2026-04-05T07:15:45Z https://journal.isi.ac.id/index.php/index/oai

oai:ojs.journal.isi.ac.id:article/502 2019-12-04T05:23:18Z resital:ART

Ande-Ande Lumut: Adaptasi Folklor ke Teater Epik Brecht Hari Wibowo, Philipus Nugroho Karya ini mengadaptasi folklor “Ande-Ande Lumut” sebagai ide dasar penciptaannya. Folklor ini dituangkan dalam pementasan teater berjudul “Kemuning”. Folklor “Ande-Ande Lumut” merupakan turunan dari cerita Panji yang menceritakan pengembaraan Raden Panji mencari Putri Candrakirana. Cerita Panji tidak hanya dikenal di Indonesia, tetapi dikenal hingga Asia Tenggara dan Jepang. Perkembangan teori adaptasi begitu pesat, apapun kini bisa dijadikan obyek adaptasi, puisi, novel, drama panggung, lukisan, tarian, dan video games. “Kemuning” ini dikemas dengan konsep pemanggungan teater epik Brecht. Hal ini merupakan suatu upaya mencari bentuk baru (pembacaan) dalam cerita “Ande-Ande Lumut”. Teater Epik menolak salah satu unsur utama dari drama Aristotelesyang telah dikembangkan dengan metode Stanislavsky, yaitu harus adanya empati (rasa ikut mengalami) dalam sebuah pementasan. Menurut Brecht proses ini telah menyebabkan suatu akibat yang mestinya dihindari, karena mengakibatkan sikap pasif dalam diri penonton. Maka ia membuat teori tentang menghancurkan ilusi, cara interupsi, dan tetap mengontrol emosi. Brecht identik dengan tema-tema sosial dalam karyanya. khususnya tema yang mengangkat nasib orang kecil yang harus menderita karena kebijakan penguasa. Biasanya kisahnya seputar persoalan buruh dan majikan. Pementasan “Kemuning” ini mengangkat kehidupan para pelacur yang masih identik dengan hal-hal negatif. Padahal mereka dibutuhkan dalam masyarakat. Tapi kadang kala mereka menjadi kambing hitam yang harus selalu disalahkan. Secara tersirat pementasan ini bertujuan memperjuangkan kehidupan para pelacur. Penonton diajak melihat sudut pandang yang lain tentang kehidupan pelacur yang selama ini dianggap buruk oleh masyarakat. Menurut Brecht teater yang baik dan yang dituntut dalam jaman moderen adalah teateryang dapat menggugah aktifi tas berfi kir yang kritis pada diri penonton. Maka pentas ini diharapkan mendorong para penikmat seni untuk melahirkan penafsiran yang penuh dengan kesadaran terhadap lingkungan sosial dan bisamenimbulkan suatu gerakan atau perubahan pada masyarakat.Kata kunci: Folklor, Ande-Ande Lumut, Adaptasi, dan Teater Epik BrechtABSTRACTAnde-Ande Lumut: The Adaptation of Folklore to the Epic Theater of Brecht. This theatrical work is adaptedfrom a popular folklore entitled Ande-Ande Lumut that is as a basic idea of its work. This folklore is performed in theatricalperformance entitled Kemuning. Ande-Ande Lumut is a story derived from the story of Panji which tells us about PrincePanji’s journey to look for Princess Candrakirana. This story is not only popular in Indonesia but also in South East Asiaand Japan. The adaptation theory is developing well; everything can be used as an adaptation object, poems, novels, dramas, paintings, dances, and video games. Kemuning is performed by the performing concept of Brecht’s epic theater. However, this is an effort to fi nd out the new form of reading in Ande-Ande Lumut story. The epic theater against one of the main elements in Aristotle’s drama that has been developed by Stanislavsky’s method; there should be an empathy in every aspect of performance. According to Brecht, this process has caused an effect which should be avoided because it brings audience’s passive attitude. Therefore, he tried to make a theory of destroying the illusion, of interrupting method, and of controlling emotion. Brecht’s identical works focus on the social themes, especially on the themes that show the poor people who are suffering from the authority’s policy. The common problems between the master and its worker are refl ected on hisstory. The Kemuning performance has tried to show the prostitutes’ life that is closed to any negative things. In fact, they are still being needed by the society. Unfortunately, sometimes they become the source of scapegoats to any troubles and are always blamed to. Implicitly, this performance is aimed to fi ght for the prostitutes’ life. The audience is invited to see the other points of view about their life that are often regarded as negative by the people. Moreover, Brecht said that a good and demanded theater in this modern era is a theater that can arouse the audience’s critical thinking activities. Therefore, this performance is supposed to be able to motivate the arts lovers in producing a critical analysis to any social awareness and in creating a new movement to any signifi cant changes in society.Keywords: Folklore, Ande-Ande Lumut, Adaptation, and Brecht’ Epic Theater Institut Seni Indonesia Yogyakarta ISI Yogyakarta 2012-06-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/502 10.24821/resital.v13i1.502 Resital: Jurnal Seni Pertunjukan; Vol 13, No 1 (2012): Juni 2012 2338-6770 2085-9910 10.24821/resital.v13i1 eng https://journal.isi.ac.id/index.php/resital/article/view/502/96

oai:ojs.journal.isi.ac.id:article/4696 2021-12-21T15:46:53Z resital:ART

Perancangan Aransemen Lagu Suwe Ora Jamu dan Cublak-Cublak Suweng Ditinjau Dari Perspektif Ilmu Harmoni Dasar Kaestri, Veronica Yoni Perancangan; Aransemen; Harmoni Aransemen musik merupakan suatu kreatifitas seorang arranger untuk mengekspresikan ide kreatifnya yang dituangkan dalam sebuah lagu, dimana tidak mengubah bentuk lagu aslinya. Sebagai arranger harus menguasai teori musik yang didalamnya terdapat ritme, melodi dan harmoni. Dalam pembuatan aransemen harus melihat siapakah yang akan memainkan aransemen, tingkat kemampuan pemain, ambitus suara, dan ciri khas nuansa lagu misalnya dalam lagu tradisional. Pembuatan aransemen ini merupakan suatu kreatifitas musisi untuk menuangkan ide-idenya. Metode yang digunakan adalah metode eksperimen dan mengacu pada penelitian kualitatif dengan observasi ke sanggar Notoyudan untuk mengetahui kemampuan anak-anak sanggar dalam memainkan instrumen, pengumpulan data baik di lapangan maupun study pustaka dan wawancara dengan pendidik ataupun anak-anak sanggar. Sue ora jamu dan Cublak-cublak suweng merupakan lagu tradisional permainan anak-anak berasal dari Jawa tengah, dengan menggunakan tangga nada pentatonis. Perancangan aransemen ini ditujukan untuk mahasiswa yang sedang mengikuti mata kuliah PKL, dikarenakan di luar kampus sangat banyak permintaan masyarakat umum untuk mengaransemen lagu tradisional. Mahasiswa musik harus siap untuk terjun ke masyarakat untuk membuat aransemen dalam bentuk apapun, dengan maksud tidak hanya menggunakan tangga nada diatonis tetapi juga berlatih membuat aransemen dalam tangga nada pentatonis. Hasil dari aransemen ini dimainkan oleh anak-anak sanggar Notoyudan pada saat pementasan. Ilmu harmoni dasar dipergunakan untuk pembuatan perancangan aransemen dan variasi melodi dengan kreativitas ide musikal. Hasil penelitian adalah aransemen dengan penggunaan akor-akor pokok yaitu I, IV dan V, dan dimainkan dalam tangganada A Mayor. Dengan adanya variasi akor-akor harmoni dan variasi penempatan nada dari pecahan akor sesuai dalam penempatannya akan menghasilkan suatu aransemen bernuansa tradisional. Institut Seni Indonesia Yogyakarta 2021-04-23 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/4696 10.24821/resital.v22i1.4696 Resital: Jurnal Seni Pertunjukan; Vol 22, No 1 (2021): April 2021; 36-47 2338-6770 2085-9910 10.24821/resital.v22i1 eng https://journal.isi.ac.id/index.php/resital/article/view/4696/2333

oai:ojs.journal.isi.ac.id:article/849 2023-10-15T14:39:13Z resital:ART

Musik Internal dan Eksternal dalam Kesenian Randai Rustiyanti, Sri musik internal, musik eksternal, Randai, Minangkabau, internal music, external music, Randai, Minangkabau Kehidupan musik pada masyarakat Minangkabau tidak terlepas adanya peranan serta fungsi yang melekat pada kesenian Randai. Melalui pendekatan etnomusikologi, tulisan ini menelaah peranan musik internal dan eksternal dalam kesenian Randai. Kesenian ini menggunakan medium seni ganda atau kolektif karena didukung oleh beberapa cabang seni antara lain tari, musik, teater, sastra, dan rupa. Hasil penelitian menunjukkan bahwa musik iringan dalam Randai terbagi menjadi dua, yaitu musik internal dan musik eksternal. Musik internal adalah musik atau bunyi-bunyian yang berasal dari anggota tubuh manusia (penari), misalnya tepukan tangan, petik jari, tepuk dada, siulan, hentakan kaki ke tanah dan sebagainya, sedangkan musik eksternal adalah bunyi-bunyian atau suara yang berasal dari alat musik atau instrumen seperti talempong, gandang, saluang, dan rabab. The Role of Internal and External Music in the Arts of Randai. The musical life in Minangkabau society is inseparable from its roles and functions which attach to the arts of Randai. Through the ethnomusicology approach, this paper examines the role of internal and external music in the art of Randai. Considering its sustainability and amendment, the musicality is the identity of Minangkabau society so that the sustainability of the music can be run in accordance with the dynamics of society today. Among the types of arts in Minangkabau, Randai is an art form that uses multiple or collective art medium for it is supported by several branches of the arts, including dance, music, theater arts, literary arts, and fine arts. The results of this study is more focused on the art of music. Musical accompaniment in Randai is divided into two, namely internal and external music. The internal music is the music or the sounds that come from the human body (a dancer), for example, clapping, finger picking, patting the chest, whistling, stomping on the ground, and so on, while the external music is the sounds emanating from the tools of music or instruments, such as talempong, gandang, saluang, and rabab. Institut Seni Indonesia Yogyakarta 2014-12-15 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/849 10.24821/resital.v15i2.849 Resital: Jurnal Seni Pertunjukan; Vol 15, No 2 (2014): Desember 2014; 152-162 2338-6770 2085-9910 10.24821/resital.v15i2 eng https://journal.isi.ac.id/index.php/resital/article/view/849/165

oai:ojs.journal.isi.ac.id:article/7408 2022-12-17T01:51:03Z resital:ART

Membaca Praktik Musik Mamanda Kutai Lewat Ekosistem Musikal Vivian, Yofi Irvan Putra, Bayu Arsiadhi Kuncara, Singgih Daru Max, Jonathan Irene Sartika Dewi Mamanda Kutai Music; Mamanda Panji Berseri; Preservation; Musical Ecosystem ABSTRACT Mamanda Kutai (Ladon) music is a crucial aspect of Mamanda Kutai's performance. This is because, without the music, Mamanda Kutai is just an ordinary drama. Mamanda is a show originating from South Kalimantan. Mamanda arrived in East Kalimantan because Kutai was one of the areas controlled by the Banjarmasin Sultanate. The heyday of Mamanda Kutai occurred when this art was performed regularly by Kutainese society (not only in the Kutai Kartanegara Ing Maradipura Sultanate as the Karesmenan Aji). In its heyday, every village in Kutai Kartanegara had Mamanda Kutai group. Nowadays, there is only one group left, namely Mamanda Panji Berseri. This study aims to find out how to preserve Mamanda Kutai music by the Mamanda performer and the government. This study used a descriptive analysis method by collecting several sources of text and interview. The sustainability of Mamanda Kutai has degenerated in terms of the existing group’s quantity. This is due to the lack of preservation of the Mamanda Kutai musical ecosystem. Some of the challenges faced by Mamanda Kutai are (1) the lack of teachers with cultural literacy; (2) the lack of economic welfare of the Kutai Mamanda performer; (3) the absence of the documentation of this art; and (4) the lack of broadcasting of Mamanda Kutai's performances. ABSTRAK Musik Mamanda Kutai (Ladon) menjadi aspek yang sangat penting pada pertunjukan Mamanda Kutai. Hal ini dikarenakan, tidak adanya Musik Mamanda Kutai maka pertunjukan ini hanya sebagai drama biasa. Mamanda merupakan pertunjukan yang berasal dari Kalimantan Selatan. Mamanda sampai di Kalimantan Timur dikarenakan Kutai menjadi salah satu daerah yang dikuasai Kesultanan Banjarmasin. Masa kejayaan Mamanda Kutai pada saat kesenian ini dipertunjukan di masyarakat (tidak hanya di Kesultanan Kutai Kartanegara Ing Maradipura sebagai Keresmenan Aji). Pada masa kejayaannya, setiap desa di Kutai Kartanegara memiliki kelompok Mamanda Kutai. Pada saat ini hanya tersisa satu kelompok saja, yaitu Mamanda Panji Berseri. Penelitian ini bertujuan untuk mengetahui cara preservasi musik Mamanda Kutai oleh pelaku dan pemerintah. Penelitian ini menggunakan metode deskriptif analisis dengan mengumpulkan beberapa sumber literasi dan data wawancara. Keberlanjutan Mamanda Kutai mengalami kemunduran dilihat dari kuantitas kelompok yang ada. Hal ini disebabkan oleh kurangnya preservasi ekosistem musikal dari Mamanda Kutai. Beberapa tantangan yang dihadapi Mamanda Kutai yaitu (1) kurangnya guru pembawa kebudayaan; (2) kurangnya kesejahteraan ekonomi para pelaku Mamanda Kutai; (3) tidak adanya pengarsipan dari kesenian ini; dan (4) kurangnya penyiaran pertunjukan Mamanda Kutai.  Institut Seni Indonesia Yogyakarta 2022-12-17 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/7408 10.24821/resital.v23i3.7408 Resital: Jurnal Seni Pertunjukan; Vol 23, No 3 (2022): Desember 2022; 181-189 2338-6770 2085-9910 10.24821/resital.v23i3 eng https://journal.isi.ac.id/index.php/resital/article/view/7408/2880 Copyright (c) 2022 Yofi Irvan Vivian, Bayu Arsiadhi Putra, Singgih Daru Kuncara, Jonathan Irene Sartika Dewi Max

oai:ojs.journal.isi.ac.id:article/393 2023-10-15T14:22:09Z resital:ART

Pewarisan Tari Topeng Gaya Dermayon: Studi Kasus Gaya Rasinah Rochmat, Nur ABSTRAK Tulisan ini membahas guru panggung, sebuah proses pewarisan Tari Topeng Gaya Dermayon dari seorang empu kepada muridnya. Proses ini dilakukan oleh Rasinah, empu tari topeng kepada cucunya, bukan kepada anaknya. Penelitian ini menggunakan metode sejarah, yang terdiri dari empat tahap: heuristik, kritik, interpretasi, dan historiografi . Untuk menganalisis ini digunakan teori sistem pewarisan dan teori motivasi. Hasil penelitian menunjukkan bahwa salah satu alasan Rasinah lebih memilih mewariskan kepada cucunya karena cucunya memiliki motivasi yang tinggi untuk menjadi seorang Dalang Topeng. Kata kunci: Pewarisan, Tari Topeng, Gaya Dermayon ABSTRACT Pewarisan Tari Topeng Gaya Dermayon: Studi Kasus Gaya Rasinah. This article discusses the inheritance process of Dermayon Style Mask Dance. In 2008 Rasinah bequeathed Dermayon Style Mask Dance formally to her granddaughter, Aerli. This article analyzes the reasons of the inheritance of Dermayon Style Mask Dance from Rasinah to her granddaughter, not to her own daughter, Wacih. The theories which are applied to analyze the subject are the theory of “Transmission (Inheritance) System” stated by Cavalli-Sforza and Feldman, and the theory of “Motivation” by Abraham H. Maslow, Robert Session Woodworth and Clark Hull. The result of the research shows that one of the reasons that the daughter did not inherit Dermayon Style Mask Dance is due to her lack motivation on being a Mask Dancer (Dalang Topeng). Keywords: inheritance, Dermayon Style Mask Dance Institut Seni Indonesia Yogyakarta 2013-06-24 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/393 10.24821/resital.v14i1.393 Resital: Jurnal Seni Pertunjukan; Vol 14, No 1 (2013): Juni 2013 2338-6770 2085-9910 10.24821/resital.v14i1 eng https://journal.isi.ac.id/index.php/resital/article/view/393/32

oai:ojs.journal.isi.ac.id:article/2225 2018-11-24T12:51:13Z resital:ART

Model Pembelajaran Komposisi Musik Sekolah Melalui Pemanfaatan Perkakas Tangan Sukmayadi, Yudi Purnama, Arif model pembelajaran, komposisi musik sekolah, perkakas tangan Model Pembelajaran Komposisi Musik Sekolah Melalui Pemanfaatan Perkakas Tangan. Artikel ini mendeskripsikan model pembelajaran komposisi musik sekolah dengan memanfaatkan perkakas tangan sebagai media kreativitasnya. Penelitian yang dilakukan di Sekolah Menengah Kejuruan Negeri (SMKN) 12 Bandung ini  mengungkap tentang rancangan, implementasi, dan efektivitas model pembelajaran, serta upaya pencapaian tujuan untuk meningkatkan dan mengembangkan kompetensi musikal siswa. Penelitian ini menggunakan action research. Data dikumpulkan melalui  observasi, wawancara, studi dokumentasi dengan berbasis pada kegiatan eksperimen musik. Hasil penelitian menunjukkan bahwa model pembelajaran komposisi musik sekolah dengan mendayagunakan keunikan sekolah kejuruan yakni penggunaan perkakas tangan sebagai media kreativitas siswa, sangat efektif dan efisien dalam mengembangkan proses pembelajaran seni musik, khususnya dalam membangun dan mengembangkan kompetensi musikal siswa. Institut Seni Indonesia Yogyakarta 2016-12-15 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/2225 10.24821/resital.v17i3.2225 Resital: Jurnal Seni Pertunjukan; Vol 17, No 3 (2016): Desember, 2016; 158-169 2338-6770 2085-9910 10.24821/resital.v17i3 eng https://journal.isi.ac.id/index.php/resital/article/view/2225/721 Copyright (c) 2018 Yudi Sukmayadi, Arif Purnama

oai:ojs.journal.isi.ac.id:article/11716 2025-06-09T15:20:41Z resital:ART

Strategi Konservasi Musik Angklung Masyarakat Kampung Naga di Kota Tasiklamalaya Jawa Barat Muhtar, Sri Wahyuni Sunarmi, Sunarmi Soewarlan, Santosa Angklung, Strategi Konservasi, Kampung Naga. Musik Angklung merupakan salah satu kesenian tradisional khas Kampung Naga di kota Tasikmalaya Jawa Barat yang hingga saat ini masih dilestarikan, pertunjukan alat musik tradisional Angklung dilakukan oleh masyarakat Kampung Naga di berbagai kegiatan. Tujuan penelitian untuk mengungkap kegiatan-kegiatan masyarakat Kampung Naga yang merupakan tindakan nyata pelestarian alat musik tradisional Angklung di era globalisasi saat ini. Bagaimana strategi konservasi musik Angklung yang diterapkan oleh masyarakat Kampung Naga menjadi rumusan masalah penelitian. Teori yang digunakan sebagai pijakan untuk menjawab pertanyaan penelitian adalah teori konservasi oleh Theodore Roosevelt. Penelitian ini menggunakan metode kualitatif dengan teknik pengumpulan data yaitu observasi, wawancara, dokumentasi dan studi literatur. Hasil  penelitian menunjukkan bahwa strategi konservasi musik Angklung yang diterapkan oleh masyarakat Kampung Naga di Tasikmalaya Jawa Barat ada tiga yaitu pertama, melakukan proteksi musik Angklung melalui pengembangan pertunjukan oleh generasi Kampung Naga secara turun temurun, serta penyebaran pertunjukan musik Angklung pada pentas budaya di berbagai wilayah Indonesia. Kedua, upaya negosiasi masyarakat Kampung Naga berupa penerimaan pengunjung domestik maupun mancanegara ke Kampung Naga. Ketiga, peningkatan respon masyarakat Kampung Naga terhadap situasi pariwisata berupa penyediaan jasa pertunjukan musik Angklung khas Kampung Naga bagi para wisatawan. Penelitian ini didanai oleh Beasiswa Pendidikan Indonesia (BPI) Kemendikbudristek Tahun Anggaran 2023. Institut Seni Indonesia Yogyakarta BPI Kemendikbudristek Anggaran Tahun 2023 2024-04-29 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/11716 10.24821/resital.v25i1.11716 Resital: Jurnal Seni Pertunjukan; Vol 25, No 1 (2024): April 2024; 115-131 2338-6770 2085-9910 10.24821/resital.v25i1 eng https://journal.isi.ac.id/index.php/resital/article/view/11716/3768 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/11716/1863

oai:ojs.journal.isi.ac.id:article/470 2019-12-04T05:01:59Z resital:ART

Peranan Radio Republik Indonesia Yogyakarta Dalam Pelestarian Karawitan -, KRISWANTO Uyon-uyon, karawitan, Indonesian Republic Radio The Role of Indonesian Republic Radio of Yogyakarta in Preserving Karawitan. This article discussesthe role of Indonesian Republic Radio (RRI) Yogyakarta in the preservation of karawitan. RRI Yogyakarta –bornthrough MAVRO (1934) and Japan Radio Hosokyoku (1942), offi cially established on September 11, 1945- is aplace for the existence of Uyon uyon Manasuka. Uyon-uyon Manasuka –originally known as Doyo Mardowo– becomesone of the prime shows in RRI Yogyakarta on the struggle of Ki Tjokrowasito who later became the boss. Thecharacteristics of uyon-uyon Manasuka which were different from uyon uyon Hadiluhung Sultan Palace and Uyonuyon Muryoraras Pura Paku Alaman, enrich the cultural treasures of Yogyakarta. Since its birth until now, its existencestill gets its own place for people of Yogyakarta. Even present society is still getting involved directly throughinteractive contacts. Besides uyon-uyon Manasuka, RRI Yogyakarta also facilitates the activities of community-uyonuyon packed in lunch-uyon uyon events Institut Seni Indonesia Yogyakarta Institut Seni Indonesia Yogyakarta 2009-06-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/470 10.24821/resital.v10i1.470 Resital: Jurnal Seni Pertunjukan; Vol 10, No 1 (2009): Juni 2009 2338-6770 2085-9910 10.24821/resital.v10i1 eng https://journal.isi.ac.id/index.php/resital/article/view/470/64

oai:ojs.journal.isi.ac.id:article/3510 2019-12-01T15:35:20Z resital:ART

Memahami Lelangan Beksan Banjaransari melalui Elemen Musikal Karawitan Kusmayati, Hermien Raharja, Raharja Karya tari klasik Pura Pakualaman Yogyakarta diciptakan dengan memasukkan unsur gerak, busana, alur cerita, dan musik pendukung yang sarat makna. Demikian pula dengan Lelangen Beksan Banjaransari yang digali dari Babad Segaluh. Permasalahan timbul pada upaya masyarakat untuk memahami pesan yang termuat dalam karya tari tersebut. Berpijak pada pengamatan yang dilakukan menunjukkan bukti, bahwa masyarakat belum memiliki pengetahuan yang cukup tentang karawitan tari. Tulisan ini mengungkap melalui aspek musikal dan non-musikal yang diperlukan untuk memahami tarian yang dimaksud. Cara tersebut, juga diharapkan dapat dipergunakan sebagai landasan untuk memahami tarian lainnya.Understanding Lelangan Beksan Banjaransari through Karawitan Musical Elements. Classical dance of Pakualaman palace of Yogyakarta was created by incorporating meaningful elements of motion, costume, storyline and music. Likewise with Lelangen Beksan Banjaransari excavated from Babad Segaluh. Problems arise in the community’s efforts to understand the message contained in the dance work. Based on observations shows evidence, that the community does not have enough knowledge about dance music. This paper reveals through the musical and non-musical aspects needed. This method is also expected to be used as a basis to understand other dances.Keywords: dance; Pakualaman; beksan Banjaransari; karawitan Institut Seni Indonesia Yogyakarta 2019-04-09 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/3510 10.24821/resital.v20i1.3510 Resital: Jurnal Seni Pertunjukan; Vol 20, No 1 (2019): April 2019; 24-35 2338-6770 2085-9910 10.24821/resital.v20i1 eng https://journal.isi.ac.id/index.php/resital/article/view/3510/1682

oai:ojs.journal.isi.ac.id:article/17461 2025-12-24T06:26:35Z resital:ART

Expressive Timing and Tempo Variance in Six Landmark Recordings of Villa-Lobos' Etude No. 1: A Sonic Visualizer-Based Computational Analysis Djahwasi, Herry Rizal Sampurno, Muchammad Bayu Tejo Nazeri, Nazimin Sonic visualizer; Villa-Lobos' Etude No. 1; tempo curve; audio analysis In contrast to the extensive research conducted on piano and violin, there have only been two studies focused on classical guitar that utilize computer-based recordings of performers. This study presents a performance recording of Villa-Lobos' Etude No. 1, focusing on the extraction of expressive elements in musical performances through visual audio analysis. which comparing from six important figures on classical guitar performer. The first phase of investigation involves a thorough examination and quantification of the interpretative variances in tempo and intensity attributes among six distinguished classical guitarists' recordings of Villa Lobos' Etude No. 1, employing computer-based sonic visualizer performance analysis tools. The second phase of investigation involves identifying and documenting the unique stylistic patterns inherent in each guitarist's interpretation of Villa Lobos' Etude No. 1. The data performance recording utilized a sonic visualizer to generate a specific tempo curve. The model and parameters of musical expression developed by structured and un-structured musical expressive timing. The variance in tempo and intensity attributes among six virtuoso classical guitarists' recordings of Villa Lobos' Etude No. 1 reveals notable differences in their musical expressive timing. The finding of this study demonstrates the importance of the literature of music performance is equally true in the form of the literature of musical structure and the literature of music history. Institut Seni Indonesia Yogyakarta 2025-12-31 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/17461 10.24821/resital.v26i2.17461 Resital: Jurnal Seni Pertunjukan; Vol 26, No 2 (2025): Agustus 2025; 360-401 2338-6770 2085-9910 10.24821/resital.v26i2 eng https://journal.isi.ac.id/index.php/resital/article/view/17461/4578

oai:ojs.journal.isi.ac.id:article/4462 2021-06-01T10:49:10Z resital:ART

Makna Simbolik Musik Daak Maraaq dan Daak Hudoq dalam Upacara Hudoq Bahau di Samarinda Kalimantan Timur Gunawan, Asril Hudoq ritual; Daak Maraaq; Daak Hudoq; symbolical meaning The Symbolical Meaning Daak Maraaq Music and Daak Hudoq of Hudoq Bahau Ritual in Samarinda, East Borneo. The ritual of Hudoq is an annual cultural practice performed by Dayak Bahau people in the city of Samarinda. The performance of this ritual consists of some phases in which every phase of it represents the symbolical meaning closely related to the value of the ritual. Those phases are (1) Lemivaa Lalii’; (2) Hudoq Taharii’; (3) Lemivaa Tasam; (4) Hudoq Kawit; and (5) Hudoq Pakoq.  Daak Maraaq and Daak Hudoq music and Hudoq dance are performed during the ritual. Daak Maraaq and Daak Hudoq are two different kinds of music, both have a different style of performance, stage of performance, and style of music. Due to its complexity, it becomes especially important to analyze the role of the symbolical meaning of music performed in the ritual of Hudoq. This is a qualitative research within an ethnomusicological approach—music within the cultural perspective—which is done through an analytical descriptive method. The theoretical approach used for this case study is symbolic interpretation and music (transcription) analyses. Despite analyzing the symbolical meaning of Daak Maraaq and Daak Hudoq music, this research is done to provide important information about musical analyses—within the ethnomusicological perspective—of that music. According to the data collected, the ritual of Hudoq has an important role in performing the symbolical meaning of the identical value of ritual, social, and existential meaning for the lives of Dayak Bahau people in Samarinda city, East Borneo. Institut Seni Indonesia Yogyakarta 2021-08-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/4462 10.24821/resital.v21i2.4462 Resital: Jurnal Seni Pertunjukan; Vol 21, No 2 (2020): Agustus 2020; 113-126 2338-6770 2085-9910 10.24821/resital.v21i2 eng https://journal.isi.ac.id/index.php/resital/article/view/4462/2186

