pembelajaran tentang musik yang bertujuan untuk mengembangkan kemampuan musikal anak. Namun selain mengembangkan kemampuan musikal, kursus musik juga dapat mengembangkan kemampuan lain di luar kemampuan musikal, contohnya kemampuan kognitif, kemampuan bersosialisasi dan berkomunikasi, kreativitas, problem solving, serta yang paling banyak disebutkan adalah kemampuan matematis. Penelitian ini bertujuan untuk mengetahui potensi yang diperoleh melalui kursus musik dan faktor-faktor yang mendukung potensi tersebut.  Penelitian ini dilakukan terhadap murid kursus di Majesty Music Course. Penelitian dilakukan dengan metode kualitatif deskriptif dengan penyajian berupa studi kasus. Pengumpulan data dilakukan dengan cara observasi dan wawancara langsung terhadap para pengajar serta para orang tua anak. Hasil dari penelitian ini menunjukkan bahwa anak dapat mengembangkan potensi untuk berkomunikasi dan berinteraksi kepada orang baru, khususnya kepada orang yang lebih tua dari anak tersebut, dan juga dalam mengomunikasikan kesulitan yang dihadapi. Selain itu anak dapat mengembangkan potensi dalam pemecahan masalah. Kursus musik dapat berperan sebagai sarana untuk menemukan potensi anak sejak dini melalui metode dan proses pembelajaran yang diterapkan, yakni memberikan kesempatan kepada anak untuk berkembang dan menjelajahi apa yang menjadi potensinya.  Kata Kunci: Kursus Musik, Anak Usia Dini, Majesty Music Course, Komunikasi, Pemecahan Masalah. AbstractChildren's potential should be explored and discovered from an early age so that the potential can be more focused. There are many ways to find and develop children's potential, including music courses. Music courses are learning about music that aims to develop children's musical abilities. However, in addition to musical skills, music courses can also develop other abilities outside of musical abilities, such as cognitive abilities, social and communication skills, creativity, problem-solving, and, most frequently, mathematical ability. This study aims to determine the potential obtained through music courses and the factors that support this potential. This study was conducted on students at the Majesty Music Course. The study was conducted using a qualitative descriptive method with a presentation as a case study. Data collection was carried out through direct observation and interviews with teachers and parents of children. The results of this study indicate that children can develop the potential to communicate and interact with new people, especially with people who are older than the child, and also in communicating the difficulties they face. In addition, children can develop potential in problem-solving. Music courses can act as a means to discover children's potential from an early age through the learning methods and processes applied, namely by allowing children to develop and explore their potential. Keywords: Music Course, Early Childhood, Majesty Music Course, Communication, Problem-Solving. Institut Seni Indonesia Yogyakarta 2024-11-13 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/13771 10.24821/ekp.v13i1.13771 Ekspresi; Vol 13, No 1 (2024) 2964-5921 1411-4305 10.24821/ekp.v13i1 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/13771/3893 Copyright (c) 2024 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/7854 2022-09-12T10:47:05Z ekspresi:ART

Kritik terhadap Pendekatan Psikologi Meyer dalam Analisis Musik Indrawan, Andre Criticism toward Meyer’s Psychological Approach in Music Analysis. This paper discusses a psychological approach to music analysis introduced by Leonard Meyer that has been criticized by Nicolas Cook (1987). Meyer’s rhythmical and linear analysis which focused on the foreground expectation is less practical in observing large-scale musical structure. In terms of its benefit to advancing musical performance interpretation, the strength and weakness of the approach have been compared to the Shenkerian method which gives more attention to the harmonic reduction that focused on the harmonic background. Although the critic concentrates on technical analysis only, Meyer’s analysis would be valuable to the Shenkerian side if they also take into account his concept of musical style which is mostly regarded as the area of aesthetic rather than technical analysis.  Keywords: Critic, psychological of music, music analysis Institut Seni Indonesia Yogyakarta 2022-08-21 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/7854 10.24821/ekp.v10i1.7854 Ekspresi; Vol 10, No 1 (2010) 2964-5921 1411-4305 10.24821/ekp.v10i1 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/7854/2740 Copyright (c) 2022 EKSPRESI

oai:ojs.journal.isi.ac.id:article/12347 2024-02-22T09:37:23Z ekspresi:ART

Logika Estetik 'Keong Racun' di Tengah Masyarakat Konsumerisme Riwayanto, Doni The Logic of Keong Racun Aesthetic in Consumerism. Shinta and Jojo are two teenagers who live in a true hyper-real world, more hyper-real than Baudrillard ahs ever imagined that is exemplified in his simulation strategy. They are more hyper-real than the Disneyland, the world which Umberto Eco thinks is the most hyper-real thing in the world. In their world, Shinta and Jojo get their existence by uploading their video of Keong Racun song lip-sync (lip-synchronization). Those two girls are not the composers nor the real singers of the song, however what they have done was grasped as a differentsignifer/signifedby the others. Even it is interpreted as other signified in this paper; namely as a real manifestation of the true postmodern aesthetic. Keywords: Keong racun, Shinta-Jojo, Boudrillard. Institut Seni Indonesia Yogyakarta 2024-02-22 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/12347 10.24821/ekp.v10i2.12347 Ekspresi; Vol 10, No 2 (2010) 2964-5921 1411-4305 10.24821/ekp.v10i2 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/12347/3564 Copyright (c) 2024 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/19312 2026-01-23T12:41:45Z ekspresi:ART

Eksploitasi Tambang Pasir di Kabupaten Garut sebagai Inspirasi Penciptaan Naskah Drama Uga Wangsit Siliwangi Firmansyah, Nova Rizky Nugraeni, Elara Karla Dhani, Kurnia Rahmad AbstrakPenelitian penciptaan ini bertujuan untuk menghasilkan naskah drama Uga Wangsit Siliwangi berdasarkan kritik terhadap kerusakan lingkungan serta konflik sosial akibat eksploitasi tambang pasir di Kabupaten Garut, Jawa Barat. Penulisan naskah ini juga hendak menghidupkan kembali legenda Prabu Siliwangi sebagai simbol pelestarian alam. Metode penciptaan menggunakan pendekatan berbasis praktik seni yang diangkat dari realitas sosial. Observasi lapangan dilakukan di wilayah Leles, Garut, dengan wawancara dengan narasumber terkait. Studi pustaka terhadap naskah Carita Parahyangan, serta perumusan treatment, penokohan, alur berbasis perkembangan watak, dan latar Leuweung Sancang dan Buwana Larang. Hasil karya adalah berupa naskah drama tiga babak yang mengaplikasikan pendekatan estetika surealisme satir politis. Naskah ini memadukan bahasa Sunda buhun dan keseharian, serta menyajikan elemen surealis (seperti tembok pasir) dan satir politik melalui dialog-dialog sindiran. Naskah yang dihasilkan menawarkan pendekatan penceritaan baru dalam teater ekologis melalui perpaduan unik antara surealisme satir politik, bahasa Sunda, dan narasi folklor yang diadaptasi secara kritis. Kata kunci: teater ekologis, Uga Wangsit Siliwangi, satir politik, surealisme, tambang pasir. AbstractSand Mining in Garut Regency as Inspiration for the Creation of the Drama Script Uga Wangsit Siliwangi. This creative research aims to produce a play script titled Uga Wangsit Siliwangi, based on a critique of environmental degradation and social conflicts resulting from sand mining exploitation in Garut Regency, West Java. The script also intends to revitalize the legend of Prabu Siliwangi as a symbol of nature conservation. The creation method employs an arts-based practice approach derived from social reality. Data collection included field observations in Leles, Garut, and interviews with relevant informants. Additionally, a literature study was conducted on the Carita Parahyangan manuscript, followed by the formulation of the treatment, characterization, character-driven plot, and settings in Leuweung Sancang and Buwana Larang. The final work is a three-act play script that applies a political-satiric surrealist aesthetic. The script blends archaic (buhun) and colloquial Sundanese, featuring surreal elements—such as walls of sand—and political satire through satirical dialogue. The resulting script offers a new storytelling approach in ecological theater through a unique synthesis of political satiric surrealism, Sundanese language, and critically adapted folklore narratives. Keywords: Ecological theater, Uga Wangsit Siliwangi, political satire, surrealism, sand mining. Institut Seni Indonesia Yogyakarta 2026-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article https://journal.isi.ac.id/index.php/ekspresi/article/view/19312 10.24821/ekspresi.v14i2.19312 Ekspresi; Vol 14, No 2 (2025) 2964-5921 1411-4305 10.24821/ekspresi.v14i2 id Copyright (c) 2026 Ekspresi

oai:ojs.journal.isi.ac.id:article/6994 2022-12-12T07:33:50Z ekspresi:ART

Jelajah Kreativitas Seni Menuju New Normal Listiowati, Nensi AbstrakHampir seluruh bidang kegiatan manusia, termasuk seni rupa, terdampak oleh wabah Covid-19. Berbagai alternatif cara dicoba untuk mempertahankan berjalannya industri di tengah situasi pandemi. Pameran fisik dan residensi seniman harus berubah bentuk menjadi pameran dan interaksi termediasi teknologi. Beragam platform digital kemudian hadir untuk menggantikan pameran secara fisik. Tulisan ini hendak membahas mengenai dampak pandemi Covid-19 terhadap para pelaku seni, serta bagaimana solusi yang dilakukan untuk menghadapi proses era New Normal. Tulisan ini mengeksplorasi beberapa pendekatan khususnya melalui media internet yang dapat dimanfaatkan  para seniman untuk tetap dapat berkarya. Eksplorasi berbagai alternatif upaya berkesenian serta kolaborasi dibutuhkan guna kepentingan bersama untuk membangkitkan kembali dinamika seni rupa dengan memanfaatkan berbagai kebaruan dan teknologi. Kata kunci: Seni Rupa, Era New Normal, Residensi, Pameran Rupa Fisik, Teknologi.  AbstractAlmost all fields of human activity, including fine arts, have been affected by the Covid-19 outbreak. Various alternative conducted to keep the industry running in the midst of a pandemic situation. Physical exhibitions and artist residencies must transform into technology-mediated art exhibitions and interactions. Various digital platforms then came to replace the physical art exhibition. This paper try to discuss the Covid-19 pandemic impacts and the alternative solutions to deal with the process of the New Normal era. This paper explores several approaches utilized by fine artists to continue their work, primarily through the internet media. Exploration of various artistic endeavors, as well as collaboration is needed for the common interest to revive the dynamics of art by utilizing various novelties and technologies. Keywords: Visual Arts, New Normal Era, Residency, Visual Arts Exhibition, Technology. Institut Seni Indonesia Yogyakarta 2022-08-12 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/6994 10.24821/ekp.v11i1.6994 Ekspresi; Vol 11, No 1 (2022) 2964-5921 1411-4305 10.24821/ekp.v1i11 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/6994/2707 Copyright (c) 2022 EKSPRESI

oai:ojs.journal.isi.ac.id:article/11526 2024-02-19T10:23:19Z ekspresi:ART

Program Selendang Sutera sebagai Media Kreativitas untuk Menanamkan Solidaritas dan Rasa Kebangsaan Mahasiswa Nusantara Arindyasari, Putu Ayu Pusparini, Ni Made Tirta Baira Rohmah, Irta Hayyin Nur Luthfiana, Alfiya Mar'ata Winarti, Tutik AbstrakTulisan ini bertujuan untuk mendeskripsikan Program Gelar Budaya Etnis Selendang Sutera yang diselenggarakan Dinas Kebudayaan (Kundha Kabudhayan) DI Yogyakarta yang melibatkan 34 IKPM di Yogyakarta. Fokus kajian dilakukan pada bentuk sajian karya seni dan perannya dalam menanamkan rasa solidaritas dan kebangsaan. Penelitian ini menggunakan metode kualitatif yang disajikan dalam bentuk deskriptif analitik. Adapun tahap penelitian yang dilakukan meliputi tahap pra-lapangan, pengumpulan data, analisis data, dan penyusunan tulisan. Hasil yang didapat yaitu, bentuk sajian Program Gelar Budaya Etnis Selendang Sutera dari tahun ke tahun tidak pernah lepas dari akar budaya tradisi daerahnya. Bentuk sajian tampak pada pemilihan tema, komposisi penari, pola lantai, property, dan musik yang digunakan. Terdapat beberapa pengembangan bentuk pola gerak tari tradisi menjadi gerak kreasi baru, serta pengembangan komposisi bentuk seperti lifting/akrobatik sesuai dengan jiwa jaman para pelakunya. Gelar Budaya Etnis Selendang Sutera merupakan ajang bagi generasi muda Indonesia yang sedang menimba ilmu di Yogyakarta untuk bersatu, mempererat solidaritas kelompok maupun bersama untuk kemajuan negara dan bangsa. Kata kunci: Selendang Sutera, IKPM, solidaritas, kebangsaan AbstractThis article describes the Gelar Budaya Etnis Selendang Sutera Program, organized by the DI Yogyakarta Culture Service (Kundha Kabudhayan), which involves 34 IKPM in Yogyakarta. The focus of the study was on the form of presentation of works of art and its role in instilling a sense of solidarity and nationality. This research uses qualitative methods, which are presented in analytical descriptive form. The research stages include pre-field, data collection, data analysis, and writing preparation. The results obtained are that the presentation of the Silk Shawl Ethnic Cultural Degree Program from year to year has never been separated from the traditional cultural roots of the region. The form of the presentation can be seen in the choice of theme, composition of dancers, floor pattern, props, and music used. There are several developments in the form of traditional dance movement patterns into new creative movements, as well as the development of compositional forms such as lifting/acrobatics in accordance with the spirit of the times of the performers. The Gelar Budaya Etnis Selendang Sutera Program event is an opportunity for the young generation of Indonesia studying in Yogyakarta to unite, strengthen group solidarity, and work together for the country's and nation's progress. Keywords: Selendang Sutera, IKPM, solidarity, nationality Institut Seni Indonesia Yogyakarta 2023-12-13 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/11526 10.24821/ekp.v12i2.11526 Ekspresi; Vol 12, No 2 (2023) 2964-5921 1411-4305 10.24821/ekp.v12i2 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/11526/3545 Copyright (c) 2023 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/16160 2025-07-22T18:25:41Z ekspresi:ART

Regenerasi dan Adaptasi sebagai Strategi Pelestarian Wayang Topeng Kelompok Kadaryono di Situbondo, Jawa Timur Rahmayani, Wahdania Nur Gustyawan, Tofan Handayani, Lusi Irianto, Ikhsan Satrio AbstrakWayang topeng adalah salah satu jenis teater rakyat tradisional yang berasal dari Situbondo, Jawa Timur, yang kini mengalami penurunan intensitas pertunjukan dibandingkan dengan kesenian ludruk dan ketoprak. Kelompok Wayang Topeng Kadaryono menjadi salah satu representasi penting dalam pelestarian bentuk seni ini. Penelitian ini bertujuan untuk mendeskripsikan keberadaan dan dinamika kelompok Kadaryono dalam mempertahankan eksistensi seni pertunjukan wayang topeng. Dengan menggunakan pendekatan sejarah dan metode kualitatif deskriptif, data diperoleh melalui studi pustaka, observasi, dan wawancara mendalam dengan tokoh seniman lokal. Hasil penelitian menunjukkan bahwa upaya pelestarian wayang topeng didorong oleh inisiatif pelaku seni itu sendiri, terutama Ki Dalang Kadaryono, yang secara aktif menjaga kesinambungan tradisi melalui regenerasi internal dan adaptasi format pementasan. Keberlangsungan kesenian ini membutuhkan kolaborasi antara seniman, masyarakat, dan pemerintah sebagai ekosistem pendukung yang berkelanjutan.Kata kunci: Situbondo, wayang topeng, keberadaan, KadaryonoAbstractRegeneration and Adaptation as Preservation Strategies for the Kadaryono Group's Wayang Topeng in Situbondo, East Java. Wayang topeng is a traditional folk theater in Situbondo, East Java, which has experienced a decline in performance frequency compared to other regional arts such as ludruk and ketoprak. The Kadaryono mask puppet group plays a vital role in preserving this art form. This study aims to describe the presence and cultural significance of the Kadaryono group in maintaining the existence of wayang topeng. Employing a historical approach and qualitative descriptive method, data were collected through literature review, field observation, and in-depth interviews with local art figures. The results indicate that preservation efforts are initiated by the artists themselves, particularly Ki Dalang Kadaryono, who continues to sustain the tradition through internal regeneration and performance adaptation. The sustainability of this cultural heritage relies on the collaborative support of artists, the community, and local authorities. Keywords: Situbondo, puppet mask, existence, Kadaryono Institut Seni Indonesia Yogyakarta 2025-06-24 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/16160 10.24821/ekspresi.v14i1.16160 Ekspresi; Vol 14, No 1 (2025) 2964-5921 1411-4305 10.24821/ekspresi.v14i1 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/16160/4309 Copyright (c) 2025 Ekspresi