oai:ojs.journal.isi.ac.id:article/798 2023-10-15T14:22:50Z resital:ART

Kanca Indihiang sebagai Embrio Kreativitas Mang Koko Satriana, Rasita Haryono, Timbul Hastanto, Sri Kanca Indihiang, wanda anyar, Mang Koko Kanca Indihiang adalah sebuah grup yang dibentuk oleh Mang Koko tahun 1946, yang termasukpada genre seni Jenaka Sunda, yakni seni pertunjukan dengan format seni humor. Kreativitas MangKoko dalam melakukan berbagai inovasi garap, membuat grup Kanca Indihiang sangat berbeda denganseni Jenaka Sunda pada umumnya. Nama Mang Koko terkenal sebagai pencipta genre seni baruatau dikenal dengan sebutan karawitan wanda anyar. Untuk mengungkap perkembangan kreativitasMang Koko, digunakan metode kualitatif dengan pendekatan etnomusikologi. Berdasarkan hasilpenelitian dapat disimpulkan bahwa dalam wadah grup Kanca Indihiang, Mang Koko bereksplorasimemodernisasi kekakuan pakem seni kawih Sunda tradisi. Karawitan wanda anyar diyakini sebagaigenre karawitan Sunda yang terbentuk dari akumulasi kreativitas berkesenian dari Mang Koko.Kanca Indihiang: As a Creativity Embryo of Mang Koko. Kanca Indihiang is a group which wasfirst created by Mang Koko in 1946 and is one of the Sundanese art genres that is a performing art withsuch a humorous art format. Mang Koko’s creativity in doing works on a variety of innovations makes KancaIndihiang group may differ a lot from Sundanese humorous art in general. Mang Koko’s name then becomesfamous as a creator of a new art genre called ‘karawitan wanda anyar’. Thus, a qualitative research applyingethno-musicological approach is done to uncover the development of Mang Koko’s creativity. According to thisresearch, it can be concluded that within this Kanca Indihiang group, Mang Koko did some explorationsto modernize rigidity in the rules of traditional Sundanese kawih. Karawitan wanda anyar is believed as aSundanese karawitan genre shaped from the accumulation of Mang Koko’s artistic creativities. Institut Seni Indonesia Yogyakarta 2014-06-10 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/798 10.24821/resital.v15i1.798 Resital: Jurnal Seni Pertunjukan; Vol 15, No 1 (2014): Juni 2014; 32-42 2338-6770 2085-9910 10.24821/resital.v15i1 eng https://journal.isi.ac.id/index.php/resital/article/view/798/156

oai:ojs.journal.isi.ac.id:article/4911 2022-08-01T01:39:08Z resital:ART

Membangun Nasionalisme dan Patriotisme melalui Penciptaan Lagu Anak Prasetiyo, Ayub Nugraha, Fahrizal Adi Lagu Anak; Patriotisme; Nasionalisme ABSTRACT Building Nationalism and Patriotism Through the Creation of Children’s Songs. The tumult of political problems in the past few years has brought the issue of racial discrimination and the rise of horizontal conflicts in society. It can reflect how the state must reformulate policies fostering the four pillars of national life through more communicative media such as music. Music can give us deep experiences which cannot be expressed verbally. Songwriting plays an essential role in teaching and maintaining the values of nationalism and patriotism for children. The method used in this study is a qualitative research method through an experiment in creating songwriting works. In the description, it will use the point of view of autoethnography, which tries to describe the process of this research in narrating the creative efforts of making children's songs which are very subjective from the musical experience of researchers. The results of the study are expected to be able to provide awareness about music and defend the country through appreciation of song lyrics and music itself.ABSTRAK Riuh rendah masalah politik beberapa tahun ke belakang yang membawa isu sara, dan maraknya konflik horizontal di masyarakat dapat menjadi cermin bagaimana negara harus merumuskan ulang kebijakan terkait pembinaan empat pillar kehidupan berbangsa melalui media yang lebih komunikatif seperti musik. Lewat musik kita mendapat pengalaman yang begitu mendalam dan tak bisa diungkapkan secara verbal. Penciptaan lagu menjadi penting perannya guna mengajarkan dan memelihara nilai-nilai nasionalisme dan patriotisme bagi anak-anak. Metode yang digunakan dalam penelitian ini adalah metode penelitian kualitatif melalui sebuah eksprimentasi penciptaan karya cipta lagu. Dalam penjabarannya akan menggunakan sudut pandang autoethnography yang berusaha menguraikan proses penelitian ini dalam menarasikan upaya kreatif pembuatan lagu anak yang sangat subjektif dari musical experience peneliti. Hasil penelitian diharapkan mampu memberikan kesadaran tentang musik dan bela negara melalui penghayatan lirik lagu dan musik itu sendiri. Institut Seni Indonesia Yogyakarta 2022-08-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/4911 10.24821/resital.v23i2.4911 Resital: Jurnal Seni Pertunjukan; Vol 23, No 2 (2022): Agustus 2022; 96-106 2338-6770 2085-9910 10.24821/resital.v23i2 eng https://journal.isi.ac.id/index.php/resital/article/view/4911/2691 Copyright (c) 2022 Ayub Prasetiyo & Fahrizal Adi Nugraha

oai:ojs.journal.isi.ac.id:article/1261 2017-04-06T08:18:37Z resital:ART

oai:ojs.journal.isi.ac.id:article/1689 2019-11-27T06:04:05Z resital:ART

Aspek Musikologis Gêndér Wayang dalam Karawitan Bali Yasa, I Ketut gȇndér wayang; karawitan Bali; cecandetan; music wayang. Penelitian ini bertujuan untuk mengidentifikasi pola permainan gamelan atau gender wayang pada pertunjukan wayang Bali. Gȇndér wayang terdiri dari dua pasang instrumen, sepasang gȇndér gede dan sepasang gȇndér barangan. Kedua pasang gender ini menghasilkan pola permainan yang saling mengunci (interlocking figuration) yang sangat khas. Pola permainan ini diberi nama ubit-ubitan atau cecandetan. Data diperoleh melalui pengamatan terhadap pertunjukan wayang Bali. Berdasarkan penelitian dapat disimpulkan bahwa terdapat 10 ubit-ubitan yaitu nyendhok, bolak-balik nuduk, tulak wali, bolak-balik ngutang, nyalud, uber-uberan, mulek, silih berganti, oles-olesan, dan nguluin. Sedang ritme terdapat 7 jenis, yaitu ngumad, ngambang, ngantung, kesiab, imbuh nada, imbuh gatra, dan salah gatra.  Institut Seni Indonesia Yogyakarta 2016-04-04 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/1689 10.24821/resital.v17i1.1689 Resital: Jurnal Seni Pertunjukan; Vol 17, No 1 (2016): April 2016; 46-59 2338-6770 2085-9910 10.24821/resital.v17i1 eng https://journal.isi.ac.id/index.php/resital/article/view/1689/458 Copyright (c) 2017 RESITAL : JURNAL SENI PERTUNJUKAN

oai:ojs.journal.isi.ac.id:article/11172 2024-03-29T06:08:23Z resital:ART

"Grain Gamelan": Adaptation of One More Grain Band's Songs to Gamelan Pelog Slendro Gunawan, Iwan ZZ, Afdhal Zikri G, Sailendra Bedantara repetitive music; gamelan; adaptation; arrangement "Grain Gamelan": Adaptation of One More Grain Band's Songs to Gamelan Pelog Slendro. Based on a recording project initiated by the label "Yantra" through one of the musicians of the group "one more grain", Daniel Patrick Quinn, the author was asked to adapt songs from their group to gamelan instruments. The songs use Western instruments that use a very different tonal system from gamelan. The phenomenon of the difference in tone system between Western instruments and gamelan is still a dilemma, especially when music creators have the idea to combine the two types of instruments. The purpose of this writing is to reveal the artistic process of working on One More Grain Band songs adapted to gamelan with the pelog slendro tone system. The method used is practice-led research/practice-based research by doing exploration, simulation, and practice. Artistically, the songs of one more grain band have repetitive patterns with a tendency to use only one chord and each pattern played has changes that can be interpreted openly by the musician. Both of these have the same principles as traditional gamelan music. In the composing process, an approach was found using a mixed 10-tone system of pelog and slendro tunings of Javanese gamelan tumbuk nem. Through the use of DAW, the adaptation process can be well organized and measured to produce audio simulations and notations that are ready to be played by musicians directly. In the process of practicing with the musicians, various communication and interpretation problems were encountered in adapting this work. Based on the results achieved, the adaptation of "One More Grain" songs to gamelan has new nuances and perspectives that can enrich the repertoire of gamelan music globally. Institut Seni Indonesia Yogyakarta Universitas Pendidikan Indonesia 2023-12-21 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/11172 10.24821/resital.v24i3.11172 Resital: Jurnal Seni Pertunjukan; Vol 24, No 3 (2023): December 2023; 288-305 2338-6770 2085-9910 10.24821/resital.v24i3 eng https://journal.isi.ac.id/index.php/resital/article/view/11172/3611

oai:ojs.journal.isi.ac.id:article/461 2019-12-04T05:01:43Z resital:ART

Kidung Jaka Bandung RUSMANA, TATANG Kidung Jakabandung, Seni Pernyataan, Tradisi Baru. The Creation of Jaka Bandung Play. Jaka Bandung Play is created from a legend using Malabar Kingdom andBandung Lake as its story backgrounds. The name of the kingdom has been changed into Datarluhur Pangulinganfor the sake of the play. The story depicts the human existence of Parahyangan represented by Rahiang JakaBandung. The play is approached by using particular technique of directing, so called “verbal arts”. Its presentationon stage relies on beauty, hyper reality, theatricality and new theater codes. Institut Seni Indonesia Yogyakarta Institut Seni Indonesia Yogyakarta 2008-12-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/461 10.24821/resital.v9i2.461 Resital: Jurnal Seni Pertunjukan; Vol 9, No 2 (2008): Desember 2008 2338-6770 2085-9910 10.24821/resital.v9i2 eng https://journal.isi.ac.id/index.php/resital/article/view/461/55

oai:ojs.journal.isi.ac.id:article/3336 2019-12-01T16:57:49Z resital:ART

Musik Senggayung Desa Gerai Kabupaten Ketapang : Kajian Bentuk Dan Identitas Budaya Harriska, Harriska Senggayung, Identitas Budaya Penelitian ini bertujuan menganalisis bentuk musik senggayung yang mencerminkan identitas budaya masyarakat desa Gerai Kabupaten Ketapang. Metode penelitian menggunakan kualitatif deskriptif dengan desain penelitian studi kasus interpretatif. Data penelitian dikumpulkan dengan teknik observasi, wawancara, dan studi dokumen. Serta menggunakan teknik triangulasi sumber dan data untuk menjaga validitasnya. Sedangkan teknik analisis data dilakukan melaui proses reduksi, penyajian, dan penarikan simpulan (verifikasi). Hasil penelitian ini menunjukkan, musik senggayung merupakan musik yang mencerminkan identitas budaya masyarakat desa Gerai Kabupaten Ketapang. Musik senggayung hanya ada di daerah gerai, musik unik yang tidak dimiliki daerah lain. Jika dilihat dari organologinya, senggayung tergolong kedalam alat musik idiophone yang terbuat dari bambu. Yang membuat menarik, penggunaan alat musik senggayung hanya bisa untuk sekali pakai pada satu upacara, tidak bisa digunakan lagi untuk upacara lainnya jika jarak waktu upacara lebih dari 3-4 hari. Hal ini berkaitan dengan timbre yang dihasilkan oleh bambu. Musik senggayung biasa digunakan untuk mengiringi proses upacara-upacara masyarakat desa Gerai. Beberapa faktor-faktor pembentuk identitas budaya yaitu (1) kepercayaan, (2) bahasa, (3) pola prilaku, sudah tercermin dalam senggayung.This study aims to analyze the shape of senggayung music that reflects the cultural identity of the village community of Ketapang regency. The research method used qualitative descriptive with interpretative case study research design. The data were collected by observation, interview, and document study. As well as using triangulation techniques of sources and data to maintain its validity. While the data analysis technique is done through the process of reduction, presentation, and withdrawal of conclusion (verification). The results of this study indicate, senggayung music is a music that reflects the cultural identity of the village community of Ketapang regency. Senggayung music only exist in the area of outlets, unique music that is not owned by other regions. When viewed from the organology, senggayung belong to idiophone musical instruments made of bamboo. What makes it interesting, the use of senggayung musical instruments can only be for one use at a ceremony, can not be used anymore for other ceremonies if the distance of ceremony time more than 3-4 days. This is related to the timbre produced by bamboo. Senggayung music is used to accompany the process of ceremonies of Gerai village community. Some of the factors that make up the cultural identity are (1) belief, (2) language, (3) behavior pattern, already reflected in senggayung.Keywords: Senggayung, Cultural Identity Institut Seni Indonesia Yogyakarta 2018-12-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/3336 10.24821/resital.v19i3.3336 Resital: Jurnal Seni Pertunjukan; Vol 19, No 3 (2018): Desember 2018; 146-156 2338-6770 2085-9910 10.24821/resital.v19i3 eng https://journal.isi.ac.id/index.php/resital/article/view/3336/1686 Copyright (c) 2019 Resital: Jurnal Seni Pertunjukan

oai:ojs.journal.isi.ac.id:article/12271 2025-09-12T02:33:58Z resital:ART

Vocal Ornamentation Style of Sri Hartati in the Keroncong Song Bandar Jakarta by Iskandar Suryati, Suryati Legino, Rafeah Artanto, Mei Anugerah, Hafidz Akbar vocal ornamentation, keroncong, bandar jakarta, Sri Hartati Vocal ornamentation is very necessary for a singer. Vocal ornamentation can be applied to several genres of songs, one of which is keroncong songs. In performing keroncong songs, both Keroncong Asli, Langgam and Stambul have their own characteristic vocal ornamentation. Each singer also has their own characteristics in performing Keroncong songs. Therefore, this study focused on Sri Hartati's vocal ornamentation style in performing the Keroncong song "Bandar Jakarta" Ciptaan Iskandar. Therefore, this research can be used as a reference and study material in Keroncong learning at the Music Education Study Program of the Indonesian Institute of the Arts Yogyakarta. This study used qualitative method with contents analysis. Analysis was conducted for Sri Hartati's vocal ornamentation style in singing the song "Kr. Bandar Jakarta" which includes cengkok, gregel, luk, embat and nggandul. This study aims to provide an overview of vocal ornamentation for students who take keroncong courses, especially as vocals or keroncong singers. The results showed that Sri Hartati's vocal ornamentation style was dominated by luk, even though there were cloves and gregel.  Sri Hartati's vocal ornamentation style is simple but has its own uniqueness, so many achievements at the national level. Institut Seni Indonesia Yogyakarta 2025-04-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/12271 10.24821/resital.v26i1.12271 Resital: Jurnal Seni Pertunjukan; Vol 26, No 1 (2025): April 2025; 122-140 2338-6770 2085-9910 10.24821/resital.v26i1 eng https://journal.isi.ac.id/index.php/resital/article/view/12271/4412 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/12271/1931

oai:ojs.journal.isi.ac.id:article/493 2019-12-04T05:19:31Z resital:ART

Dhenggung Asmarandana dan Dhegung Banten: Sebuah Komparasi -, Teguh Gendhing bonang, soran, gamelan peace. The Comparation of Dhenggung Asmarandana and Dhegung Banten. Penelitian ini membahas perbandinganantara gending Dhenggung Asmaradana gaya Surakarta dengan gending Dhegung Banten gaya Yogyakarta.Berdasarkan penelitian dapat disimpulkan bahwa kedua gending memiliki persamaan dan perbedaan. Persamaankeduanya terletak pada laras, pathet, bentuk gendhing, struktur gendhing, serta balungan gending. Sedangkanperbedaannya hanya pada nama dan garap tabuhan bonang. Institut Seni Indonesia Yogyakarta Institut Seni Indonesia Yogyakarta 2010-06-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/493 10.24821/resital.v11i1.493 Resital: Jurnal Seni Pertunjukan; Vol 11, No 1 (2010): Juni 2010 2338-6770 2085-9910 10.24821/resital.v11i1 eng https://journal.isi.ac.id/index.php/resital/article/view/493/87

oai:ojs.journal.isi.ac.id:article/517 2019-12-04T05:23:30Z resital:ART

Konvensi-Konvensi dalam Drama dan Teater Rendra Sahid, Nur Tujuan penelitian ini adalah untuk mengungkapkan kekhasan proses kreatif Rendra dalam penciptaan karya teater dan drama-dramanya. Konvensi karya drama dan teater Rendra menarik untuk dikaji, sebab Rendra adalah tokoh pembaharu teater modern terkemuka, baik itu dalam bidang penulisan drama, penyutradaraan maupun keaktoran. Kehadirannya dalam khazanah teater Indonesia sangat berpengaruh, sehingga melahirkan sejumlah pengikut dalam penciptaan teater.Kata Kunci: Rendra, konvensi teater, penyutradaraan, drama sosialABSTRACTThe Conventions on Rendra’s Theatre and Drama. The research on the convention analysis of Rendra’s theatrical works and dramas is aimed to reveal the special characteristic of Rendra’s creative process especially on the creation of his theatrical works and dramas. The convention of Rendra’s theatrical works and dramas is interesting to be analyzed since he was famed as the pioneer of modern theater on the field of play writing, play directing, and acting as well. His existence has strongly influenced to the theatrical works, therefore, there can be found some of the followers in creating the theater activities born in the field of theater in Indonesia.Keywords: Rendra, the convention of theater, directing, social critisism Institut Seni Indonesia Yogyakarta ISI Yogyakarta 2012-12-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/517 10.24821/resital.v13i2.517 Resital: Jurnal Seni Pertunjukan; Vol 13, No 2 (2012): Desember 2012 2338-6770 2085-9910 10.24821/resital.v13i2 eng https://journal.isi.ac.id/index.php/resital/article/view/517/111

oai:ojs.journal.isi.ac.id:article/6823 2023-10-15T14:30:46Z resital:ART

Lagu Dolanan dalam Permainan Tradisional sebagai Strategi Inovasi Pendidikan Sendratasik Bramantyo, Triyono Tjaroko, Winarjo Sigro dolanan song; traditional game; innovation strategy; education Dolanan songs in traditional games as an innovation strategy for the art education of drama, dance, and music. This research focuses on constructing alternative learning in an innovation strategy of art education of drama, dance, and music through dolanan songs in traditional children's games. Alternative strategies are needed in providing diversification of learning because the problem that occurs in the art education of drama, dance, and music is the existence of cultural conflicts that impact the stagnation of the learning model. The choice of the dolanan song is due to its meaning and philosophy, which have aesthetic value in aspects of motion, drama, and music with the ability to adapt to the dynamics of science and technology. A library method is an approach used to construct an innovation strategy from the meaning contained in the text of children's traditional game songs. They implicitly have imaginative factors, particular messages, and aesthetic elements. Therefore, they can be relevant to the social conditions of society in the new cultural order. Based on the elaboration done in the study, three strategies are found which can answer the research problems, and are used in developing the art education of drama, dance, and music. They are as follows: firstly, the strategy of revitalizing the dolanan song in traditional children's games; secondly, the art education of drama, dance, and music is an appreciation education about aesthetic meaning; and thirdly, the formal transmission strategy of traditional transmission children's games through schools. Institut Seni Indonesia Yogyakarta 2021-12-28 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/6823 10.24821/resital.v22i3.6823 Resital: Jurnal Seni Pertunjukan; Vol 22, No 3 (2021): Desember 2021; 137-145 2338-6770 2085-9910 10.24821/resital.v22i3 eng https://journal.isi.ac.id/index.php/resital/article/view/6823/2504

oai:ojs.journal.isi.ac.id:article/1511 2019-12-03T15:21:22Z resital:ART

”Ruteng is da City”: Representasi Lokalitas dalam Musik Rap Manggarai Yuliantarii, Ans. Prawati representasi, lokalitas, musik, rap, Manggarai, Penelitian ini membahas fenomena musik rap di Manggarai dan representasi lokalitas yang ada di dalam lagu-lagunya. Untuk melihat hal itu dipergunakan teks lagu sebagai obyek kajiannya. Lagu “Ruteng is da City” karangan Lipooz dipilih sebagai bahan kajian untuk melihat elemen-elemen lokal di dalam teksnya itu direpresentasikan dalam lagu sebagai pembentuk identitas rap Manggarai. Untuk membahas elemen lokalitasnya dipergunakan konsep cultural-melding-and-mediation oleh Lull. Sementara untuk mempertajam analisis representasi lokalitas dipergunakan teori Collective Representation dari Durkheim. Berdasarkan penelitian dapat disimpulkan bahwa melalui teks lagu “Ruteng is de City” dapat dilihat pengalaman kolektif masyarakat, kebiasaan khas, kode yang merupakan simbol kota Ruteng, dan barang yang menjadi produk lokal wilayah itu. Elemen-elemen lokal itu merepresentasikan budaya Manggarai yang berisi kepercayaan, norma-norma, nilai dan pandangan filosofis masyarakat yang membentuk identitas masyarakat Manggarai. “Ruteng is da City”: Representation of Locality in Manggarai Rap Music. This research discusses the phenomenon of rap in Manggarai and the representation of locality of the songs. To figure out this phenomenon, the textual examination on the song lyrics of “Ruteng is da City” composed by Lipooz is particularly selected as the object of study to identify the local elements of the text (lyric) which are represented in the song as the form of the identity of Manggarai rap. The identification of local elements is based on cultural-melding-and-mediation concept proposed by Lull. Meanwhile, in analyzing the representation of locality in the text, Durkheim’s theory of Collective Representation is adopted. According to the research result, it is concluded that the song text of “Ruteng is d City” contains the collective experience of the community, norms, the symbolic code of the town (Ruteng), and the local commodities of the town. The local elements found in the song represent Manggarai traditional culture that includes beliefs, norms, values and philosophical views of Manggarai society which essentially form the identity of Manggarai people. Institut Seni Indonesia Yogyakarta 2015-08-06 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/1511 10.24821/resital.v16i2.1511 Resital: Jurnal Seni Pertunjukan; Vol 16, No 2 (2015): Agustus 2015 2338-6770 2085-9910 10.24821/resital.v16i2 eng https://journal.isi.ac.id/index.php/resital/article/view/1511/343 Copyright (c) 2017 RESITAL : JURNAL SENI PERTUNJUKAN

oai:ojs.journal.isi.ac.id:article/8767 2024-12-11T04:20:10Z resital:ART

Aransemen Lagu Widodari Karya Denny Caknan sebagai Media Pembelajaran Musik Keroncong di SMK Negeri 8 Surakarta Dellavani, Charitra Yulia Dien Wardihastri Mulyanto, Mulyanto Kurniadi, Edi Widodari arrangement; keroncong music; local wisdom; learning media; SMKN 8 Surakarta SMK Negeri 8 Surakarta, a high-school level formal educational institution, focuses on preserving the values of local wisdom in globalization era through art education. One of the methods is strengthening character education through Keroncong music subjects. In this research, the action was done through the elaboration of local wisdom values in Keroncong music by arranging a popular song among millennials entitled Widodari by Denny Caknan. The objective of this research is examining the relationship between the arrangement of Widodari song by Denny Caknan as a medium for learning Keroncong music to preserve the values of local wisdom and as a form of character education at SMK Negeri 8 Surakarta. In this research, the author implemented descriptive qualitative approach using Miles and Huberman's interactive model as a data analysis technique. It included data collection, data reduction, data display, and conclusions: drawing/verifying. Through the arrangement of Widodari songs as a medium for learning Keroncong music, the results reveal that the values of local wisdom in Keroncong music are aesthetic values, mutual aid values, and tolerance values. All of them can be conveyed through musical aspects, such as harmony and ensemble play of each Keroncong instrument.SMK Negeri 8 Surakarta sebagai lembaga pendidikan formal memiliki konsentrasi dalam pelestarian nilai-nilai kearifan lokal di tengah arus globalisasi melalui pendidikan seni, salah satunya dengan menguatkan pendidikan karakter melalui mata pelajaran musik keroncong. Upaya yang dilakukan yaitu dengan mengelaborasikan nilai-nilai kearifan lokal dalam Musik Keroncong dengan mengaransemen lagu yang popular dikalangan milenial, yaitu lagu Widodari karya Denny Caknan sebagai media pembelajaran. Berdasarkan hal tersebut, artikel ini berfokus untuk mencermati relasi antara aransemen lagu Widodari karya Denny Caknan sebagai media pembelajaran musik keroncong dengan upaya pelestarian nilai-nilai kearifan lokal dan pendidikan karakter di SMK Negeri 8 Surakarta. Penelitian ini dilakukan menggunakan pendekatan kualitatif deskriptif, dengan model interaktif Miles & Huberman sebagai teknik analisis data yang memiliki komponen data collection, data reduction, data display, dan conclusions: drawing/verifying. Melalui aransemen lagu Widodari sebagai media pembelajaran musik keroncong, diperoleh hasil bahwa nilai-nilai kearifan lokal yang ada dalam musik keroncong seperti nilai estetika, nilai gotong royong, dan nilai toleransi dapat tersampaikan secara baik melalui aspek musikal, seperti harmoni dan permainan ansambel dari masing-masing instrumen keroncong. Institut Seni Indonesia Yogyakarta 2023-08-03 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/8767 10.24821/resital.v24i2.8767 Resital: Jurnal Seni Pertunjukan; Vol 24, No 2 (2023): Agustus 2023; 146-156 2338-6770 2085-9910 10.24821/resital.v24i2 eng https://journal.isi.ac.id/index.php/resital/article/view/8767/3257 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/8767/1284 Copyright (c) 2023 Charitra Yulia Dien Wardihastri Dellavani, Mulyanto, Edi Kurniadi

oai:ojs.journal.isi.ac.id:article/452 2019-12-04T05:22:04Z resital:ART

Pengaruh Islam dalam Kesenian Setrek di Magelang Sutrisno, Langen Bronto Setrek adalah jenis kesenian tradisional terbangan atau slawatan yang berfungsi sebagai media dakwah agamaIslam. Sebagai jenis kesenian tradisional slawatan, perpaduan unsur-unsur estetis seni yang bernafaskan Islamdengan unsur-unsur estetis kesenian rakyat tradisional merupakan akulturasi budaya yang mencerminkan bentukkreativitas lokal. Pengaruh seni Islam tidak dimaksudkan untuk merubah wujud keseluruhan koreografi nya, tetapilebih merupakan formalitas nilai Islam dalam wajah kesenian tradisional untuk tujuan dakwah. Oleh karena itubentuk penyajiannya tetap dalam format tradisi dengan sedikit sentuhan nafas Islam. Misalnya penyajian gerak tarihampir tidak dijumpai nafas Islam kecuali gerak takbiratul ihram Allohu Akbar, tokoh Kyai Ba’in yang merupakanrefresentasi seorang ulama dengan tata busana khas Islam, iringan diberi nafas Islam dengan syair-syair kitab AlBarjanzi dilengkapi instrumen terbang dan jidor mewakili musik Islam. Nafas Islam sebenarnya lebih merupakanlegalitas spirit Islam dalam kesenian setrek dengan harapan semua pemain dan penonton dapat mengamalkan agamaIslam dalam kehidupan sehari-hari. Oleh karena itu media dakwah dapat dilihat dalam setiap ungkapan nilainilaiajaran Islam berkait dengan Tuhan Allah SWT dan Rosul-Nya Nabi Muhammad SAW. Dengan demikiansetiap gerak dan musik iringan atau syair dalam kesenian setrek harus dijiwai nilai-nilai ajaran Islam. Ikon-ikondemikian penting untuk dipahami agar mereka dapat selamat hidup di dunia dan di akhirat. Kehadiran agama Islamdalam nafas perkembangan kesenian setrek tampak memperkaya penampilannya, sehingga kehadiran kesenian inidalam kehidupan masyarakat semakin menumbuhkan kualitas dalam beragama Islam, meskipun disadari sisa-sisakepercayaan kuno masih mewarnai kesenian setrek, seperti atraksi ndas-ndasan yang berupa atraksi mengimitasibinatang. Variasi atraksi arak-arakan ndas-ndasan dengan mengelilingi dusun bertujuan untuk mengusir pengaruhroh-roh jahat.Keywords: setrek, kesenian Islam, slawatan.ABSTRACTIslam infl uence on Setrek art in Magelang. Setrek is a type of traditional terbangan art or slawatan (Islamicsong) that serves as a medium for preaching Islam. As a kind of traditional slawatan art, it seems to blend Islamic aestheticelements with aesthetic traditional elements which become a form of cultural acculturation refl ecting the local creativity.The infl uence of Islamic art is not intended to change the overall form of the choreography, but the Islamic elements aremore of Islamic value formality in the form of traditional arts for the purpose of preaching Islam religion. Therefore, theform of presentation remains in the format of Islamic tradition. For example, the presentation of dance movement hardlyfi nds Islam infl uence except takbiratul ihram Allohu Akbar, KyaiBa’in as the representation of Islam priest wearing typicalIslamic outfi t; the music is also Islamic with given poems from Al Barjanzi’s book equipped with terbang and jidor. Islaminfl uence is actually more of a Islamic spirit legacy in setrek art with the hope that all the players and audience can practiceIslam in their daily lives. Therefore, the preaching media of Islam can be seen in any expression of Islamic values in relationto Allah SWT and His diciplesNabi Muhammad SAW. Thus every movement and musical accompaniment or poem insetrek art should be imbued the values of Islam. Icons, thus, are important to understand so that the people can live safelyin this world and in the hereafter. The presence of Islam in the breath of the setrek artistic development looks enriching itsperformance, so the presence of this art among the people living in Kedungan III improves the quality of embracing Islam,although there are the remnants of ancient beliefs which still characterize setrek art, such as ndas-ndasan attraction in theform of imitating animal . Variations in ndas-ndasan attraction parade around the village aims to expel the infl uence ofevil spirits.Keywords: setrek, Islam music, slawatan. Institut Seni Indonesia Yogyakarta ISI Yogyakarta 2011-06-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/452 10.24821/resital.v12i1.452 Resital: Jurnal Seni Pertunjukan; Vol 12, No 1 (2011): Juni 2011 2338-6770 2085-9910 10.24821/resital.v12i1 eng https://journal.isi.ac.id/index.php/resital/article/view/452/46

oai:ojs.journal.isi.ac.id:article/2450 2019-12-01T06:38:57Z resital:ART

The Form and Structure of Kentrung Art Performance in Jepara Harwanto, Dody Candra Sunarto, Sunarto Jepara traditional music; senggakan; Kentrung This study aims to analyze the form and structure of Kentrung Art Performance in Ngasem Village, Batealit Sub-district, Jepara. The research method is a descriptive qualitative method with an interpretative case study as the research design. The data were collected by doing the observation, interview, and document study. The data analysis technique was done throughout the process of reduction, presentation, and withdrawal of conclusion (verification). The results of this study indicate that Kentrung musical form consists of two elements of time and elements of melody. For the element of time, Allegretto tempo is used with its speed between 104-112 steps per minute; its meter uses 4/4, in which there are four beats of one-fourth on each bar; and the rhythmic pattern is divided into two sorts (senggakan and sautan) which generally use the value of half tap, and the outcrop rhythm pattern is used for the big terbangan. Most melodies use a half-tone note with the highest tone of G#5 (la), and the lowest tone is F#4 (sol). The musical structure of Kentrung consists of two sentences or periods namely A B which is respectively repeated. Institut Seni Indonesia Yogyakarta 2018-04-24 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/2450 10.24821/resital.v19i1.2450 Resital: Jurnal Seni Pertunjukan; Vol 19, No 1 (2018): April 2018; 35-45 2338-6770 2085-9910 10.24821/resital.v19i1 eng https://journal.isi.ac.id/index.php/resital/article/view/2450/935 Copyright (c) 2019 Dody Candra Harwanto, Sunarto Sunarto

oai:ojs.journal.isi.ac.id:article/14194 2025-05-19T07:27:46Z resital:ART

The Pangasuah (Shaman permeates) Strategy to Evoke Hysteria in the Rantak Kudo Performance Ediantes, Ediantes Prasetya, Hanggar Budi Yuliadi, Koes Pranoto, Iwan Sawitri, Rahmarni Pangasuah (Shaman permeates), Hysteria, Rantak Kudo performing art. Strategi pangasuah (dukun meresap) dalam membangkitkan histeria merupakan upaya melestarikan kesenian tradisional pertunjukan Rantak Kudo. Strategi pangasuah dalam Rantak Kudo tradisional Kerinci menjadi rujukan penting agar tidak hilang dan tergerus dalam perkembangan seni pertunjukan Rantak Kudo modern. Strategi yang dilakukan para pangasuah dalam membangkitkan histeria diharapkan dapat menjadi pedoman bagi Rantak Kudo modern. Kehadiran Rantak Kudo tradisional sangat penting bagi masyarakat karena berfungsi sebagai sarana penyembuhan spiritual masyarakat. Metode penelitian yang digunakan adalah penelitian kualitatif, dan data diperoleh melalui observasi lapangan dan wawancara mendalam dengan kelompok pangasuah dan Rantak Kudo. Berdasarkan penelitian dapat disimpulkan bahwa pangasuah berperan penting dalam membangkitkan histeria yang ada dalam adat Rantak Kudo. Penelitian ini menunjukkan bahwa strategi yang digunakan oleh pangasuah dalam menciptakan suasana histeris ditentukan oleh (1) syair cerita Rantak Kudo, (2) karakter pangasuah, dan (3) pementasan Pementasan Rantak Kudo. Strategi-strategi tersebut secara signifikan memengaruhi pelestarian histeria dalam seni pertunjukan tradisional Rantak Kudo. Institut Seni Indonesia Yogyakarta 2025-12-29 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/14194 10.24821/resital.v25i3.14194 Resital: Jurnal Seni Pertunjukan; Vol 25, No 3 (2024): Desember 2024; 517-534 2338-6770 2085-9910 10.24821/resital.v25i3 eng https://journal.isi.ac.id/index.php/resital/article/view/14194/4221

oai:ojs.journal.isi.ac.id:article/484 2019-12-04T05:00:51Z resital:ART

Pengembangan Metode Pembelajaran Mata Kuliah Tari Surakarta Dasar Atmadja, Bambang Tri rantaya, tari surakarta, kurikulum tari. Metode pembelajaran mata kuliah Tari Surakarta Dasar di Jurusan Tari FSP ISI Yogyakarta mengalami perubahanparadigma, kurikulum yang memberlakukan pengurangan jumlah Sistem Kredit Semester (SKS) sesuai denganKurikulum Berbasis Kompetensi (KBK), berdampak tidak tercapainya isi muatan mata kuliah secara keseluruhandan kualitas. Berdasarkan pengalaman lapangan, perlu adanya pembenahan metode pembelajaran dengan mempertimbangkantingkat kualifi kasi normatif atau standar pembelajaran. Hal ini dapat dilakukukan dengan cara memadatkanmateri ajar rantaya I dan II menjadi satu materi yang mewakili keseluruhan dalam kesatuan materi rantayaputri, rantaya putra alus dan rantaya putra gagah. Pemadatan masing-masing materi tari dasar dilakukan agar pesertadidik secara mudah belajar tarian bentuk pada jenjang mata kuliah berikutnya. Institut Seni Indonesia Yogyakarta Institut Seni Indonesia Yogyakarta 2009-12-09 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/484 10.24821/resital.v10i2.484 Resital: Jurnal Seni Pertunjukan; Vol 10, No 2 (2009): Desember 2009 2338-6770 2085-9910 10.24821/resital.v10i2 eng https://journal.isi.ac.id/index.php/resital/article/view/484/78

oai:ojs.journal.isi.ac.id:article/4103 2025-06-09T15:36:10Z resital:ART

Penggunaan Fruity Loops Studio dalam Pembelajaran Konsep Musik Tonal dengan Berkarya Musik Populer untuk Peserta Didik SMA Rahman, Pispian Sukmayadi, Yudi Tonal Music, Popular Music; Fruity Loops; Musical Intelligence Artikel ini membahas pembelajaran seni musik menggunakan aplikasi Fruity Loops Studio yang dapat mengolah data suara dan bunyi secara digital. Namun, keberhasilan pembelajaran dengan menggunakan aplikasi Fruity Loops dalam pembelajaran memiliki berbagai aspek yang harus diperhatikan agar fitur-fitur membuat musik yang tersedia dalam aplikasi dapat digunakan dengan efektif. Artikel ini bertujuan untuk membahas tingkat kemajuan musikal yang dapat dicapai, mengidentifikasi kendala dalam pembelajaran, memberikan umpan balik dan informasi penting untuk perbaikan pembelajaran. Penelitian ini menggunakan metode analisis deskriptif. Pengumpulan data dilakukan dengan menggunakan teknik observasi, wawancara, studi literatur, dan dokumentasi dengan data utama hasil karya musik peserta didik. Hasil Penelitian ini menunjukkan perlunya prasyarat ruang lingkup materi ajar dengan konsep musik Tonal yang harus dikuasai secara baik serta dapat diamatinya peningkatan kemampuan musikal melalui pengalaman auditif bagi peserta didik dalam penugasan membuat karya musik populerABSTRACTThe Use of Fruity Loops Studio in Learning Concept of Tonal Music With Popular Music Working for High School Students. This article discusses learning the art of music using the Fruity Loops Studio application that can process sound and sound data digitally. However, the success of learning by using the Fruity Loops application in learning has various aspects that must be considered so that the features that make music available in the application can be used effectively. This article aims to discuss the level of musical progress that can be achieved, identify obstacles in learning, provide feedback and important information for learning improvement. This research uses descriptive analysis method. Data collection is done using observation techniques, interviews, literature studies, and documentation with the main data of students' musical works. The results of this study indicate the need for prerequisites for the scope of teaching material with the concept of Tonal music that must be mastered properly and can be observed in improving musical ability through auditive experience for students in the assignment to make popular music works.Keywords: Tonal Music; Popular Music; Fruity Loops; Musical Intelligence. Institut Seni Indonesia Yogyakarta 2020-04-09 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/4103 10.24821/resital.v21i1.4103 Resital: Jurnal Seni Pertunjukan; Vol 21, No 1 (2020): April 2020; 1-10 2338-6770 2085-9910 10.24821/resital.v21i1 eng https://journal.isi.ac.id/index.php/resital/article/view/4103/2090 Copyright (c) 2020 Resital: Jurnal Seni Pertunjukan

oai:ojs.journal.isi.ac.id:article/507 2019-12-04T05:20:13Z resital:ART

Tri Ubaya: Alih Wahana dari Pertunjukan Wayang Menjadi Karawitan -, Sunyata alih wahana, barata yuda, wayang, karawitan. Tri Ubaya: Intermediality From Wayang to Karawitan Performance. Karya ini merupakan alih wahanadari pertunjukan wayang kulit menjadi pertunjukan karawitan. Cerita wayang lakon Alap-alapan Kunthi sayaalih wahanakan menjadi pertunjukan karawitan. Cerita ini dipilih karena di dalamnya terdapat peristiwa yangdahsyat, ucapan Dewi Gendari yang berisi tiga janji (tri ubaya) menjadi cikal bakal perang Barata Yudha. Komposisikarawitan ini mengalihwahanakan suatu tokoh, suasana, karakter, dan peristiwa dalam pertunjukan wayang menjadikomposisi karawitan. Institut Seni Indonesia Yogyakarta Institut Seni Indonesia Yogyakarta 2010-12-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/507 10.24821/resital.v11i2.507 Resital: Jurnal Seni Pertunjukan; Vol 11, No 2 (2010): Desember 2010 2338-6770 2085-9910 10.24821/resital.v11i2 eng https://journal.isi.ac.id/index.php/resital/article/view/507/101

oai:ojs.journal.isi.ac.id:article/5935 2023-10-15T14:30:03Z resital:ART

Tembang Anak Jawa Sebagai Media Pembelajaran Membaca Raharja, Budi Tembang Anak, Belajar Membaca, Pembelajaran Seni. Tembang Anak Jawa Sebagai Media Pembelajaran Membaca di TK Pertiwi III Sinduadi Mlati Sleman di Masa Pandemi. Alasan dilakukan penelitian ini adalah kemampuan membaca anak Indonesia di tingkat dunia rendah. Hal ini mengindikasikan cita-cita mewujudkan generasi bangsa yang dapat bersaing secara global masih jauh dari kenyataan. Penulis ingin membantu memecahkan permasalahan tersebut dengan mengoptimalkan pembelajaran membaca di jenjang pendidikan Taman Kanak-kanak dengan alasan masa tersebut adalah masa usia emas mengoptimalkan kemampuan manusia, termasuk di dalamnya kemampuan membaca. Peneliti akan membuat model pembelajaran membaca anak usia dini berbasis kearifan lokal Jawa, menggunakan tembang dolanan anak.Metode penelitian pengembangan (merancang model, menguji, dan melaporkan hasilnya) digunakan dalam penelitian ini. Rancangan model pembelajaran menggunakan tembang cara menghafal huruf, cara mengingat bentuk huruf, cara membaca huruf hidup, cara belajar mengeja dan pengayaan direkam dalam bentuk video dikirimkan ke orang tua siswa untuk dipelajari kemudian diajarkan kepada anaknya. Selain itu orang tua diminta menjawab kuesioner tentang pelaksanaan pembelajaran tersebut dan video juga diungggah dalam kanal youtube untuk mendapatkan tanggapan masyarakat. Kuesioner digunakan untuk mendapatkan tanggapan orang tua siswa sedangkan tanggapan masyarakat disampaikan melalui fasilitas yang disediakan youtube..Hasilnya model pembelajaran membaca berbasis tembang anak untuk anak usia dini di masa pandemi mempunyai kekuatan dan kelemahan. Kekuatannya model dapat mendorong belajar membaca, suasana belajar menyenangkan; sedangkan kekurangannya pembelajaran belum optimal karena orang tua bekerja dan tidak semua dari mereka menguasai tembang anak serta bahasa pengantar model menggunakan bahasa campuran. Kelemahan tersebut dapat diatasi dengan pembelajaran tatap muka dan mengganti bahasa pengantarnya bahasa Jawa semuanya.   Institut Seni Indonesia Yogyakarta 2021-08-22 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/5935 10.24821/resital.v22i2.5935 Resital: Jurnal Seni Pertunjukan; Vol 22, No 2 (2021): Agustus 2021; 80-88 2338-6770 2085-9910 10.24821/resital.v22i2 eng https://journal.isi.ac.id/index.php/resital/article/view/5935/2417 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/5935/808 Copyright (c) 2021 Budi Raharja

oai:ojs.journal.isi.ac.id:article/1270 2019-12-03T15:20:33Z resital:ART

Musik Adaptasi Dangdut Madura Hidayatullah, Panakajaya adaptation, dangdut, Maduranese Musik adaptasi dangdut Madura adalah bentuk penciptaan musik yang prosesnya dilakukandengan mengadaptasi lagu asing (asal) menjadi lagu dangdut Madura (sasaran). Tujuan penelitianini adalah untuk mengetahui proses adaptasi musik dangdut Madura dari lagu asal ke lagu sasaranmelalui analisis musikologis. Analisis musikologis meliputi lirik, melodi vokal, dan hubungan antaralirik dan melodi vokal. Lirik dan melodi vokal dipilih sebagai objek studi karena keduanya merupakanunsur yang paling menonjol dalam musik adaptasi dangdut Madura. Hasil penelitian menunjukkanbahwa dalam proses adaptasi lagu asal ke lagu sasaran terdapat pola-pola atau kecenderungan yangsering terjadi yaitu: 1) lirik lagu sasaran selalu menyesuaikan dengan lirik lagu asal, penyesuaiantersebut melalui penyesuaian pola liris, pola tiruan bunyi (onomatope), pola penyesuaian bunyi dansaduran. 2) Melodi vokal lagu asal selalu berorientasi untuk tetap dipertahankan, tetapi mengalamiperubahan yaitu penyesuaian ritme melodi vokal dan perubahan nada melodi vokal. 3) Terdapat hubungan lirik dan melodi vokal yang saling mempengaruhi dalam musik adaptasi dangdut Madura.The Musical Adaptation of Maduranese Dangdut. The musical adaptation of Maduranese dangdutis a form of musical creation process done by adapting a foreign song (origin) into a Maduranese dangdutsong (target). The purpose of this study was to determine the adaptation process of Maduranese dangdutmusic from the origin song to the target one through musicological analysis. The musicological analysisincludes the analysis of the lyrics, the vocal melodies, and the relationship between the lyrics and vocalmelodies. The lyrics and vocal melodies were chosen as the objects of study because both of which were themost prominent elements in the musical adaptation of Maduranese dangdut. The results showed that in theprocess of adaptation tracked from the target to the original songs there are several patterns or tendencies thatoften occur. The patterns are the followings: 1) The lyrics targets always adjust to the lyrics of origin, theseadjustments include the adjustment of lyrical pattern, the pattern of sound imitation (onomatopoeic), thepattern of sound adjustment and adaptation. 2) The melody of the original vocal songs are always designedto be retained, yet the changes are in the adjustment of the vocal melody rhythm and the tonal changes of thevocal melody. 3) There is a relationship between the lyrics and vocal melody which interplay in the musical adaptation of Maduranese dangdut. Institut Seni Indonesia Yogyakarta 2015-04-17 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/1270 10.24821/resital.v16i1.1270 Resital: Jurnal Seni Pertunjukan; Vol 16, No 1 (2015): April 2015; 1-14 2338-6770 2085-9910 10.24821/resital.v16i1 eng https://journal.isi.ac.id/index.php/resital/article/view/1270/212

oai:ojs.journal.isi.ac.id:article/8200 2023-04-30T13:41:23Z resital:ART

Conservation and Development Model of Mamaca in Pamekasan Madura Dana, I Wayan Prasetya, St. Hanggar Budi Anggraeni, Agustin conservation model; development; Mamaca; Pamekasan Madura ABSTRACTMamaca traditional performing art is an essential intangible asset for the people of Madura and Indonesia. Mamaca in Madurese language means reading. Contextually, it means reading verses from particular texts. Its diversity and uniqueness are not only known by Indonesian, but also worldwide people. Its paramount role in the life of Mamaca-supporting community is undeniable as the songs and notations generated while performing is not only functioned as performing, but also efforts to establish Madurese moral values. Unfortunately, the local people, especially younger generation currently have started to abandon this traditional art. It leads to a worrisome position of Mamaca existing in Pamekasan Regency, Madura Island. Considering that this traditional performing art emphasizes the nobility of values and norms in its form and implementation and its capability of strengthening the Indonesian character and the harmony of social life, Mamaca is urgently required to be preserved and developed in accordance to the fervor of nowadays era. The performers take turns reading and singing the verses containing some epics of Mahabharata, Ramayana, stories of Islamic Prophets, and values of benevolence regarding wisdom teachings. This research is a model for the conservation and development of noble cultural values that involves active supporting elements of Mamaca, relevant government, academics, industries or sponsors, and the role of the media.ABSTRAKModel Konservasi dan Pengembangan Mamaca di Pamekasan Madura. Seni pertunjukan tradisi Mamaca merupakan aset non bendawi yang penting bagi masyarakat di Madura dan bangsa Indonesia. Mamaca dalam bahasa Madura berarti membaca. Dalam penelitian ini, Mamaca yang dimaksud adalah tradisi membaca syair-syair dari naskah tertentu. Keanekaragaman dan keunikannya tidak hanya dikenal oleh bangsa Indonesia sendiri, tetapi juga sudah secara luas. Peran pentingnya Mamaca di dalam kehidupan masyarakat penyelenggaranya tidak dapat terbantahkan karena lagu-lagu yang dilantunkan serta notasi yang dimainkan tidak hanya berfungsi sebagai hiburan, namun sebuah upaya untuk menanamkan nilai moral. Sayangnya, Mamaca kini mulai ditinggalkan, terutama oleh generasi muda setempat. Oleh karena itu, seni Mamaca yang hidup di wilayah Kabupaten Pamekasan Pulau Madura dipandang penting dilestarikan dan dikembangkan sesuai zamannya. Mengingat bahwa seni pertunjukan tradisi yang berdasarkan pada pemanfaatan musik internal ini mengutamakan keluhuran nilai dan norma di dalam wujud dan penyelenggaraannya, Mamaca dipandang mampu menguatkan karakter bangsa dan harmoni kehidupan sosial. Para pelakunya secara bergantian membaca dan melagukan syair-syair yang memuat sebagian wiracarita Mahabharata, Ramayana, dan kisah para Nabi dalam agama Islam serta menyampaikan norma dan nilai kebaikan mengenai ajaran kebijaksanaan. Kajian ini merupakan model pelestarian dan pengembangan nilai-nilai budaya adiluhur yang melibatkan unsur penyangga aktif Mamaca, pemerintah terkait, akademisi, pihak industri atau sponsor, dan peran media. Institut Seni Indonesia Yogyakarta 2023-04-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/8200 10.24821/resital.v24i1.8200 Resital: Jurnal Seni Pertunjukan; Vol 24, No 1 (2023): April 2023; 36-45 2338-6770 2085-9910 10.24821/resital.v24i1 eng https://journal.isi.ac.id/index.php/resital/article/view/8200/3109 Copyright (c) 2023 I Wayan Dana, St. Hanggar Budi Prasetya, Agustin Anggraeni

oai:ojs.journal.isi.ac.id:article/443 2019-12-04T05:01:11Z resital:ART

Lakon Wahyu Cakraningrat dalam Paradigma Strukturalisme WAHYUDI, ARIS cakraningrat, strukturalisme, Levi-Strauss Wahyu Cakraningrat Play in Structuralism Paradigm. Lakon Wahyu Cakraningrat as a cultural phenomenonis basically a means of communication between composer with readers, viewers and listeners to the puppeteer.It is created by using a symbol system in the puppet, so that in every play of puppet, it always contains the meaningwhich can be known and understood well by the composer, puppeteer, and the community. These rules manage thesystem of symbols in the phenomenon of puppet plays, in their capacity as the “grammar” puppet plays with usingLevi-Strauss’s structuralism paradigm. This is going to be gained the interpretation that Lakon Wahyu Cakraningratis a work of art presenting some knowledge of Javanese culture. Institut Seni Indonesia Yogyakarta Institut Seni Indonesia Yogyakarta 2008-06-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/443 10.24821/resital.v9i1.443 Resital: Jurnal Seni Pertunjukan; Vol 9, No 1 (2008): Juni 2008 2338-6770 2085-9910 10.24821/resital.v9i1 eng https://journal.isi.ac.id/index.php/resital/article/view/443/37

oai:ojs.journal.isi.ac.id:article/2441 2019-01-27T14:50:37Z resital:ART

Sastra Lisan Nandung di Riau Suardi, Rofiandri Sunarto, Sunarto Nandung; Sastra lisan Riau; Indragiri Penelitian ini bertujuan untuk mengidentifikasi bentuk pertunjukan sastra lisan Nandung dan nilai-nilai yang terkandung di dalamnya. Nandung adalah sastra lisan yang digunakan untuk menidurkan anak, disampaikan dengan syair yang berbentuk pantun, dan dilantunkan dengan berirama atau bersenandung. Saat ini, Nandung telah berkembang menjadi sebuah seni pertunjukan. Data diperoleh dari pengamatan terhadap kesenian sastra lisan Nandung di Kota Rengat, Indragiri Hulu, Riau. Berdasarkan penelitian disimpulkan bahwa terdapat 7 sub bentuk pertunjukan dalam sastra lisan Nandung, yaitu penutur, musik pengiring, panggung, kostum, penonton, syair, serta bahasa yang digunakan. Sedangkan nilai yang terdapat dalam syairnya yaitu nilai religius, moral, dan pendidikan Institut Seni Indonesia Yogyakarta 2017-08-27 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/2441 10.24821/resital.v18i2.2441 Resital: Jurnal Seni Pertunjukan; Vol 18, No 2 (2017): Agustus 2017; 95-102 2338-6770 2085-9910 10.24821/resital.v18i2 eng https://journal.isi.ac.id/index.php/resital/article/view/2441/923 Copyright (c) 2019 Rofiandri Suardi, Sunarto Sunarto

oai:ojs.journal.isi.ac.id:article/11904 2024-12-03T08:14:24Z resital:ART

Makna Hadrah dalam Prosesi Baharak pada Masyarakat Negeri Olok Gading Lampung Hidayatulloh, Nofriyan Arsana, I Nyoman Cau Haryono, Timbul  Hadrah adalah musik yang mengiringi prosesi baharak (prosesi arak-arakan pengantin pada upacara pernikahan). Hadrah sebagai tanda yang berisi pengetahuan dan nilai, terus melahirkan interpretasi dalam mengonstruksi makna. Dengan kata lain, hadrah (sebagai material) bisa dibaca sebagai sebuah peristiwa bahasa atau gejala kebahasaan. Penelitian ini menggunakan metode penelitian kualitatif dengan etnografi sebagai metode pengumpulan data. Analisis tanda menggunakan teori semiotika dari Charles S. Peirce. Hasil penelitian menunjukkan bahwa hadrah bagi masyarakat adat Lampung adalah sesuatu yang tidak dapat dipisahkan dari pandangan masyarakat terhadap dunia natural (aspek sosial) dan supernatural (aspek religius). Hadrah dalam aspek sosial yakni mengatur bagaimana berperilaku berdasarkan norma adat dan norma dalam Islam, sedangkan dalam aspek religius, hadrah adalah upaya manusia dalam mendekatkan diri kepada Allah melalui dzikir. Dengan kata lain, hadrah berisi pandangan hidup masyarakat dalam membentuk perilaku. Hadrah sebagai musik yang mengiringi prosesi baharak dalam gawi adat, memiliki makna bagi masyarakat Negeri Olok Gading sebagai sebuah simbolisasi dari perjalanan hidup manusia. Bahwa perjalanan hidup seorang Lampung harus diikuti oleh perubahan kualitas hidup (terkait pemenuhan kebutuhan lahir dan batin manusia). Hal ini menunjukkan bahwa hadrah sebagai kebudayaan masyarakat Negeri Olok Gading adalah materialisasi dari nilai dan pengetahuan yang mengandung dimensi religius sekaligus dimensi sosial.Kata kunci: Hadrah, religius, sosial, dan maknaHadrah is the music that accompanies the baharak procession (bridal procession at a wedding ceremony). Hadrah as a sign that contains knowledge and values, continues to give birth to interpretations in constructing meaning. In other words, hadrah (as material) can be read as a language event or linguistic symptom. This research uses a qualitative research method with ethnography as the data collection method. Sign analysis uses Charles S. Peirce's pragmatic semiotics theory. The results showed that hadrah for Lampung indigenous people is something that cannot be separated from the community's view of the natural world (social aspect) and supernatural (religious aspect). Hadrah in the social aspect is regulating how to behave based on customary norms and norms in Islam, while in the religious aspect, hadrah is a human effort to get closer to Allah through dhikr. In other words, hadrah contains the community's worldview in shaping behaviour. Hadrah, as the music that accompanies the baharak procession in the traditional gawi, has a meaning for the people of Negeri Olok Gading as a symbolisation of the journey of human life. The life journey of a Lampungese must be followed by changes in the quality of life (related to the fulfilment of human physical and spiritual needs). This shows that hadrah as a culture of the people of Negeri Olok Gading is a materialisation of values and knowledge that contains both religious and social dimensions.Keywords: Hadrah, religious, social, and meaning.Hadrahadalah musik yang mengiringi prosesibaharak(prosesi arak-arakanpengantinpadaupacarapernikahan).Hadrahsebagaitandayangberisipengetahuandannilai,terusmelahirkaninterpretasidalammengonstruksimakna.Dengankatalain,hadrah(sebagaimaterial)bisadibacasebagaisebuahperistiwabahasaataugejala kebahasaan. Penelitian ini menggunakan metode penelitian kualitatif denganetnografisebagaimetodepengumpulandata.AnalisistandamenggunakanteorisemiotikadariCharlesS.Peirce.HasilpenelitianmenunjukkanbahwahadrahbagimasyarakatadatLampungadalahsesuatuyangtidakdapatdipisahkandaripandanganmasyarakatterhadapdunianatural(aspeksosial)dansupernatural(aspekreligius).HadrahdalamaspeksosialyaknimengaturbagaimanaberperilakuberdasarkannormaadatdannormadalamIslam,sedangkandalamaspekreligius,hadrahadalahupayamanusiadalammendekatkandirikepadaAllahmelaluidzikir.Dengankatalain,hadrahberisipandangan Institut Seni Indonesia Yogyakarta 2024-08-27 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/11904 10.24821/resital.v25i2.11904 Resital: Jurnal Seni Pertunjukan; Vol 25, No 2 (2024): Agustus 2024; 239-266 2338-6770 2085-9910 10.24821/resital.v25i2 eng https://journal.isi.ac.id/index.php/resital/article/view/11904/3916