oai:ojs.journal.isi.ac.id:article/438 2022-08-21T07:21:20Z ekspresi:ART

Kemasan (Packaging) di Higashi- Konoike, Osaka, Jepang Dafri, Yulriawan Packaging in Higashi - Konoike, Osaka, Jepan. Packaging is a very important strategy to glamorize a product in order to attract the consumers attention. Sometimes packaging is so important that is cost more than the product itself in order to lure the consumer to buy it. Most consumer judge a product by its packaging before buying. It is logical to say that attractive packaging is crucial to attract people to imagine and finally buy a product, beside the other important functions of packaging itself such as to protect, store and transport goods. Recently, packaging manufacture in Japan also support the environmental issue like global warming with producing an ecojriendly products using a reuse, reduce and recycle material. Keywords: Packaging, Japan, product. Institut Seni Indonesia Yogyakarta 2013-10-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article https://journal.isi.ac.id/index.php/ekspresi/article/view/438 10.24821/ekp.v0i0.438 Ekspresi; Vol 9, No 1 (2009) 2964-5921 1411-4305 10.24821/ekp.v0i0 en

oai:ojs.journal.isi.ac.id:article/14093 2024-12-09T08:09:53Z ekspresi:ART

Kendala Mahasiswa Baru dalam Mengikuti Perkuliahan Gitar Klasik pada Tingkat Perguruan Tinggi Situngkir, Rhoyda Nhovriana Indrawan, Andre Rokhani, Umilia Mahasiswa baru program Sarjana di Jurusan Musik umumnya menghadapi kendala dalam mengikuti kuliah gitar klasik karena sebelumnya tidak pernah mempelajari instrument tersebut secara formal. Tujuan penelitian ini adalah untuk mengetahui kendala apa saja yang di alami mereka dan mencari kemungkinan solusinya. Penelitian ini menggunakan metode penelitian kualitatif dengan mengumpulkan informasi dari beberapa mahasiswa aktif gitar klasik yang menghadapi kendala tersebut. Hasil penelitian ini adalah informasi tentang kendala yang mereka hadapi, kemungkinan penyebabnya, dan solusi dari perspektif mahasiswa. Dari hasil penelitian tersebut diperoleh fakta bahwa seluruh responden tidak bisa membaca not balok sehingga kemandirian dalam mempelajari materi kuliah sangat minim. Guna mengatasi masalah tersebut mereka berkonsultasi kepada para senior. Masalah tersebut sedikit demi sedikit teratasi karena terbantu oleh kuliah-kuliah teori musik dan solfegio. Sebagai kesimpulan, sebenarnya tidak ada kendala yang berarti, kecuali kecemasan dalam menghadapi hal baru karena pada akhirnya dapat teratasi melalui proses adaptasi baik secara formal di dalam perkuliahan maupun di luar perkuliahan. Kata kunci: gitar klasik, perguruan tinggi seni, kendala mahasiswa AbstractNew Student Obstacles in Taking Classical Guitar Lectures at the College. New students of the Bachelor program in the Department of Music generally face obstacles in taking classical guitar courses because they have never studied the instrument formally before. The purpose of this study is to find out what obstacles they experience and find possible solutions. This study uses qualitative research methods by collecting information from several active classical guitar students who face these obstacles. The results of this study are information about the obstacles they face, possible causes, and solutions from a student's perspective. From the results of this study, it was found that all respondents could not read musical notes so independence in studying lecture material was minimal. In order to overcome this problem, they consulted the seniors. This problem was gradually resolved because lectures on music theory and solfeggio helped. In conclusion, there are actually no significant obstacles, except anxiety in dealing with new things because in the end they can be overcome through adaptation processes both formally in lectures and outside lectures. Keywords: classical guitar, art institute, student constraints Institut Seni Indonesia Yogyakarta 2024-11-22 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/14093 10.24821/ekp.v13i2.14093 Ekspresi; Vol 13, No 2 (2024) 2964-5921 1411-4305 10.24821/ekp.v13i2 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/14093/3958 Copyright (c) 2024 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/9177 2023-07-07T16:41:15Z ekspresi:ART

Implikasi Pelatihan Musik Bagi Tujuan Pendidikan Oktadus, Henry Yuda AbstrakKlaim kontroversial ‘Efek Mozart’ (EM) yaitu bahwa musik Mozart mencerdaskan telah terbukti tidak valid. Namun dunia pengetahuan sendiri sesungguhnya tidak pernah menutup kemungkinan dari apa yang hendak digali dari penelitian EM. Bahwa musik memiliki potensi yang dapat bermanfaat bagi kehidupan manusia, khususnya melalui jalur pelatihan musik. Hal itu bersinggungan dengan masih diberlakukannya kurikulum musik dan seni secara umum di sekolah-sekolah formal. Adanya kurikulum musik sebagai salah satu mata pelajaran yang diajarkan di sekolah harus bertolak dari pengandaian bahwa musik mempunyai arti penting bagi kehidupan manusia secara umum. Setidaknya yang sejalan dengan tujuan diadakannya pendidikan pada umumnya. Jika musik tidak didefinisikan dengan jelas peran dan tempatnya dalam pendidikan, maka arti pentingnya menjadi problematis begitu juga dengan kurikulum dan konten pengajaran. Untuk itu tulisan ini bertujuan mendiskusikan potensi apa yang dimiliki musik dan dalam arti apa hal itu berperan dalam pendidikan. Tulisan ini merupakan penelitian pendahuluan untuk meninjau dalam pengertian seperti apa musik dapat berperan bagi pendidikan. Penelitian ini mencakup pengumpulan, pemetaan, dan diskusi riset-riset terdahulu seputar arti penting musik dalam pendidikan. Beberapa literatur yang menguraikan secara umum perihal pendidikan serta dampak-dampak pelatihan musik dalam konteks pendidikan diulas secara singkat sebagai titik tolak untuk membahas kemungkinan bagaimana musik bisa mengisi peran bagi tujuan pendidikan.Kata kunci: Pendidikan, pengalaman musikal, implikasi pendidikan AbstractThe controversial claim of Mozart Effect (ME) has been proven invalid. However, the academic world never closes the possibility of exploring further from ME research. Music has the potential to benefit human life, particularly through musical training, and this intersects with the implementation of the music and arts curriculum in formal schools. The insertion of music as a subject in public schools must be followed by the search of its importance in accordance with the purpose of education in general. If the role and significance of music in education are not clearly defined, it becomes problematic for both the curriculum and teaching content. This paper aims to expose the potential of music and its role in education by reviewing previous research on the importance of music in education. This preliminary examination of the potential role of music in education involves collecting, mapping, and discussing prior research on the significance of music in education. A brief review of literature on general education and the effects of musical training in an educational setting is conducted as a starting point for exploring how music can fulfil a role in education. Keywords: Education, musical experience, educational implications Institut Seni Indonesia Yogyakarta Henry Yuda Oktadus, Prodi Pendidikan Musik, Fakultas Seni Pertunjukan, Institut Seni Indonesia Yogyakarta 2022-10-31 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/9177 10.24821/ekp.v11i2.9177 Ekspresi; Vol 11, No 2 (2022) 2964-5921 1411-4305 10.24821/ekp.v11i2 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/9177/3015 Copyright (c) 2022 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/12355 2024-02-22T09:48:16Z ekspresi:ART

Register Periklanan Widowati, Heningtyas The Registerin Advertising. Register is one of the language variations determined by certain occupational or social groups. The most obvious difference in register is shown by the lexical discrepancy. A same word may have different meaning when it is used in distinct profession. The meaning of each word usage in each occupational field can be comprehended when it is used in context. This study aim at describing the register, in terms of lexical variation, in advertisingfield. The analysis on the data gathered indicates that: first, grammatically the words used come from English that are either borrowed, adapted, or translated into Indonesian. This fact resulted in the occurance of word derivation process by employing Indonesian grammar rule to the English words. Second, the meanings of the advertising registers are close to the meanings of the terms used in the fields offine art, communication, and commerce. Finally, those registers can be at least classified into four class namely types of advertisement, technical terms, professional position, and types of media. Keywords: Register, occupational field, advertising. Institut Seni Indonesia Yogyakarta 2024-02-22 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/12355 10.24821/ekp.v10i2.12355 Ekspresi; Vol 10, No 2 (2010) 2964-5921 1411-4305 10.24821/ekp.v10i2 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/12355/3569 Copyright (c) 2024 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/7850 2022-09-12T10:33:09Z ekspresi:ART

Gejolak dalam Harmoni Mujiyono, Mujiyono Harmony in Frightening Natural Phenomenon. The main creation source is the aesthetic impressions of clouds and waves which implicitly express frightening, fearful, and scary passion. The objects of the creations are expressed in painting arts which tend to be expressionistic and abstract in style. The supporting sources of the creations are some paintings of Franz Kline, Willem de Kooning, Joan Mitchell, Anselm Kiefer, Piet Mondrian, and Ibrahim. The originality is emphasized in individual emotional expression. The methods of the creations begin with the exploration of ideas, improvisations, and creations which become one activity. The transformation of ideas into art products creates a subject matter which contains biomorphic forms from expressive brushing that is based on intuition and spontaneousness. The differences in the width of the brush, the stress of brushing, the level of painting thickness, and the color have become the supporting techniques. The results of the creation are the painting art products containing line configurations, organic forms, and coloring with the wild, free, uncontrolled, and ‘mleber’ effects. Keywords: Expressionistic abstract, art harmony, painting. Institut Seni Indonesia Yogyakarta 2022-08-21 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/7850 10.24821/ekp.v10i1.7850 Ekspresi; Vol 10, No 1 (2010) 2964-5921 1411-4305 10.24821/ekp.v10i1 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/7850/2736 Copyright (c) 2022 EKSPRESI

oai:ojs.journal.isi.ac.id:article/11851 2025-01-13T07:17:35Z ekspresi:ART

Analisis Musikal pada Proyek Video Musik “SM Remastered” Yochanan, Eugenea Gifka Dalam era industri musik kontemporer, remastering dipahami sebagai upaya mengemas ulang suatu video musik baik dari aspek audio maupun video dengan ide dan kreativitas yang baru. Sehingga video musik tersebut memiliki peningkatan kualitas dan dapat dinikmati oleh pendengar. Proyek SM Remastered mengemuka dengan banyaknya video musik dari artis-artis SM Entertainment yang dirilis pada tahun 1990-an hingga 2000-an. Hasil remastering dipublikasikan melalui media platform Youtube. Beberapa penelitian sebelumnya terkait dengan SM Remastered mengarah pada bisnis musik. Artikel ini bertujuan untuk mengetahui perbedaan struktur musikal video musik antara versi sebelum remastering dengan sesudah remastering.  Penelitian menggunakan metode kualitatif dengan pengambilan data-data berupa studi diskografi, studi literatur, pustaka, dan dokumen yang bersifat deskriptif. Hasil dari penelitian ini menunjukkan adanya kemasan berbeda dari video musik SM Remastered dari segi struktur musikal, yaitu bagian introduksi dan penutup dengan kontras yang menonjol. Pengolahan konsep dan penyuntingan yang mengedepankan kualitas merupakan indikator penentu bagi keberhasilan pemasaran yang dilakukan. Kata kunci: video musik, remaster, SM Remastered, K-Pop AbstractIn the era of the contemporary music industry, remastering is understood as an effort to repackage a music video from both audio and video aspects with new ideas and creativity so that the music video becomes more interesting and can be enjoyed by audiences around the world. The SM Remastered project emerged with many music videos from SM Entertainment artists released in the 1990s to 2000s being made in remastered versions and published via the YouTube platform. Some previous research related to SM Remastered focuses on the music business. This article aims to determine the differences in the musical structure of music videos between the versions before the remaster and after the remaster. The research uses qualitative methods by collecting data in the form of discography studies, literature studies, libraries and descriptive documents. The results of this research show that there is a different packaging for the SM Remastered music video in terms of musical structure, namely the introduction and ending parts with prominent contrast. Conceptualization and editing that emphasize quality are key indicators for successful marketing of works. Institut Seni Indonesia Yogyakarta 2024-01-13 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/11851 10.24821/ekp.v13i1.11851 Ekspresi; Vol 13, No 1 (2024) 2964-5921 1411-4305 10.24821/ekp.v13i1 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/11851/3755 Copyright (c) 2024 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/17151 2025-09-25T07:47:06Z ekspresi:ART

Pertunjukan Tradisi Lukah Gilo di Nagari Tarung-Tarung IX Koto Sungai Lasi Kabupaten Solok, Provinsi Sumatera Barat Fitri, Anisa Kasman, Selvi AbstrakArtikel ini ditulis untuk mendeskripsikan tata cara pelaksanaan serta fungsi pertunjukan tradisi Lukah Gilo bagi masyarakat setempat. Adapun artikel ini merupakan luaran penelitian yang menggunakan teori tradisi dari Bronislaw Malinowski. Penelitian ini menggunakan pendekatan kualitatif dengan teknik pengumpulan data melalui observasi langsung di lapangan, wawancara, dan dokumentasi. Adapun objek penelitian ini adalah pertunjukan tradisi Lukah Gilo. Sumber data dalam penelitian ini terdiri atas sumber data primer dan sekunder. Teknik analisis data dilakukan melalui tiga tahapan yaitu reduksi data, penyajian data serta penarikan kesimpulan dan verifikasi. Hasil penelitian ini menunjukkan bahwa tradisi Lukah Gilo merupakan salah satu bentuk seni pertunjukan rakyat yang menampilkan keahlian khas masyarakat dalam menciptakan ilusi seolah-olah sebuah benda mati yakni lukah atau perangkap ikan dari bambu dapat bergerak dan hidup dengan sendirinya. Gerakan-gerakan lukah tersebut tidak dilakukan secara langsung oleh manusia, melainkan melalui serangkaian ritual, mantra, dan iringan musik tradisional yang diyakini mengundang kekuatan gaib. Atraksi ini tidak hanya menghibur, tetapi juga mencerminkan kepercayaan spiritual serta kearifan lokal masyarakat pendukung tradisi tersebut. Fungsi pertunjukan tradisi Lukah Gilo bagi masyarakat Taruang-Taruang, adalah sebagai hiburan, sebagai tempat ekspresi bagi pelaku kesenian,memberikan kenikmatan estetis,sebagai komunikasi dan juga pengintegrasian masyarakat, sebagai representasi simbolis, sebagai respon fisik, memperkuat konformitas norma-norma sosial, serta stabilitas kebudayaan. Lukah Gilo juga berfungsi sebagai hiburan dan tontonan yang menarik terutama dalam acara-acara adat, festival, atau upacara tertentu.Kata kunci :  Lukah Gilo, Pertunjukan, Tradisi, FungsionalismeAbstractThe Lukah Gilo Traditional Performance in Taruang-Taruang IX Koto Sungai Lasi, Solok Regency, West Sumatra Province. This study aims to describe the procedures of implementation as well as the functions of the Lukah Gilo traditional performance for the local community. To support the research, the study employs Bronislaw Malinowski’s theory of tradition. In addition, the research applies a qualitative approach with data collection techniques including direct field observation, interviews, and documentation. The object of this research is the Lukah Gilo traditional performance. The data sources consist of both primary and secondary sources. Data analysis was carried out through three stages: data collection, data reduction (which includes reducing data, presenting data, and drawing conclusions with verification). The results of the study indicate that the Lukah Gilo performance is one form of folk performing arts that showcases the distinctive skills of the community in creating the illusion that an inanimate object—namely lukah (a bamboo fish trap)—can move and come to life on its own. The movements of the lukah are not directly controlled by humans, but rather are brought forth through a series of rituals, chants, and traditional musical accompaniment believed to summon supernatural forces. This attraction not only entertains but also reflects the community’s spiritual beliefs and local wisdom. The functions of the Lukah Gilo traditional performance for the people of Taruang-Taruang include entertainment, providing a space for artistic expression, offering aesthetic enjoyment, serving as a means of communication and community integration, symbolic representation, physical response, reinforcing conformity to social norms, and maintaining cultural stability. Lukah Gilo also functions as an appealing spectacle, especially in customary ceremonies, festivals, or certain rituals.Keywords: Lukah Gilo, Performance, Tradition, Functionalism Institut Seni Indonesia Yogyakarta 2025-08-07 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/17151 10.24821/ekspresi.v14i1.17151 Ekspresi; Vol 14, No 1 (2025) 2964-5921 1411-4305 10.24821/ekspresi.v14i1 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/17151/4452 Copyright (c) 2025 Ekspresi

oai:ojs.journal.isi.ac.id:article/1685 2022-08-21T07:49:17Z ekspresi:ART

Gembyang dan Kempyung dalam Karawitan Gaya Yogyakarta: Tinjauan Fisika Bunyi Prasetya, Hanggar Budi Gembyang dan kempyung merupakan konsep yang sangat penting dalam karawitan. Bunyi gembyang dan kempyung dalam gamelan sangat indah dirasakan. Satu gembyang, mirip dengan satu oktaf dalam musik barat. Tujuan penelitian ini untuk memahami konsep gembyang dan kempyung dari perspektif fisika bunyi. Data diperoleh dengan melakukan pengukuran frekuensi fundamental gamelan. Berdasarkan pengukuran dan perhitungan, bunyi gembyang dirasa enak karena menghasilkan pelayangan orde dua, sementara bunyi kempyung menghasikan pelayangan orde pertama. Bunyi pelayangan ini secara auditif nyaman didengarkan oleh seseorang yang terbiasa mendengarkan suara gamelan. Institut Seni Indonesia Yogyakarta 2017-08-04 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/1685 10.24821/ekp.v6i1.1685 Ekspresi; Vol 6, No 1 (2006) 2964-5921 1411-4305 10.24821/ekp.v6i1 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/1685/454 Copyright (c) 2017 EKSPRESI

oai:ojs.journal.isi.ac.id:article/10550 2023-08-02T12:13:27Z ekspresi:ART

TERAPI MUSIK DAN ANAK AUTISME: SEBUAH TINJAUAN LITERATUR Josephine, Florisia Revanya Orenda, Clarissa Silalahi, Lamria Roliharni AbstrakTerapi musik adalah suatu pendekatan intervensi yang memanfaatkan musik sebagai alat untuk meningkatkan kemampuan keterampilan berkomunikasi, ekspresi emosi, fokus perhatian, interaksi sosial, dan keterampilan esensial lain pada individu dengan gangguan spektrum autisme. Terapi musik untuk anak autistik berbeda-beda yang disesuaikan berdasarkan kebutuhan dan preferensi anak. Intervensi musik dapat berupa kegiatan auditif pasif mendengarkan hingg aktif bergerak dalam aktivitas bermain musik yang lebih kompleks. Tulisan ini hendak meninjau penelitian-penelitian terdahulu tentang hubungan terapi musik dengan anak autisme di Indonesia. Penelitian dilakukan melalui studi literatur untuk melihat bagaimana pengaruh terapi musik pada anak autisme. Tinjauan literatur menunjukkan bahwa terapi musik memberikan pengaruh yang bermakna pada perkembangan perilaku seperti perkembangan kemampuan berkonsentrasi, kemampuan berbahasa, serta perkembangan kognitif anak.Kata kunci: autisme, musik, terapi musik AbstractMusic therapy is an intervention approach that utilizes music as a tool to enhance communication skills, emotional expression, attention focus, social interaction, and other essential abilities in individuals with autism spectrum disorder. Music therapy for autistic children varies depending on individual needs and preferences. Music interventions can range from passive auditory activities such as listening, to active engagement in more complex musical play activities. This paper aims to review previous research on the relationship between music therapy and children with autism in Indonesia. The research is conducted through a literature study to examine the impact of music therapy on autistic children. The literature review reveals that music therapy has a significant influence on behavior development such as improved concentration, language or verbal skills, and cognitive development in children with autism spectrum disorder.Keywords: autism, music, therapy, health Institut Seni Indonesia Yogyakarta 2023-05-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/10550 10.24821/ekp.v12i1.10550 Ekspresi; Vol 12, No 1 (2023) 2964-5921 1411-4305 10.24821/ekp.v12i1 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/10550/3251 Copyright (c) 2023 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/15106 2025-07-22T18:25:41Z ekspresi:ART

Metode Penciptaan Musik Iringan untuk Seni Pertunjukan: Pendekatan Interdisipliner bagi Mahasiswa Seni Musik Kurniawan, Rahmat AbstrakSeni pertunjukan, seperti tari dan teater, merupakan bentuk ekspresi budaya yang kompleks di mana musik iringan memegang peranan krusial dalam membangun suasana, mendukung narasi, serta memperkuat emosi. Namun, penciptaan musik iringan yang efektif sering menjadi tantangan bagi mahasiswa seni musik. Masalah utama yang dihadapi adalah kesulitan mengintegrasikan pengetahuan musik yang mereka miliki dengan pemahaman mendalam tentang elemen-elemen seni pertunjukan lainnya, seperti koreografi, alur cerita, dan karakteristik gerak atau dialog. Akibatnya, musik yang dihasilkan seringkali kurang selaras dengan kebutuhan pertunjukan secara keseluruhan. Pendekatan ini memungkinkan pemahaman konteks pertunjukan secara holistik, dengan mempertimbangkan aspek koreografi, narasi teater, dan desain panggung. Melalui integrasi wawasan dari berbagai disiplin ilmu seperti musikologi, koreografi, dramaturgi, dan teknologi audio, serta penekanan pada kolaborasi, pendekatan interdisipliner menawarkan solusi yang lebih relevan untuk mengatasi tantangan tersebut. Tujuannya adalah membekali mahasiswa dengan kemampuan menciptakan musik iringan yang tidak hanya kompeten secara musikal tetapi juga menyatu secara efektif dengan visi artistik pertunjukan secara menyeluruh.Kata kunci: musik iringan, metodologi, interdisipliner, seni pertunjukan AbstractThe Method of Creating Musical Accompaniment for Performing Arts: An Interdisciplinary Approach for Music Arts Students. Performing arts, such as dance and theater, are complex forms of cultural expression in which accompaniment music plays a crucial role in building atmosphere, supporting narrative, and reinforcing emotion. However, the creation of effective accompaniment music often presents a challenge for music students. The primary problem faced is the difficulty in integrating their existing musical knowledge with a deep understanding of other performing arts elements, such as choreography, storyline, and the characteristics of movement or dialogue. Consequently, the resulting music often lacks harmony with the overall needs of the performance. This article highlights the importance of an interdisciplinary approach in the methodology of creating accompaniment music for music students. This approach enables a holistic understanding of the performance context, considering aspects of choreography, theatrical narrative, and stage design. Through the integration of insights from various disciplines such as musicology, choreography, dramaturgy, and audio technology, along with an emphasis on collaboration, the interdisciplinary approach offers a more relevant solution to address these challenges. Its aim is to equip students with the ability to create accompaniment music that is not only musically competent but also effectively integrates with the overall artistic vision of the performance.Keywords: musical accompaniment, methodology, interdisciplinary, performing arts Institut Seni Indonesia Yogyakarta 2025-05-06 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/15106 10.24821/ekspresi.v14i1.15106 Ekspresi; Vol 14, No 1 (2025) 2964-5921 1411-4305 10.24821/ekspresi.v14i1 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/15106/4244 Copyright (c) 2025 Ekspresi

oai:ojs.journal.isi.ac.id:article/13627 2025-01-13T07:17:35Z ekspresi:ART

Analisis Bentuk Musik pada Prelude dalam Partita No.3 untuk Violin Solo Tweedapinta, Ega Putra AbstrakSonata dan Partita tanpa iringan karya Johann Sebastian Bach merupakan repertoar utama yang selalu digunakan dalam proses pembelajaran biola. Karya ini memiliki nilai artistik, keindahan karya, serta aspek teknis dengan tingkat keterampilan yang tinggi. Terdapat lebih dari satu suara pada bagian Prelude di partita untuk biola ini, yaitu melodi kontrapung atau polifoni dalam satu baris instrumen.  Penelitian ini bertujuan untuk menganalisis bentuk musik Partita E mayor gubahan J.S Bach pada bagian Prelude. Menurut kritikus musik bernama Wilhelm Tappert, keaslian Partita dalam E mayor diciptakan untuk instrumen lute, selain itu terdapat transkripsi komposisi Prelude untuk solo organ obbligato dan iringan orkestra. Prelude untuk instrumen biola berisi melodi dengan nilai nada seperenambelas dalam keseluruhan bagian dan disusun dalam melodi tunggal tanpa iringan suara bas yang cenderung monoton. Penelitian ini menggunakan metode penelitian kualitatif dengan menganalisis skor. Teori yang digunakan adalah teori melodi oleh Dieter Mack, teori bentuk musik oleh Leon Stein, dan teori harmoni oleh Karl-Edmund Prier. Analisis skor dilakukan dengan pendekatan musikologi. Hasil penelitian menunjukkan bahwa Prelude dalam Partita No.3 karya Bach mempunyai bentuk musik biner, yang dibentuk dengan stuktur musik menggunakan motif-motif sebagai materi musiknya. Selain itu karya ini mengandung harmoni yang tersembunyi yang menciptakan keindahan karya. Sebagai karya dengan melodi tunggal, Prelude menunjukkan kesatuan struktural di dalam susunannya. Kata kunci: Bentuk musik, Melodi tunggal, Violin, Partita, Prelude. AbstractSonata and Partita without accompaniment by Johann Sebastian Bach are the main repertoire used in violin learning. This work has artistic value, beauty, and technical aspects with a high skill level. There is more than one voice in the Prelude section in this partita for violin: counterpoint melody or polyphony in one row of instruments. This study aims to analyze the musical form of the Partita E major composed by J.S Bach in the Prelude section. According to music critic Wilhelm Tappert, the originality of the Partita in E major was created for the lute instrument; in addition, there is a transcription of the Prelude composition for solo organ obbligato and orchestral accompaniment. The Prelude for violin contains a melody with a sixteenth note value in the entire section. It is arranged in a single melody without bass accompaniment, which tends to be monotonous. This study uses a qualitative research method by analyzing scores. The theories used are the melody theory by Dieter Mack, the theory of musical form by Leon Stein, and the theory of harmony by Karl-Edmund Prier. The score analysis is carried out based on a musicology approach. The study results show that the Prelude in Bach's Partita No. 3 has a binary musical form, which is formed with a musical structure using motifs as its musical material. In addition, this work contains hidden harmonies that create the beauty of the work. As a work with a single melody, the Prelude shows structural unity in its composition. Keywords: Music form, Single melody, Violin, Partita, Prelude. Institut Seni Indonesia Yogyakarta 2024-11-15 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/13627 10.24821/ekp.v13i1.13627 Ekspresi; Vol 13, No 1 (2024) 2964-5921 1411-4305 10.24821/ekp.v13i1 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/13627/3901 Copyright (c) 2024 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/7855 2022-09-12T10:49:17Z ekspresi:ART

Kajian Semiotika pada Road Sing Restoran Taman Pringsewu Yogyakarta Nurhayati, Dyah The Semiotics of Road Sign in Taman Pringsewu Restaurant. This study aims at revealing the meaning of road signs as the elements of the sign system of the Pringsewu restaurant in Yogyakarta. The samples that are taken based on the message (its competitive advantage) include the ‘free formalin’ sign, the ‘alert chicken carcass’ sign, the ‘free hotspots’ sign, and the ‘playback’ sign. The four signs are important because they involve public interest issues and trends that represent the whole road signs. This study operates a qualitative method with a semiotic theory-based explanation. The data gathered are analyzed in a qualitative-interpretative way. It relates to the principles of visual communication design. The result of this study confirms that road signs carry the public needs issues and modern lifestyles. Keywords: Pringsewu, road signs, meaning signs Institut Seni Indonesia Yogyakarta 2022-08-21 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/7855 10.24821/ekp.v10i1.7855 Ekspresi; Vol 10, No 1 (2010) 2964-5921 1411-4305 10.24821/ekp.v10i1 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/7855/2741 Copyright (c) 2022 EKSPRESI

oai:ojs.journal.isi.ac.id:article/12348 2024-02-22T09:40:26Z ekspresi:ART

Komodifikasi Cerita Rakyat pada Media Perangko Indonesia Kristiana, Nova The Comodification of Folktale on Stamps in Indonesia. The commodification of folktales on stamps can generate a negotiation between the local culture and the cultural-political interest that benefits the government. Stamp does not only function as a payment device in correspondence or merely to be collected. Moreover, stamp is a site full with the complexity of meanings, messages, and interests. A long series of story is condensed by presenting only the essence of the story and the main meaning. That is why it is hoped that the stamp design simply illustrates the key scene. For PT Pos, it is really hoped that the publishing of the folktales stamps did not stop in 2005, but it can be continued by introducing stories from various regions. Keywords: Perangko, filateli, folk stamp. Institut Seni Indonesia Yogyakarta 2024-02-22 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/12348 10.24821/ekp.v10i2.12348 Ekspresi; Vol 10, No 2 (2010) 2964-5921 1411-4305 10.24821/ekp.v10i2 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/12348/3565 Copyright (c) 2024 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/15423 2026-01-23T12:43:45Z ekspresi:ART

Interpretasi Legenda Dadong Guliang dalam Karya Tari Rwa Bhineda Karmaphala Maharani, Femasari Puan Kurniasari, Lysandra Hari Putri, Mentari Sas Gusanti, Yurina AbstrakPenelitian penciptaan karya tari Rwa Bhineda Karmaphala ini terinspirasi dari legenda Dadong Guliang dari Bali, namun proses interpretasi serta penciptaannya belum terdokumentasi secara akademis. Penelitian penciptaan ini bertujuan untuk menganalisis proses adaptasi naratif folklor ke dalam karya koreografi dan pertunjukan, serta selanjutnya menciptakan satu karya tari kontemporer yang diinterpretasikan dari legenda Dadong Guliang. Penelitian penciptaan ini menggunakan pendekatan practice-based research dengan metode penciptaan melalui eksplorasi gerak, improvisasi, dan komposisi. Penelitian dilakukan secara kualitatif melalui observasi partisipan, wawancara mendalam dengan tim kreatif, dan dokumentasi audio-visual. Karya tari Rwa Bhineda Karmaphala yang yang dihasilkan, terstruktur dalam empat adegan simbolis menggunakan tiga strategi interpretasi utama yaitu transposisi naratif, simbolisasi gerak, dan kontekstualisasi sosio-spiritual. Karya ini dinilai dapat mempertahankan basis filosofis legenda namun sekaligus dapat menghadirkan relevansi kontemporer terkait isu marginalisasi dan ketidakadilan gender. Penelitian penciptaan karya ini menunjukkan bahwa seni dapat berfungsi menjadi medium hermeneutis yang efektif dalam merevitalisasi warisan budaya. Karya ini diharapkan dapat berkontribusi pada pengembangan metodologi penciptaan berbasis riset dalam pendidikan seni. Kata kunci: penelitian penciptaan, interpretasi, legenda Dadong Guliang, tari kontemporer AbstractThe Interpretation of the Dadong Guliang Legend in the Dance Work Rwa Bhineda Karmaphala. This creation research of the dance work Rwa Bhineda Karmaphala is inspired by the Dadong Guliang legend from Bali; however, its interpretation and creation processes have not been academically documented. This creation research aims to analyze the adaptation process of folklore narrative into choreographic and performative works, and subsequently create a contemporary dance piece interpreted from the Dadong Guliang legend. This study employs a practice-based research approach through movement exploration, improvisation, and composition methods. The research was conducted qualitatively via participant observation, in-depth interviews with the creative team, and audio-visual documentation. The resulting dance work, Rwa Bhineda Karmaphala, is structured into four symbolic episodes using three main interpretation strategies: narrative transposition, movement symbolization, and socio-spiritual contextualization. This work is considered capable of maintaining the philosophical foundation of the legend while also presenting contemporary relevance regarding issues of marginalization and gender injustice. This creation research demonstrates that art can function as an effective hermeneutic medium for revitalizing cultural heritage. It is hoped that this work can contribute to the development of research-based creation methodologies in arts education. Keywords: creation research, interpretation, Dadong Guliang legend, contemporary dance Institut Seni Indonesia Yogyakarta 2026-01-23 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/15423 10.24821/ekspresi.v14i2.15423 Ekspresi; Vol 14, No 2 (2025) 2964-5921 1411-4305 10.24821/ekspresi.v14i2 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/15423/4677 Copyright (c) 2025 Ekspresi

oai:ojs.journal.isi.ac.id:article/6983 2022-12-12T07:33:50Z ekspresi:ART

Memaknai Ungkapan Musik Melalui Dimensi Linguistik Swara, Lintang Pramudia Ungkapan musik kerap diasosiasikan dengan ungkapan yang diekspresikan oleh bahasa. Hal ini membuat musik memiliki koneksi yang kuat dengan dunia linguistik. Ungkapan yang diekspresikan antara musik dan bahasa memang berbeda akan tetapi sama-sama tertuju pada emosi manusia dan dimaknai secara intensional. Artikel ini akan menjabarkan mengenai bagaimana ungkapan musik dimaknai  lewat dimensi linguistik. Penelitian dilakukan dengan menggunakan metode kualitatif deskriptif yakni melalui metode studi literatur dan wawancara.  Melalui studi literatur disoroti empat hal yakni mood linguistik,  semantik, bahasa referensial, dan arousal theory. Keempat poin ini berperan dalam menentukan karakter linguistik dari musik. Wawancara dilakukan dengan menggali impresi yang dirasakan subjek terhadap salah satu karya musik yang ia sukai. Hasil wawancara menunjukkan adanya  koneksi yang kuat antara musik dan linguistik yang kunci utamanya dibangun dari bagaimana pengalaman subjek dalam menghayati musiknya. Penghayatan ini menjadi dasar dari terkonstruksinya makna yang spesifik atas karya musik yang subjek deskripsikan selama wawancara.Kata kunci: ungkapan musik, makna, linguistik, impresi, penghayatan The expressions given by music are often associated with expressions conveyed by language. This makes music has a strong connection with the field of linguistics. The expressions that are conveyed between music and language are different, but they are  lead to human emotions and are interpreted in an intentional way. This article is intended to describe how musical expressions are interpreted through the linguistic dimension. This research was conducted using a qualitative approach, namely through the method of literature study and interviews. Through the literature study, four things were highlighted, namely linguistic mood, semantic aspects, referential properties, and arousal theory. These four points play a role in determining the linguistic character of music. The interview was conducted by exploring the impressions felt by the subject on one of the musical works that he liked. The results of the interview show that there is a strong connection between music and linguistics whose main key is built on how the subject experiences the enjoyment through the music. This enjoyment is the basis for the construction of specific meanings for the musical works that the subject described during the interview.Keywords: music expressions, meaning, linguistic, impression  Institut Seni Indonesia Yogyakarta 2022-08-12 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/6983 10.24821/ekp.v11i1.6983 Ekspresi; Vol 11, No 1 (2022) 2964-5921 1411-4305 10.24821/ekp.v1i11 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/6983/2708 Copyright (c) 2022 EKSPRESI