oai:ojs.journal.isi.ac.id:article/475 2019-12-04T05:01:59Z resital:ART

Fotografi Pertunjukan: Fenomenena Tubuh dari Panggung menjadi Rupa PANJI PURNAMA, RY. ADAM Fotografi Pertunjukan, Pertunjukan, Tubuh. Performace Photography: The Body Phenomenon from Stage to Physical. Performance photographyhas tried its best to capture the phenomena on stage. These two art mainstreams are completely different both fromthe subject and the objects. Performing art utilizes eyes and noses as the guidance to the feeling and meaningfulbody movements. Meanwhile, photography only utilizes eyes due to the still images it uses. Body in the performanceis the amalgamation of physical body and spiritual body. The detachment from a daily life to act as others accordingto the performance demand makes a performance meaningful and atmospheric for the audience. Institut Seni Indonesia Yogyakarta Institut Seni Indonesia Yogyakarta 2009-06-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/475 10.24821/resital.v10i1.475 Resital: Jurnal Seni Pertunjukan; Vol 10, No 1 (2009): Juni 2009 2338-6770 2085-9910 10.24821/resital.v10i1 eng https://journal.isi.ac.id/index.php/resital/article/view/475/69

oai:ojs.journal.isi.ac.id:article/3339 2023-10-15T14:26:13Z resital:ART

Dangdut dan Kesehatan dalam Masyarakat Alfionita, Elya Nindy Skizofrenia; Familiaritas; Gelombang Otak Artikel ini membahas wacana tentang dangdut dan kontribusinya bagi kesehatan masyarakat. Dangdut dapat menjadi solusi untuk menstabilkan gelombang otak pada penderita skizofrenia, baik itu skizofrenia paranoid, skizofrenia hebrefenic, skizofrenia residual, dan skizofrenia tidak spesifik. Familiaritas adalah faktor utama pada pasien skizofrenia yang mencapai kondisi gelombang otak yang ideal. Keakraban yang melekat pada pasien skizofrenia terbentuk karena kontribusi (1) pengalaman musik pasien selama hidupnya (2) Pengalaman budaya di mana ruang membentuk karakter psikis seseorang (3) Pengalaman sosial pasien skizofrenia yang berkontribusi penuh terhadap rasa. Keterikatan emosional pasien dengan musik yang akrab membantu mengembalikan bagian pra frontal dari konteks, terutama bagian yang mengendalikan sistem saraf emosional (amigdala). Karena amigdala berkontribusi penuh pada saraf yang berhubungan dengan denyut jantung.Dangdut and Health in Society. The article discusses the discourse about dangdut and its contribution to public health. Dangdut can be a solution to stabilize brain waves again in people with schizophrenia. In the type of paranoid schizophrenia, hebrefenic schizophrenia, residual schizophrenia, and unspecified schizophrenia. Familiarity is a major factor in schizophrenia patients achieving ideal brain wave conditions. Familiarity inherent in schizophrenic patients is formed because of the contribution of (1) the patient's musical experience during his life, (2) cultural experiences in which space forms a person's psychic character, (3) the social experience of schizophrenic patients who contributes fully to taste. Patient's emotional attachment to familiar music helps to restore the pre-frontal part of the context, especially the controlling part of the emotional nervous system (amygdala). Because the amygdala contributes fully to the nerves associated with heart rate.Keywords: Schizophrenia; Familiarity; Brain Waves Institut Seni Indonesia Yogyakarta 2018-08-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/3339 10.24821/resital.v19i2.3339 Resital: Jurnal Seni Pertunjukan; Vol 19, No 2 (2018): Agustus 2018; 56-62 2338-6770 2085-9910 10.24821/resital.v19i2 eng https://journal.isi.ac.id/index.php/resital/article/view/3339/1999 Copyright (c) 2021 Resital: Jurnal Seni Pertunjukan

oai:ojs.journal.isi.ac.id:article/15449 2026-03-18T09:13:02Z resital:ART

The Performance of the Shofar: Musical Liturgical Practice in Contemporary Christian Worship Nugroho, Septian Cipto Wadiyo, Wadiyo Sinaga, Syahrul Syah Widna, Maria Angelita Shofar; liturgical music; performance practice; Christian worship; ethnomusicology This study addresses the need to enhance theological and musical literacy in contemporary Christian worship, where the Shofar is often used without a clear understanding of its sacred sound structure. The Shofar, rooted in Torah and Talmudic traditions, embodies symbolic and acoustic meanings that have been reinterpreted in Christian liturgical contexts. By examining this conceptual gap, the research positions the Shofar as a symbol of resurgent church music whose theological and musical depth has frequently been overlooked. Using a liturgical studies framework that integrates theology and musicology, this qualitative case study was conducted among pastors, worship leaders, musicians, and Shofar players across five charismatic and Pentecostal churches in Java, Indonesia. Data were collected through interviews, participant observation, and document analysis, and analyzed using content analysis and the Miles, Huberman, and Saldana interactive model. Findings indicate that most practitioners emphasize the Shofar’s symbolic and emotional appeal while neglecting its tonal codes: Tekiah, Shevarim, Teru’ah, and Tekiah Gedolah. The study concludes by emphasizing the importance of restoring interpretive depth and theological discernment through structured liturgical understanding, ensuring that sacred sound continues to serve as a coherent medium of worship, theology, and musical formation. Institut Seni Indonesia Yogyakarta Arts Education, Faculty of Language and Arts, Universitas Negeri Semarang Bachelor Elementare Musikpädagogik, Hochschule für Musik Detmold Higher Than Ever Church Bethel Tabernacle Church in Puri Anjasmoro Semarang Golden Gate Community Church 2025-12-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/15449 10.24821/resital.v26i3.15449 Resital: Jurnal Seni Pertunjukan; Vol 26, No 3 (2025): Desember 2025; 506-526 2338-6770 2085-9910 10.24821/resital.v26i3 eng https://journal.isi.ac.id/index.php/resital/article/view/15449/4723 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/15449/2513 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/15449/2514 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/15449/2515 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/15449/2516 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/15449/2517

oai:ojs.journal.isi.ac.id:article/4611 2021-08-07T05:10:17Z resital:ART

Pembelajaran Dolanan Jawa Berbasis Pilar-pilar Pendidikan bagi Anak Usia Dini Raharja, Budi Dolanan Jawa, Pillars of Education, Early Childhood The pillars of education (knowledge, skills, social or cooperation, individual, and spiritual) are used as media to expand the achievements of Javanese dolanan learning, which generally focus on social-emotional aspects only. The results of this study are expected to be used as a reference for stakeholders, especially Kindergarten teachers, as a medium for teaching Javanese dolanan to create a generation who is knowledgeable, has adequate skills, and has a high social spirit, and humble and obedient to worship as well. The experimental research method was used in this study to test the application results. In contrast, the research design is Single Subject Research (SSR) or single subject (group) which functions as an intervention group and a control group to test the intervention results. The research was carried out at Pertiwi 3 Kindergarten, Sinduadi, Mlati, Sleman Yogyakarta by giving a group of school students training to play Javanese dolanan entitled recreation, accompanied by children’s gamelan for six months (twice a week). After having the treatment, their behaviour changes were identified, calculated, and grouped based on the respective development field groups. As a result, Javanese dolanan learning based on educational pillars contains development aspects of the physical, motoric, cognitive, language, artistic, and children social-emotional. In contrast, the number of development materials includes 60 learning development materials. Institut Seni Indonesia Yogyakarta 2021-12-06 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/4611 10.24821/resital.v21i3.4611 Resital: Jurnal Seni Pertunjukan; Vol 21, No 3 (2020): Desember 2020; 150-162 2338-6770 2085-9910 10.24821/resital.v21i3 eng https://journal.isi.ac.id/index.php/resital/article/view/4611/2257 Copyright (c) 2020 Budi Raharja

oai:ojs.journal.isi.ac.id:article/803 2023-10-15T14:22:50Z resital:ART

A Solution to the Fingering Problem of Brahms Cellos Sonata No. 1 Opus 38 and Shostakovich Cello Sonata Opus 40 Wirayudha, Asep Hidayat The flexibility of fingers is one main factor of responsibility on their spread ability. Considering thecello playing, the spread ability of cellists’ fingers is very important since it has a direct correlation to theirability to play the octave interval. The short- fingers cellists would find difficulties to play the octave intervalsat the first, second, third, and fourth position. Nevertheless, short-fingers are not dead-end for cellist. Thespread ability of finger, up to some extent, might be increasing through practices and exercises. It is with thisspirit that the author proposes some stratagems, which may be used to increase the spread ability of a cellist’sfingers in this section - using the octave interval problems as a case of pint. The discussion on the types andstyles of problem show that even though the octave intervals in Brahms cellos sonata No. 1 opus 38 andShostakovich cello sonata opus 40 are different in details, but fundamentally they are similar: the problemscome from the difficulty of the first and the fourth fingers to reach the proper note when the size and lengthof the fingers are limited.Solusi dari Permasalahan Fingering dalam Brahms Cellos Sonata No.1 Opus 38 danShostakovich Cello Sonata Opus 40. Kemampuan penyebaran jari pemain cello sangat penting karenamemiliki korelasi langsung dengan kemampuan mereka untuk bermain interval oktaf. Jari-jari pendekpemain cello akan menemukan kesulitan untuk bermain interval-interval oktaf di posisi pertama,kedua, ketiga, dan keempat. Namun demikian, kemampuan penyebaran jari, bisa ditingkatkan melaluipraktik dan latihan. Hal tersebut menggugah penulis untuk mengusulkan beberapa siasat baru mengenaikemampuan teknis memainkan interval dan oktav dan persoalan jarak interval dalam konteks Sonatayang dapat digunakan untuk meningkatkan kemampuan penyebaran jari seorang pemain cello. Meskipuninterval oktaf di Brahms cello sonata No 1 opus 38 dan Shostakovich cello sonata opus 40 berbeda,tetapi pada dasarnya keduanya sama: masalah datang ketika kesulitan terjadi pada jari pertama dankeempat untuk mencapai nada yang tepat ketika ukuran dan panjang jari-jari terbatas. Institut Seni Indonesia Yogyakarta 2014-06-10 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/803 10.24821/resital.v15i1.803 Resital: Jurnal Seni Pertunjukan; Vol 15, No 1 (2014): Juni 2014; 100-106 2338-6770 2085-9910 10.24821/resital.v15i1 eng https://journal.isi.ac.id/index.php/resital/article/view/803/161

oai:ojs.journal.isi.ac.id:article/7766 2022-12-17T01:51:03Z resital:ART

Jaap Kunst Legacies: A Site of Forgetting, Remembering and History-Making Aryandari, Citra Jaap Kunst; legacy; ethnomusicology; colonial; postcolonial ABSTRACT The study interrogate and reconfigure the project of disclosing the heritage of ethnomusicologist Jaap Kunst. Jaap Kunst recorded a lot of Indonesian music while living in Indonesia from 1919-1934. The teaching material and the development of ethnomusicology concepts as knowledge based on the sound record and his research experience. Now, after nearly 100 years, the Musicology Department of University van Amsterdam is initiating the opening of the Jaap Kunst legacy that has not yet been published. Because this heritage is related to Indonesia's cultural history and memory, University van Amsterdam collaborates with academics from Indonesia and trying to find support from the Indonesian government.   This study introduces philosophical approaches to reflection: critical, hermeneutic, and finally phenomenological. Reveal the dynamic relationship between Jaap Kunst legacies as a historical artifact and a site of forgetting, remembering, and history-making. How were the memory and identity stored in the Jaap Kunst materials reinterpreted in the postcolonial era? How is ethnomusicology addressing this matter related to shaping the colonial knowledge into the various subject positions? This paper is discussed with a retrospective approach in which individuals are sampled and information is collected about their past. Through interviews in some participants are asked to recall important events, or by identifying relevant administrative data to fill in information on past events and circumstances. With that method I assumed that tracking down Kunst's legacy was like taking a vacation at grandma's house, bringing back all the memories but not necessarily related to the present.  ABSTRAK Tulisan ini menginterogasi dan mengonfigurasi ulang proyek pembukaan warisan etnomusikolog yang Bernama Jaap Kunst. Jaap Kunst merekam banyak musik Indonesia selama tinggal di Indonesia dari tahun 1919-1934 dan menjadikan sebagai bahan ajar serta pengembangan konsep etnomusikologi sebagai ilmu pengetahuan berdasar rekaman suara dan pengalaman penelitiannya. Kini, setelah hampir 100 tahun, Departemen Musikologi Universitas Amsterdam memprakarsai pembukaan warisan Jaap Kunst yang belum sempat dipublikasikan. Warisan ini terkait dengan sejarah dan ingatan budaya Indonesia, Universitas Van Amsterdam bekerja sama dengan akademisi dari Indonesia dan berusaha mencari dukungan dari pemerintah Indonesia. Tulisan ini memperkenalkan pendekatan filosofis untuk refleksi: kritis, hermeneutik, serta fenomenologis. Mengungkapkan hubungan dinamis antara warisan Jaap Kunst sebagai artefak sejarah dan situs melupakan, mengingat, dan membuat sejarah. Bagaimana ingatan dan identitas yang tersimpan dalam materi Jaap Kunst diinterpretasikan ulang di era pascakolonial? Bagaimana etnomusikologi menyikapi hal ini terkait dengan pembentukan pengetahuan kolonial ke dalam berbagai posisi subjek? Pembahasan dalam tulisan ini menggunakan pendekatan retrospektif di mana individu diambil sampelnya dan dikumpulkan informasi tentang masa lalunya. Melalui wawancara beberapa partisipan diminta untuk mengingat kembali peristiwa-peristiwa penting, atau dengan mengidentifikasi data administrasi yang relevan untuk mengisi informasi tentang peristiwa dan keadaan masa lalu. Dengan cara itu dapat diasumsikan menelusuri peninggalan Kunst  seperti berlibur ke rumah nenek, membawa kembali semua kenangan tapi tidak harus terkait dengan masa kini. Institut Seni Indonesia Yogyakarta 2022-12-17 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/7766 10.24821/resital.v23i3.7766 Resital: Jurnal Seni Pertunjukan; Vol 23, No 3 (2022): Desember 2022; 160-168 2338-6770 2085-9910 10.24821/resital.v23i3 eng https://journal.isi.ac.id/index.php/resital/article/view/7766/2878 Copyright (c) 2022 Citra Aryandari

oai:ojs.journal.isi.ac.id:article/12478 2024-06-14T15:26:43Z resital:ART

oai:ojs.journal.isi.ac.id:article/2223 2019-11-27T06:03:48Z resital:ART

Analisis Teknik Komposisi Musik “Variation on Theme of Sepasang Mata Bola” Karya Jazeed Djamin Rosiana Dewi, Maria Octavia Sepasang Mata Bola, Piano Concerto, Tema dan Variasi Tujuan penelitian ini adalah untuk mengungkapkan tentang latar belakang dan cara atau teknik pembuatan sebuah komposisi musik oleh Jazeed Djamin yang berjudul “Variation on theme of Sepasang Mata Bola”. Karya tersebut diciptakan dalam bentuk Piano Concerto dengan 9 variasi yang berdasar dari tema lagu “Sepasang Mata Bola” karya Ismail Marzuki. Penelitian ini dilakukan dengan metode penelitian kualitatif serta menggunakan pendekatan musikologi. Dari hasil penelitian dapat menunjukkan bahwa dipilihnya lagu “Sepasang Mata Bola” sebagai tema dari karya variasi tersebut untuk menunjukkan optimisme yang besar dari Jazeed Djamin terhadap potensi musikal negeri ini (Indonesia) yang sangat kaya dan layak digarap dalam bentuk-bentuk karya musik konvensional dan yang lebih besar. Selain itu Jazeed Djamin ingin mengenalkan dan mengangkat lagu-lagu asli Indonesia ke pentas Internasional. Karya tersebut diciptakan menjadi 9 variasi dengan diawali sebuah introduksi dan berakhir dengan suatu coda yang menjadi satu bagian dengan variasi IX, dan memiliki 469 birama dengan durasi sepanjang 25 menit. Setiap variasi memiliki karakter yang mengacu pada karakter variasi karya-karya musik jaman romantik. Teknik komposisi yang digunakan antara lain: variasi cantus firmus, variasi fixed harmony, variasi melodi dengan fixed harmony serta variasi fantasia. Karya tersebut juga memiliki bagian kadensa yang unik, karena tidak diletakkan menjelang akhir bagian lagu atau coda, tetapi sebagai bagian dari variasi VI. Idiom-idiom musik didalamnya sangat ilustratif karena mampu menggambarkan efek suara kereta api yang sedang berjalan. Institut Seni Indonesia Yogyakarta 2016-08-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/2223 10.24821/resital.v17i2.2223 Resital: Jurnal Seni Pertunjukan; Vol 17, No 2 (2016): Agustus 2016; 98-117 2338-6770 2085-9910 10.24821/resital.v17i2 eng https://journal.isi.ac.id/index.php/resital/article/view/2223/716 Copyright (c) 2018 Maria Octavia Rosiana Dewi

oai:ojs.journal.isi.ac.id:article/12479 2025-06-09T15:20:41Z resital:ART

Metafora Konseptual dalam Praktik Musik Keroncong Vernakular Setiawan, Yulius Erie Aribowo, Widodo Mibtadin, Mibtadin May, Adam keroncong asli, keroncong vernakular, metafora konseptual, ekspresi demotik Artikel ini bertujuan untuk menggambarkan (mengonseptualisasikan) praktik musik keroncong vernakular, yaitu sub-genre musik keroncong yang mengakomodasi keberagaman idiom musikal, syair, alat musik, teknik permainan, bentuk musik, dan ekspresi informal lainnya (kostum dan bahasa), yang berbeda dengan ekspresi keroncong asli (pakem). Penelitian ini adalah penelitian kualitatif yang mengelaborasikan pendekatan musikologi, etnografi, dan kajian budaya. Analisis dilakukan dengan mengamati keberadaan sebuah kelompok musik asal Malang, yaitu Kos Atos dengan mengamati dua sample rekaman video musik lagu Kita Beda Berbahaya dan Kopi, didukung wawancara klarifikatif dari subjek. Ditemukan hasil: pertama, praktik musik keroncong vernakular yang diusung Kos Atos adalah bentuk artikulasi subjek (tindakan ekspresif dan praktik diskursif) yang bertujuan untuk menemukan segmentasi pendengar keroncong di luar keroncong asli dan mewacanakan nilai pengetahuan baru di bidang musik keroncong; kedua, terdapat beberapa elemen yang dapat dikonseptualisasikan dari praktik musik keroncong vernakular, yaitu ekspresi demotik (ekspresi kerakyatan), lagu yang tidak tersofistikasi (berselera umum), musical mood, dan politik-ekonomi; ketiga, praktik keroncong vernakular dapat dikatakan sebagai bentuk pelestarian keroncong dalam konsep yang lain. Melalui praktik keroncong vernakular, genre musik keroncong dapat dijamin kelestariannya karena dapat lebih mudah diterima masyarakat umum, aktual, serta dekat dengan praktik ekonomi yang menjamin kesejahteraan hidup seniman. Institut Seni Indonesia Yogyakarta 2024-04-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/12479 10.24821/resital.v25i1.12479 Resital: Jurnal Seni Pertunjukan; Vol 25, No 1 (2024): April 2024; 48-67 2338-6770 2085-9910 10.24821/resital.v25i1 eng https://journal.isi.ac.id/index.php/resital/article/view/12479/3712

oai:ojs.journal.isi.ac.id:article/466 2019-12-04T05:01:59Z resital:ART

Seni Musik Hadrah Putri di Pondok Pesantren Al Munawwir Krapyak INDRAWAN, ANDRE ANDARI, SUSANTI -, SURYATI Islamic music, hadrah, ethnomusicology Hadrah Music in Pondok Pesantren Al Munawwir Krapyak. This study investigates an Islamic musical genreknown as the Hadrah, practiced by female students of the Pondok Pesantren (Islamic boarding school) Al Munawwir.It is based on an ethnomusicological fi eld research conducted between May 2007 and September 2008.Thisstudy fi nds that basic song form is exist in the Hadrah’s songs while their lyrics are mostly taken from classical as wellas popular Islamic poem collections. Although the Hadrah song was performed by melodic ornamental improvisationtechniques that normally applied in reciting the Qur’an, the singer always try to follow the Arabic reading rulescarefully. This fi nding has given us an indication that in order to achieve a good result of musical production, aswell, the Hadrah singers have to master not only the art of Holy Qur’an recitation but also Arabic language fl uency.The female Hadrah is normally performed as a religious entertainment in the school’s traditions, such as anniversaryand graduation celebrations. Institut Seni Indonesia Yogyakarta Institut Seni Indonesia Yogyakarta 2009-06-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/466 10.24821/resital.v10i1.466 Resital: Jurnal Seni Pertunjukan; Vol 10, No 1 (2009): Juni 2009 2338-6770 2085-9910 10.24821/resital.v10i1 eng https://journal.isi.ac.id/index.php/resital/article/view/466/60

oai:ojs.journal.isi.ac.id:article/2459 2019-12-13T03:22:12Z resital:ART

Pola Permainan Alat Musik Keroncong dan Tenor di Orkes Keroncong Irama Jakarta Supiarza, Hery Setiawan, Deni Sobarna, Cece cente manis; tenor; Irama Jakarta Penelitian ini mendiskusikan pola permainan alat musik keroncong dan tenor serta penerapannya  pada lagu “Cente Manis” dan “Sambel Cobek”. Kedua alat musik ini merupakan identitas keroncong gaya Jakarta. Penelitian dilakukan dengan pendekatan kualitatif deskriptif dan data dikumpulkan melalui observasi, wawancara, dan dokumentasi. Berdasarkan hasil penelitian ditemukan bahwa asal mula istilah alat musik keroncong berasal dari bunyi alat musik itu sendiri. Istilah tenor merujuk pada istilah suara laki-laki tertinggi. Ditemukan juga teknik permainan alat musik keroncong dan tenor yaitu teknik rasguaedo (prung), strumming, arpeggio dan dengan cara dipetik satu-satu pada setiap senar. Teknik memainkan alat musik keroncong dan tenor tersebut  meliputi pola permainan dobel engkel, dobel balik, format dan gaya lama. Permainan keempat pola tersebut bergantung pada lagu yang akan dibawakan dan kesepakatan para personilnya. The Approach of Orff-Schulwerk for Prospective Music Teachers in Kindergarten Schools. The topic in this article focuses on the application of Orff-schulwerk for university students as prospective teachers in school, including kindergarten. Orff-schulwerk can be seen as an approach to music education. In related to primary education, this approach focuses on the children needs and develops children musicality through necessary activities (elemental) in music and movement. Some questions in this article are: 1) what kind of Orff-schulwerk that can be used by prospective teachers in the learning process at kindergarten? 2) what benefits can be obtained by teacher candidates through the application of the Orff-schulwerk approach? And 3) how do prospective teachers who use this approach can understand their role in learning? The method used in this study is action research. The findings in this research are prospective teachers understand that: 1) Orff-schulwerk can be used in related to exploration – imagination – creation that involving music and movement; 2) this approach is useful for developing student musicality in the learning process in kindergarten; and 3) in this approach, prospective teachers are acted as facilitators who can create an atmosphere of learning that stimulate students’ imagination and creation. This study concludes that the Orff-schulwerk approach should be mastered by prospective teachers who teach in schools, including kindergarten. By having an understanding of this approach, both theoretically and practically, prospective teachers not only enhance their knowledge but also support the national education goals, namely the students’ character building in schools.Keywords:  Orff-Schulwerk; music education; kindergarten teachers Institut Seni Indonesia Yogyakarta LPDP, Lembaga Pengelolaan Dana Pendidikan Indonesia Awarde 2016 2019-08-26 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/2459 10.24821/resital.v20i2.2459 Resital: Jurnal Seni Pertunjukan; Vol 20, No 2 (2019): Agustus 2019; 108-120 2338-6770 2085-9910 10.24821/resital.v20i2 eng https://journal.isi.ac.id/index.php/resital/article/view/2459/1676 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/2459/196 Copyright (c) 2019 Resital: Jurnal Seni Pertunjukan

oai:ojs.journal.isi.ac.id:article/17190 2025-12-24T06:26:35Z resital:ART

Exploring the Crisis of Cultural Identity as Reflected in Contemporary Manggarai Songs Yuliantari, Ans Prawati Moon, Yuliana Jetia Handoko, Cons Tri cultural identity crisis; discourse; hybridity; folk songs; Manggarai This study aims to identify and analyze forms of cultural identity crisis in contemporary Manggarai songs circulating through social media. The study employs a qualitative approach, utilizing Fairclough's Critical Discourse Analysis method and Bhabha's Cultural Hybridity theory, to examine the relationship between song lyrics, social practices, and the use of cultural symbols. The results of this study indicate that the cultural identity crisis is reflected in ambivalent discourse and the use of traditional symbols in new forms that are inconsistent with their original meanings. Cultural symbols that were once sacred now appear in the context of emotional expression, social humor, and digital entertainment. This phenomenon shows a shift in meaning and function, where society is no longer in a position of established identity, but instead in a space of negotiation between tradition and modernity. Local music in the digital era has become an important arena for responding to social and economic pressures and the influence of media algorithms. This study concludes that cultural expression through songs reflects the dynamics of constantly changing identities. Recommendations for further research include expanding the study to other musical genres or different cultural contexts to understand the transformation of cultural identity in the broader digital landscape. Institut Seni Indonesia Yogyakarta 2025-08-31 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/17190 10.24821/resital.v26i2.17190 Resital: Jurnal Seni Pertunjukan; Vol 26, No 2 (2025): Agustus 2025; 247-280 2338-6770 2085-9910 10.24821/resital.v26i2 eng https://journal.isi.ac.id/index.php/resital/article/view/17190/4472

oai:ojs.journal.isi.ac.id:article/498 2019-12-04T05:23:18Z resital:ART

Seni Pertunjukan Teater Asera Berdasarkan Mitos To Balo, Suku Bentong Sulawesi Selatan -, Prusdianto Teater tentang absurditas dengan paradoksnya yang aneh merupakan sebuah gejala dari apa yang mungkin paling mendekati pencarian relijius murni, yaitu suatu usaha manusia menyadari realitas mutlak kondisinya, dan mengajarkan kembali kepadanya makna keajaiban kosmis yang hilang dan kegalauan purba. Penciptaan pertunjukan teater Asera mengambil ide tentang kematian yang ditentukan oleh jumlah Sembilan. Ide tersebut terinspirasi dari mitos yang ada pada To Balo, suku Bentong yang berada di Sulawesi Selatan. Hal yang mendasari penciptaan Asera ini adalah keinginan untuk mengangkat sebuah permasalahan yang mengingatkan kita akan kematian. Sebuah proses dalam kehidupan yang sebenarnya mutlak akan dialami oleh manusia, akan tetapi sering dilupakan keberadaanya. Selain menjadikan warisan mitos sebagai sumber ide penciptaan, juga memberikan warna dan corak baru dalam dunia seni, khususnya seni teater. Teater adalah dunia imajinasi dari kehidupan yang sebenarnya.Kata kunci: Teater, Asera, absurd, To Balo, Bentong.ABSTRACTThe Performing Arts of theater Asera based on the myth of To Balo, Bentong tribe South Sulawesi. The absurdity of theatre with its weird paradox is as a phenomenon of what is probably as the closest quest to the purity of religiousity that is a human’s effort to realize the reality of his absolute condition, and to teach him back the meaning of the missing remarkable cosmic and the ancient confusion. The creation of theater performance Asera takes an idea of death which has been decided by number nine. This idea was fi rst inspired from a myth that exists in To Balo, a Bentong tribe lives in South Sulawesi. The basic creating idea of Asera is a willingness to discuss a problem that reminds us to the death. A process in a real life will be absolutely experienced by man, but its existence will often be forgotten. In addition to makinga myth heritage as a source of creating ideas, it also gives the new colours and characteristics in the world of arts, especiallyin the art of theater. However, theater is the real life imagination.Keywords: Theatre, Asera, absurd, To Balo, Bentong. Institut Seni Indonesia Yogyakarta ISI Yogyakarta 2012-06-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/498 10.24821/resital.v13i1.498 Resital: Jurnal Seni Pertunjukan; Vol 13, No 1 (2012): Juni 2012 2338-6770 2085-9910 10.24821/resital.v13i1 eng https://journal.isi.ac.id/index.php/resital/article/view/498/92