oai:ojs.journal.isi.ac.id:article/11521 2024-02-19T10:37:14Z ekspresi:ART

Musik Platform Pembelajaran Berbasis Gamifikasi “Marica” sebagai Luaran Magang MSIB 2023 Nurhaliza, Nurhaliza Kustap, Kustap AbstrakProgram Magang dan Studi Independent Bersertifikat (MSIB) Kampus Merdeka merupakan kegiatan yang diselenggarakan oleh Kementrian Pendidikan dan Kebudayaan dengan tujuan untuk meningkatkan kompetensi mahasiswa selama berkuliah. Tulisan ini mendeskripsikan proses produksi luaran dari kegiatan MSIB 2023 yang dilakukan oleh PT. Sebangku Jaya Abadi. Musik platform pembelajaran berbasis gamifikasi “Marica” disusun berdasarkan penugasan Peserta Program MSIB 2023 yaitu Produser Musik. Musik diproduksi sebagai musik platform pembelajaran berbasis gamifikasi. Adapun yang dilakukan penulis selama proses magang yaitu menyusun musik latar, jingle, sound engineering, voice over, serta aransemen musik anak. Penelitian ini menggunakan metode artistik dengan pendekatan Practice Based Research. Tahapan penelitian yaitu: perancangan, pengadaptasian, uji-coba, dan penerapan. Hasil penelitian menunjukkan adanya dari manfaat program MSIB yaitu menjembatani kesenjangan antara pembelajaran akademis, pembelajaran berorientasi lingkungan kerja, dan penerapan dunia nyata dengan memungkinkan individu untuk mengembangkan keterampilan di bidang produksi musik. Program MSIB juga memungkinkan penulis menjalin hubungan dengan profesional, mentor, dan sesama peserta magang. Kata kunci: platform musik, MSIB, gamifikasi, Marica  AbstractMagang dan Studi Independent Bersertifikat (MSIB) is an activity organized by the Ministry of Education and Culture to increase student competency while studying. This article describes the output production process from MSIB 2023 activities carried out by PT. Sebangku Jaya Abadi. The gamification-based learning platform music "Marica" was prepared based on the assignment of the 2023 MSIB Program Participants, namely Music producers. Music is produced as a gamification-based learning platform music. The writer composed background music, jingles, sound engineering, voice-over, and children's music arrangements during the internship. This research uses an artistic method with a Practice-Based Research approach. The research stages are design, adaptation, testing, and implementation. The research results show the benefits of the MSIB program, namely bridging the gap between academic learning, work environment-oriented learning, and real-world application by enabling individuals to develop skills in the field of music production. The MSIB program also allows writers to build relationships with professionals, mentors, and fellow interns. Keywords: music platform, MSIB, gamification, Marica Institut Seni Indonesia Yogyakarta 2023-12-13 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/11521 10.24821/ekp.v12i2.11521 Ekspresi; Vol 12, No 2 (2023) 2964-5921 1411-4305 10.24821/ekp.v12i2 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/11521/3546 Copyright (c) 2023 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/15849 2025-07-22T18:25:41Z ekspresi:ART

Transkulturasi Naskah Pinangan Anton Chekhov: Eksplorasi Dramaturgi Visual dan Kritik Sosial dalam Teater Indonesia Handayani, Lusi Pramasheilla, Dinda Assalia Avero Utami, Yhovy Hendricasri Rahmayani, Wahdania Nur AbstrakArtikel ini membahas proses penafsiran visual dan dramaturgi dalam pertunjukan teater yang merekontekstualisasi naskah The Proposal Karya Anton Chekhov ke dalam konteks budaya Indonesia. Tujuan dari kajian ini adalah mengeksplorasi bagaimana teks drama klasik asal Rusia tersebut dapat diterjemahkan secara artistik ke dalam ruang lokal melalui pendekatan penyutradaraan, pemilihan gaya permainan aktor, desain artistik, serta penggunaan simbol-simbol visual. Topik ini dipilih karena Pinangan mengandung ironi sosial yang relevan dengan dinamika kelas menengah Indonesia kontemporer, namun membutuhkan pembacaan ulang agar dapat diterima oleh penonton lokal Penelitian ini menggunakan pendekatan penciptaan seni (artistic reserch) dengan metode practice- as-research, yaitu metode penciptaan karya yang berangkat dari eksplorasi terhadap teks sastra (naskah Pinangan karya Anton Chekhov), yang kemudian diterjemahkan ke dalam bentuk pertunjukan teater melalui tahapan-tahapan kreatif. Hasil kajian menunjukkan bahwa pertunjukan teater Pinangan versi Indonesia tidak hanya mengubah aspek bahasa dan latar, tetapi juga menambahkan nuansa kritik sosial baru, memperkuat komedi situasional, serta menciptakan dialog antar budaya antara teks asli dan penonton masa kini. Penafsiran dramaturgis yang dilakukan berhasil menampilkan kembali substansi naskah secara segar tanpa kehilangan esensi Chekhovian, sekaligus memperkuat pesan lokal dalam praktik teater Indonesia.Kata kunci: Rekontekstualisasi, Penafsiran Teater, Dramaturgi, Naskah Chekhov, Kritik Sosial AbstractThe Transculturation of Anton Chekhov's The Proposal: Visual Dramaturgy and Social Criticism in Indonesian Theatre. This article discusses the process of visual and dramaturgical interpretation in a theatrical performance that recontextualizes Anton Chekhov's The Proposal script into an Indonesian cultural context. The purpose of this study is to explore how the classic Russian drama text can be artistically translated into a local space through a directorial approach, the selection of actor playing styles, artistic design, and the use of visual symbols. This topic was chosen because Pinangan contains social irony that is relevant to the dynamics of the contemporary Indonesian middle class, but requires rereading in order to be accepted by local audiences. This study uses an artistic research approach with the practice-as-research method, namely a method of creating works that starts from an exploration of literary texts (the Pinangan script by Anton Chekhov), which is then translated into a theatrical performance through creative stages. The results of the study show that the Indonesian version of the Pinangan theatrical performance not only changes the language and setting aspects, but also adds new nuances of social criticism, strengthens situational comedy, and creates an intercultural dialogue between the original text and today's audience. The dramaturgical interpretation carried out successfully re-presents the substance of the script in a fresh way without losing the Chekhovian essence, while strengthening the local message in Indonesian theatrical practice.Keywords: Recontextualization, Theater Interpretation, Dramaturgy, Chekhov's Script, Social Criticism Institut Seni Indonesia Yogyakarta 2025-06-25 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/15849 10.24821/ekspresi.v14i1.15849 Ekspresi; Vol 14, No 1 (2025) 2964-5921 1411-4305 10.24821/ekspresi.v14i1 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/15849/4311 Copyright (c) 2025 Ekspresi

oai:ojs.journal.isi.ac.id:article/439 2022-08-21T07:21:20Z ekspresi:ART

Simbol Religiusitas Tari Topeng Panji Cirebon Suanda, Toto Amsar Religiosity Symbol in The Cirebon Topeng Panji Dance. This research aimed at understanding religiosity in the Cirebon Topeng Panji Dance. The data were collected through observation and intense interview with the mask puppet puppeteers and mask dancers. The puppeteers called topeng dance as alive but dead, dead but alive. The symbol contained  in Topeng Panji Dance was a dialogue discussing human and humanity problems in general. When human being fused himself imaginatively in a broader scope and he enjoyed it, he would be the part of the life he performed. Topeng Panji Dance could be seen as an emblem of moral truth not as a subordinate and a servant for sensual enjoyment. It was not only valuable in itself but also a value outside it that could be tracked down from various points of view. Keywords: Topeng Panji, simbol, religiusity. Institut Seni Indonesia Yogyakarta 2013-10-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article https://journal.isi.ac.id/index.php/ekspresi/article/view/439 10.24821/ekp.v0i0.439 Ekspresi; Vol 9, No 1 (2009) 2964-5921 1411-4305 10.24821/ekp.v0i0 en

oai:ojs.journal.isi.ac.id:article/14142 2024-12-09T08:09:53Z ekspresi:ART

Pemeranan Tokoh Sherina dalam Drama Musikal Petualang Sherina-2 Karya Riri Riza Noviandri, Ramanda Sumarno, Rano Rahmah, Fitri Drama Musikal “Petualangan Sherina 2” karya Riri Riza merupakan alih wahana dari film “Petualangan Sherina 2”. Drama musikal memaparkan tentang aksi heroik terhadap kepedulian lingkungan melalui tokoh Sherina. Teori yang dipakai dalam memerankan tokoh Sherina adalah acting in musical. Acting in musical merupakan penggabungan antara akting, tari, dan nyanyian. Ini yang menjadi tantangan bagi aktor, di mana harus menyeimbangkan ketiga unsur tersebut. Metode akting yang dipakai dalam memerankan tokoh Sherina adalah metode akting presentasi. Metode akting presentasi aktor berusaha mengidentifikasi perilaku dan intelektual dirinya sendiri dan juga tokoh yang akan diperankan. Oleh karena itu, capaian aktor bukan kapasitas menjadi ‘orang lain’ namun merupakan ‘penyesuaian’ terhadap situasi dan kondisi baru, melalui tabungan- tabungan emosi yang dimiliki penulis secara pribadi. Kata kunci: Sherina, Drama musikal, Presentasi AbstractPlaying the Character of Sherina in the Musical Drama "Petualang Sherina-2" by Riri Riza. Drama Musical “The Adventure of Sherina 2” is an adaptation of the movie “The Adventure of Sherina 2”. The drama musical describes the heroic action towards environmental awareness through the character Sherina. The theory used in portraying Sherina's character is acting in musical. Acting in musical is a combination of acting, dance, and singing. This is a challenge for actors, who must balance these three elements. The acting method used in playing the character Sherina is the presentation acting method. Presentation acting method actors try to identify the behavior and intellect of themselves and also the character they will play. So that the actor's achievement is not the capacity to become 'someone else' but is an 'adjustment' to new situations and conditions, through the emotional savings that the author personally has. Keywords: Sherina, Drama Musical, Presentation Institut Seni Indonesia Yogyakarta 2024-12-09 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/14142 10.24821/ekp.v13i2.14142 Ekspresi; Vol 13, No 2 (2024) 2964-5921 1411-4305 10.24821/ekp.v13i2 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/14142/3960 Copyright (c) 2024 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/9003 2023-07-07T16:41:15Z ekspresi:ART

Proses Pembelajaran Kesenian Hadrah di Taman Kanak-kanak Al Qur’an – Taman Pendidikan Al Qur’an Ar Rahman Mumtaza, Aqilah Dharmawan, Kania Azzahra Wicaksono, Luqman Satria Mursit AbstrakPenelitian ini bertujuan untuk mengetahui proses pembelajaran dan aspek musik dalam kesenian hadrah yang berperan untuk melatih kemampuan musikal anak-anak, serta mengetahui karakteristik musik hadrah melalui hasil transkripsi sampel lagu. Subjek penelitian adalah anak-anak atau para santri di TKA-TPA Ar-Rahman yang bertempat di Desa Bopongan, Kecamatan Banguntapan, Kabupaten Bantul.  Metode penelitian yang digunakan adalah metode kualitatif dengan pendekatan studi kasus. Teknik pengumpulan data dilakukan melalui observasi, wawancara, dan dokumentasi. Hasil penelitian menunjukkan proses yang dilakukan dalam pembelajaran musik hadrah yaitu dengan memperkenalkan instrumen, membagi para santri dengan instrumen yang sesuai, melatih pola pukulan, melatih syair, dan menggabungkan kelompok instrumen dengan kelompok penyanyi. Kegiatan kesenian hadrah juga dapat melatih kemampuan musikal anak-anak, ditunjukkan dengan adanya peningkatan pada para santri dalam memahami materi dan memainkan musik hadrah. Musik hadrah memiliki peran untuk melatih kemampuan musikal anak yang mencakup pemahaman mengenai ritmis, tempo, nada, lirik (syair), hingga bentuk penyajian musik ensambel.Kata kunci: Musik, Pembelajaran, Hadrah AbstractThis study aims to determine the learning process and aspects of music in hadrah art that play a role in training children's musical abilities and knowing the characteristics of hadrah music through the transcription of song samples. The research subjects are the children or students at TKA-TPA Ar-Rahman Bopongan Village, Banguntapan District, Bantul Regency. The research method used is qualitative with a case study approach. The data collection techniques are through observation, interviews, and documentation. The results showed that the process carried out in hadrah music learning was by introducing musical instruments, dividing the students with suitable instruments, practising rhythmic patterns, practising lyrics (poems), and combining the instrument group with the singer group. Hadrah art activities can also train children's musical abilities, indicated by increased students' understanding of the material and playing hadrah music. Hadrah music has a role in training children's musical skills, including understanding rhythm, tempo, tone, lyrics (poems), and ensemble music presentation.Keywords: Music, Learning, Hadrah Institut Seni Indonesia Yogyakarta 2022-10-31 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/9003 10.24821/ekp.v11i2.9003 Ekspresi; Vol 11, No 2 (2022) 2964-5921 1411-4305 10.24821/ekp.v11i2 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/9003/3031 Copyright (c) 2022 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/12228 2025-01-13T07:17:35Z ekspresi:ART

Transformasi Orkes Dangdut Menjadi Orkestra Dangdut dalam Perspektif Sosial Budaya: Kidung Etnosia Sakti, Aditya Susilo AbstrakDangdut adalah jenis musik populer di Indonesia. Melihat perkembangannya, tentu tidak terlepas dari elemen-elemen musiknya. Perkembangan tersebut juga terjadi pada kelompok musik Kidung Etnosia di Wonosari. Kajian terhadap musik dangdut pada dasarnya merupakan sebuah kajian tentang bentuk, struktur, orkestrasi, gaya dan sejumlah komponen musik lainnya. Penelitian ini bertujuan untuk mengetahui serta menganalisis bentuk dan struktur sajian kolaborasi musik dangdut dengan alat musik Barat pada kelompok musik Kidung Etnosia dalam konteks perubahan sosial budaya dan ekonominya. Untuk mencapai pemahaman yang menyeluruh terhadap masalah yang dikaji, digunakan paradigma antropologi yaitu Strukturalisme Levi-Strauss. Penelitian ini adalah penelitian kualitatif dengan pengumpulan data melalui pengamatan terlibat (participatory observation), wawancara, dan studi literatur. Berdasarkan hasil penelitian dapat dilihat bahwa masyarakat Wonosari mampu menerima sajian orkestra dangdut karena sajiannya tidak meninggalkan unsur dangdut asli. Sajian orkestra dangdut merupakan bagian dari seni yang mengalami perubahan dalam konteks perubahan sosial budaya dan ekonomi masyarakat Wonosari. Sebagai kota yang kaya akan seni budaya lokal di dalamnya termasuk Kidung Etnosia yang awalnya hanya memainkan genre musik karawitan, kerocong, dangdut, campursari dengan format asli kini sudah mengalami perubahan yang membawa energi positif untuk membuka wawasan masyarakat khususnya Wonosari tentang musik Barat. Tentunya dengan tanpa meninggalkan kaidah-kaidah dalam musik aslinya.Kata kunci: Dangdut, Orkestra Dangdut, Sosial Budaya AbstractDangdut is a type of popular music in Indonesia. Seeing its development, of course it cannot be separated from its musical elements. This development also occurred in the music group Kidung Etnosia in Wonosari. The study of dangdut music is basically a study of form, structure, orchestration, style and a number of other musical components. This study aims to identify and analyze the form and structure of the performance of dangdut music collaboration with Western musical instruments in the Song of Ethnosia music group in the context of socio-cultural and economic changes. To achieve a thorough understanding of the problems studied, an anthropological paradigm, namely Levi-Strauss Structuralism, is used. This research is a qualitative research with data collection through participant observation, interviews, and literature studies. Based on the results of the research, it can be seen that the Wonosari people are able to accept dangdut orchestral performances because the performances do not leave the original dangdut elements. Dangdut orchestra performances are part of the arts that have undergone changes in the context of socio-cultural and economic changes in the Wonosari community. As a city that is rich in local cultural arts, including the Song of Ethnosia, which initially only played the musical genres of karawitan, kerocong, dangdut, campursari with the original format has now undergone a change that brings positive energy to open people's insight, especially the Wonosari people, about Western music. Of course, without leaving the rules in the original music.Keywords: Dangdut, Dangdut Orchestra, Socio-Cultural Institut Seni Indonesia Yogyakarta 2024-03-31 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/12228 10.24821/ekp.v13i1.12228 Ekspresi; Vol 13, No 1 (2024) 2964-5921 1411-4305 10.24821/ekp.v13i1 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/12228/3771 Copyright (c) 2024 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/7851 2022-09-12T10:36:19Z ekspresi:ART

Postmodernisme: Sebuah Dekonstruksi dan Kritik dalam Seni Munir, Miftahul Postmodernism: A Reconstruction and Criticism of Art. There is no truth that is admitted to be absolute truth or forever truth because everything that correlates to a human being is dynamic. ‘Freedom in art creation’ is needed to guarantee the maximum quality of art making process. When art creation is subject to the power of value or its ethical criteria, it is ‘a veiled oppression process’. In such practices, art is not created for the art itself. What happens there is humanizing the art, moralizing the art, and controlling the art. The characteristic of art is its capacity to free itself from substantive matters. In contemplation, the soul leaves the physical materials and becomes one in the idea of form so that the contemplator experiences exquisiteness or unexquisiteness. This experience is then expressed as a work of art. It is important to be comprehended that each element and each entity may function as an active component in completing human existence in the realm of artistic activities. Keywords: Art critics, human existence, art deconstruction. Institut Seni Indonesia Yogyakarta 2022-08-21 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/7851 10.24821/ekp.v10i1.7851 Ekspresi; Vol 10, No 1 (2010) 2964-5921 1411-4305 10.24821/ekp.v10i1 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/7851/2737 Copyright (c) 2022 EKSPRESI

oai:ojs.journal.isi.ac.id:article/10404 2024-07-26T12:36:14Z ekspresi:ART

Perubahan Motivasi Latihan Mahasiswa Studi Instrumen Biola Pasca-Pandemi COVID-19 Hanan, Athaya Indrawan, Andre de Fretes, Daniel AbstrakPemerintah Indonesia berupaya menghambat penyebaran virus dengan melakukan pembatasan sosial selama Pandemi COVID-19. Praktik mata kuliah instrumen biola di Institut Seni Indonesia Yogyakarta dilakukan melalui Zoom Meeting, Google Duo, Google Meet selama masa Pandemi COVID-19. Setelah pandemi, praktik instrumen biola dilaksanakan secara langsung kembali. Tujuan penelitian ini antara lain mengetahui perubahan motivasi mahasiswa Mata Kuliah Studi Instrumen Biola di masa Pasca-Pandemi COVID-19 dan mengetahui bagaimana proses perubahan dan langkah yang diambil oleh para mahasiswa guna meningkatkan motivasi di masa pandemi hingga pasca-pandemi. Metode penelitian yang digunakan dalam penelitian ini adalah metode kualitatif deskriptif. Pengumpulan data dilakukan melalui wawancara, observasi, dan dokumentasi. Hasil penelitian menunjukkan bahwa para mahasiswa mata kuliah praktik instrumen biola mengalami peningkatan motivasi di masa pasca-pandemi COVID-19 dikarenakan oleh mata kuliah praktik mulai dilakukan secara langsung dan interaksi antar teman sangat berpengaruh pada motivasi mereka. Perubahan motivasi di pasca-pandemi COVID-19 terjadi secara bertahap seiring berjalannya waktu dan perkembangan kondisi pasca-pandemi. Kata kunci: motivasi, pandemi covid-19, biola, mahasiswa AbstractPractice Motivation Changes in Violin Instrument Study Students in the Post-Pandemic COVID-19. The Indonesian government was trying to prevent the spread of the virus by implementing social restrictions during the COVID-19 pandemic. Practical violin instrument courses at the Indonesian Institute of the Arts Yogyakarta were carried out via Zoom Meeting, Google Duo, and Google Meet during the COVID-19 pandemic. Practical violin instrument courses at the Indonesian Institute of the Arts Yogyakarta were carried out via Zoom Meeting, Google Duo, and Google Meet during the COVID-19 pandemic. After the pandemic, violin instrument practice was carried out in person again. The aims of this research include finding out changes in student motivation for the Violin Instrument Study Course during the post-COVID-19 pandemic period and finding out the change process and the steps students took to increase motivation during the pandemic and post-pandemic. The research method used in this research is a descriptive qualitative method. Data collection was carried out through interviews, observation and documentation. The research results show that students on practical courses on violin instruments experienced increased motivation in the post-COVID-19 pandemic period because practical courses began to be carried out directly, and interactions between friends greatly influenced their motivation. Changes in motivation in the post-COVID-19 pandemic occur gradually over time, as well as the development of post-pandemic conditions. Keywords: motivation, covid-19 pandemic, violin, student Institut Seni Indonesia Yogyakarta 2023-10-31 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/10404 10.24821/ekp.v12i2.10404 Ekspresi; Vol 12, No 2 (2023) 2964-5921 1411-4305 10.24821/ekp.v12i2 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/10404/3573 Copyright (c) 2023 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/17649 2026-01-23T12:41:44Z ekspresi:ART

Bentuk dan Fungsi Gamelan dalam Kidung Surajaya Mahatmajangga, Binarung AbstrakKidung Surajaya adalah naskah skriptorium Merapi-Merbabu yang bergenre santri lelana brata serta bertema kegamaan Hindu-Buddha. Teks menceritakan perjalanan Ki Singamada yang merupakan anak dari seorang penguasa di Majapahit menuju ke hutan-hutan dan pertapaan-pertapaan di pegunungan serta perjalanan spiritualnya untuk mencapai moksa. Masa penulisan teks diperkirakan berasal abad 17 Masehi di sekitar pegunungan Merapi-Merbabu sehingga dapat menjadi acuan untuk menelisik kebudayaan masyarakat Jawa pada masa itu salah satunya adalah karawitan atau gamelan Jawa. Gamelan dalam teks Kidung Surajaya ini memiliki berbagai fungsi yaitu sebagai pengiring dalam peribadatan, berkidung, peperangan, dan juga sebagai selingan pembentuk suasana keindahan dalam alur cerita Kidung Surajaya. Kata kunci: Kidung Surajaya, Karawitan, Gamelan, Manuskrip, Musik, Jawa  AbstractThe Form and Function of Gamelan in Kidung Surajaya. Kidung Surajaya is a manuscript from the Merapi-Merbabu scriptorium, categorized as a "santri lelana brata" (wandering student seeking for soul liberation) genre and featuring Hindu-Buddhist religious themes. The text narrates the journey of Ki Singamada, the son of a ruler in Majapahit, to the forests and hermitages in the mountains, as well as his spiritual journey to attain moksha (liberation). The estimated period of the text's composition is around the 17th century AD in the Merapi-Merbabu highlands, making it a reference for examining Javanese culture of that time, one aspect of which is karawitan or Javanese gamelan. The gamelan in the Kidung Surajaya text serves various functions, namely as accompaniment in worship, chanting, warfare, and also as an interlude to create an atmosphere of beauty within the storyline of the Kidung Surajaya. Keywords: Kidung Surajaya, Karawitan, Gamelan, Manuscript, Music, Java Institut Seni Indonesia Yogyakarta 2025-12-05 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/17649 10.24821/ekspresi.v14i2.17649 Ekspresi; Vol 14, No 2 (2025) 2964-5921 1411-4305 10.24821/ekspresi.v14i2 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/17649/4534 Copyright (c) 2025 Ekspresi

oai:ojs.journal.isi.ac.id:article/7075 2022-12-12T07:33:50Z ekspresi:ART

Cendayam: Interpretasi Cengkok Ayu Kuning dalam Komposisi Karawitan Armansyah, Gangsar Yogi Suneko, Anon Jatilinuar, Setya Rahdiyatmi Kurnia AbstrakMusik karawitan Jawa mengenal istilah cengkok. Cengkok adalah abstrak yang tidak terdengar maupun terwujud sedangkan cengkok yang terwujud dinamakan wiled. Cengkok yang berasal dari nada vokal salah satunya adalah Ayu Kuning. Cengkok Ayu Kuning memiliki lagu yang menonjol seperti nada lagu tinggi kemudian ke rendah. Cengkok ini memiliki ciri khas tersendiri pada garap sindhen, gender, maupun rebab dibanding cengkok lain. Penelitian ini mengunakan metode Practice as Research through Performance (praktik sebagai penelitian melalui pertunjukan) yang terdiri dari pragarap (observasi, studi pustaka, analisis sumber terkait, wawancara, diskografi, konteks musikal), garap (instrumentasi musikal, tafsir garap, presentasi musikal), dan pascagarap. Karya ini juga menggunakan medium tradisi dan idiom baru. Penelitian ini bertujuan untuk  menafsirkan dan memaknai cengkok Ayu Kuning dalam karya komposisi karawitan. Karya komposisi “Cendayam” yang diciptakan merupakan karya komposisi karawitan yang mengambil subtansi dasar karawitan tradisi sebagai ide dasar dan konsep penciptaan karya. Karya ini menginterpretasikan dan mengembangkan cengkok Ayu Kuning sebagai tema penciptaan dan menggunakan pola garap kreasi baru dengan mengolah aspek harmoni dan unsur-unsur dalam musik seperti melodi, ritme, dan dinamika. Cengkok Ayu Kuning juga dilihat dari dua sudut pandang, yaitu dasar cengkok Ayu Kuning yang biasa digunakan dalam karawitan dan pemaknaan dari epistimologi kata Ayu Kuning. Kata kunci : cengkok, Ayu Kuning, wanita, pengembangan, pemaknaan, interpretasi AbstractJavanese karawitan music has cengkok term. Cengkok is an abstract that is neither heard nor manifested while the manifested one is called "wiled." Cengkok comes from a vocal tone, one of which is Ayu Kuning. Cengkok Ayu Kuning has a unique song with a high and then a low tune. This cengkok has its characteristics in working on sindhen, gender, and fiddle compared to other cengkok. This study uses the Practice as Research through Performance method which consists of pragarap (observation, literature study, analysis of related sources, interviews, discography, musical context), garap (musical instrumentation, interpretation of garap, musical presentation), and pascagarap. This work also uses the medium of tradition and new idioms. This study aims to interpret and interpret the cengkok Ayu Kuning in musical composition works. The compositional work "Cendayam" is a musical composition work that takes the basic substance of traditional music as the basic idea and concept of creating the work. This work interprets and develops the Ayu Kuning cengkok as the theme of creation and uses a new creation work pattern by processing aspects of harmony and elements in music such as melody, rhythm, and dynamics. Cengkok Ayu Kuning is also seen from two points of view, namely the basis of the Cengkok Ayu Kuning which is commonly used in karawitan, and the meaning of the epistemology of the word Ayu Kuning. Keywords : cengkok, Ayu Kuning, women, develompment, meaning, interpretation Institut Seni Indonesia Yogyakarta 2022-08-12 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/7075 10.24821/ekp.v7i1.7075 Ekspresi; Vol 11, No 1 (2022) 2964-5921 1411-4305 10.24821/ekp.v1i11 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/7075/2709 Copyright (c) 2022 EKSPRESI

oai:ojs.journal.isi.ac.id:article/10648 2023-08-08T16:36:31Z ekspresi:ART

PERAN DIREKTUR MUSIK DALAM SYMPHONY ORCHESTRA DAN LIGHT MUSIC ORCHESTRA: KELOMPOK ORKESTRA DI YOGYAKARTA Laksmi, Atika Septiana AbstrakDirektur Musik adalah aditokoh yang bertugas untuk memimpin berjalannya pertunjukkan musik, terutama pada orkestra. Direktur musik mengarahkan dan mengoordinasi pemain orkestra menggunakan gerakan tangan ataupun stik baton. Artikel ini bertujuan untuk mendeskipsikan peran direktur musik dalam ranah musik hiburan dan musik edukatif pada beberapa orkestra di Yogyakarta. Penelitian dilakukan pada satu kelompok Symphony Orchestra dan dua kelompok Light Music Orchestra. Metode penelitian yang digunakan adalah metode kualitatif deskriptif dengan melakukan wawancara semi-terstruktur terhadap tiga direktur musik orkestra, yaitu pada  Orkestra Mahasiswa Institut Seni Indonesia Yogyakarta, Aditya Music Project, dan Puput Pramuditya Music Production. Penelitian ini menunjukkan bahwa direktur musik melakukan pengelolaan organisasi secara efektif dan efisien dan dapat dijelaskan melalui empat fungsi manajemen yaitu planning, organizing, leading, dan controlling. Direktur musik pada masing-masing kelompok yang diteliti memiliki peran yang relatif sama meskipun direktur musik dari dua kategori tersebut memiliki masa tugas yang berbeda. Perbedaan peran direktur musik pada light music orchestra dan symphony orchestra adalah terdapat perbedaan prosedur dalam menentukan pemilihan pemain musik, penyusunan aransemen karya musik, serta peran sebagai konduktor.Kata kunci: direktur musik, pertunjukan musik, orkestra mini, orkestra simfoni  AbstractThe Music Director is a prominent figure responsible for leading musical performances, particularly in orchestras. The Music Director conducts and coordinates the orchestra members using hand gestures or a baton. This article aims to describe Music Directors’ role in entertainment and education within several orchestras in Yogyakarta. The research was conducted with one Symphony Orchestra group and two Light Music Orchestra groups. The research method was qualitative descriptive, utilizing semi-structured interviews with three Music Directors from the Indonesian Institute of the Arts Yogyakarta Student Orchestra, Aditya Music Project, and Puput Pramuditya Music Production. The study reveals that Music Directors effectively and efficiently manage the organization and can be explained through the four functions of management, namely planning, organizing, leading, and controlling. The Music Directors in each examined group share relatively similar roles, despite differing tenures between the two categories. The distinction in the roles of Music Directors in light music orchestras and symphony orchestras lies in the procedures for selecting musicians, arranging musical compositions, and their role as conductorsKeywords: music director, music performance, light music orchestra, symphony orchestra  Institut Seni Indonesia Yogyakarta 2023-05-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/10648 10.24821/ekp.v12i1.10648 Ekspresi; Vol 12, No 1 (2023) 2964-5921 1411-4305 10.24821/ekp.v12i1 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/10648/3262 Copyright (c) 2023 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/14949 2025-07-22T18:25:41Z ekspresi:ART

Keselarasan Interaksi Musisi dalam Proses Latihan Band Mahadika, Fado Putra AbstrakProses latihan musik ansambel memiliki beberapa kendala, hal tersebut dikarenakan terdapat adanya penyatuan dari banyak personil yang harus menjadi satu kesatuan. Dari hal tersebut penelitian ini bertujuan untuk mengetahui dan mengatasi interferensi yang terjadi dalam interaksi antar musisi dalam proses latihan bermusik secara ansambel untuk mencapai keselarasan harmoni secara sosial dan musikal. Metode penelitian yang digunakan adalah metode kualitatif dengan teknik pengamatan dan pengumpulan data yang bertahap melalui koding. Penelitian dilakukan pada ansambel musik yang terdiri oleh musisi dengan beragam latar belakang baik itu secara sosial dan secara pengalaman musikal. Interferensi komunikasi yang terjadi ketika proses latihan musik dapat teratasi dengan melakukan komunikasi yang sudah disetujui oleh para musisi dalam ansambel musik tersebut, komunikasi tersebut dilakukan secara verbal dengan berbicara dan non-verbal dengan menggunakan tangan, anggukan kepala, atau hembusan nafas. Hal ini dikarenakan oleh habitus para musisi dalam ansambel tersebut yang mempunyai pandangan yang sama untuk komunikasi non-verbal maka dari itu keselarasan interaksi musisi bisa didapatkan kembali. Kata kunci: keselarasan; interaksi musisi; band  AbstractThe Synchronization of Musicians’ Interaction in Band Rehearsal Processes. The process of practicing ensemble music has several obstacles, this is because there is a unification of many personnel who must become one unit. From this, this study aims to determine and overcome the interference that occurs in the interaction between musicians in the process of practicing music as an ensemble to achieve social and musical harmony. The research method used is a qualitative method with observation techniques and gradual data collection through coding. The study was conducted on a music ensemble consisting of musicians with various backgrounds, both socially and in terms of musical experience. The results of the study showed that communication interference that occurs during the music practice process can be overcome by communicating that has been agreed upon by the musicians in the music ensemble, the communication is carried out verbally and non-verbally. This is because the habitus of the musicians in the ensemble has the same view for non-verbal communication, therefore the harmony of musician interaction can be obtained again. Keywords: harmony; musician interaction; band Institut Seni Indonesia Yogyakarta 2025-04-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/14949 10.24821/ekspresi.v14i1.14949 Ekspresi; Vol 14, No 1 (2025) 2964-5921 1411-4305 10.24821/ekspresi.v14i1 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/14949/4245 Copyright (c) 2025 Ekspresi