oai:ojs.journal.isi.ac.id:article/4922 2023-10-15T14:26:13Z resital:ART

Ki Wiryah Sastrowiryono dalam Dunia Karawitan Jawa: Guru, Pengrawit, dan Pencipta Gendhing Pudjasworo, Bambang Wiryah; Sastrowiryono; gendhing Tulisan ini bertujuan mengungkap sisi-sisi kehidupan Ki Wiryah Sastrowiryono sebagai salah seorang empu karawitan Jawa yang sepanjang hidupnya telah mengabdikan diri dalam dunia karawitan Jawa, baik sebagai pendidik di SMKI (KONRI) Yogyakarta, ISI Yogyakarta, Taman Kesenian Taman Siswa, Pamulangan Beksa Ngayogyakarta, dan Yayasan Gambirsawit Yogyakarta. Ia berperan sebagai pengrawit, maupun sebagai pencipta gendhing untuk sajian karawitan dan iringan tari. Dedikasinya sebagai seorang pendidik karawitan Jawa antara lain tampak dalam kegiatannya sebagai staf pengajar di materi pelajaran karawitan yang dituangkan ke dalam buku-buku ajar karawitan Jawa yang ditulis tahun enampuluhan sampai delapan puluhan. Tulisannya banyak diterbitkan oleh Majelis Luhur Taman Siswa dan SMKI (KONRI) Yogyakarta. Buku-buku karya Ki Wiryah Sastrowiryono ini telah banyak digunakan sebagai buku pegangan bagi para guru dan siswa/mahasiswa yang mempelajari karawitan Jawa Gaya Yogyakarta.ABSTRACTKi Wiryah Sastrowiryono in the Field of Javanese Karawitan: A Teacher, Player, and Gendhing Composer. This paper aims to reveal the aspects of Ki Wiryah Sastrowiryono’s life as one of the Javanese gamelan masters who throughout his life devoted himself to Javanese gamelan, both as an educator at the Indonesian Karawitan High School Yogyakarta SMKI (KONRI), ISI Yogyakarta, Taman Siswa Arts Community, Pamulangan Beksa Ngayogyakarta, and Yogyakarta Gambirsawit Foundation. He had some essential roles as a gamelan player (pengrawit), as well as a composer of pieces for musical offerings and dance accompaniment. His dedication as a Javanese gamelan educator can be seen, among other things, in his activities as a teaching staff for musical lessons which were translated into Javanese musical textbooks written in the sixties to the eighties. His writings had mostly been published by the Taman Siswa Luhur Council and the Yogyakarta SMKI (KONRI). These books by Ki Wiryah Sastrowiryono have been widely used as handbooks for teachers and students studying Javanese gamelan of Yogyakarta style.Keywords: Wiryah; Sastrowiryono; gendhing  Institut Seni Indonesia Yogyakarta 2018-08-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/4922 10.24821/resital.v19i2.4922 Resital: Jurnal Seni Pertunjukan; Vol 19, No 2 (2018): Agustus 2018; 76-82 2338-6770 2085-9910 10.24821/resital.v19i2 eng https://journal.isi.ac.id/index.php/resital/article/view/4922/1996

oai:ojs.journal.isi.ac.id:article/522 2019-12-04T05:23:30Z resital:ART

Nasionalisme Eropa dan Pengaruhnya Pada Lagu Seriosa di Indonesia Yunita, Ayu Tresna Gerakan nasionalisme berkembang di Eropa pada tahun 1830 dan menyebar ke berbagai negara di dunia termasuk di Indonesia. Gerakan nasionalisme Eropa pada perkembangannya memberi pengaruh yang besar terhadap perkembangan nasionalisme di kawasan Asia-Afrika khususnya di Indonesia dan perkembangan dalam sejarah musik. Gerakan nasionalisme dalam musik diawali di Rusia lalu kemudian diikuti gerakan nasionalisme di negara-negara Skadinavia, Spanyol, Italia, Hongaria, Inggris dan Amerika Serikat. Nasionalisme Eropa mempengaruhi beberapa komponis dalam menciptakan karya musiknya. Mereka memasukkan unsur-unsur melodi dan syair yang sesuai dengan musik rakyat dan yang sudah dikenal oleh masyarakat mereka. Di Indonesia, nasionalisme membuat para komponis Indonesia menciptakan lagu dengan tujuan mengobarkan semangat berjuang untuk melepaskan diri dari penjajah. Beberapa komponis Indonesia pada waktu jaman itu antara lain, W.R. Supratman, Kusbini, Ismail Marzuki dan Cornel Simanjuntak. Lagu seriosa yang diciptakan para komponis Indonesia mempunyai peranan yang besar terhadap perjuangan mencapai kemerdekaan. Lagu-lagu seriosa yang diciptakan dengan menggunakan ilmu-ilmu musik dari Barat seperti tangganada diatonis, harmoni, struktur bentuk lagu, ritmes dan lain sebagainya merupakan hasil pengaruh musikal dari Barat.Kata kunci: Nasionalisme, pengaruh musikal, lagu seriosaABSTRACTNasionalism in Europ and Its Impact on Indonesian Seriosa Song. The growing of nationalism movements in Europe in 1830 had spread out to all over the world, as well as in Indonesia. It gave considerable influence on the development of nationalism in Asia and Africa, especially in Indonesia, in term of the development in the history of music. The nationalism movement in music began in Russia and then was followed by the movement of nationalism in Scandinavian countries, Spain, Italy, Hungary, the United Kingdom and the United States. European nationalism has affected several composers in creating their music as they incorporate elements of melody and lyric in accordance with folk music which they have been familiar with. In Indonesia, nationalism made Indonesian composers created songs as an expression of their spirit against the Dutch colonial government. Some of Indonesian composers at that time, among others, were WR Supratman, Kusbini, Ismail Marzuki and Cornel Simanjuntak. Seriosa Song composed by Indonesian composers who had an important role to fight for the Indonesian independence. Seriosa songs which are created by using western musical’s standard as diatonic scales, harmony, the structure of a song form, rhyme, and so forth can be said as a result of the western musical influences.Keywords: Nationalism, musical influences, seriosa song Institut Seni Indonesia Yogyakarta ISI Yogyakarta 2012-12-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/522 10.24821/resital.v13i2.522 Resital: Jurnal Seni Pertunjukan; Vol 13, No 2 (2012): Desember 2012 2338-6770 2085-9910 10.24821/resital.v13i2 eng https://journal.isi.ac.id/index.php/resital/article/view/522/116

oai:ojs.journal.isi.ac.id:article/6112 2022-04-30T05:51:42Z resital:ART

Metode Pembelajaran Suling Laras Slendro Gaya Yogyakarta Marsudi, Marsudi Marsudi method; learning; flute; Yogyakarta style This research is motivated by the fact that many flute players, artists, musical practitioners and students do not recognize the characteristics of the Yogyakarta style flute, so there is a tendency to abandon it. On the other hand, the Yogyakarta style flute instrument has specifications that lead to special characteristics. This study aims to provide an understanding of the Yogyakarta style flute as well as produce teaching materials for the Yogyakarta style flute as a guide for learning. This study uses two methods, namely data collection and analysis and design methods. Yogyakarta Style flute learning techniques include: knowledge of the flute, basic techniques, intermediate techniques, and advanced techniques. Knowledge of the flute includes the characteristics of the shape, blow hole, tone hole, closing tone, cengkok seleh, and the application of cengkok seleh flute Yogyakarta style. Basic techniques include mastery of blowing and closing types in finding the tone of both the slendro  barrels. Intermediate techniques include basic mastery of crooked selh, slendro barrel and pelog barrel. Advanced techniques include the application of seleh bends on the gending and lagon. Institut Seni Indonesia Yogyakarta 2022-04-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/6112 10.24821/resital.v23i1.6112 Resital: Jurnal Seni Pertunjukan; Vol 23, No 1 (2022): April 2022; 39-50 2338-6770 2085-9910 10.24821/resital.v23i1 eng https://journal.isi.ac.id/index.php/resital/article/view/6112/2613

oai:ojs.journal.isi.ac.id:article/1681 2019-11-27T06:04:20Z resital:ART

Komposisi “Jangkah” Klonthong Laras Pelog Karbito, Nanang Klonthong, gamelan, pelog komposisi jangkah Artikel ini membahas proses penciptaan komposisi “Jangkah” menggunakan klonthong, gentakecil terbuat dari kuningan atau kayu. Umumnya klonthong digunakan untuk penanda sapi atau kerbaudengan cara mengalungkannya pada leher. Potensi bunyi yang dihasilkan klonthong memungkinkandimanfaatkan sebagai alat musik. Berdasarkan observasi, klonthong memiliki potensi bertangga nada(laras) pelog. Laras pelog dicirikan oleh jangkah atau interval antar nada yang tidak sama. Berdasarkanpengukuran dan penghitungan, penulis berhasil mengumpulkan klonthong sehingga membentuktangga nada sama dengan gamelan dan mengkolaborasikan dengan gamelan laras pelog. Institut Seni Indonesia Yogyakarta 2015-12-28 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/1681 10.24821/resital.v16i3.1681 Resital: Jurnal Seni Pertunjukan; Vol 16, No 3 (2015): Desember 2015; 166-173 2338-6770 2085-9910 10.24821/resital.v16i3 eng https://journal.isi.ac.id/index.php/resital/article/view/1681/453 Copyright (c) 2017 RESITAL : JURNAL SENI PERTUNJUKAN

oai:ojs.journal.isi.ac.id:article/9346 2024-03-29T05:52:09Z resital:ART

Student Centered Learning-Comprehensive Musicianship Through Performance Dalam Pembelajaran Orkestra Fu'adi, Fu'adi Agustianto, Agustianto Fitria, Yunike Juniarti Djahwasi, Herry Rizal student centered learning; comprehensive musicianship; pembelajaran orkestra Model pembelajaran merupakan bagian penting untuk mengembangkan kapabilitas musikal peserta didik. Artikel ini bertujuan untuk mendeskripsikan penerapan model pembelajaran musik orkestra berbasis Student-Centered Learning: Comprehensive Musicianship through Performance (SCL-CMP). Penelitian ini menggunakan metode kualitatif, dengan teknik pengumpulan data melalui observasi, wawancara, dan dokumentasi. Analisis data menggunakan model interaktif Huberman meliputi pengumpulan data, kondensasi data, reduksi data, dan verifikasi/kesimpulan, serta didukung dengan penggunaan software NVivo 12 untuk pengorganisasian data. Hasilnya yang pertama adalah manfaat SCL-CMP dalam pembelajaran orkestra bagi peserta didik meliputi partitur musik orkestra dapat dijelaskan dengan detail, mendorong peserta didik untuk lebih aktif, karakter instrumen musik menjadi lebih mudah dipahami, dan permasalahan teknis dalam memainkan instrumen musik lebih mudah diatasi; kedua, daya tarik SCL-CMP dalam pembelajaran orkestra antara lain peserta didik memiliki waktu lebih banyak untuk berdiskusi, lebih berani berpendapat, dan mendiskusikan partitur musik secara kritis; ketiga , kendala yang dihadapi dalam pembelajaran berbasis SCL-CMP antara lain sikap peserta didik yang malas dan pasif, dan kurangnya kesadaran pendidik terhadap kemajuan peserta didik; dan keempat, optimalisasi SCL-CMP dalam pembelajaran orkestra melalui upaya mengutamakan diskusi dalam pembelajaran, membagi kelompok alat musik menjadi beberapa kelompok, dan mencari solusi dari setiap permasalahan. Permasalahan dalam pembelajaran orkestra dapat dibahas secara mendalam beserta solusinya, sehingga dapat disimpulkan bahwa pembelajaran berbasis model Student-Centered Learning-Comprehensive Musicianship Through Performance sangat cocok diterapkan dalam pembelajaran orkestra. Institut Seni Indonesia Yogyakarta 2023-12-21 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/9346 10.24821/resital.v24i3.9346 Resital: Jurnal Seni Pertunjukan; Vol 24, No 3 (2023): December 2023; 189-208 2338-6770 2085-9910 10.24821/resital.v24i3 eng https://journal.isi.ac.id/index.php/resital/article/view/9346/3605 Copyright (c) 2023 Fu’adi, Agustianto, Yunike Juniarti Fitria, Herry Rizal Djahwasi2

oai:ojs.journal.isi.ac.id:article/457 2019-12-04T05:01:43Z resital:ART

Ikonisitas Tata Panggung: Sebuah Kajian Semiotika Seni Rupa Teater BUDI ANTONO, UNTUNG TRI iconisity, stage, transformation The Semiotic of Stage. Semiotics is a study dealing with signs and sign systems. Signs are created for theneeds of communication and information. According to Piercean’s, semiotics in theatre is a transformation of storysigns which symbolically become iconic signs of its acts. Stage setting is an artistic part of theatre which makes usethe potentials of iconicity. Since its functions as a drama support of the acts, its potentials of iconicity optimize itsfunctions. Institut Seni Indonesia Yogyakarta Institut Seni Indonesia Yogyakarta 2008-12-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/457 10.24821/resital.v9i2.457 Resital: Jurnal Seni Pertunjukan; Vol 9, No 2 (2008): Desember 2008 2338-6770 2085-9910 10.24821/resital.v9i2 eng https://journal.isi.ac.id/index.php/resital/article/view/457/51

oai:ojs.journal.isi.ac.id:article/2045 2021-03-22T04:19:40Z resital:ART

Musik Gamolan, Latihan Untuk Menumbuhkan Relasi Sosial Kurniawan, Adi Djohan, Djohan Latihan Gamolan; Ansambel; Relasi Sosial Penelitian ini bertujuan untuk mengungkap korelasi antara aktivitas latihan gamolan dan relasi sosial para pemainnya. Penelitian ini menggunakan pendekatan kuantitatif dengan jenis ex-post facto. Populasi penelitian ini 40 orang anggota salah satu kelompok kesenian Lampung. Penentuan jumlah sampel mengunakan teknik sampling jenuh, yaitu sampel diambil dari keseluruhan populasi dengan pertimbangan jumlah populasi yang  tidak banyak. Analisis data menggunakan analisis deskriptif. Hasil pengolahan data menunjukan nilai signifikansi sebesar 0,001. Dengan kriteria pengambilan keputusan bahwa jika nilai signifikansi sebesar < 0,05 maka, aktivitas latihan gamolan dan relasi sosial dinyatakan berkorelasi secara signifikan. Dengan demikian aktivitas latihan gamolan berkorelasi positif terhadap relasi sosial pemian gamolan. Institut Seni Indonesia Yogyakarta 2017-12-26 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/2045 10.24821/resital.v18i3.2045 Resital: Jurnal Seni Pertunjukan; Vol 18, No 3 (2017): Desember 2017; 159-167 2338-6770 2085-9910 10.24821/resital.v18i3 eng https://journal.isi.ac.id/index.php/resital/article/view/2045/1635 Copyright (c) 2019 RESITAL : JURNAL SENI PERTUNJUKAN

oai:ojs.journal.isi.ac.id:article/15483 2025-08-20T12:36:28Z resital:ART

Reimagining Thai, Jazz, and Classical Musical Identities in “Phosop”: The Music of Awakening the Spirit Chaichana, Tanarat Decolonization; Jazz; Isan Nuea music; Classical; Cross-cultural music; Global music Historically, Eurocentrism has profoundly influenced the development, perception, and evaluation of cross-cultural music, shaping composers’ perspectives and reinforcing biases related to notions of identity and authenticity. This dynamic also exposes underlying power imbalances between Western and non-Western cultures, especially in musical collaborations. In response, this paper advocates for a reconciliatory approach that addresses these issues and strengthens the concept of decolonization in music composition. This study examines an original composition for orchestra, jazz quartet, and khaen, titled “Phosop,” identifying how it embodies the principles of cultural recognition, the dismantling of hierarchical structures, and the promotion of collective participation through a deliberate process that integrates jazz, classical, and Isan Nuea music. The collaborative interaction among these distinct styles exemplifies a shared musical dialogue that balances individual expression with collective creation, honoring diverse cultural heritages. Consequently, this work advocates for a participatory and dialogic model of music-making that fosters inclusivity, encouraging composers to critically engage with the histories and contributions of various musical traditions by adopting inclusive practices. These practices aim to elevate and honor cultural narratives through artistic work, thereby challenging Eurocentrism in global or cross-cultural music composition. Such efforts contribute to the cultivation of a more equitable and dynamic global musical landscape, fostering cross-cultural understanding and amplifying diverse voices. Institut Seni Indonesia Yogyakarta 2025-04-23 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/15483 10.24821/resital.v26i1.15483 Resital: Jurnal Seni Pertunjukan; Vol 26, No 1 (2025): April 2025; 25-45 2338-6770 2085-9910 10.24821/resital.v26i1 eng https://journal.isi.ac.id/index.php/resital/article/view/15483/4386

oai:ojs.journal.isi.ac.id:article/489 2021-12-22T04:37:02Z resital:ART

Rim-ba: Karya Tari Hasil Refleksi Kehidupan Suku Anak Dalam Sarjiwo, Sarjiwo Widyanarto, Widyanarto Karya tari “Rim-ba” merupakan hasil dari refl eksi penata tari terhadap kehidupan Suku Anak Dalam (Orang Rimba) di Bukit Duabelas Propinsi Jambi. Hutan yang menjadi habitat dan tempat bernaung Suku Anak Dalam semakin sempit areanya. Hal tersebut disebabkan oleh adanya penebangan liar (illegal logging) maupun perluasan lahan perkebunan sawit. Tema yang diangkat dalam garapan karya tari ini adalah perjuangan hidup orang rimba. Bentuk penyajiannya simbolis representasional yang terbagi dalam empat adegan, yaitu adegan satu (introduksi) tentang keterbelakangan, adegan dua tentang ritus orang rimba, adegan tiga tentang aktivitas mata pencaharian orang rimba, dan adegan empat tentang perusakan rimba. Karya tari ini didukung oleh empat orang penari. Gerak tari berorientasi pada perilaku kehidupan sehari-hari orang rimba. Musik pengiring merupakan musik hasil editing secara digital dengan software nuendo dengan memasukkan unsur suara vocal. Tata rupa pentas berdasarpada atmosfi r suasana hutan, meliputi property instalasi kayu, akar sulur gantungan dan dedaunan. Busana yangdikenakan menyerupai busana asli Suku Anak Dalam yang sudah dimodifi kasi. Sedangkan tata cahaya yangdigunakan berorientasi pada nuansa cahaya alam.Kata kunci: rimba, suku anak dalam, bukit duabelasABSTRACT“Rim-ba”: A Dance refl ecting the Life of Anak Dalam Tribe. Rimba dance is the result of the choreographer’srefl ection on the life of Anak Dalam tribe (forest people / Orang Rimba) in Bukit Duabelas, Jambi province. The forestwhich is the habitat of the tribe is shrinking. This is due to the illegal logging and palm oil agriculture expansion. Thetheme of the dance is about the struggle of forest people in their life. The symbolic, choreographic representation is dividedinto four acts; the fi rst act introduces the underdeveloped condition of the people; the second act shows the rituals practiced by the forest people; the third act shows how the forest people earn their living; and the fi nal act visualizes the forest destruction. The dance is performed by four dancers. The dance movement orientates on the daily behaviors of the forestpeople. The accompanying music is composed and edited digitally by applying nuendo software and inserting vocal element in the software. The stage decoration shows a forest setting which includes wooden property, hanging roots and leaves. The dancers’ costumes resemble the original clothes of Anak Dalam tribe along with some modifi cations, whereas the lighting arrangement is based on natural lighting nuance.Key words: anak dalam dance, bukit duabelas Institut Seni Indonesia Yogyakarta ISI Yogyakarta 2011-12-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/489 10.24821/resital.v12i2.489 Resital: Jurnal Seni Pertunjukan; Vol 12, No 2 (2011): Desember 2011 2338-6770 2085-9910 10.24821/resital.v12i2 eng https://journal.isi.ac.id/index.php/resital/article/view/489/83

oai:ojs.journal.isi.ac.id:article/513 2019-12-04T05:23:18Z resital:ART

Bedhaya Sumreg Keraton Yogyakarta Astuti, Budi Wuryastuti, Anna Retno Penemuan jejak masa lalu atas keberadaan suatu bentuk budaya, merupakan suatu fenomena yang sangat bernilai. Hal ini dapat melengkapi upaya menelusuri jejak masa lalu dengan ditemukannya susunan materi gerak untuk visualisasi teks tarinya. Namun demikian tafsir kebudayaan atas penemuan jejak masa lalu tersebut tidak bisa meninggalkan faktor kesejarahannya. Dalam kajian teks bedhaya Sumreg ini diketahui susunan materi gerak Bedhaya Sumreg dan keterkaitan makna sumreg dengan pola lantai dan pola gendhing pengiringnya. Pola-pola gendhing yang ditampilkan secara struktural tetap menggunakan tata aturan baku yang sampai sekarang lazim disebut dengan lampah bedhayan. Bedaya yang dianggap pusaka ini diungkapkan tidak hanya materi tekstualnya saja tetapi juga mencakup materi kontekstualnya.Kata kunci: bedhaya Sumreg, tari Yogyakarta, tari pusaka.ABSTRACTBedhaya Sumreg of Yogyakarta Palace. The discovery of the past existence traces of a culture is trully a valuable phenomenon. This may complete the efforts to trace the past with the discovery of the structure of motion for the textvisualization of a dance. However, the interpretation of culture on the discovery of traces of the past cannot abandon the historical factor. The textual study of Bedhaya (traditional dance) Sumreg has identifi ed the motional structure of Bedhaya Sumreg and the linkage of Sumreg meaning with the fl oor pattern and gendhing (the accompanied music). Thepatterns of gendhing structurally shown remain applying predefi ned set of rules, commonly known as lampah bedhayan (rules in dancing). Bedhaya (traditional dance) is considered a heritage and is revealed not only its textual material but also the contextual one.Keywords: bedhaya Sumreg, Yogyakarta dance, dance heritage. Institut Seni Indonesia Yogyakarta ISI Yogyakarta 2012-06-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/513 10.24821/resital.v13i1.513 Resital: Jurnal Seni Pertunjukan; Vol 13, No 1 (2012): Juni 2012 2338-6770 2085-9910 10.24821/resital.v13i1 eng https://journal.isi.ac.id/index.php/resital/article/view/513/107

oai:ojs.journal.isi.ac.id:article/6163 2023-10-15T14:30:46Z resital:ART

Penggunaan Metode Suzuki dalam Pembelajaran Biola dan Piano dengan Materi Lagu Dolanan Anak Christinus, Kristiyanto Pasaribu, Rianti Mardalena lagu dolanan, metode suzuki, biola, piano Lagu dolanan merupakan salah satu kekayaan budaya yang perlu dilestarikan. Banyak sekali nilai luhur yang terkandung dalam setiap syair lagu dolanan, misalnya nilai harmoni, kesederajatan sosial, standar-standar moralitas yang sangat penting. Nilai-nilai ini penting khususnya sebagai bentuk ketahanan budaya di tengan serbuan budaya asing yang makin tidak terbendung. Penggunaan lagu dolanan anak dalam belajar iringan musik memiliki dua tujuan. Pertama, dengan diterapkannya pola garapan lagu dolanan lewat eksploitasi diharapkan mampu menghasilkan nuansa baru dan memperkaya khasanah repertoar untuk biola dengan menggunakan iringan piano. Kedua, mengingat bahwa medium lagu dolanan merupakan daya tarik bagi anak-anak, maka diharapkan dengan tersedianya repertoar yang berakar dari komposisi lagu dolanan melalui instrumen biola dan iringan piano ini dapat memberikan sumbangan atau minimal dapat mengimbangi repertoar-repertoar untuk biola yang sudah tersedia. Penelitian ini menggunakan jenis penelitian kualitatif dengan pendekatan studi kasus. Teknik pengumpulan data dilakukan melalui, observasi langsung pada saat proses pembelajaran. Pembelajaran biola melalui lagu dolanan yang diciptakan oleh penulis diterapkan dengan menggunakan metode Suzuki. Metode ini memberikan panduan dalam menciptakan lingkungan ideal dan optimal bagi perkembangan kemampuan musik anak sekaligus sebagai sosialisasi nilai-nilai kultural. Penciptaan dan penelitian musik yang telah dilakukan ini menunjukkan bahwa lagu-lagu dolanan tradisional dengan pendekatan metode Suzuki dapat dipakai sebagai media belajar musik anak baik untuk instrumen biola maupun piano dengan sangat baik. Institut Seni Indonesia Yogyakarta 2021-12-28 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/6163 10.24821/resital.v22i3.6163 Resital: Jurnal Seni Pertunjukan; Vol 22, No 3 (2021): Desember 2021; 146-157 2338-6770 2085-9910 10.24821/resital.v22i3 eng https://journal.isi.ac.id/index.php/resital/article/view/6163/2500 Copyright (c) 2021 Kristiyanto Christinus & Rianti Mardalena Pasaribu

oai:ojs.journal.isi.ac.id:article/1509 2019-12-03T15:21:22Z resital:ART

Adaptasi Konserto pada Ensambel Gitar sebagai Upaya Pengayaan Bahan Ajar Matakuliah Ensambel Indrawan, Andre Ensambel gitar, transkripsi, konserto Penelitian ini membahas sebuah upaya pengembangan formasi ensambel gitar dalam rangka pencapaian suatu kesetaraan artistik terhadap penyajian sebuah konseto untuk orkestra dan solois instrumen tiup. Proses penelitian ini diterapkan dalam konteks pembelajaran dan pengajaran paket mata kuliah Koor/ Orkes/ Ensambel (KOE) pada kurikulum pendidikan tinggi musik di Indonesia. Permasalahan utama yang dibahas dalam studi ini ialah bagaimana menerapkan repertoar orkestra pada sebuah ensambel gitar? Tujuan dari pemecahan masalah tersebut ialah untuk memperkaya materi pengajaran ensambel gitar yang termasuk salah satu kelompok studi dari paket kelas-kelas KOE. Kontribusi hasil penelitian ini adalah rekonstruksi model pembelajaran ensambel gitar dari tingkat menengah hingga tinggi. Guna mencapai target yang telah ditetapkan, penelitian ini dilakukan dengan menggunakan kombinasi metodologis di antara metode transkripsi musikologis dengan metode tindakan kelas yang diadopsi pada studi material dan proses belajar ensambel gitar. Permasalahan yang teridentifikasi disimpulkan dengan pembuatan prototipe aransemen baru sebagai alternatif materi pengajaran melalui proses pengolahan editorial. Penelitian ini menyimpulkan bahwa keterbatasan gitar dalam menghasilkan kesetaraan terhadap kulalitas artistik orkestra dapat diatasi tidak hanya dengan mentranskrip reduksi pianonya tapi langsung dari skor orkestranya. Oleh karena itu, ensambel gitar dapat menjadi alternatif yang lebih baik dari versi pengiring piano dalam menyajikan sebuah konsert The Adaptation of Concerto on a Guitar Ensemble as the Enrichment Effort of the Ensamble Teaching Materials. This study discusses an effort in developing guitar ensemble formation in order to achieve an artistic equality to the performance of a concerto for orchestra and wind soloist. This is applied in the context of Indonesian higher music education’s curriculum for the class room teaching and learning of the choir/ orchestra/ ensemble (COE) subject package. The main problem discussed in this study is how to apply an orchestral repertoireire to an ensemble guitar? The purpose of this study is to enrich the teaching material of guitar ensemble, which is one among the COE classes. The result of this study is contributed to the reconstruction of guitar ensemble teaching model from middle to higher grades. To achieve the target that have formerly been set, this study has combined musicological transcription method and the class room action research which are adopted to research material study as well as guitar ensemble learning process. Problems that had identified was concluded by prototyping the new arrangement through transcription process from the concerto repertoire as the teaching material alternative, by editorial treatment. This study concludes that the guitar limitedness to result the equality with the orchestral artistic quality could be overcome not by transcribing from its piano reduction but directly from orchestral score. Because of that reason, guitar ensemble could be a better alternative to the piano accompaniment in performing a concerto for a wind solist, and at the same time it enriches guitar ensemble repertoire. Institut Seni Indonesia Yogyakarta 2015-08-06 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/1509 10.24821/resital.v16i2.1509 Resital: Jurnal Seni Pertunjukan; Vol 16, No 2 (2015): Agustus 2015 2338-6770 2085-9910 10.24821/resital.v16i2 eng https://journal.isi.ac.id/index.php/resital/article/view/1509/340 Copyright (c) 2017 RESITAL : JURNAL SENI PERTUNJUKAN