oai:ojs.journal.isi.ac.id:article/12040 2025-01-13T07:17:35Z ekspresi:ART

Penerapan Alat Musik Tradisional Cak dan Cuk dengan Alat Musik Modern dalam Peribadatan di HKBP Yogyakarta Hutabarat, Mira Christina Pasaribu, Rianti Magdalena Kustap, Kustap Musik memiliki peran yang sama penting dengan khotbah di dalam berjalannya suatu ibadah. Berkembangnya zaman, gereja pun berkembang ke semua penjuru dunia dan mengalami inkulturasi budaya musik. Gereja HKBP juga mengalami inkulturasi budaya, alat musik Jawa (Keroncong) yaitu Cak dan Cuk dipilih untuk mengiringi ibadah 17.30 di HKBP Yogyakarta. Penelitian ini bertujuan untuk mengetahui alasan gereja HKBP Yogyakarta menerapkan alat musik tradisional Cak dan Cuk dengan alat musik modern pada peribadatan 17.30 dan proses penerapannya. Penelitian ini menggunakan metode penelitian kualitatif deskriptif untuk memperoleh data penelitian. Penelitian ini dapat memberikan pengetahuan kepada gereja HKBP Yogyakarta tentang penerapan alat musik Cak dan Cuk dengan alat musik modern dalam peribadatan. Dapat disimpulkan alasan penerapan alat musik tradisional Cak dan Cuk dikarenakan adanya program kerja pemusik pada setiap minggu ke-5 yang menerapkan ibadah etnik. Penerapan musik Cak dan Cuk dengan alat musik modern dapat menciptakan nuansa ibadah etnik Jawa yang cukup dan tidak terlalu susah untuk diterapkan. Kekurangan SDM dan alat mempengaruhi performa penyajian musik iringan ibadah pada ibadah etnik Jawa. Kata kunci: Musik tradisional, Cak Cuk, Musik gereja, Peribadatan, HKBP Yogyakarta AbstractMusic has an equally important role as the sermon in the course of a service. As time progressed, the church expanded to all corners of the world and experienced inculturation in musical culture. The HKBP Church also experienced cultural inculturation, Javanese musical instruments (Keroncong), namely Cak and Cuk, were chosen to accompany the 17.30 worship service at HKBP Yogyakarta. This research aims to find out the reasons why the HKBP Yogyakarta church uses traditional Cak and Cuk musical instruments with modern musical instruments in the 17.30 worship service and the implementation process. This research uses descriptive qualitative research methods to obtain research data. This research can provide knowledge to the HKBP Yogyakarta church about the application of Cak and Cuk musical instruments with modern musical instruments in worship. It can be concluded that the reason for using the traditional Cak and Cuk musical instruments is because there is a work program for musicians every 5th week that implements ethnic worship. The application of Cak and Cuk music with modern musical instruments can create a sufficient nuance of Javanese ethnic worship and is not too difficult to implement. The lack of human resources and tools affects the performance of the presentation of worship music at Javanese ethnic worship services. Keywords: Traditional music, Cak Cuk, Church music, Worship, HKBP Yogyakarta Institut Seni Indonesia Yogyakarta 2024-11-15 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/12040 10.24821/ekp.v13i1.12040 Ekspresi; Vol 13, No 1 (2024) 2964-5921 1411-4305 10.24821/ekp.v13i1 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/12040/3902 Copyright (c) 2024 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/8608 2023-07-07T16:41:15Z ekspresi:ART

Transit Transisi Interpretasi pada Konser Rekaman Serenade Bunga Bangsa #3 Taufikurrahman, Ido Brilliant Koapaha, Royke B Fitriasari, Paramitha Dyah AbstrakPandemi covid-19 menyebabkan pembatasan berbagai macam kegiatan di Indonesia, salah satunya konser musik. Dibatasinya konser musik membuat pengelola acara dan musisi harus beradaptasi terhadap situasi tersebut, salah satunya dengan cara membuat konser virtual atau konser rekaman. Dinas Kebudayaan Yogyakarta sebagai salah satu instansi yang memiliki agenda konser rutin pada akhirnya mengadakan konser rekaman dengan tajuk Serenade Bunga Bangsa #3. Adanya konser rekaman ini sebagai konser pertama dengan konsep rekaman tanpa penonton membuat perubahan pengalaman dan kesan yang dialami oleh musisi yang terlibat dalam konser tersebut. Pergeseran atau perubahan pada fenomena tersebut kemudian peneliti gunakan sebagai basis pembahasan yang dibedah menggunakan teori transit dan transisi oleh Maruska Svasek dan teori interpretasi sebagai pendukung. Penelitian menggunakan metode kualitatif dengan pendekatan studi kasus pada fenomena konser rekaman tersebut. Analisis dilakukan berdasarkan data lapangan, wawancara, observasi, dan studi pustaka. Hasil dari penelitian ditujukan untuk mengetahui dampak konser rekaman terhadap musisi terlibat, sehingga bermanfaat sebagai informasi baru atas fenomena yang terjadi pada masa pandemi. Kata kunci: Transit, transisi, interpretasi, konser rekaman.  AbstractThe Covid-19 pandemic has caused restrictions on various activities in Indonesia, one of which is music concerts. The limitations of music concerts make event managers and musicians have to adapt to this situation, one of which is by holding virtual concerts or recording concerts. The Yogyakarta Cultural Office as one of the agencies that have a regular concert agenda eventually held a recorded concert with the title Serenade Bunga Bangsa #3. The existence of this recorded concert as the first concert with the concept of recording without an audience changed the experience and impressions experienced by the musicians involved in the concert. The shift or change in this phenomenon is then used by the researcher as a basis for discussion which is dissected using the theory of transit and transition by Maruska Svasek and the theory of interpretation as support. This research uses a qualitative method with a case study approach to the phenomenon of the recorded concert. The analysis was carried out based on field data, interviews, observations, and literature studies. The research results are aimed at knowing the impact of a recorded concert on the musicians involved, so it is useful as new information on phenomena that occur during a pandemic. Keywords: Transit, transition, interpretation, recording concert. Institut Seni Indonesia Yogyakarta 2023-01-26 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/8608 10.24821/ekp.v11i2.8608 Ekspresi; Vol 11, No 2 (2022) 2964-5921 1411-4305 10.24821/ekp.v11i2 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/8608/3018 Copyright (c) 2022 EKSPRESI

oai:ojs.journal.isi.ac.id:article/12349 2024-02-22T09:42:44Z ekspresi:ART

Kidung Nusaraya: Penciptaan Komposisi Musik berlandaskan Konsep Multikulturalisme Nasionalistik Slamet, R Chairul Music Composition based on the Concept of Nationalistic Multiculturalism. This paper aims at analyzing textually the music composition of Kidung Nusaraya. Kidung or tembang (Javanese) means a song, but then the meaning changes into 'something beautiful'.For that reason, all songs or something beautiful can be called as a kidung, including the instrumental music composition entitled Nusaraya. The word Nusaraya is related to the word Nusantara or Indonesia that is abundant with various culture and art potentials; a nation that must realize its potentials including the music to be promoted nationally and internationally.Viewed from the musical perspective, the slogan Bhinneka Tunggal Ika shows that Indonesians are very open in enriching their national music because of their idiomatic variation. The orchestra symphony composition of Nusaraya presents a combination between some Western instruments with the instruments of Nusantara ethnical music to produce beautiful symphonic sounds. Kidung Nusaraya consists of five parts, namely 1) Dialogue, 2) Adaptation, 3) Tolerance, 4) Introspection, 6) Convention, 7) My Country Symphony 8) My Tribute, and 9) My Hope. Keywords: Kidung, music composition, multiculturalism. Institut Seni Indonesia Yogyakarta 2024-02-22 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/12349 10.24821/ekp.v10i2.12349 Ekspresi; Vol 10, No 2 (2010) 2964-5921 1411-4305 10.24821/ekp.v10i2 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/12349/3566 Copyright (c) 2024 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/19272 2026-02-09T08:54:55Z ekspresi:ART

Musik Nusantara sebagai Praktik Budaya dalam Pendidikan Humanitas di Perguruan Tinggi Widyanta, Nugrahanstya Cahya AbstrakMusik Nusantara merupakan bagian penting dari kebudayaan Indonesia yang tidak hanya berfungsi sebagai hiburan, tetapi juga memuat nilai sosial, identitas budaya, dan pengalaman kolektif masyarakat pendukungnya. Dalam konteks pendidikan tinggi, khususnya pada Program Studi Studi Humanitas, Musik Nusantara diposisikan sebagai praktik budaya yang dapat digunakan sebagai media pembelajaran kontekstual dan reflektif untuk memahami kebudayaan secara lebih nyata. Artikel ini bertujuan untuk mengkaji peran mata kuliah Musik Nusantara dan Kajian Budayanya dalam pembelajaran Studi Humanitas di perguruan tinggi, serta menganalisis bagaimana mahasiswa terutama yang tidak memiliki latar belakang musik memaknai Musik Nusantara sebagai praktik kebudayaan. Penelitian ini menggunakan pendekatan kualitatif deskriptif dengan desain studi kasus pada mata kuliah Musik Nusantara dan Kajian Budayanya di Program Studi Studi Humanitas Universitas Kristen Duta Wacana (UKDW). Data diperoleh melalui observasi proses pembelajaran, analisis materi perkuliahan, serta refleksi tertulis mahasiswa mengenai pengalaman belajar mereka. Hasil penelitian menunjukkan bahwa mata kuliah ini berfungsi sebagai media pembelajaran lintas disiplin yang menghubungkan seni, budaya, sejarah, dan kehidupan sosial. Penelitian ini memberikan kontribusi orisinal dengan menunjukkan bahwa Musik Nusantara dapat dipahami dan dimaknai secara kritis oleh mahasiswa non-musik sebagai praktik budaya yang hidup, bukan sekadar objek estetis atau keterampilan teknis. Temuan ini memperkaya kajian pendidikan humanitas dengan menempatkan musik sebagai sarana pembentukan kesadaran budaya reflektif, apresiatif terhadap keberagaman, dan pemahaman kontekstual terhadap dinamika masyarakat Indonesia.Kata kunci: Musik Nusantara, Pendidikan Humanitas, Praktik Budaya; Mahasiswa Non-Musik, Studi Kasus. AbstractNusantara Music is an essential part of Indonesian culture that functions not only as entertainment but also as a medium through which social values, cultural identity, and collective experiences are expressed. In the context of higher education, particularly within Humanities study programs, Nusantara Music is positioned as a cultural practice that serves as a contextual and reflective learning medium for understanding culture. This article aims to examine the role of the course Nusantara Music and Its Cultural Studies in Humanities education at the university level and to analyze how students especially those without a musical background—interpret Nusantara Music as a form of cultural practice. This study employs a descriptive qualitative approach using a case study design conducted in the Humanities Study Program at Universitas Kristen Duta Wacana (UKDW). Data were collected through classroom observations, analysis of course materials, and students’ written reflections on their learning experiences. The findings indicate that the course functions as an interdisciplinary learning medium that connects art, culture, history, and social life. This study offers an original contribution by demonstrating that Nusantara Music can be critically understood and meaningfully interpreted by non-music students as a living cultural practice rather than merely as an aesthetic object or technical musical skill. These findings enrich Humanities education discourse by positioning music as a pedagogical tool for fostering reflective cultural awareness, appreciation of diversity, and contextual understanding of Indonesian socio-cultural dynamics.Keywords: Nusantara Music, Humanities Education, Cultural Practice, Non-Music Students, Case Study. Institut Seni Indonesia Yogyakarta 2026-02-09 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article https://journal.isi.ac.id/index.php/ekspresi/article/view/19272 10.24821/ekspresi.v14i2.19272 Ekspresi; Vol 14, No 2 (2025) 2964-5921 1411-4305 10.24821/ekspresi.v14i2 in Copyright (c) 2025 Ekspresi

oai:ojs.journal.isi.ac.id:article/11328 2024-02-18T14:31:46Z ekspresi:ART

oai:ojs.journal.isi.ac.id:article/7769 2022-12-12T07:33:50Z ekspresi:ART

Pekan Budaya Difabel 2019: Ruang Pertunjukan untuk Seniman Penyandang Disabilitas di Yogyakarta Siregar, Faried Noor Mahardika, Daphne D Dhani, Kurnia Rahmad AbstrakPenyandang disabilitas belum menjadi aktor utama dalam kehidupan sosial khususnya pada panggung-panggung acara kebudayaan dan kesenian. Kondisi ini membuat para penyandang disabilitas menjadi asing dan termarjinalkan. Butuh upaya bersama untuk memperkenalkan siapa dan apa potensi para penyandang disabilitas ini ke ruang-ruang publik. Pekan Budaya Difabel 2019 sebagai kelanjutan acara Jambore Difabel merupakan salah satu upaya yang dilakukan oleh masyarakat Yogyakarta bersama Pemerintah Daerah dalam membuka sekat-sekat sosial terhadap para penyandang disabilitas. Penelitian ini dilakukan dengan metode kualitatif deskriptif dengan pendekatan art-based research hendak menjabarkan rangkaian acara Pekan Budaya Difabel 2019. Acara ini menjadi ruang bagi masyarkat difabel untuk unjuk kebolehan, potensi, hasil kreasi, menampilkan eksistensi, mengomunikasikan pandangan dan pengalaman, melebarkan jejaring melalui kegiatan antar komunitas, membuka akses dan peluang kerjasama dan ekonomi, serta apresiasi dari masyarakat luas. Kata kunci: disabilitas, seniman, pertunjukan, pekan budaya difabel   AbstractPersons with disabilities have not become the main actors in social life, especially on the stages of cultural and artistic events. This condition makes people with disabilities become strangers and marginalized. It takes a concerted effort to introduce who and what the potential of persons with disabilities is in public spaces. The Difabel Culture Week 2019, as a continuation of the Difabel Jambore, is one of the efforts made by the people of Yogyakarta and the Regional Government to open social barriers to people with disabilities. This research is a descriptive qualitative method with an art-based research approach to describe the series of events for the 2019 Difabel Culture Week. This event is a space for people with disabilities to show their skills, potential, and art product, show their existence and share their views and experiences as disabled people. Through this event, the disabled community may expand networks, opening access and opportunities for cooperation and economy, as well as appreciation from the wider community. Keywords: disability, artist, performing art, disabled cultural week Institut Seni Indonesia Yogyakarta 2022-04-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/7769 10.24821/ekp.v11i1.7769 Ekspresi; Vol 11, No 1 (2022) 2964-5921 1411-4305 10.24821/ekp.v1i11 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/7769/2710 Copyright (c) 2022 EKSPRESI

oai:ojs.journal.isi.ac.id:article/11531 2024-02-20T08:13:28Z ekspresi:ART

Perancangan Video Animasi tentang Pencegahan Konsumsi Daging Anjing di Masyarakat Perkotaan Lazuardy, Mahesa Bintang Suwasono, Arief Agung Utama, Aditya AbstrakPerdagangan hewan merupakan isu yang sudah lama terjadi di Indonesia, namun menjadi masalah yang lebih besar apabila perdagangan tersebut mengancam kesehatan masyarakat, perdagangan daging hewan ekstrim seperti anjing, kelelawar dan biawak berpotensi membawa berbagai penyakit serta masalah moralitas pada masyarakat. Setelah mengumpulkan berbagai data dari jurnal, berita, dan gerakan-gerakan sosial yang sudah dilakukan oleh berbagai organisasi animal welfare, aspek yang bisa dihimbaukan untuk mengurangi perdagangan hewan di sekitar kehidupan masyarakat adalah menghimbau konsumen akan bahaya hewan tersebut kepada kesehatan masyarakat. Untuk memberikan presentasi yang menarik dan dapat memberikan skenario terburuk dari tindakan masyarakat tersebut, perancangan dengan media animasi dipilih. Analisis yang menggunakan metode 5W + 1H untuk perancangan animasi ini. Animasi final menyampaikan cerita akan masyarakat yang mengkonsumsi hewan berbahaya dan menerima akibatnya, diakhiri dengan infografis untuk memperjelas hasil risetKata kunci: edukasi, isu sosial, penyakit, perdagangan hewan, animasi AbstractDesigning an Animation Video about Preventing Dog Meat Consumption in Urban Communities. Animal trafficking is an issue that has been going on in Indonesia for a long time, but it becomes a bigger problem if the trade threatens public health. The trade-in meat from extreme animals such as dogs, bats, and monitor lizards has the potential to bring various diseases and moral problems to society. After collecting various data from journals, news, and social movements that various animal welfare organizations have carried out, the aspect that can be proposed to reduce animal trade in people's lives is to alert consumers to the dangers of these animals to public health. A design using animation media was chosen to provide an interesting presentation and the worst-case scenario of people's actions. Analysis using the 5W + 1H method for designing this animation. The final animation tells the story of people who consume dangerous animals and suffer the consequences, ending with an infographic to explain the research results.Keywords: education, social issues, diseases, animal trade, animation Institut Seni Indonesia Yogyakarta 2023-10-31 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/11531 10.24821/ekp.v12i2.11531 Ekspresi; Vol 12, No 2 (2023) 2964-5921 1411-4305 10.24821/ekp.v12i2 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/11531/3549 Copyright (c) 2023 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/16898 2025-09-02T04:12:45Z ekspresi:ART

Maaghak suwek: Tradisi Syukuran Panen Padi Masyarakat Pulau Birandang, Kabupaten Kampar, Provinsi Riau Prayoga, Aidil Aldian Septriani, Septriani AbstrakPenelitian ini mengkaji Tradisi Maaghak Suwek yang dilaksanakan oleh masyarakat Desa Pulau Birandang, Kabupaten Kampar, Provinsi Riau. Prosesi yang dilangsungkan sarat simbolisme, seperti arak-arakan, makan bajambau, doa bersama, serta penggunaan Ubek Padi—ramuan berbahan dasar dedaunan sebagai obat tradisional untuk tanaman padi. Urgensi penelitian ini terletak pada upaya pelestarian budaya dan kearifan lokal yang mengandung nilai-nilai spiritual, sosial, dan ekologis yang semakin dilupakan oleh generasi muda. Penelitian ini menggunakan pendekatan kualitatif dengan teori Tradisi dari C.A. Van Peursen dan teori interpretasi simbolik dari Clifford Geertz. Data dikumpulkan melalui observasi partisipatif, wawancara mendalam, dokumentasi, serta studi literatur. Hasil penelitian menunjukkan bahwa tradisi Maaghak Suwek berakar dari nasihat para alim ulama terdahulu sebagai bentuk ikhtiar masyarakat untuk menjaga keseimbangan antara manusia, alam, dan Tuhan. Tradisi ini tidak hanya bermakna sebagai warisan budaya, namun juga sebagai bentuk adaptasi ekologis dan spiritual masyarakat terhadap lingkungan. Penelitian ini diharapkan dapat meningkatkan kesadaran akan nilai-nilai luhur budaya lokal dan menjadi dasar perumusan program pelestarian budaya berbasis komunitas. Penelitian ini juga diharapkan dapat memperkaya studi antropologi budaya dengan memberikan contoh konkret tentang sinergi antara tradisi lokal, agama, dan lingkungan dalam satu sistem sosial yang utuh.Kata kunci: Tradisi, Maaghak Suwek, Pulau Birandang AbstractMaaghak Suwek: A Rice Harvest Thanksgiving Ritual in Birandang Island, Riau, Indonesia. This research examines the Maaghak Suwek tradition practiced by the community of Pulau Birandang Village, Kampar Regency, Riau Province. The ceremonial procession is rich in symbolism, featuring elements such as a ritual parade, a bajambau communal feast, collective prayers, and the use of Ubek Padi—a traditional herbal concoction made from leaves used to treat rice plants. The urgency of this study lies in the endeavor to preserve a cultural and local wisdom containing spiritual, social, and ecological values that are increasingly fading from the awareness of the younger generation. Employing a qualitative approach, this study utilizes C.A. Van Peursen's theory of Tradition and Clifford Geertz's theory of symbolic interpretation. Data were collected through participatory observation, in-depth interviews, documentation, and literature study. The findings indicate that the Maaghak Suwek tradition is rooted in the counsel of past religious scholars, representing the community's earnest effort to maintain balance between humans, nature, and God. This tradition holds significance not merely as a cultural heritage but also as a form of the community's ecological and spiritual adaptation to their environment. The implications of this research contribute directly to the community by raising awareness of the values embedded in their local culture, while also providing a foundation for formulating community-based cultural preservation programs. This study enriches the field of cultural anthropology by providing a concrete example of the synergy between local tradition, religion, and the environment within a cohesive social system.Keywords: Tradition, Maaghak Suwek, Birandang Island Institut Seni Indonesia Yogyakarta 2025-07-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/16898 10.24821/ekspresi.v14i1.16898 Ekspresi; Vol 14, No 1 (2025) 2964-5921 1411-4305 10.24821/ekspresi.v14i1 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/16898/4439 Copyright (c) 2025 Ekspresi

oai:ojs.journal.isi.ac.id:article/440 2022-08-21T07:21:20Z ekspresi:ART

Musik Degung Sunda dalam Konteks Sejarah Herawan, Rachmat Degung Sunda Music in The Historical Context. Degung music was originated in Cianjur region and has been developing very well in Bandung. It was originally the music of the menak people who geographically lived in mountain range area. In accordance with the location atmosphere, this music was ethical, calm, in a good arrangement, in a good order, and peaceful. This music has experienced several changes such as the waditra structure change, the status sift from kadaleman music to people music, the repertoire forms change, and the function change from an illustration music to a dance music. Keywords: Degung, waditra, kadaleman, Sundanese music. Institut Seni Indonesia Yogyakarta 2013-10-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article https://journal.isi.ac.id/index.php/ekspresi/article/view/440 10.24821/ekp.v0i0.440 Ekspresi; Vol 9, No 1 (2009) 2964-5921 1411-4305 10.24821/ekp.v0i0 en

oai:ojs.journal.isi.ac.id:article/14143 2024-12-09T08:09:53Z ekspresi:ART

Cyber Crime Sebagai Sumber Penciptaan Skenario Film Pendek "Pitch Bill" Mahardika, Daphne Dinda Sumarno, Rano Wibowo, Philipus Nugroho Hari Skenario dengan judul Pitch Bill merupakan sebuah karya yang berfokus pada isu cyber crime masa kini. Karya ini berangkat dari keresahan yang  tumbuh akibat melihat grafik korban penipuan online yang kian naik, serta bentuk empati kepada orang-orang terdekat yang menjadi korban dari kasus penipuan online sekaligus menjadi narasumber wawancara dalam proses pengumpulan data. Penciptaan ini menggunakan teori kriminologi untuk menciptakan latar belakang tokoh-tokoh dengan didukung oleh data dari hasil wawancara, sebelum akhirnya dikemas menjadi sebuah karya fiksi dengan format filmis. Penerapan teori kriminologi, film komedi drama, dan skenario film guna mendukung proses kreatif serta inovatif. Pengumpulan data yang dilakukan setelah terciptanya ide dan konsep cerita bermaksud untuk dijadikan sebagai kriteria dalam proses pencarian data. Hal tersebut guna membantu dalam proses pengembangan untuk dijadikan skenario film yang utuh. Pitch Bill menceritakan tentang Kaivan yang membantu Sarah dalam produksi untuk film tugas akhirnya sebagai produser, namun Kaivan menggunakan jasa pinjaman online untuk dijadikan dana produksi film Sarah. Skenario film pendek Pitch Bill diproduksi menjadi sebuah film pendek. Produksi film pendek ini berupa proyek kerja sama antara mahasiswi jurusan Teater ISI Yogyakarta dengan mahasiswi jurusan Televisi dan Film Universitas Padjajaran. Kata kunci: Cyber Crime, Film Scenario, Comedy Drama Film, Online Lending, Pitch Bill AbstractCybercrime as a Source of Inspiration for the Creation of the Short Film Script Pitch Bill. Scenario called Pitch Bill focuses on current cyber crime issues. The scenario stems from the anxiety that has grown as a result of seeing the increasing graph of online fraud victims, as well as a form of empathy for the dearest one who have become victims of online fraud cases as well as being sources in the research process. The process of creating the background for the characters uses criminology theory supported by data from interviews, before finally turned into a work of fiction in filmic format. Application of criminological theory along with comedy drama film and film scenario to support creative and innovative process. The data collection carried out after the creation of story ideas the idea is intended to be used to classify in the data search process. This is to assist in the development process to become a complete film scenario. Pitch Bill tells the story of Kaivan who helps Sarah with the production of her final film as a producer, but Kaivan uses an online loan service as the main funds for Sarah’s film production. “Pitch Bill’s” short movie scenario was produced into a short movie. The production of this short movie is a collaborative project between the sutdent of theater department of ISI Yogyakarta and the student of television and film department of Padjajaran University. Keywords: Cyber crime, Film Scenario, Comedy Drama Film, Online Lending, Pitch Bill Institut Seni Indonesia Yogyakarta 2024-12-09 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/14143 10.24821/ekp.v13i2.14143 Ekspresi; Vol 13, No 2 (2024) 2964-5921 1411-4305 10.24821/ekp.v13i2 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/14143/3959 Copyright (c) 2024 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/9548 2023-07-06T21:03:20Z ekspresi:ART

ENSEMBEL GAMOLAN: MENGETAHUI BAKAT AUDIASI DAN IMITASI ANAK USIA DINI Hasyimkan, Hasyimkan Hernanda, Agung Hero Barnawi, Erizal Palawi, Ari Purnama, Arwina Indira Sari, Destiana Fatma AbstrakPenelitian ini bertujuan untuk mengetahui bakat audiasi dan imitasi anak dalam bermain instrumen tradisional gamolan dari Lampung. Audiasi adalah bagian yang utuh dari bakat dan pencapaian kemampuan musikal. Kemampuan audiasi adalah kemampuan yang tidak dapat dipelajari karena merupakan bakat musikal yang muncul secara alami. Imitasi adalah tindakan peniruan yang merupakan langkah awal dalam mengembangkan potensi pendengaran melalui orang lain. Penelitian ini menggunakan metode pra-eksperimen yang dilakukan selama 10 kali pertemuan selama 5 minggu dengan pola dua kali dalam sepekan. Subjek penelitian ini adalah siswa Taman Kanak-kanak Assyafi’iyah Jati Indah Tanjung Bintang Lampung Selatan yang berjumlah 20 orang anak usia dini berusia 5 – 6 tahun yang sebelumnya tidak mengenal alat musik gamolan. Penelitian ini menemukan bahwa terdapat dua anak yang tergolong memiliki kemampuan audiasi dan 18 anak yang berkemampuan imitasi dari 20 orang subjek yang dibagi dalam dua kelompok yaitu 10 pemain gamolan pembawa melodi utama dan 10 pemain rebana sebagai pembawa iringan musik gamolan.Kata kunci: Audiasi, Imitasi, Gamolan, Lampung  AbstractThis study aims to determine children's audiation and imitation talents in playing traditional gamolan instruments from Lampung. Audition is an integral part of talent and musical ability achievement. Audiation is a naturally occurring musical talent. Imitation is an act of imitation which is the first step in developing hearing potential through others. This study used the pre-experimental method, conducted for ten five-week meetings with a pattern of twice a week. The subjects of this study were 20 students at the Assyafi'iyah Jati Indah Tanjung Bintang Kindergarten, South Lampung, totaling 20 early childhood children aged 5-6 years who were previously unfamiliar with gamolan musical instruments. Twenty subjects were divided into two groups: ten gamolan players as carriers of the main melody and ten rebana tambourine players as carriers of gamolan music accompaniment. This study found that two children had the audiation ability, and 18 children had the imitation ability.Keywords: Audiation, Imitation, Gamolan instruments, Lampung  Institut Seni Indonesia Yogyakarta 2023-07-07 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/9548 10.24821/ekp.v12i1.9548 Ekspresi; Vol 12, No 1 (2023) 2964-5921 1411-4305 10.24821/ekp.v12i1 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/9548/3215 Copyright (c) 2023 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/13447 2025-01-13T07:17:35Z ekspresi:ART

Penggunaan Found Objects sebagai Media Pembelajaran Musik Kelas XII di SMAN 1 Unggulan Muara Enim Tamba, Lasti Yuliana AbstrakPenelitian ini bertujuan untuk meneliti proses dan juga hasil dari penggunaan found objects sebagai media pembelajaran musik. Keterbatasan fasilitas instrumen musik dan kurangnya SDM yang berlatar belakang musik, membuat pembelajaran musik di SMAN 1 Unggulan Muara Enim sedikit terhambat. Pemilihan media pembelajaran yang tepat, akan membantu proses belajar mengajar meskipun fasilitas instrumen musik yang dimiliki terbatas. Found objects atau benda-benda di sekitar yang mudah dijangkau, dapat dijadikan sebagai media pembelajaran musik. Pedagogi dijadikan sebagai pendekatan dalam metode pembelajaran untuk mengenal hal-hal baru. Metode yang akan digunakan dalam penelitian ini adalah kualitatif dengan pendekatan studi kasus. Hasil dari penelitian ini menunjukkan bahwa siswa sangat antusias dan bersemangat selama proses pembelajaran, sangat tertarik pada saat belajar, mampu bekerjasama dan berinteraksi dengan teman sekelompok, serta mengikuti proses belajar mengajar dengan baik. Penggunaan found objects sebagai media pembelajaran, dapat mengasah kreativitas siswa. Siswa kelas XII di SMAN 1 Unggulan Muara Enim sudah mampu mengaplikasikan benda-benda sekitar (found objects) pada pembelajaran. Kata kunci: Media pembelajaran; pedagogi; found objects  AbstractPurpose of this research is to study the process and result of using found objects as a media for music learning. The limitedness of music instrument facility and lack of human resource with music background, make music lessons in SMAN 1 Unggulan Muara Enim little overdue. The right choses of learning media, will help learning and teaching process even though the music instrument facility owned is limitedness. Found object or goods in surround that can easy to reach, can be a music learning media. Pedagogy uses as approach in learning method to recognizing new things. This research uses qualitative method with case studies approach. The result of this research show that student are enthusiastic and excited during learning process, very interesting at the time of learning, could afford to work together and interact with friends in team, and also follow the learning and teaching process well. Found object uses as a learning media, can sharpening students creativity. 3th grade students in SMAN 1 Unggulan Muara Enim already capable to apply goods in surround (found object) for learning.  Keywords: Learning method, pedagogy, found objects Institut Seni Indonesia Yogyakarta 2024-04-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/13447 10.24821/ekp.v13i1.13447 Ekspresi; Vol 13, No 1 (2024) 2964-5921 1411-4305 10.24821/ekp.v13i1 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/13447/3772 Copyright (c) 2024 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/7852 2022-09-12T10:38:47Z ekspresi:ART

Bentuk, Gaya, dan Makna Akting dalam Film Opera Jawa Sutradara Garin Nugroho Novianto, Wahyu The Forms, Style, and Meanings of Acting in Opera Jawa. This research is qualitative research that intends to understand the structure and form. And action style, and also the meaning of action as a system of sign in a motion picture entitled ‘Opera Jawa’. The answers to the three issues above are found by employing the approach of form and acting style and also theatre semiotics. Theatre semiotics is used to examine the meaning of the acting sign system which is held by the protagonist and antagonist figure. The theatre semiotics approach used is the version of Tedeuksz Kowzan. Kowzan divides the segmentation of the theatre sign system into 13, but this research only focuses on 8 of it. The results of this study are first, the theme of Opera Jawa is violence; second, the protagonist and antagonist characters are always in a paradoxical relationship; third, the plot consists of three round structures. The acting in Opera Jawa is in form of opera acting. It is a transformation form from the realist acting to the symbolic one. Opera Jawa functions as the life guidance to appreciate, respect, and tolerate others.  Keywords: Acting, semiotics, form, style, Javanese opera Institut Seni Indonesia Yogyakarta 2022-08-21 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/7852 10.24821/ekp.v10i1.7852 Ekspresi; Vol 10, No 1 (2010) 2964-5921 1411-4305 10.24821/ekp.v10i1 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/7852/2738 Copyright (c) 2022 EKSPRESI

oai:ojs.journal.isi.ac.id:article/12344 2024-02-22T09:19:13Z ekspresi:ART

Revitalisasi Seni Pertunjukan Rakyat Kethoprak di Yogyakarta Wibono, Joanes Catur Kethoprak revitalization in Yogyakarta. This writing scrutinize kethoprak as one of the performing art varieties that develops along with the age transformation. It is because of its devotees ensure the kethoprak revitalization process to take place. The process is carried out both textually and contextually. The revitalization is not merely done by repeating the show as an action to perpetuate the tradition but also covers undertaking the efforts to improve and to renew it, in its textual as well as contextual aspects, to fulfill the existing demand. Keywords: kethoprak, revitalization, textual, contextual Institut Seni Indonesia Yogyakarta 2024-02-22 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/12344 10.24821/ekp.v10i2.12344 Ekspresi; Vol 10, No 2 (2010) 2964-5921 1411-4305 10.24821/ekp.v10i2 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/12344/3562 Copyright (c) 2024 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/17514 2026-01-23T12:41:44Z ekspresi:ART