oai:ojs.journal.isi.ac.id:article/7864 2024-12-11T04:20:10Z resital:ART

Komposisi Musik Alam Menyapa sebagai Media Terapi Pasien Narkoba di Yayasan Mutiara Abadi Binjai (MAB) Sumatera Utara Galingging, Kamaluddin Batubara, Junita Marbun, Tulus Marbun, Juliaster music therapy; music composition of Alam Menyapa; Box music Therapy (BmT); drug patients The objective of this research is to provide an alternative treatment for people affected by drugs at Mutiara Abadi Binjai Foundation (MAB). Currently, music therapy has been promoted as one of the treatments for various patient conditions. This treatment can be conducted through auditory system in which the audio is then connected to the nerves of the brain. These nerves have relationship with the emotional behavior system. The composition of the instrumental music of Alam Menyapa was used by the author as a therapeutic media for drug patients at Mutiara Abadi Binjai Foundation. The choice of the composition of the instrumental music of Alam Menyapa was based on the strains of the music which are more calming since it combines natural sounds and musical instruments in the form of digital music. The author applied mixed method or both qualitative and quantitative. In this research, the author implemented passive music therapy as it is an easy and highly effective therapy. The patients were instructed to sit down, then listened to the instrumental music through BmT (Music Box Therapy). The results of this research show that patients who take part in music therapy of Alam Menyapa feel they can decrease their stress levels while staying in rehabilitation at Mutiara Abadi Binjai Foundation (MAB). Moreover, they are also able to increase their self-esteem to return for living in society when they release.Terapi musik adalah sebagai salah satu alternatif sistem pengobatan bagi orang-orang yang terdampak narkoba di Yayasan Mutiara Abadi Binjai (MAB). Saat ini sedang mulai digalakkan terapi musik dapat menjadi salah satu pengobatan dengan berbagai kondisi pasien. Perlakuan ini bisa dilakukan dengan cara melalui sistem pendengaran. Melalui pendengaran yang kemudian dihubungkaitkan dengan saraf otak dimana memiliki hubungan dengan sistem perilaku emosional. Karya komposisi musik instrumental Alam Menyapa digunakan sebagai alat pengobatan terapi kepada pasien narkoba di Yayasan Mutiara Abadi Binjai. Pemilihan komposisi musik instrumental Alam Menyapa ini berdasarkan alunan musiknya lebih bersifat menenangkan dengan adanya penggabungan suara-suara alam dan instrumen musik digital. Metode penelitian yang yang digunakan adalah metode penelitian campuran yaitu kualitatif dan kuantitatif Pemilihan terapi musik secara pasif merupakan terapi yang lebih mudah dilakukan dan sangat efektif, dimana pasien duduk, kemudian mendengarkan musik isntrumental melalui Box musik Terapi (BmT). Hasil dari penelitian ini adalah pasien-pasien yang mengikuti terapi musik Alam Menyapa merasakan dapat menurunkan tingkat stress mereka selama dalam rehabilitasi di Yayasan Mutiara Abadi Binjai (MAB) dan memiliki kepercayaan diri untuk kembali melakukan kehidupan ditengah-tengah masyarakat. Institut Seni Indonesia Yogyakarta 2023-08-03 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/7864 10.24821/resital.v24i2.7864 Resital: Jurnal Seni Pertunjukan; Vol 24, No 2 (2023): Agustus 2023; 157-166 2338-6770 2085-9910 10.24821/resital.v24i2 eng https://journal.isi.ac.id/index.php/resital/article/view/7864/3258 Copyright (c) 2023 Kamaluddin Galingging, Junita Batubara, Tulus Marbun, Juliaster Marbun

oai:ojs.journal.isi.ac.id:article/448 2019-12-04T05:01:11Z resital:ART

Invention Zaman Barok dan Pengembangan Permainan Piano PASARIBU, RIANTI MARDALENA Piano, J.S. Bach, and invention Invention in Barok Era and The Development of Piano Lesson. In piano lesson, one material of parts towhich had been given is polyphony, which is an Invention from J.S. Invention is a basic fi nger-skill for pianist.Invention develops in the Baroque period. The baroque ideology is not only called as the reaction of Renaissance,but also as the continuing development from Renaissance. Invention is known in two forms. First is as a pianocomposition and second is as a piano play which can push a pianist to understand more about an arrangement thathe played and expressed. Institut Seni Indonesia Yogyakarta Institut Seni Indonesia Yogyakarta 2008-06-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/448 10.24821/resital.v9i1.448 Resital: Jurnal Seni Pertunjukan; Vol 9, No 1 (2008): Juni 2008 2338-6770 2085-9910 10.24821/resital.v9i1 eng https://journal.isi.ac.id/index.php/resital/article/view/448/42

oai:ojs.journal.isi.ac.id:article/2445 2019-01-27T10:48:42Z resital:ART

Modifikasi Angklung Sunda Upaja Budi, Dinda Satya angklung; musik bambu; musik Sunda Artikel ini menguraikan hasil modifikasi terhadap angklung yang telah dilakukan oleh para seniman Sunda. Metode lintas disiplin dengan pendekatan organologis digunakan dalam penelitian ini. Data diperoleh dengan pengamatan terhadap proses modifikasi yang telah dilakukan pada angklung. Berdasarkan penelitian dapat disimpulkan bahwa upaya-upaya modifikasi yang dilakukan terhadap angklung merupakan langkah pengembangan yang meliputi tangga nada, teknik permainan, bahan, bentuk, serta ornamen atau aksesoris. Modifikasi ini merupakan upaya termutakhir yang telah berhasil dilakukan oleh para seniman Sunda sampai saat ini. Institut Seni Indonesia Yogyakarta 2017-04-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/2445 10.24821/resital.v18i1.2445 Resital: Jurnal Seni Pertunjukan; Vol 18, No 1 (2017): April 2017; 43-52 2338-6770 2085-9910 10.24821/resital.v18i1 eng https://journal.isi.ac.id/index.php/resital/article/view/2445/929 Copyright (c) 2019 Dinda Satya Upaja Budi

oai:ojs.journal.isi.ac.id:article/14537 2025-05-19T07:27:46Z resital:ART

Gamelan Reinvented: Cultural Sound Transformation in Membranophone Ensembles of East Java Hidayatullah, Panakajaya Simatupang, Gabriel Roosmargo Lono Lastoro Setiawan, Aris Livera, Kristen Angela gamelan; membranophone; terbhâng ghendhing; kemplang; madura This study explores the phenomenon of pèghâ' in the musical traditions of terbhâng ghendhing and kemplang in Probolinggo and Bondowoso, which emerged as a response to past religious prohibitions on the use of metal gamelan instruments. The research focuses on uncovering the adaptation of metal gamelan music into the membranophone ensembles of terbhâng ghendhing and kemplang from a musicological perspective. Using qualitative approaches and ethnographic methods, data were collected through participant observation, in-depth interviews, and literature review. The findings reveal that elements such as kejhungan, drumming patterns, bonang patterns, and gending structures were preserved, although the shift from metal to membrane caused significant changes. These changes resulted in a playing style that is more repetitive, dynamic, and aligned with the membranophone's characteristics. This study also challenges the conventional view of membranophones as purely rhythmic instruments, demonstrating their capability to perform complex melodic roles in terbhâng ghendhing and kemplang. The process of pèghâ' underscores traditional music as a dynamic entity that continues to evolve through local creativity, creating new musical identities while maintaining its cultural roots. Institut Seni Indonesia Yogyakarta 2025-12-29 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/14537 10.24821/resital.v25i3.14537 Resital: Jurnal Seni Pertunjukan; Vol 25, No 3 (2024): Desember 2024; 357-391 2338-6770 2085-9910 10.24821/resital.v25i3 eng https://journal.isi.ac.id/index.php/resital/article/view/14537/4141

oai:ojs.journal.isi.ac.id:article/480 2019-12-04T05:00:51Z resital:ART

Karawitan Pakeliran Gaya Jawa Timuran Sugiarto, Asal Gandakusuma, gamelan mode, mood song, puppet performance. East Java’s music for wayang style. East Java’s music for wayang style has its own characteristics that distinguishfrom other styles, such as Yogyakarta and Surakarta’s style. This paper describes a typical characteristic East Javamusic for wayang using qualitative methods. The elements covered including the structure and function (music forwayang, mood song, gedhogan, and kepyak). Based on the observation can be concluded that Gandakusuma SlendroPatet Nem peace is music used for the fi rst scene in all character and country. In addition, East Java music forwayang use four mode ( pathet), i.e. sepuloh mode, wolu mode, sanga mode, and serang mode. Institut Seni Indonesia Yogyakarta Institut Seni Indonesia Yogyakarta 2009-12-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/480 10.24821/resital.v10i2.480 Resital: Jurnal Seni Pertunjukan; Vol 10, No 2 (2009): Desember 2009 2338-6770 2085-9910 10.24821/resital.v10i2 eng https://journal.isi.ac.id/index.php/resital/article/view/480/74

oai:ojs.journal.isi.ac.id:article/3842 2020-11-19T12:53:13Z resital:ART

Pembelajaran Karawitan Jawa Tingkat Dasar Berbasis Multimedia dalam Belended Learning Raharja, Budi blended learning; karawitan jawa; multimedia Artikel ini bertujuan untuk mendeskripsikan hasil perancangan multimedia pembelajaran karawitan Jawa tingkat dasar dan penerapannya pada pembelajaran campuran antara tatap muka dengan pembelajaran mandiri. Multimedia pembelajaran ini dirancang untuk mengatasi masalah ketidaksiapan sebagian besar mahasiswa Jurusan Pendidikan Seni Pertunjukan ISI Yogyakarta dalam mengikuti kelas praktik (bersama) karawitan Jawa akibat tidak tersedianya gamelan untuk belajar mandiri yang mudah diakses. Multimedia dibuat melalui tahapan analisis kebutuhan, desain produk, pengembangan desain produk, implementasi, evaluasi, penilaian produk serta diujicobakan pada pembelajaran semester gasal tahun akademi 2019-2020 kelas A. Hasilnya, penggunaan multimedia pembelajaran tersebut dapat meningkatkan frekuensi belajar mahasiswa, mempersingkat waktu penguasaan materi ajar, dan meningkatkan kualitas hasil pembelajarannya Multimedia-Based of Javanese Basic Karawitan Learning in Blended Learning. This article aims to describe the results of the multimedia design of Javanese musical learning at the elementary level and its application to blended learning between face-to-face and independent learning. The learning multimedia is designed to overcome the problem of most students of the Performing Arts Education Department, Institut Seni Indonesia Yogyakarta who joined the Javanese practical class due to the unavailability of gamelan for self-access study. Multimedia was made through the stages of needs analysis, product design, product design development, implementation, evaluation, and product assessment which were tested for class A on the odd semester of 2019-2020 academic year. As a result, the use of multimedia learning can increase the students’ learning frequency, shorten the mastery time of the material teaching, and improve the quality of learning outcomes.Keywords: blended learning; Javanese karawitan; multimedia Institut Seni Indonesia Yogyakarta 2019-12-16 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/3842 10.24821/resital.v20i3.3842 Resital: Jurnal Seni Pertunjukan; Vol 20, No 3 (2019): Desember 2019; 176-188 2338-6770 2085-9910 10.24821/resital.v20i3 eng https://journal.isi.ac.id/index.php/resital/article/view/3842/1782 Copyright (c) 2020 Resital: Jurnal Seni Pertunjukan

oai:ojs.journal.isi.ac.id:article/503 2019-12-04T05:20:13Z resital:ART

Gaya Bernyanyi dengan Teknik Bel Canto: (Re)Konstruksi Subjektivitas Penyanyi Perempuan dalam Pertunjukan Musik Gustina, Susi Haryono, Timbul Lono L. Simatupang, G.R. Bramantyo, Triyono bel canto technique, subjectivity, habitus, cultural perception. Bel Canto Singing Technique. This article attempting to understand the subjectivity of a woman singer in musicperformance. The poststructuralist feminist perspective is used to focus on the historical and cultural backgroundof the woman’s experiences. Based on the perspective, the research questions refer to: 1) the application of womansinger’s knowledge and cultural perception in songs reproduction so that she can (re)construct her subjectivity; and2) the intention of woman singer to use Western classical music or seriosa in music performance. The life historymethod is used to understand all the subjective experiences of woman singer based on her perspective. The fi ndingsof this research are: 1) subjectivity (re)construction of a woman singer is depend on her knowledge and culturalperception so that her subjectivity is differ from others; and 2) the difference that a woman singer do in musicperformance is related to her intention, i.e. to struggle a music genre that she loves since in the early of her life. Institut Seni Indonesia Yogyakarta Institut Seni Indonesia Yogyakarta 2010-12-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/503 10.24821/resital.v11i2.503 Resital: Jurnal Seni Pertunjukan; Vol 11, No 2 (2010): Desember 2010 2338-6770 2085-9910 10.24821/resital.v11i2 eng https://journal.isi.ac.id/index.php/resital/article/view/503/97

oai:ojs.journal.isi.ac.id:article/4620 2021-12-21T15:46:53Z resital:ART

Pola Irama Keroncong Progresif - Pada Komposisi Kidung Panyuwun Sanjaya, Singgih rhythm; pattern; keroncong; progressive AbstractThis research creates a progressive or innovative keroncong rhythm pattern. Keroncong music is one of the musical genres that exist in Indonesia, which is a hybrid music from Javanese (Central Java and Yogyakarta) gamelan music, 'pop' music and Western diatonic orchestras. Keroncong music consists of vocals, ukulele or 'cuk' (derived from Hawai'i), 'cak' (Portugal), flute, violin, cello, and contrabass (instruments derived from Western diatonic orchestral instruments). Since the 1950s until today, the keroncong rhythm pattern has had very little development, so it needs to be developed. There are several rhythm patterns in keroncong music but the ones that are often played are 'engkel' and 'double' rhythm patterns. The aim of this research is to create a progressive keroncong rhythm pattern so that keroncong music is more interesting and it is hoped that it will have more fans. The creation of this progressive rhythm pattern is used in the compositions of the author's Kidung Panyuwun. This study used descriptive and experimental analytical methods with the following steps. First, examine the audio recording, transcribe, analyze, and conclude; second analyzes rhythm patterns on multiple references; the third records (audio-video) a 'standard' rhythm pattern; fourth, exploration of progressive rhythm patterns; the fifth recorded a progressive keroncong rhythm pattern. This research resulted in the creation of several rhythmic patterns and several formulations, namely: 1) the creation of a vertical progressive keroncong rhythm pattern (one-instrument solo, two-instrument solo, three-instrument solo) and 2) the creation of a horizontal progressive keroncong rhythm pattern (two-bar pattern and four-dimensional pattern). time frame). The important thing that has the meaning is the temuah cirikhas or 'ruh' keroncong music as the 'jati diri'.Keywords: rhythm; pattern; keroncong; progressive AbstrakPenelitian ini menciptakan pola irama keroncong progresif atau inovatif. Musik keroncong merupakan salah satu genre musik yang ada di Indonesia merupakan musik hibrid dari karawitan Jawa (Jawa Tengah dan Yogyakarta), musik ‘pop’ dan orkestra diatonis Barat. Musik keroncong terdiri dari vokal, ukulele atau ‘cuk’ (berasal dari Hawai’i), ‘cak’ (Portugal), flute, biola, cello, dan contrabass (merupakan instrumen-instrumen yang berasal dari instrumen orkestra diatonis Barat).  Sejak tahun 1950-an sampai hari ini, pola irama keroncong sedikit sekali perkembangannya sehingga perlu dikembangkan. Ada beberapa pola irama dalam musik keroncong tetapi yang sering dimainkan hanya pola irama ‘engkel’ dan ‘dobel’. Tujuan penelitian ini untuk menciptakan pola irama keroncong progresif sehingga musik keroncong lebih menarik dan diharapkan lebih banyak penggemarnya. Penciptaan pola irama progresif ini digunakan pada komposisi Kidung Panyuwun ciptaan penulis.  Penelitian ini menggunakan metode analitik deskriptif  dan eksperimental dengan lankah-langkah sebagai berikut. Pertama mencermati rekaman audio, mentranskrip, menganalisis, dan menyimpulkan; kedua menganalisis pola irama pada beberapa referensi; ketiga merekam (audio-video) pola irama ‘pakem’; keempat eksplorasi pola irama progresif; kelima merekam pola irama keroncong progresif. Penelitian ini menghasilkan beberapa ciptaan pola irama dan beberapa formulasi, yaitu: 1) penciptaan pola irama keroncong progresif vertikal (solo satu instrumen, solo dua instrumen, solo tiga instrumen) dan 2) penciptaan pola irama keroncong progresif horizontal (pola dua birama dan pola empat birama). Hal penting yang bermakna adalah temuah cirikhas atau’ruh’ musik keroncong sebagai ‘jatidiri’nya.Kata kunci: pola irama; keroncong; progresif Institut Seni Indonesia Yogyakarta 2021-04-23 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/4620 10.24821/resital.v22i1.4620 Resital: Jurnal Seni Pertunjukan; Vol 22, No 1 (2021): April 2021; 48-57 2338-6770 2085-9910 10.24821/resital.v22i1 eng https://journal.isi.ac.id/index.php/resital/article/view/4620/2334 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/4620/590

oai:ojs.journal.isi.ac.id:article/850 2023-10-15T14:39:13Z resital:ART

Lirik Musikal pada Lagu Anak Berbahasa Indonesia Tyasrinestu, Fortunata lagu anak, lirik, musikal, bahasa Indonesia, children songs, lyrics, musical, Indonesian language Penelitian ini mengkaji bahasa lagu anak berbahasa Indonesia. Lagu anak berbahasa Indonesia adalah lagu yang diperuntukkan dan dinyanyikan oleh anak-anak sesuai dengan perkembangan anak. Tujuan penelitian ini adalah untuk mendeskripsikan karakteristik lagu anak (LA) secara musikal dengan memperhatikan kata-kata atau lirik yang ada dalam lagu anak berbahasa Indonesia. Karakteristik lirik dan karakteristik musikal yang saling menyatu merupakan harmoni yang indah dalam lagu anak. Penelitian ini menggunakan metode deskriptif. Analisis yang diterapkan adalah metode holistik yang dipergunakan untuk melihat LA dari beberapa perspektif melalui wawancara dan angket yang diperoleh dari praktisi musik dan praktisi pendidikan, guru, orangtua, siswa dan awam. Hasil penelitian menunjukkan bahwa lagu anak berbahasa Indonesia mempunyai beberapa karakteristik secara lirik dan musikal yaitu 1) pola ritme yang diulang secara musikal, 2) melodi yang diulang secara musikal, 3) motif yang diulang secara musikal, dan 4) kata-kata yang diulang secara musikal. Fungsi lagu anak berbahasa Indonesia selain untuk belajar bahasa juga mengandung nilai pendidikan dan karakter positif untuk anak dengan kata-kata bermakna positif pada lirik-liriknya. The Characteristics of Musical Lyrics on Indonesian Children Songs.The study tries to examine the discourse of Indonesian children songs. Indonesian children songs are songs that are composed for and sung by children in accordance with the child development stages. The purpose of this study is to describe the discourse of Indonesian children songs which describe their musical characteristics by giving more attention on words or lyrics of the songs. The characteristics of lyrics and musical characteristics that belong to each other are mainly a beautiful harmony in children songs. This study uses a descriptive method. The holistic method is employed to analyze children songs from some perspectives by doing the interview and distributing questionnaires to musicians, educators, teachers, parents, students, and common people in terms of composition background, the actual condition, and the resulted effect. The result shows that the Indonesian children songs have their own lyrics and musical characteristics as the followings: 1) the pattern of repeated musical rhythm, 2) the musically-repeated melody , 3) the repeated musical motives, and 4) the musically-repeated words. The function of Indonesian children songs is to learn a language of which the songs may also contain positive education values and characters for children by showing the meaningful words in the lyrics. Institut Seni Indonesia Yogyakarta 2014-12-15 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/850 10.24821/resital.v15i2.850 Resital: Jurnal Seni Pertunjukan; Vol 15, No 2 (2014): Desember 2014; 163-168 2338-6770 2085-9910 10.24821/resital.v15i2 eng https://journal.isi.ac.id/index.php/resital/article/view/850/166

oai:ojs.journal.isi.ac.id:article/8337 2022-12-17T01:51:03Z resital:ART

Pengaruh Mendengarkan Musik Terhadap Kondisi Rilaksasi Djohan, Djohan Tyasrinestu, Fortunata Sualang, Lady Angela Exlesia music; relaxation; hypnosis; intervention; self-report ABSTRACT The Impact of Listening to Music on Relaxation Condition. This study was conducted to identify the effectiveness of passively using instrumental music in stimulating subjects to reach relaxation. Music has been used for centuries in association with trance condition. Currently, the use has been developing, including in the realm of hypnosis or "brainwashing". The notion that music can affect listeners' self-control has become a well-known topic like the concepts of automatic responses and conditioned reflexes that form the basis of psychological models of musical stimulation. Relaxation as one of the achievements of hypnotherapy in which music has a role in the presence of 'physiological psychology' as a physical reflex phenomenon in response to sounds. The sound of gong – Indonesian traditional musical instrument – and tuning forks have been widely used to induce hypnotic trances to conditioned reflex – automatic responses to sounds that have physiological effects through the conscious mind. In the 1770s, Mesmer, a German doctor, combined the recovery process of his patients with the theory that the universe was deliberately manipulated used in health-related matters. The presence of hypnotism to gain relaxation was considered to be embodied from this treatment known as 'magnetic sleep'. The concept of magnetism was understood as a 'sympathetic vibration' which had something in common with music and it was believed that this condition can be communicated, transmitted and amplified through sounds. In subsequent developments, conventional musical instruments such as piano, violin, and harp were used which further strengthened the perspective of the previous theory. Nevertheless, hardly did the people use local traditional musical instruments or culture, such as gamelan. In this study the authors implemented experimental curation approach with one post-test design only for the same subject group. The authors picked sample consisting of adolescents with no hearing or health problems after being examined. The total sample of N = 10 were given passive musical intervention by listening through compositions of the sound sources and nuances Javanese gamelan nuances, then measurements were taken through self-report questionnaire and integrated group discussion. The results of the study indicate that attaining relaxed condition can reduce subjective stress through listening to music, thereby allowing a temporary reduction in somatic symptoms.ABSTRAK Penelitian ini dilakukan untuk mengidentifikasi efektivitas penggunaan musik instrumental secara pasif dalam menstimuli subjek agar dapat mencapai kondisi rilaksasi. Musik telah berabad lamanya digunakan dalam asosiasinya dengan kondisi trans dan saat ini pemanfaatannya makin berkembang termasuk ke ranah hypnosis atau “cuci otak”. Gagasan bahwa musik dapat memengaruhi pengendalian diri pendengar telah menjadi tema yang makin dikenal seperti konsep respons otomatis dan refleks terkondisi yang menjadi dasar model psikologi ketika terjadi stimuli musik. Rilaksasi sebagai salah satu capaian hipnoterapi dan musik memiliki peran dengan hadirnya 'psikologi fisiologis' sebagai fenomena refleks fisik merespons suara. Mulai dari suara gong dan garpu tala banyak digunakan untuk menginduksi trans hipnosis hingga ke refleks terkondisi, respons otomatis terhadap suara yang berefek pada fisiologis melalui pikiran sadar. Pada 1770-an, Mesmer, seorang dokter kebangsaan Jerman telah menggabungkan penyembuhan pasiennya dengan teori alam semesta yang secara terencana dimanipulasi untuk digunakan dalam kaitannya dengan kesehatan. Kehadiran hipnotisme untuk mencapai rilaksasi juga dianggap lahir dari perlakuan tersebut yang dikenal dengan istilah ‘magnetic sleep’. Konsep magnetisme dipahami sebagai sebuah 'getaran simpatik' yang memiliki kesamaan dengan musik dan dipercaya kondisi tersebut dapat dikomunikasikan, disebarkan, serta diperkuat melalui suara. Pada perkembangan selanjutnya digunakan alat musik konvensional seperti piano, biola, dan harpa yang makin memperkuat pandangan teori sebelumnya. Namun demikian, hanya sebagian kecil yang menggunakan alat atau kultur musik tradisi setempat seperti, gamelan. Metode penelitian menggunakan pendekatan kurasi eksperimen dengan rancangan one post-test design only pada kelompok subjek yang sama. Sampel dalam penelitian terdiri dari remaja yang telah dilakukan asesmen tanpa memiliki gangguan pendengaran atau kesehatan tertentu. Total sampel sebanyak N=10 diberi intervensi musik secara pasif dengan cara mendengarkan melalui komposisi berdasarkan sumber suara dan nuansa gamelan Jawa kemudian dilakukan pengukuran melalui kuesioner self-report serta diskusi kelompok terpadu. Hasil penelitian menunjukkan bahwa pencapaian kondisi rileks dapat mengurangi stres subjektif melalui mendengarkan musik sehingga memungkinkan berkurangnya gejala somatik hingga beberapa saat. Institut Seni Indonesia Yogyakarta 2022-12-17 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/8337 10.24821/resital.v23i3.8337 Resital: Jurnal Seni Pertunjukan; Vol 23, No 3 (2022): Desember 2022; 190-201 2338-6770 2085-9910 10.24821/resital.v23i3 eng https://journal.isi.ac.id/index.php/resital/article/view/8337/2882 Copyright (c) 2022 Djohan, Fortunata Tyasrinestu, & Lady Angela Exlesia Sualang

oai:ojs.journal.isi.ac.id:article/394 2023-10-15T14:22:09Z resital:ART

Jaipongan: Genre Tari Generasi Ketiga dalam Perkembangan Seni Pertunjukan Tari Sunda Ramlan, Lalan ABSTRAK Seni pertunjukan tari Sunda hingga saat ini telah diisi dengan tiga genre tari yang diciptakan oleh tiga tokoh pembaharu tari Sunda, yaitu Rd. Sambas Wirakusumah yang menciptakan genre tari Keurseus sekitar tahun 1920- an, Rd. Tjetje Somantri yang menciptakan genre tari Kreasi Baru sekitar tahun 1950-an, dan Gugum Gumbira Tirasondjaya yang menciptakan genre tari Jaipongan pada awal tahun 1980-an. Ketiga genre tari tersebut memiliki citra estetiknya sendiri-sendiri sesuai latar budaya generasinya masing-masing. Genre tari Jaipongan yang kini sudah lebih dari 30 tahun belum tergantikan di dalamnya menunjukkan nilai-nilai yang mengakar dalam kehidupan masyarakat Sunda. Untuk mengekplanasi berbagai aspek penting yang melengkapi pembentukan sebuah genre tari ini digunakan metode kualitatif dengan pendekatan fenomenologi. Berdasarkan penelitian disimpulkan bahwa genre tari Jaipongan dibentuk oleh konsep dasar etika dan estetik egaliter dengan menghasilkan struktur koreografi yang simpel dan fl eksibel yang terdiri dari empat ragam gerak, yaitu bukaan, pencugan, nibakeun, dan mincid. Kata kunci: Gugum Gunbira, genre tari, dan Jaipongan  ABSTRACT Jaipongan: The Genre of Third Dancing Generation in the Development of Sundanese Dance Performing Arts. Sundanese dancing performance art recently has been fi lled with three dancing genres created by three prominent reformers of Sundanese dances, namely Rd. Sambas Wirakusumah who created the dance genre of Keurseus around 1920, Rd. Tjetje Somantri who created the dance genre of Kreasi Baru (New Creation) 1950s, and Gugum Gumbira Tirasondjaya who created the dance genre of Jaipongan in the early 1980s. The three genres of the dances have their own aesthetic image based on their cultural background respectively. The Jaipongan dance genre which now has been more than 30 years and not yet been changed shows the values rooted in Sundanese community life. To explain various important aspects which complete the creation of a dance genre it applies qualitative method employing a phenomenological approach. Based on the research, it is concluded that Jaipongan dance genre is shaped by ethical and aesthetic concepts of egalitarian policies to produce a simple structure and fl exible choreography of four modes of motion, i.e. aperture, pencugan, nibakeun, and mincid. Keywords: Gugum Gunbira, dance genres, and jaipongan Institut Seni Indonesia Yogyakarta 2013-06-24 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/394 10.24821/resital.v14i1.394 Resital: Jurnal Seni Pertunjukan; Vol 14, No 1 (2013): Juni 2013 2338-6770 2085-9910 10.24821/resital.v14i1 eng https://journal.isi.ac.id/index.php/resital/article/view/394/33