Interpretasi Hening Sesanti Niskala sebagai Janturan menjadi Karya Musik Asmoro, Panji Probo Aji, Ananto Sabdo Nastiti, Dian AbstrakHening Sesanti Niskala adalah komposisi musik yang terinspirasi dari kedalaman makna filosofis janturan. Karya ini bertujuan merepresentasikan substansi janturan secara musikal sebagai pesan spiritual. Konsep karya dibangun atas tiga elemen: Hening (ketenangan), Sesanti (doa), dan Niskala (keselamatan), yang dimaknai sebagai kekhusukan manusia saat berdoa kepada Tuhan. Metode penciptaan meliputi tiga tahapan utama: persiapan, observasi, dan tafsir garap yang melibatkan eksplorasi bunyi serta teknik instrumen. Karya ini diharapkan menjadi referensi alternatif dalam metode penciptaan musik baru, khususnya bagi akademisi karawitan. Kata kunci: Janturan, Suasana Musikal, Doa, Makna, dan Eksplorasi AbstractInterpreting Hening Sesanti Niskala as Janturan into a Musical Composition. Hening Sesanti Niskala is a musical composition inspired by the profound philosophical meaning of janturan. This work aims to represent the substance of janturan musically as a spiritual message. The concept is built upon three elements: Hening (stillness), Sesanti (prayer), and Niskala (salvation), which are interpreted as the solemnity of human devotion to God. The creation method comprises three main stages: preparation, observation, and tafsir garap (musical interpretation), involving the exploration of sounds and instrumental techniques. This work is expected to serve as an alternative reference for new music creation methods, particularly for Karawitan scholars. Keywords: Janturan, Musical Atmosphere, Prayer, Meaning, and Exploration Institut Seni Indonesia Yogyakarta 2025-12-05 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/17514 10.24821/ekspresi.v14i2.17514 Ekspresi; Vol 14, No 2 (2025) 2964-5921 1411-4305 10.24821/ekspresi.v14i2 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/17514/4531 Copyright (c) 2025 Ekspresi

oai:ojs.journal.isi.ac.id:article/7116 2022-12-12T07:33:50Z ekspresi:ART

Pengelolaan Organisasi Saraswati Drum Corps Institut Seni Indonesia Yogyakarta Ditinjau dari Fungsi Manajemen Narselina, Puput Meinis AbstrakManajemen sumber daya manusia (SDM) merupakan hal yang sangat penting dalam mempertahankan keutuhan dan jalannya sebuah organisasi. Organisasi voluntir seperti unit kegiatan mahasiswa marching band yang membutuhkan banyak anggota tentunya memerlukan pengelolaan SDM yang khusus pula. Penelitian ini hendak mendeskripsikan fungsi manajemen organisasi pada organisasi unit kegiatan mahasiswa (UKM) Saraswati Drum Corps Institut Seni Indonesia Yogyakarta. Fungsi manajemen yang digunakan untuk menjelaskan pengelolaan organisasi ini menggunakan teori manajemen Hill dan McShane (2008). Penelitian ini menggunakan pendekatan kualitatif deskriptif. Data diperoleh melalui wawancara serta dokumen UKM Saraswati Drum Corps. Penelitian ini menunjukkan bahwa UKM Saraswati Drum Corps berusaha menerapkan fungsi manajemen organisasi dengan baik yang utamanya adalah untuk mempertahankan jumlah anggota dan tetap berjalannya kegiatan organisasi. Setiap unit atau divisi dalam organisasi memiliki fungsi dan peran yang sangat penting demi berjalannya organisasi. Setiap anggota dapat memberikan ide dan saran sesuai fungsi dan posisinya untuk mengembangkan program kegiatan maupun keorganisasian. Kata kunci: Fungsi Manajemen, Organisasi Seni Pertunjukan, Saraswati Drum Corps  AbstractHuman resource management (HRM) is essential in maintaining the integrity and running of an organization. Volunteer organizations such as the student marching band require many members require human resource management as well. This study aims to describe the function of organizational management in the Saraswati Drum Corps student organization, in the Indonesian Institute of the Arts, Yogyakarta. The management function used to explain this organization uses the management theory of Hill and McShane (2008). This study uses a descriptive qualitative approach. The data were obtained through interviews and documents from the Saraswati Drum Corps. This study shows that the Saraswati Drum Corps UKM is trying to implement the organizational management function properly, which is primarily to maintain the members and keep the organization's activities running. Each unit or division within the organization has a critical function and role in the organization. Each member can provide ideas and suggestions according to their function and position to develop program activities and for the organizations as a whole. Keywords: Management Function, Performing Arts Organization, Saraswati Drum Corps Institut Seni Indonesia Yogyakarta 2022-08-12 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/7116 10.24821/ekp.v11i1.7116 Ekspresi; Vol 11, No 1 (2022) 2964-5921 1411-4305 10.24821/ekp.v1i11 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/7116/2705 Copyright (c) 2022 EKSPRESI

oai:ojs.journal.isi.ac.id:article/11517 2024-02-18T14:43:38Z ekspresi:ART

Perspektif Estetika Timur terhadap Ritual Rambu Solo’ Suku Toraja Bonggaminanga, Putri Isydora AbstrakPerspektif estetika digunakan sebagai cara pandang untuk memahami keindahan dan seni. Ritual Rambu Solo adalah bagian dari warisan budaya dan seni yang dijaga secara turun-temurun oleh masyarakat suku Toraja. Artikel ini bertujuan untuk mengeksplorasi serta memahami keindahan dan seni dalam ritual Rambu Solo Suku Toraja dari sudut pandang estetika Timur. Metode penelitian yang digunakan adalah penelitian kepustakaan, dengan penggunaan data dari riset pustaka tanpa memerlukan pengumpulan data lapangan, dan menerapkan teknik analisis untuk mendapatkan data yang valid. Penelitian ini mengusung tiga perspektif estetika Timur, yaitu Cina, Jepang, dan India. Hasil penelitian menunjukkan kesamaan dalam perspektif estetika dari Cina, Jepang, dan India dalam mengakui hubungan penting antara manusia dan alam, serta nilai spiritualitas dalam upacara pemakaman Rambu Solo Suku Toraja. Ritual ini melibatkan rangkaian upacara yang kompleks untuk menghormati orang yang telah meninggal. Penggunaan seni, tarian, musik, dan simbolisme alamiah dalam ritual ini menggambarkan penghargaan terhadap alam dan kesinambungan spiritual. Kata kunci: perspektif, estetika timur, ritual rambu solo, suku toraja.  AbstractIn the field of aesthetics, perspective is used to understand beauty and art. The Rambu Solo ritual is one of the cultural and artistic traditions passed down through generations among the Toraja people. This article aims to explore and comprehend the beauty and artistry of the Rambu Solo ritual of the Toraja people from the perspective of Eastern aesthetics. The research methodology employed is a literature review method, utilizing existing scholarly works without requiring field research, and relying on analytical techniques to ensure the validity of the data obtained. This study presents three Eastern aesthetic perspectives: namely, Chinese, Japanese, and Hindu. The research findings provide an understanding that the aesthetic perspectives from China, Japan, and India share a common recognition of the significance of the relationship between humans and nature, as well as the spiritual value within the Rambu Solo funeral ceremony of the Toraja people. This ritual involves a series of intricate ceremonies to honor the deceased. This ritual's utilization of art, dance, music, and natural symbolism signifies reverence for nature and spiritual continuity. Institut Seni Indonesia Yogyakarta 2023-12-13 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/11517 10.24821/ekp.v12i2.11517 Ekspresi; Vol 12, No 2 (2023) 2964-5921 1411-4305 10.24821/ekp.v12i2 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/11517/3541 Copyright (c) 2023 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/15865 2025-07-22T18:25:41Z ekspresi:ART

Karakteristik Demografis dan Psikografis Audiens Musik Klasik Jakarta City Philharmonic Orchestra Nurmusabih, Nandya Abror AbstrakArtikel ini memberikan identifikasi dan penjelasan mengenai karakteristik demografis dan psikografis penonton, serta motivasi yang mempengaruhi kehadiran mereka dalam sebuah pertunjukan musik. Dengan menggunakan pendekatan kuantitatif deskriptif, penelitian ini melibatkan 600 responden yang datanya diambil pada pertunjukan Jakarta City Philharmonic Orchestra. Hasil penelitian menunjukkan bahwa mayoritas penonton adalah perempuan dengan presentase 61%, dengan profesi dominan sebagai karyawan perusahaan swasta dengan presentase 36% dan rerata pengeluaran bulanan antara 3-5,9 juta dengan presentase 35%. Sebagian besar responden berstatus lajang dengan presentase 86% dan memiliki pendidikan terakhir sarjana (S1) dengan presentase 59%. Motivasi utama penonton untuk hadir adalah untuk relaksasi dan hiburan, diikuti oleh keinginan untuk memperoleh wawasan baru tentang seni. Analisis tabulasi silang mengungkapkan bahwa perempuan lebih banyak hadir dibandingkan laki-laki dengan presentase 61% dan 39%, dan penonton lajang cenderung lebih sering menghadiri pertunjukan dengan presentase 86%. Penelitian ini juga mengidentifikasi empat segmen penonton berdasarkan gaya hidup, yaitu "penikmat", "wanita aspirasional", "sarjana milenial", dan "lajang berjiwa seni". Hasil kajian dapat memberikan rujukan bagi pengelola seni dalam merancang strategi pemasaran yang lebih efektif dan menarik bagi penonton musik orkestra.Kata kunci:  audiens, Jakarta City Philharmonic Orchestra, musik orkestra, segmentasi penonton AbstractDemographic and Psychographic Characteristics of the Jakarta City Philharmonic Orchestra's Classical Music Audience. This article identifies and explains the demographic and psychographic characteristics of concert attendees, as well as the motivations influencing their presence at a musical performance. Utilizing a descriptive quantitative approach, the study surveyed 600 respondents whose data were collected during a Jakarta City Philharmonic Orchestra concert. The findings reveal that the majority of attendees were female (61%), predominantly employed in private sector companies (36%), with average monthly expenditures ranging between 3 to 5.9 million IDR (35%). Most respondents were single (86%) and held an undergraduate degree (59%). The primary motivation for attendance was relaxation and entertainment, followed by a desire to gain new insights into the arts. Cross-tabulation analysis indicates that women attended in greater numbers than men (61% vs. 39%), and single individuals were more likely to participate in performances (86%). The study further categorizes the audience into four lifestyle-based segments: “enthusiasts,” “aspirational women,” “millennial graduates,” and “arts-spirited singles.” These findings offer valuable insights for arts organizers in designing more effective and appealing marketing strategies targeted toward orchestral music audiences. Keywords: audience, Jakarta City Philharmonic Orchestra, orchestral music, audience segmentation Institut Seni Indonesia Yogyakarta 2025-07-09 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/15865 10.24821/ekspresi.v14i1.15865 Ekspresi; Vol 14, No 1 (2025) 2964-5921 1411-4305 10.24821/ekspresi.v14i1 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/15865/4363 Copyright (c) 2025 Ekspresi

oai:ojs.journal.isi.ac.id:article/436 2022-08-21T07:21:20Z ekspresi:ART

Perempuan dalam Erotisme Seni Murni nurdjati, nunung Women in Fine Art Eroticism. For the writer, pornography and eroticism in art are two very difference issues depending on the artists driving force and viewpoint. Painting is a personal expression that does not have to be associated with any interest. Exhibition is an effort to communicate the works of art to the public. In the event, the art devotees comprehend, evaluate, and relish them. A problem arises when some people regard erotic paintings as pornographic, valueless paintings whereas some others consider them acceptable works of art. The different opinion is caused by the quality of each individual perception. How somebody judges an art piece is very much rests on his thinking framework. Human perception is influenced by the accumulation of shape perception that believed to be mental attitude of each individual Keywords: Pornography, erotism, painting, personal expression. Institut Seni Indonesia Yogyakarta 2013-10-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article https://journal.isi.ac.id/index.php/ekspresi/article/view/436 10.24821/ekp.v0i0.436 Ekspresi; Vol 9, No 1 (2009) 2964-5921 1411-4305 10.24821/ekp.v0i0 en

oai:ojs.journal.isi.ac.id:article/13450 2024-12-09T08:09:53Z ekspresi:ART

Eksperimentasi Penggunaan Kayu Mangga sebagai Inovasi Alternatif Pengganti Kayu Maple dalam Pembuatan Violin Alam, Ghoni Maulana Wirayudha, Asep Hidayat Latif, Bakhrudin Penelitian ini merupakan upaya eksplorasi yang mendalam terhadap proses pembuatan biola menggunakan kayu mangga dengan desain model Stradivarius tahun 1703, serta analisis terperinci terhadap karakteristik akustik yang dihasilkan. Penelitian ini menggunakan pendekatan eksperimental untuk menguji kelayakan kayu mangga sebagai bahan dasar violin, menggantikan kayu maple, yang tidak tersedia secara luas di Indonesia. Model yang digunakan adalah Violin model Stradivarius tahun 1703. Hasil penelitian menunjukkan bahwa kayu mangga dapat dianggap sebagai alternatif yang potensial untuk bahan pembuatan biola, meskipun terdapat perbedaan signifikan dibandingkan dengan biola yang menggunakan kayu maple. Uji frekuensi resonansi dan analisis kekerasan suara menunjukkan bahwa biola dari kayu mangga mampu menghasilkan suara yang mampu bersaing, namun masih memerlukan pengembangan lebih lanjut untuk meningkatkan stabilitas harmonik dan respons frekuensi tinggi. Secara keseluruhan, penelitian ini memberikan saran bahwa dengan penyesuaian teknik konstruksi yang tepat, potensi kayu mangga sebagai bahan baku untuk pembuatan biola bisa dioptimalkan. Temuan ini tidak hanya memberikan wawasan baru dalam bidang pembuatan alat musik tradisional, tetapi juga mengilustrasikan pentingnya eksplorasi bahan baku alternatif dalam konteks modern yang mengutamakan keberlanjutan dan ketersediaan bahan.Kata kunci: Violin, kayu mangga, frekuensi, eksperimentasi AbstractExperimental Use of Mango Wood as an Alternative Innovation to Maple Wood in Violin Construction. This study presents an in-depth exploration of the process of constructing violins using mango wood, modeled on the 1703 Stradivarius design, along with a detailed analysis of the resulting acoustic characteristics. An experimental approach was adopted to assess the viability of mango wood as a primary material in violin production, substituting the traditionally used maple wood, which is not widely available in Indonesia. The model applied was a 1703 Stradivarius-style violin. Findings indicate that mango wood has potential as an alternative material for violin making, although notable differences were observed when compared to violins crafted with maple wood. Resonance frequency tests and sound hardness analyses revealed that mango wood violins can produce competitive sound quality, yet further refinements are necessary to enhance harmonic stability and high-frequency response. Overall, this study suggests that with appropriate construction technique adjustments, the potential of mango wood as a violin-making material could be maximized. These findings not only provide new insights into traditional musical instrument manufacturing but also underscore the importance of exploring alternative materials in a modern context that prioritizes sustainability and material availability.Keywords: violin, manggo wood, frequency, experimentation Institut Seni Indonesia Yogyakarta 2024-11-21 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/13450 10.24821/ekp.v13i2.13450 Ekspresi; Vol 13, No 2 (2024) 2964-5921 1411-4305 10.24821/ekp.v13i2 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/13450/3955 https://journal.isi.ac.id/index.php/ekspresi/article/downloadSuppFile/13450/2155 Copyright (c) 2024 EKSPRESI: Indonesian Art Journal

oai:ojs.journal.isi.ac.id:article/8978 2023-07-07T16:41:15Z ekspresi:ART

Strategi Pembelajaran Ansambel Musik “AMARI Jogja” di Masa Pandemi Covid-19 Hanan, Athaya Nurinta, Bunga Arrum Kurniawan, Timothy Sidik AbstrakAnsambel Musik Anak dan Remaja Indonesia atau biasa disebut AMARI Jogja adalah sebuah wadah bagi anak-anak dan remaja untuk bermain musik bersama-sama dalam sebuah ansambel yang diformat dalam bentuk orkestra maupun semi orkestra. Pada masa awal pandemi, AMARI Jogja sempat vakum yang diakibatkan oleh adanya kebijakan Pembatasan Sosial Berskala Besar (PSBB). Penelitian ini bertujuan untuk mengetahui proses latihan dan strategi pembelajaran yang digunakan oleh AMARI Jogja di saat pandemi. Data penelitian diperoleh melalui metode studi pustaka, observasi, wawancara, dan studi dokumentasi. Hasil penelitian menunjukkan bahwa telah terjadi perubahan pembelajaran selama Pandemi Covid-19. Setelah mulai berproses latihan kembali, AMARI Jogja menerapkan strategi belajar campuran dengan menggunakan pembagian video latihan melalui Aplikasi Whatsapp sehingga saat latihan tatap muka masing-masing anggota sudah mengenal materi. AMARI Jogja mulai bangkit kembali dengan aktif membuat acara dan pembukaan penerimaan anggota baru. Penelitian ini diharapkan dapat berkontribusi pada pengembangan strategi dan metode pembelajaran khususnya dalam bidang ansambel musik.Kata kunci: strategi pembelajaran, ansambel musik, Pandemi Covid-19, AMARI Jogja AbstractAnsambel Musik Anak dan Remaja Indonesia, commonly called AMARI Jogja, is a place for children and youth to play music together in an ensemble formatted in the form of an orchestra or a semi-orchestra. In the early days of the pandemic, AMARI Jogja had a vacuum caused by the Large-Scale Social Restrictions (PSBB) policy. This study aims to determine the training process and learning strategies used by AMARI Jogja during a pandemic. The research data was obtained through the methods of literature study, observation, interviews, and documentation studies. The results of the study show that there has been a change in learning during the Covid-19 Pandemic. After starting the rehearsal process, AMARI Jogja implemented a blended learning strategy by sharing training videos via the Whatsapp Application so that each member was familiar with the material during face-to-face practice. AMARI Jogja is starting to revive by actively organizing events and opening new members. This research is expected to contribute to the development of learning strategies and methods, especially in the field of musical ensembles.Keywords: learning strategies, ensemble music, Covid-19 Pandemic, AMARI Jogja Institut Seni Indonesia Yogyakarta 2022-10-31 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/ekspresi/article/view/8978 10.24821/ekp.v11i2.8978 Ekspresi; Vol 11, No 2 (2022) 2964-5921 1411-4305 10.24821/ekp.v11i2 eng https://journal.isi.ac.id/index.php/ekspresi/article/view/8978/3017 Copyright (c) 2022 EKSPRESI: Indonesian Art Journal d0590ab78b753f2021ab8fcc98a65dc8