oai:ojs.journal.isi.ac.id:article/2226 2018-11-24T12:56:43Z resital:ART

Uji Coba Produk Lagu Anak-Anak Bertema Pendidikan Wadiyo, Wadiyo Haryono, Slamet pendidikan; lagu anak-anak; prasekolah; pesan Media ajar berupa nyanyian atau lagu dipandang sangat penting untuk membantu pencapaian tujuan pendidikan yang dilakukan dalam suatu proses belajar mengajar baik formal maupun nonformal. Salah satu media ajar yang dapat digunakan untuk membantu anak-anak prasekolah dalam memahami pesan pendidikan adalah lagu anak-anak. Tujuan pokok penelitian ini adalah menguji penciptaan lagu anak-anak  dikaitkan dengan daya gunanya  untuk menyampaikan pesan pendidikan. Metode yang digunakan dalam penelitian ini adalah metode terapan. Subjek penelitian adalah para guru prasekolah. Langkah uji dilakukan dengan mengambil cara yang paling sederhana, yakni pertama, memperdengarkan lagu. Kedua, menirukan lagu yang diperdengarkan dan disampaikan pesan lagu dalam bentuk nyanyian. Hasil penelitian menunjukkan bahwa para guru tampak tertarik dengan lagu yang diperdengarkan. Selain itu, guru dapat dengan mudah menirukan lagu yang diperdengarkan dan menangkap isi atau pesan lagu. Learning material in a form of songs is considered essential to support educational purposes of a certain teaching and learning process in formal, non-formal, and informal educations. Children song is one of several types of learning material which is used to help students in understanding educational messages. The main aim of this study is to deeply examine the creation of children song and to confirm whether the children song creation has been in line with its usability− which is to deliver educational messages to children. Method implemented in this research was developmental research, while the research subjects were preschool teachers. Stages in trying out the songs to the research subjects comprised three steps. First, subjects listened to the songs. Second, subjects imitated the songs and captured the meaning behind it. Third, subjects understood and analyzed the songs. Results showed that the teachers, first, were interested to the songs. Second, teachers found no difficulties in imitating the songs. Lastly, teachers were able to easily understand the message delivered through the songs. Institut Seni Indonesia Yogyakarta 2016-12-15 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/2226 10.24821/resital.v17i3.2226 Resital: Jurnal Seni Pertunjukan; Vol 17, No 3 (2016): Desember, 2016; 170-177 2338-6770 2085-9910 10.24821/resital.v17i3 eng https://journal.isi.ac.id/index.php/resital/article/view/2226/722 Copyright (c) 2018 Wadiyo Wadiyo

oai:ojs.journal.isi.ac.id:article/13307 2025-06-09T15:20:41Z resital:ART

Mendengarkan Gaya Musik Rhythm n Blues dan Pengalaman Relaksasi Djohan, Djohan Wardani, Indra Kusuma Zahra, Fifyan Nisrina Tujuan penelitian ini adalah untuk mengidentifikasi pengaruh mental melalui pengalaman relaksasi seseorang ketika mendengarkan musik dengan gaya aransemen Rhythm n Blues. Selama ini banyak penelitian terkait musik tidak lagi hanya dalam konteks musikologis tetapi sudah berorientasi pada manfaat baik bagi pelaku aktif atau pendengar pasif. Sehingga perspektif musik atau seni pada umumnya saat ini sudah berkembang sedemikian rupa hingga tidak lagi berorientasi pada seni untuk seni. Model tema penelitian ini merupakan bagian dari penguatan dan pengumpulan bukti saintifik guna pengembangan psikoterapi musik yang banyak diimplementasikan dalam bidang terapi musik.Secara teoretis, paparan terhadap musik tidak hanya akan memunculkan familiaritas atas sebuah lagu atau karya musik tanpa lirik, tetapi juga membentuk kegemaran (liking) pendengar sebagai akibat dari respons emosi terhadap musik tersebut. Hal ini tidak terlepas dari peran ekspektasi dari efek kehadiran rasa puas serta kesan plesantness dan unpleasantness bagi pendengar yang memicu efek positif-negatif sebuah musik terhadap emosi. Selain itu, respons emosi seseorang terhadap rangsang stimulus juga tidak terlepas dari kerja sistem saraf pusat yang dapat berimplikasi pada reaksi fisiologis. Salah satu reaksi fisiologis yang sering kali dijadikan acuan dalam aplikasi musik untuk terapi dan bersifat terapeutik adalah kerja sistem saraf otonom (autonomic nervous system; selanjutnya disebut ANS).Penelitian ini menggunakan metode kuantitatif dengan pendekatan kuasi eksperimen yang membandingkan kelompok kontrol dan kelompok eksperimen. Subjek di kelompok eksperimen adalah mahasiswa musik dari berbagai instrumen mayor, sedangkan subjek di kelompok kontrol adalah mahasiswa non-musik dengan berbagai latar belakang studi dengan total sampel sebanyak N=78. Usia subjek berada di rentang 17-27 tahun (=20,5±1,53). Subjek mendengarkan rekaman repertoar musik Barok yang dimainkan oleh piano dan sudah diaransemen ulang dalam format band-kombo. Kemudian pengukuran kondisi relaksasi dilakukan menggunakan kuesioner yang aitemnya mengukur indikator kerja sistem syaraf parasimpatetik dan indikator psikis berupa state anxiety. Hasil penelitian ini menunjukkan bahwa secara statistik tidak terdapat perbedaan pengalaman rilaksasi yang signifikan di antara kedua kelompok baik melalui indikator ANS(t­ANS=.502, p=.617) maupun indikator psikir (tpsikis=1.38, p=.172) Kata kunci: gaya musik; rhythm n blues; relaksasi; musikologis; autonomic nervous system ABSTRACTThe aim of this research is to identify the effect of listening to RnB music to the experience of relaxation. Due to the increasing number of research in music and its benefit to the listeners, current researches tent to go over music beyond its trait as an art. These research themes and models are beneficial to be implemented in music theraphy in the long run. Focusing on the comparison between original and arranged music to different group of listeners, the present research explored the observable indicators of relaxation through the symptoms of parasympathetic nervous system and anxiety state. Two groups of subjects ranging of 17-27 years old (mean=20,5±1,53) divided into control and experiment group. The control group listened to the original Minuet in G major by J. S. Bach  meanwhile the experiment group  listened to the arranged version of this piece in RnB style. The data was collected though online survey to collect the demography, anxiet state, and relaxation state both phisically and psychologycally. The result showed no significant difference between the two subject groups in terms of relaxation state both physically (t­ANS=.502, p=.617) and psychologycally (tpsikis=1.38, p=.172) Institut Seni Indonesia Yogyakarta 2024-04-26 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/13307 10.24821/resital.v25i1.13307 Resital: Jurnal Seni Pertunjukan; Vol 25, No 1 (2024): April 2024; 148-165 2338-6770 2085-9910 10.24821/resital.v25i1 eng https://journal.isi.ac.id/index.php/resital/article/view/13307/3781

oai:ojs.journal.isi.ac.id:article/471 2019-12-04T05:01:59Z resital:ART

Analisis Simbolik Kyrie Eleison Karya Anna Wahyu Prasetyowati MARTIARA, RINA FEBRIANA, ANISA walk by the cross, kyrie eleison, choreography. Symbolic Analysis of Kyrie Eleison of Anna Wahyu Prasetyowati’s Work. This paper describes and interpretsthe Kyrie Eleison as a performing arts. Kyrie Eleison text is read through choreography elements that shape thethemes, motion, musical accompaniment, fashion makeup, fl oor pattern, form and stage layout. This paper useshermeneutic approach. Based on the research it can be concluded that this work has a deep meaning. The story ofJesus Christ journey in teaching the word with great passion until his death on the Cross is fi xated religious valuesthat serve as an example for mankind. This work also contains the values of humanity that every human being mustbe having a miserable, suffering, and death. Humans must be steadfast and strong in the face of every temptationthat comes when he/she want to achieve the highest inner awareness and understanding of divine truth. Institut Seni Indonesia Yogyakarta Institut Seni Indonesia Yogyakarta 2009-06-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/471 10.24821/resital.v10i1.471 Resital: Jurnal Seni Pertunjukan; Vol 10, No 1 (2009): Juni 2009 2338-6770 2085-9910 10.24821/resital.v10i1 eng https://journal.isi.ac.id/index.php/resital/article/view/471/65

oai:ojs.journal.isi.ac.id:article/2452 2019-12-01T17:06:34Z resital:ART

Tirtha Campuhan: Sebuah Karya Komposisi Baru dengan Media Gamelan Smar Pagulingan Putu Paristha, Prakasih I Gede, Yudarta Hendra, Santosa tirtha campuhan; semar pagulingan; musik kreasi Proses penciptaan karya seni, khususnya seni karawitan sudah mulai berkembang mengikuti kemajuan jaman. Perkembangan tersebut terdapat pada proses kreativitas dalam penciptaan karya seni karawitan, hal itu dapat dilihat dari unsur musik dalam seni karawitan. Dalam seni karawitan sangat penting dalam proses penciptaan karya seni yang kuat untuk sebuah pembaharuan terhadap tradisi sehingga bisa dikatakan sebagai musik kreasi. Penata tertarik menganggkat sebuah tempat suci di Pantai Sari Kuta tepatnya di Pura Tirtha Campuhan yang memiliki keunikan. Keunikan tersebut adalah fenomena alam tentang aliran sungai yang di dalamnya terdapat campuran dari dua aliran sungai dengan air laut sehingga terbentuk sungai baru yang bernama sungai campuhan. Sesuai dengan namanya Pura Tirtha Campuhan memiliki campuran aliran sungai dari muara sungai mati (tukad mati, tukad ening) dan sungai yang berada di Badung, sehingga aliran sungai di Pura tersebut membentuk sebuah aliran sungai baru (peteluan tukad, tukad mati, tukad ening). Selain terjadinya campuran dari aliran sungai, masyarakat juga memanfaatkan dan menggunakan air sungai ini sebagai tirtha untuk pengelukatan atau pembersihan dan juga digunakan sebagai obat. Dari cerita tersebut akhirnya penata menemukan ide untuk menjadikan Tirtha Campuhan sebagai sumber inspirasi. Penata merealisasikannya ke dalam bentuk garapan komposisi musik kreasi dengan menggunakan media ungkap Smar Pagulingan. Dalam media ungkap Smar Pagulingan penata mengaplikasikan tirtha dan campuhan atau campuran dalam membuat tirtha tersebut dengan menggabungkan beberapa patet dalam gamelan Smar Pagulingan. Hal tersebut sesuai dengan tujuan penata yang membangun suasana harmonis dalam olahan melodi menggunakan pencampuran patet.Tirtha Campuhan: A New Composition Work by Using Semar Pagulingan Gamelan as Media. In Karawitan, the process of creating works of art is essential to produce a renewal of tradition so that the process of creating these works of art can be said to be musical creation. For creating the musical creation, the author was inspired by the uniqueness of the holy place in Pata Sari Kuta precisely in Tirtha Campuhan Temple, which was used as the idea of creation. The uniqueness in Tirtha Campuhan Temple is a natural phenomenon of river flow in which there is a mixture of two river streams with seawater to form a new river called Campuhan river. As the name implies, Tirtha Campuhan Temple has a mixture of river flow from dead river mouths (tukad mati, tukad ening) and rivers in Badung, so that the river flow in the temple forms a new river flow (tukad pateluan, tukad mati, and tukad ening). The local community often uses the river water in the temple as tirtha for pengelukatan or cleaning and also used as medicine. From this information, the authors found the idea of making Tirtha Campuhan as a source of inspiration. The author realized the idea of creation in the form of the creation of musical compositions using the media revealed Semar Pagulingan. In this media, Semar Pagulingan applied tirtha and campuhan or mixture in making the tirtha by combining several patets in the Semar Pagulingan gamelan. The purpose of creating this creative music is to build a harmonious atmosphere in the preparation of melodies using patet mixing.Keywords: tirtha campuhan; semar pagulingan; creation music Institut Seni Indonesia Yogyakarta 2018-12-05 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/2452 10.24821/resital.v19i3.2452 Resital: Jurnal Seni Pertunjukan; Vol 19, No 3 (2018): Desember 2018; 113-121 2338-6770 2085-9910 10.24821/resital.v19i3 eng https://journal.isi.ac.id/index.php/resital/article/view/2452/1683 Copyright (c) 2019 Resital: Jurnal Seni Pertunjukan

oai:ojs.journal.isi.ac.id:article/17563 2025-12-24T15:15:58Z resital:ART

Representation of Identity and Politics in the Song "Ojo Dibandingke" at the 77th Indonesian Independence Day State Ceremony at the State Palace Yulaeliah, Ela Saepudin, Asep Sukotjo, Sukotjo Cuenza, Yves P Ulhage, Ahza Al Amal Ojo dibandingke, lyrics, representation, identity, politics The purpose of this research is to analyze the representation of identity and political image in the song "Ojo Dibandingke" during the 77th Indonesian Independence Day commemoration in 2022 at the State Palace. The song "Ojo Dibandingke" is a popular dangdut koplo song from 2022. The song was created by Abah Lala, an artist from Banyuwangi. Hall's (1977) representation theory, particularly the constructionist approach and the encoding–decoding model, is used to read how the meaning of the lyrics is produced by the creator (encoding) and interpreted by the users (decoding). A qualitative method with a case study approach was conducted to gather data through webography, documentation, literature review, interviews, and observation. Several interesting points regarding the presentation of the song "Ojo Dibandingke" include: the song "Ojo Dibandingke" is sung by a child who is still underage, dangdut koplo music is not typically performed at state events, and there are altered lyrics that praise the president's name. This research indicates that the use of the song "Ojo Dibandingke" in the 77th Independence Day celebration at the State Palace was not merely an aesthetic choice, but a cultural representation practice laden with political and symbolic meaning. The presence of this song was not just an aesthetic presentation, but an arena for negotiating cultural and political identity in public space. Institut Seni Indonesia Yogyakarta 2025-08-31 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/17563 10.24821/resital.v26i2.17563 Resital: Jurnal Seni Pertunjukan; Vol 26, No 2 (2025): Agustus 2025; 402-427 2338-6770 2085-9910 10.24821/resital.v26i2 eng https://journal.isi.ac.id/index.php/resital/article/view/17563/4611

oai:ojs.journal.isi.ac.id:article/3379 2025-06-04T15:28:28Z resital:ART

SIGHT SINGING SEBAGAI STRATEGI PEMBELAJARAN INSTRUMEN PIANO DI PRODI PENDIDIKAN MUSIK ISI YOGYAKARTA Suryati, Suryati Widodo, Tri Wahyu Sight singing, Learning, Piano Instruments. Sight Singing is the ability to read the notation and immediately sing the tune in accordance with the melody on the sheet music. Sight Singing is the activity of singing with solmisasi or movabel "do". This study aims to improve the ability to read beam notation in learning mandatory piano instruments using the Sight Singing approach. The Mandatory Piano Instrument course is one of the practical courses that must be taken by all Music Education Study Program students, ISI Yogyakarta. Not all new students in Music Education Study Program can read the beam notation, so this Piano Compulsory Instrument course course is always feared by students who have not read fluent notation. Sight singing as a strategy to enhance the learning of Piano Mandatory Instruments. This research is focused on the application of Sight singing in learning Mandatory Piano Instruments in Music Education Study Program. This research uses Classroom Action Research which can be categorized as a qualitative-experimental research by applying the Sight singing method. The results of this study are the learning process of the Mandatory Piano Instrument with the application of the Sight singing method more effectively to improve the ability to learn to read notation while playing the Piano Instrument, and students can be more expressing, impressed singing by accompanying themselves. Institut Seni Indonesia Yogyakarta 2021-08-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/3379 10.24821/resital.v21i2.3379 Resital: Jurnal Seni Pertunjukan; Vol 21, No 2 (2020): Agustus 2020; 99-112 2338-6770 2085-9910 10.24821/resital.v21i2 eng https://journal.isi.ac.id/index.php/resital/article/view/3379/2185 Copyright (c) 2021 Resital: Jurnal Seni Pertunjukan

oai:ojs.journal.isi.ac.id:article/799 2023-10-15T14:22:50Z resital:ART

Pengaruh Sri Sultan Hamengku Buwono I pada Seni Karawitan Kraton Yogyakarta -, Raharja Haryono, Timbul Soedarsono, R.M. Susanto, Adhi Sri Sultan Hamengku Buwono I, Kraton Yogyakarta, gamelan character, king’s authority conception, personality, masculinity, heroism, patriotism Gamelan sebagai alat musik atau karawitan sebagai produk musikal dari Kraton Yogyakartamempunyai beberapa karakter yang sangat khas. Karawitan masih dipergunakan sebagai suatu identitasdan diakui oleh masyarakat hingga saat ini. Pengembangan musikal ini bermula dari Sri SultanHamengku Buwono I. Ada dua alasan penting yang mendorong gagasan penciptaan karaktergamelan. Pertama, konsepsi kedudukan raja telah mendudukkan gamelan sebagai salah satu pusakapenting. Kedua, kepribadian Sultan yang maskulin, heroik, dan patriotik menjadi model pengembangan,memberi ciri khas pada masing-masing ricikan gamelan dan musikalitasnya. Gamelan KratonYogyakarta mempunyai kesan rasa musikal: agung, gagah, tegas, mantap, berwibawa, mrabu (sepertiraja), dan ngratoni (seperti suasana di kraton). The Effect of Sri Sultan Hamengku Buwono I on Kraton Yogyakarta Karawitan. Gamelan asmusical instrument or karawitan as a musical product of Kraton Yogyakarta has some specific characters. Itis still used as an identity and is recognized by karawitan society until now. This musical development wasfirstly introduced by Sri Sultan Hamengku Buwono I. There are two important reasons which stimulatethe ideas of creating gamelan characters. First, the king’s authority conception puts the gamelan as one ofthe important heirloom. Second, Sultan’s personalities which are masculine, heroic, and patriotic becomethe influencing model of its development, and give some specific characters on each gamelan instrument andits musicality as well. Kraton Yogyakarta gamelan has many musical rasa(s)/feelings: glorious, strong, clear,steady, prestigious, ‘mrabu’ (like a king), and ‘ngratoni’ (such an atmosphere of Kraton). Institut Seni Indonesia Yogyakarta 2014-06-10 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/799 10.24821/resital.v15i1.799 Resital: Jurnal Seni Pertunjukan; Vol 15, No 1 (2014): Juni 2014; 43-51 2338-6770 2085-9910 10.24821/resital.v15i1 eng https://journal.isi.ac.id/index.php/resital/article/view/799/157

oai:ojs.journal.isi.ac.id:article/5075 2022-08-01T01:39:08Z resital:ART

Peran Emosi dalam Interpretasi Musikal Musisi untuk Meningkatkan Kinerja Estetis: Studi Kasus Pada Pemain Cello dan Gitar Wirayudha, Asep Hidayat Interpretasi, musik, musisi, emosi ABSTRACT The complex task in musical performance sometimes makes musicians get an unsatisfactory evaluation. On the other hand, the structural approach to music itself, which is believed to be a fundamental tool for musical interpretation, has not clear yet how its capacities could become the basis for translating written notes into musical sounds. Moreover, music is experienced not exclusively as a mere structure and sound event but also participated as a subjective event. This study, therefore, explores the role of musicians' personal experiences, particularly emotions, in shaping musical interpretation. It uses a qualitative method with a comparative approach. The approach is used to investigate how emotion can mediate the transformation of written notes into musical sounds. A comparison of two cases of interpretation on the cellist and the guitar player is held to explain if there are differences in the interpretation process of the two groups of musicians. The result of this study shows that, firstly, emotional experience gained in the socialization of everyday emotions plays an essential role in understanding music. Secondly, after musicians can apprehend the feeling in the musical structure, they can manifest them into an acoustic code that has an iconic relationship with the emotional content of the musical form. And thirdly, emotional experience posts as the basis for translating structural information into meaningful sound.ABSTRAK Rumitnya tugas atau peran pemain musik membuat musisi terkadang mendapat evaluasi yang kurang memuaskan dari pendengar. Di sisi lain, pendekatan teoritis yang diyakini dapat menjadi alat bantu untuk menginterpretasi musik belum diketahui dengan jelas bagaimana musisi dapat menjadi basis dalam menerjemahkan nada-nada tertulis menjadi bunyi musikal. Padahal, musik dialami tidak hanya ekslusif sebagai peristiwa struktural dan bunyi semata, namun juga dialami sebagai peristiwa subjektif. Oleh sebab itu, penelitian ini mengeksplorasi peran pengalaman emosi subjektif pemain dalam membentuk interpretasi musikal. Penelitian ini menggunakan metode kualitatif dengan pendekatan komparatif. Pendekatan ini digunakan untuk mempelajari bagaimana emosi dapat menjadi perantara musisi dalam mentransformasi not tertulis menjadi bunyi musikal. Komparasi dua kasus interpretasi pada pemain cello dan pemain gitar dilakukan dalam rangka melihat apakah ada kemiripan dan perbedaan dalam proses menginterpretasi pada dua kelompok musisi intrumen yang berbeda. Hasilnya ditemukan bahwa pertama, pengalaman emosi yang diperoleh dalam sosialisasi emosi sehari-hari, berperan penting dalam memahami musik yang muatannya juga sarat dengan emosi. Kedua, setelah musisi dapat menangkap emosi yang terkandung dalam struktur musikal, musisi dapat merealisasikannya menjadi kode akustik yang memiliki relasi ikonikal dengan muatan emosi struktur musikal. Ketiga, pengalaman emosi menjadi basis dalam menterjemahkan informasi struktual menjadi bunyi yang bermakna. Institut Seni Indonesia Yogyakarta LPM Institut Seni Indonesia Yogyakarta 2022-08-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/5075 10.24821/resital.v23i2.5075 Resital: Jurnal Seni Pertunjukan; Vol 23, No 2 (2022): Agustus 2022; 117-127 2338-6770 2085-9910 10.24821/resital.v23i2 eng https://journal.isi.ac.id/index.php/resital/article/view/5075/2695 Copyright (c) 2022 Asep Hidayat Wirayudha

oai:ojs.journal.isi.ac.id:article/2228 2019-12-01T06:22:13Z resital:ART

oai:ojs.journal.isi.ac.id:article/1690 2019-11-27T06:04:05Z resital:ART

Pyang Pyung: Sebuah Komposisi Karawitan Suneko, Anon kêmpyang; siliran; kêmpyung; gamelan Jawa. Karya seni “Pyang Pyung” ini merupakan apresiasi seni musik gamelan Jawa yang sesungguhnya tidak statis, namun tetap dapat dikembangkan seiring kemajuan zaman. Minoritas kempyang dalam instrumen gamelan merupakan potensi yang diolah sehingga karya ini merupakan wujud dari keinginan penulis untuk menunjukkan makna subyektif dari benda yang begitu kecil sehingga bisa membawa potensi luar biasa sebagai subyek seni dalam penciptaan musik. Adanya polaritas dan estetika antara siliran dan musikalitas kêmpyung sebagai jenis kombinasi dua nada, dipandang oleh penulis sebagai dua titik menarik kontras dalam dinamika penciptaan karya seni, terutama komposisi karawitan. Kêmpyang dan kêmpyung adalah dua bentuk kombinasi nada yang bisa disesuaikan untuk saling melengkapi dan keduanya berperan dalam membangun dinamika musik gamelan melalui efek suara dan karakter yang mampu diciptakan. Keduanya merupakan potensi dari substansi dasar musikal karawitan dimana kontras setiap efek suara yang nampaknya seimbang sesuai dengan persepsi estetika penyajian dan orientasi penulis melalui penciptaan komposisi musik yang menggabungkan kedua kombinasi seperti dua hal berlawanan yang saling melengkapi dalam keseimbangan harmoni komposisi musik nusantara. Institut Seni Indonesia Yogyakarta 2016-04-04 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/1690 10.24821/resital.v17i1.1690 Resital: Jurnal Seni Pertunjukan; Vol 17, No 1 (2016): April 2016; 60-66 2338-6770 2085-9910 10.24821/resital.v17i1 eng https://journal.isi.ac.id/index.php/resital/article/view/1690/459 Copyright (c) 2017 RESITAL : JURNAL SENI PERTUNJUKAN

oai:ojs.journal.isi.ac.id:article/9374 2024-03-29T06:09:32Z resital:ART

Peran Musik dalam Kesenian Montro di Yogyakarta Sukotjo, Sukotjo Md, Shahanum Trilaksono, Joko Musik; montro; pertunjukan Montro sebagai salah satu seni pertunjukan merupakan perpaduan dari berbagai media komunikasi yaitu gerak tubuh sebagai garap tari, bunyi dan bahasa sebagai garap iringan, serta rias dan busana sebagai garap seni rupa, yang kesemuanya direalisasikan kemunculannya secara komplementer. Bentuk kompleksitas pertunjukan tari mengarahkan penghayat pada pemahaman yang menyeluruh terhadap unsur-unsur tari yang pada dasarnya tidak bersifat parsial. Hubungan yang terjalin antara unsur musik dengan wiraga, wirasa, dan wirama dalam pertunjukannya membuat kesenian Montro menjadi sebuah fenomena yang menarik untuk diungkap dalam memahami tentang makna yang terkandung di dalamnya. Metode yang dipergunakan dalam penelitian ini yaitu kualitatif dengan pendekatan  multidisiplin seperti: etnomusikologis, sejarah, antropologis, sosiologis, dan semiotika. Peranan musik dalam kesenian Montro memiliki peranan yang penting dalam memberikan unsur estetis dalam pertunjukannya. Hal ini dapat mengungkap tentang apa yang terkandung dalam makna kesenian tersebut. Institut Seni Indonesia Yogyakarta 2023-12-21 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/9374 10.24821/resital.v24i3.9374 Resital: Jurnal Seni Pertunjukan; Vol 24, No 3 (2023): December 2023; 306-328 2338-6770 2085-9910 10.24821/resital.v24i3 eng https://journal.isi.ac.id/index.php/resital/article/view/9374/3612

oai:ojs.journal.isi.ac.id:article/462 2019-12-04T05:01:43Z resital:ART

AMÈN: Tatakelola Wayang Jekdong dalam Tradisi Jawa Timuran CHRISTANTO, WISMA NUGRAHA Amèn, wayang jèkdong, cantrik, dalang, panjak, habitus, tatakelola pergelaran lakon. Amen: Jekdong Shadow Puppet Play Management in East Java Tradition. Amen is a moving jekdongshadow puppet performances from one place to another place. This is done by a cantrik ( puppet master assistant)in his last period of study. This is a kind of procession preparing a puppet master assistant to meet any possibilitiesand challenges in different kinds of situations for his future shadow puppet performances. Amen is a better wayfor a puppet master assistant to know and compete in the markets of shadow puppet business. Furthermore, amenis also done by a dalang ( puppet master) together with some panjak (musicians) in rainy season when farmers startto cultivate their rice fi elds. Since it is not the time for harvest yet and not the time for them to do some traditionalceremonies and rituals, amen becomes a way of Institut Seni Indonesia Yogyakarta Institut Seni Indonesia Yogyakarta 2008-12-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/462 10.24821/resital.v9i2.462 Resital: Jurnal Seni Pertunjukan; Vol 9, No 2 (2008): Desember 2008 2338-6770 2085-9910 10.24821/resital.v9i2 eng https://journal.isi.ac.id/index.php/resital/article/view/462/56

oai:ojs.journal.isi.ac.id:article/3499 2019-12-13T03:21:55Z resital:ART

Mary, Esmeralda, and Frollo: A Hermeneutic Reading of “The Hunchback of Notre Dame – The Musical” Malilang, Chrysogonus Siddha musical juxtaposition; musical theatre; liturgical music; multimodal storytelling Mary, Esmeralda, and Frollo: A Hermeneutic Reading of “The Hunchback of Notre Dame – The Musical”. This essay aims to analyze the multimodal storytelling involving songs in The Hunchback of Notre Dame – The Musical. Two songs, “God Helps the Outcasts” and “Hellfire”, are chosen to be analyzed hermeneutically. The primary analysis is done through the scrutiny over the juxtaposition of different musical styles in the said songs. Comparisons to Victor Hugo’s original text and the Disney animated version – in which the musical is based on – is also done to shed more light on the new layers of interpretation. Institut Seni Indonesia Yogyakarta 2019-08-26 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/3499 10.24821/resital.v20i2.3499 Resital: Jurnal Seni Pertunjukan; Vol 20, No 2 (2019): Agustus 2019; 61-69 2338-6770 2085-9910 10.24821/resital.v20i2 eng https://journal.isi.ac.id/index.php/resital/article/view/3499/1672 Copyright (c) 2019 Resital: Jurnal Seni Pertunjukan

oai:ojs.journal.isi.ac.id:article/15027 2025-08-20T12:36:28Z resital:ART

Exploring Cultural Authority: The Dichotomies of Zikir Songs in the Malay Community of West Kalimantan Ansari, Isa Fauziyah, Nur Pujiono, Bagong Bugov, Dobrin Tsvetanov Puspitasari, Elis Reproduction; Cultural Authority; Song Dichotomy; Zikir; Sambas Malay This article examines the reproduction of cultural authority within the Sambas Malay culture, emphasizing the distinctions in the utilization of songs for performing dhikr or barzanji in broader terms. This issue is approached through a multidisciplinary lens that integrates aspects of cultural studies, ethnomusicology, and symbolic capital. This research is qualitative because it explores the complex relationship between the dhikr practices of the community, resulting in narrative data. The data was collected through interviews and participant observation, which included engaging with the dhikr participants during their rituals and practices. The process of data analysis occurs in three distinct stages. Initially, data reduction is conducted to arrange the data in a more structured manner. The second point presents the reduced data thematically in a table that includes images, text quotes, and snippets of dialogue. Data verification was conducted to reach conclusions. The process of interpretation involved restating and reflecting on the data in light of the prevailing socio-cultural context. The findings suggest that the dichotomy acts as a means for dhikr practitioners to recreate cultural authority, aiming to reshape the Sambas Palace's influence over those who engage with traditional songs. This reproductive process occurs through inversion and reinforcement. Institut Seni Indonesia Yogyakarta 2025-05-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/15027 10.24821/resital.v26i1.15027 Resital: Jurnal Seni Pertunjukan; Vol 26, No 1 (2025): April 2025; 141-166 2338-6770 2085-9910 10.24821/resital.v26i1 eng https://journal.isi.ac.id/index.php/resital/article/view/15027/4413

oai:ojs.journal.isi.ac.id:article/494 2019-12-04T05:22:16Z resital:ART

Laku Gunung Sagara: Perubahan Sosial dengan Pendekatan Koreografi Lingkungan Martono, Hendro Fenomena perubahan sosial telah terjadi di Dusun Suru Kumadang Tanjungsari Gunungkidul. Sejak sepuluh tahun terakhir banyak warga yang semula petani menjadi pedagang di sektor kelautan, dipelopori oleh kaum perempuan sebagai pekerja sampingan berubah menjadi pekerjaan pokok. Tujuan dari penulisan ini untuk mentransformasikan gejolak batin dengan perubahan sosial masyarakat Gunungkidul menjadi sebuah karya seni. Pendekatan koreografi lingkungan untuk membedah reportoar bumi langit, gayuh bumi dan segara gunung digunakan dalam karya ini. Berdasarkan analisis koreografi dan semiotike teater. Laku Gunung Segara adalah manifestasi Labuhan dalam ruang kehidupan keseharian masyarakat Suru. Sintesis selanjutnya, menurut pandangan orang desa, Ratu Kidul merupakan jelmaan Dewi Sri sehingga orang desa tidak takut lagi bekerja di kelautan. Kesimpulannyakoreografi - Lingkungan berhasil menerjemahkan dan mengembangkan konseptual secara tuntas. Temuan kultural,bahwa masyarakat desa yang mempunyai kesenian yang maju, memiliki persepsi pentingnya latihan dan mudah diajak kerjasama kreatif.Key words: laku, gunung- segara, koreografi -lingkunganABSTRACTLaku Gunung Sagara Dance. A social phenomenon has occurred in Suru Kumadang village, Tanjungsari Gunungkidul. For the past ten years, many villagers who were originally farmers have switched their professions into merchants in marine sector, pioneered by women who previously work as part-timers but now work as full-timers. The purpose aims at transforming the inner turmoil of Gunungkidul villagers’ social phenomenon into a work of art. The work of art uses environmental choreography approach to dissect the earth and sky repertoires, gayuh bumi and segara gunung. Based on the choreography analysis and theater semiotics, Laku Gunung Segara is the manifestation of Labuhan in the daily lives of villagers in Suru. Furthermore, in the view of the villagers, the South Queen is an incarnation of Goddess Sri so that the villagers are no longer afraid to work at sea. In conclusion, the environmental choreography has managed to interpret and develop the entire phenomenon. The cultural fi nding is that the villagers, who have advanced their arts, consider the importance of training and support active collaboration.Keywords: gunung- segara dance, environmental choreography Institut Seni Indonesia Yogyakarta ISI Yogyakarta 2011-12-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/494 10.24821/resital.v12i2.494 Resital: Jurnal Seni Pertunjukan; Vol 12, No 2 (2011): Desember 2011 2338-6770 2085-9910 10.24821/resital.v12i2 eng https://journal.isi.ac.id/index.php/resital/article/view/494/88

oai:ojs.journal.isi.ac.id:article/518 2019-12-04T05:23:30Z resital:ART

Sangku Mencari Riang: Pertemuan Sangkuriang dan Oidipus dalam Perlawanan terhadap Takdir dan Nasib Roekmana, Giri Mustika “Sangku mencari Riang” menceritakan pertemuan antara mitos Sangkuriang dari Sunda dan Oidipus dari Yunani Kuno. Cerita ini dibuat sebagai kelanjutan dari cerita rakyat Sangkuriang dengan kisah tragedi Yunani Oidipus Raja karya Sophocles. Cerita yang diciptakan melalui pendekatan intertekstualitas dan interpretasi ini menawarkan makna baru. Cerita ini dibentuk berdasarkan konsep teater rakyat Sunda yang fleksibel dan dinamis dikombinasikan dengan elemen teater Yunani klasik yang melibatkan peran paduan suara dengan kata-kata puitis dalam dialog. Selain itu, penggunaan media dan topeng untuk menyempurnakan karakter menghasilkan estetika bagi penonton. Oleh karena itu, perpaduan konsep antara mitos Sunda dan tragedy Yunani ini memberikan perspektif baru dalam ruang kerja penciptaan seni teater. Hasil kolaborasi dua konsep akan terlihat dalam pertunjukan dengan kekuatan musik, tematik, estetika visual, dan dinamika oral. Dengan cara ini mampu menimbulkan daya tarik bagi para penonton.Kata kunci: cerita rakyat, intertext, mitos Sunda, teater Yunani.ABSTRACTSangku Looking For Riang Theatre: performances: Sangkuriang meetings and Oedipus in the fight against Destiny and Fate. “Sangku Mencari Riang” is a story which describes the meet of Sangkuriang from Sundanese and Oidipus from Ancient Greek. This story was created as a continuation story of folklore Sangkuriang of Sunda with the story of the Greek tragedy of Sophocles’s work, that is Oidipus the King. Through the intertext study, then, a new interpretation of the story was created, and finally the story of “Sangku Mencari Riang” was offered with its new meaning as well. This story will be perfomed to approach the concept of the folk theater of Sundanese which is regarded as flexible and dynamic, and has a dynamic structure. This concept will be combined with some elements found in the classical Greek theater, in which there is a choir role with poetic words in any dialogues on the performance. Moreover, the use of media which gives the impression of refinement masks of the characters and the ritualistic and aesthetic views for spectators are given to this concept as well. Therefore, these two concepts will provide a new perspective in the work space of theatrical arts creation. Then the result of the collaboration between the two concepts will be seen in the performance with musical powers, essential thematic, visual aesthetics, and oral dynamics, and afterward it will be supposed to give rise to any great attraction for the spectators.Key words: folklore, intertext, Sundanese myth, Greek Theater. Institut Seni Indonesia Yogyakarta ISI Yogyakarta 2012-12-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/518 10.24821/resital.v13i2.518 Resital: Jurnal Seni Pertunjukan; Vol 13, No 2 (2012): Desember 2012 2338-6770 2085-9910 10.24821/resital.v13i2 eng https://journal.isi.ac.id/index.php/resital/article/view/518/112

oai:ojs.journal.isi.ac.id:article/6826 2023-10-15T14:30:46Z resital:ART

The Children’s Songs Composition: A Contribution to Fill in The Absence of Children’s Songs in Indonesian Preschool Education Wadiyo, Wadiyo Utomo, Udi Haryono, Slamet Wiyoso, Joko song composition; creativity; educational messages; poetry The song is one of the teaching media used by preschool teachers around the globe. Indonesian preschool teachers face a rising problem: the government regulates a standard curriculum where the educational song is compulsory. Yet, there is no concern to facilitate and fill in the absence of children's educational songs. This study aims to unveil the creative process of non-music education graduate teachers in composing educational songs as required by the curriculum. This study employs a qualitative design based on a case study of thirty-three teachers from eleven different preschools in Semarang, Central Java, Indonesia. The researchers analyze the preschools' curriculum, teachers' interviews, field observations, and documentation. The findings show that teachers can use their creativity to create songs with educational messages projected in a collective poetry singing performance. Poetry singing allows students' aesthetic skills development through continuous song probe and response between teachers and students. Institut Seni Indonesia Yogyakarta 2021-12-28 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/6826 10.24821/resital.v22i3.6826 Resital: Jurnal Seni Pertunjukan; Vol 22, No 3 (2021): Desember 2021; 127-136 2338-6770 2085-9910 10.24821/resital.v22i3 eng https://journal.isi.ac.id/index.php/resital/article/view/6826/2505 Copyright (c) 2021 Wadiyo, Udi Utomo, Slamet Haryono, & Joko Wiyoso

oai:ojs.journal.isi.ac.id:article/1677 2019-11-27T06:04:20Z resital:ART

Peranan Metode Eurhythmics Terhadap Peningkatan Kreativitas Gerak Nainggolan, Oriana Tio Parahita kreativitas gerak; eurhythmics; musik Penelitian ini mengkaji peranan metode pembelajaran musik eurhythmics terhadap peningkatankreativitas gerak anak usia 0,8 - 10,0 tahun. Kreativitas adalah kemampuan seseorang untuk membuatatau menciptakan sesuatu yang baru dari apa yang telah ada maupun yang belum pernah ada, yang secaraoperasional tercermin dari kelancaran, keluwesan, dan orisinalitas dalam berpikir, serta kemampuanuntuk mengelaborasi. Kreativitas dapat dipelajari dan ditingkatkan. Salah satu cara dalam meningkatkankreativitas adalah melalui pembelajaran musik. Penelitian ini menggunakan desain penelitian RandomizedGroup Pretest-Posttest, dimana pengukuran kreativitas gerak dilakukan pada saat sebelum dan sesudahdilakukan pembelajaran musik dengan menggunakan metode eurhythmics. Analisis data yang digunakanadalah T-test. Hasil penelitian ini menunjukkan bahwa metode eurhythmics memiliki peranan dalampeningkatan kreativitas gerak anak usia 0,8 - 10,0 tahun. Institut Seni Indonesia Yogyakarta 2015-12-28 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/1677 10.24821/resital.v16i3.1677 Resital: Jurnal Seni Pertunjukan; Vol 16, No 3 (2015): Desember 2015; 117-124 2338-6770 2085-9910 10.24821/resital.v16i3 eng https://journal.isi.ac.id/index.php/resital/article/view/1677/449 Copyright (c) 2017 RESITAL : JURNAL SENI PERTUNJUKAN

oai:ojs.journal.isi.ac.id:article/9276 2024-12-11T04:20:10Z resital:ART

Design of “Munyer” as a Respons to Social Condition in New Normal Warsana, Warsana Irawati, Eli masterpiece creation; Munyer; social phenomenon; online class; new normal This study aimed to observe social background of “Munyer” masterpiece creation. This study was a qualitative study through library research, observation and interview to elaborate the composition. The finding showed that the design method consisted of initial stimulation, idea generation, exploration, improvisation, formation and presentation or performance. The result of this design was a new musical masterpiece with instruments, pattern and performance in five composition parts. Each part illustrates online learning situation happened in New Normal. Thus, the creation of “munyer” was a response to social condition in new normal where all pedagogical activities were conducted via online. However, there were complex obstacles and problems during online classes such as poor provider network, massive internet data plan, non-updated hardware and software, etc. Institut Seni Indonesia Yogyakarta 2023-08-03 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/9276 10.24821/resital.v24i2.9276 Resital: Jurnal Seni Pertunjukan; Vol 24, No 2 (2023): Agustus 2023; 112-121 2338-6770 2085-9910 10.24821/resital.v24i2 eng https://journal.isi.ac.id/index.php/resital/article/view/9276/3254 Copyright (c) 2023 Warsana & Eli Irawati

oai:ojs.journal.isi.ac.id:article/453 2019-12-04T05:22:04Z resital:ART

Menemukan Formula Sinematografi Seni Pertunjukan Suprihono, Arif Eko Patrio, Andri Nur Fokus dari sinematografi untuk seni pertunjukan dimaksudkan untuk diskusi tentang pembuatan pilihanpencahayaan dan kamera saat merekam aktivitas seni pertunjukan di panggung untuk program televisi. Televisiadalah bentuk di mana sesuatu disampaikan, dicapai, atau ditransfer ke sejumlah besar orang. Isu ‘efek’ televisikehilangan program-program yang mengarah perlu diminta tidak hanya dalam hal efek atau kegiatan penontontetapi juga dalam hal kesempatan yang hilang bagi keanekaragaman budaya yang akan diekspresikan pada kreativitastelevisi. Setiap aspek dari televisi menunjukkan ketergantungan pada genre, yang merupakan kelompok kategorisproses diskursif yang transek teks melalui interaksi budaya mereka dengan industri, penonton, dan konteks yanglebih luas. Kita mungkin mulai diskusi dengan memulai dengan contoh tekstual seperti ketoprak humor, wayangkulit, opera van java sebagai praktek industri, pergeseran sejarah, atau kontroversi penonton.Kata kunci: sinematografi , seni pertunjukan, ketoprak humorABSTRACTThe Formula of Performing Arts Cinematography. The focus of cinematography for performing arts is intendedto a discussion about the making of lighting and camera choices when recording performing arts activities on stage for thetelevision programs. Television is the form in which something is conveyed, accomplished, or transferred to a large numberof people. The issues of ‘the effects’ of television miss leading programs needs to be asked not only in terms of effects oraudience activity but also in terms of missing opportunities for cultural diversity to be expressed on television creativities.Every aspect of television exhibits a reliance on genre, which are categorical clusters of discursive processes that transect textsvia their cultural interactions with industries, audiences, and broader contexts. We might begin a discussion by startingwith a textual example such as ketoprak humor, wayang kulit, opera van java as an industrial practice, a historical shift,or an audience controversy.Key words: cinematography, performing arts, cultural values, aesthetical consideration, television effects Institut Seni Indonesia Yogyakarta ISI Yogyakarta 2011-06-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/453 10.24821/resital.v12i1.453 Resital: Jurnal Seni Pertunjukan; Vol 12, No 1 (2011): Juni 2011 2338-6770 2085-9910 10.24821/resital.v12i1 eng https://journal.isi.ac.id/index.php/resital/article/view/453/47

oai:ojs.journal.isi.ac.id:article/2451 2019-12-01T06:45:40Z resital:ART

Andung-Andung Mate di Ranto Tindaon, Rosmegawaty Simatupang, GR Lono Lastoro Ganap, Victor Haryono, Timbul andung-andung; Mate di Ranto; Batak Toba This study aims to understand the song of Mate di Ranto from a musicological perspective. The main data of this research is the song of Mate di Ranto by Poster Sihotang. The analysis was done by observing the melody and the lyrics of the song. Based on the research it is concluded that the song of Mate di Ranto is a song of Toba people with the genre of andung-andung, which is a melancholic nuance and has a meaning as an expression of sadness. This song is inspired by the andung-andung of death ceremony. This song is the result of a blend of traditional singing style of andung-andung and popular music singing styles. This song uses a combo band accompaniment which is composed by combining elements of pop music and traditional Toba music. Institut Seni Indonesia Yogyakarta 2018-04-24 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/2451 10.24821/resital.v19i1.2451 Resital: Jurnal Seni Pertunjukan; Vol 19, No 1 (2018): April 2018; 46-53 2338-6770 2085-9910 10.24821/resital.v19i1 eng https://journal.isi.ac.id/index.php/resital/article/view/2451/936 Copyright (c) 2019 Rosmegawaty Tindaon, GR Lono Lastoro Simatupang, Victor Ganap, Timbul Haryono

oai:ojs.journal.isi.ac.id:article/14245 2025-05-19T07:27:46Z resital:ART

Promoting the Principles of Ecological Ethics, Ecosociology, and Ecomusicology through the Practice of Planting Songs in the Rote Society Pattinaja, Maryon Daniamaputra Messakh, Merling Tonia Litron Litos Conthes Alexander, Ferdinant Ufi, Delsylia T. Kwon, Kwang-Eun Planting songs, Ecological ethics, Ecosociology, Ecomusicology This study seeks to analyze the planting songs of the Rote society through the lenses of ecological ethics, ecosociology, and ecomusicology. The research method is qualitative ethnography, utilizing semiotic and thematic data analysis tools. From an ecological ethics perspective, the planting song is viewed as a profound expression of reverence for nature as the source of life. Maintaining ecological balance through sustainable agricultural practices reflects reverence and serves as a medium for the spiritual connection among humans, nature, and the divine.  From an ecosociological standpoint, planting songs function as a medium for social communication, encapsulating values of empathy, responsibility, and the ethos of collectivism and solidarity among farmers, widows, and orphans – social groups lacking a stable income and facing economic vulnerability. Planting songs exemplify a significant aspect of ecomusicology, functioning as a means of communication between humans and nature that encapsulates life experiences, collective cultural memory, and impressions of the natural world. A comprehensive grasp of the interplay between culture, environment, and ethical conduct underpins the sustainability of communal existence in the Rote society. Institut Seni Indonesia Yogyakarta 2025-12-29 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/14245 10.24821/resital.v25i3.14245 Resital: Jurnal Seni Pertunjukan; Vol 25, No 3 (2024): Desember 2024; 535-554 2338-6770 2085-9910 10.24821/resital.v25i3 eng https://journal.isi.ac.id/index.php/resital/article/view/14245/4222 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/14245/2271 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/14245/2272 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/14245/2273 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/14245/2274

oai:ojs.journal.isi.ac.id:article/485 2019-12-04T05:00:51Z resital:ART

Tatahan dan Sunggingan Wayang Golek Menak Yogyakarta Sukistono, Dewanto Haryono, Timbul Soedarsono, R.M. -, Soetarno wooden puppet, Menak, Ki Widiprayitna The Sculpture and Painting of Yogyakarta Wooden Puppet. The wayang golek Menak is one of the threedimensionalpuppet performance in Indonesia. The ‘Menak’ word indicate that the story was taken from the ‘SeratMenak’, that’s different version with wayang golek Purwa wich taken from ‘Mahabarata’ or ‘Ramayana’ story, thatwas popular in West Jawa. In Yogyakarta, wayang golek Menak was popularized by Ki Widiprayitna about 1950.Based on differences in the source story, then of course there are also differences in the form of puppets, included inthe carving and coloration techniques, in Javanesee language is called ‘tatahan’ and ‘sunggingan’. This article intendsto reveal the concept of carving and coloration, especially the style of Ki Widiprayitna. Institut Seni Indonesia Yogyakarta Institut Seni Indonesia Yogyakarta 2009-12-18 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/485 10.24821/resital.v10i2.485 Resital: Jurnal Seni Pertunjukan; Vol 10, No 2 (2009): Desember 2009 2338-6770 2085-9910 10.24821/resital.v10i2 eng https://journal.isi.ac.id/index.php/resital/article/view/485/79

oai:ojs.journal.isi.ac.id:article/3995 2025-06-09T15:36:10Z resital:ART

Post – Harmony Sangposangan As Dynamic Existence of Madurese People In Digital era Hidayatullah, Panakajaya Sangposangan; Post-Harmony; Madurese; Music Post – Harmony Sangposangan As Dynamic Existence of Madurese People. In Digital era This paper is a result of anthropology research by using cultural studies perspectives. This article, comprehensively, discuss; 1) musical relation between Western and traditional music in sangposangan; 2) a kind of ‘post-harmony’ sangposangan by using musicology analysis through musical text of Angling Madura song. The result of study shows an encounter between western and Madurese traditional music in sangposangan music which can produce a new musical entity (harmony of other).  Post-harmony sangposangan is manifested in dynamic composition which are; 1) dangdut composition in EDM syle, and 2) contrast change from dangdut koplo to pure dangdut. Post-harmony can be read as intuition, emotion, sense and instinct which can drive creative process of sangposangan music. It does not come from rigid notation system but it is constructed from rhythm of Madurese people’s life.ABSTRAKTulisan ini merupakan hasil penelitian antropologi musik dengan menggunakan perspektif kajian budaya. Secara komprehensif artikel ini menelaah tentang 1) relasi musikal antara musik Barat dan tradisional dalam musik sangposangan; 2) menelaah tentang bentuk ‘post-harmoni’ sangposangan melalui analisis musikologis dari teks musikal gending Angling Madura. Hasil kajian menunjukkan bahwa pertemuan musikal antara musik Barat dan tradisional Madura dalam musik sangposangan mampu menghasilkan sebuah entitas musikal yang baru (‘harmoni yang lain’). Post-harmoni sangposangan diwujudkan dalam dinamika garap yang dinamis yaitu 1) garap dangdut ala EDM, dan 2) perubahan kontras dari dangdut koplo ke dangdut piur. Post-harmoni dapat dibaca sebagai sebuah naluri, emosi, sense dan insting yang menjadi penggerak dari proses kreatif musik sangposangan. Ia tidak berangkat dari sistem notasi yang kaku, tetapi dibangun dari ritme kehidupan masyarakat Madura.Kata kunci: Sangposangan; Post – Harmony; Madura, Musik Institut Seni Indonesia Yogyakarta 2020-04-09 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/3995 10.24821/resital.v21i1.3995 Resital: Jurnal Seni Pertunjukan; Vol 21, No 1 (2020): April 2020; 52-61 2338-6770 2085-9910 10.24821/resital.v21i1 eng https://journal.isi.ac.id/index.php/resital/article/view/3995/1858 Copyright (c) 2020 Resital: Jurnal Seni Pertunjukan

oai:ojs.journal.isi.ac.id:article/17664 2026-03-18T09:13:02Z resital:ART

Intercultural Synthesis of Ethnic Elements in Contemporary Vocal Practice: A Musicological Study with Statical Validation Kdyrova, Inesh Dossanova, Alma Duiyessinova, Dilya Shaikenova, Zhanar transculturality; cultural hybridity; cross-cultural perception; ethnomusicological analysis; weighting coefficient analysis Contemporary vocal studies have not sufficiently developed quantitative models that combine the structural analysis of Eastern and Western musical elements with the measurement of their perception within a single analytical framework. Existing work mostly focuses either on describing stylistic characteristics or on cultural interpretations of hybridity, without offering formalized tools for comparing intonational, modal, and rhythmic parameters across traditions and assessing their impact on listening judgments. The purpose of the study was to empirically identify structural indicators of the synthesis of Eastern and Western vocal elements and to test their relationship with assessments of harmony, authenticity, and emotional expressiveness. For this purpose, a corpus of 200 vocal compositions from different regions was formed. The frequency of intonation, harmony, and rhythmic characteristics was recorded using automated spectral analysis in Sonic Visualizer. Groups were compared using Fisher's F-test and Student's t-test; additionally, standardized effect sizes (Cohen's d, η²) and 95% confidence intervals were calculated. The perceptual component of the study included 48 students in the vocal specialization who evaluated a selection of pieces on a 10-point scale according to three criteria: harmony of synthesis, preservation of authentic features, and emotional expressiveness. Harmony was operationalized as the average integral value of these three indicators. The highest scores were given to pieces with a balanced combination of modal variability and functional harmony (M = 9.8; SD = 0.6), and the difference between integrative and asymmetric synthesis models was statistically significant (t = 2.14; p < 0.05; d = 0.61). The analysis of the structural data showed that Western samples are characterized by the dominance of functional tonality and articulatory clarity (W = 0.83; W = 0.85). At the same time, the Eastern samples are characterized by microtonality and melismatic ornamentation (W = 0.80; W = 0.81). The obtained results demonstrate a moderate but stable relationship between the structural characteristics of vocal material and its perceptual evaluation. The proposed approach provides a formalized toolkit for the study of transcultural vocal hybridity. It can be used in further comparative musicological and pedagogical studies. Institut Seni Indonesia Yogyakarta 2025-12-31 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/17664 10.24821/resital.v26i3.17664 Resital: Jurnal Seni Pertunjukan; Vol 26, No 3 (2025): Desember 2025; 527-553 2338-6770 2085-9910 10.24821/resital.v26i3 eng https://journal.isi.ac.id/index.php/resital/article/view/17664/4746 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/17664/2802

oai:ojs.journal.isi.ac.id:article/508 2019-12-04T05:20:13Z resital:ART

Ragam dan Makna Bahasa dalam Lakon Kintir Arisona, Nanang The Various Language and Meaning on Kintir Drama Play. Ragam dan Makna Bahasa dalam Lakon Kintir merupakan suatu kajian tentang keragaman bahasa dan maknanya dalam lakon drama. Tujuannya untuk mengungkapkan peranan dan makna bahasa Jawa dan bahasa Indones The Various Language and Meaning on Kintir Drama Play. Ragam dan Makna Bahasa dalam LakonKintir merupakan suatu kajian tentang keragaman bahasa dan maknanya dalam lakon drama. Tujuannya untukmengungkapkan peranan dan makna bahasa Jawa dan bahasa Indonesia yang digunakan dalam lakon Kintir.Kajian ini menggunakan analisis semiotika untuk mengungkap aspek keragaman dan makna bahasa dalam lakonKintir. Lakon Kintir yang dimainkan oleh Kelompok Seni Teku Yogyakarta menggunakan bahasa Jawa dan bahasaIndonesia sebagai strategi untuk mengungkap makna yang lebih kompleks. Analisis menunjukkan, bahwa setiapbahasa memiliki keterbatasan dalam menyampaikan makna ketika menjalankan fungsinya sebagai media ekspresidramatik. Bahasa memiliki karakteristik tersendiri sesuai latar sosial dan budaya yang melahirkannya. Institut Seni Indonesia Yogyakarta Institut Seni Indonesia Yogyakarta 2010-12-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/508 10.24821/resital.v11i2.508 Resital: Jurnal Seni Pertunjukan; Vol 11, No 2 (2010): Desember 2010 2338-6770 2085-9910 10.24821/resital.v11i2 eng https://journal.isi.ac.id/index.php/resital/article/view/508/102

oai:ojs.journal.isi.ac.id:article/5137 2023-10-15T14:30:03Z resital:ART

Teknik Permainan Beatbox Flute Dalam Box Karya Christopher Kuhns Said, Arini Nur Limbong, Helena Evelin Flute, Flute Techniques, Beatbox Techniques The composition of solo flute created by Christopher Kuhns entitled ‘BOX’ is interesting because it uses beatbox tecnique in playing the flute. beatbox technique in flute is not a new technique for flute, Greg Pattillo is one of the flutist has introduced this technique in 2009. This research aims to describe the beatbox flute technique used in Box coposition and how to produce beatbox technique through articulation and tonguing in flute. The method used by researcher is a qualitative descriptive research methode with a analysis approach. The data obtained though literature studies, music score of Box, collecting audio-visual documentation in the form of performing Box composition through the internet and interview with Christopher Kuhns, Greg Pattillo, and Willem Carolus Cristopherson Tamnge. The result of this research show that the flute not only can produce melodic sounds, but also can produce percussive sounds with many sound colors. Beatbox technique was imitating percussion sound such as; bass drum, hi-hat, and snare. In Box Composition, there are seven beatbox articulation techniques, such as classic kick, closed k hi-hat, closed t hi-hat, meshed snare, open t hi-hat, shaker, and classic inward snare. The flute articulation techniques are accent, legato, staccato, and slur, also tonguing techniques used in Box composition are single tonguing and double tonguing. The application of articulation and tonguing influence each other in beatbox flute palying to produce clear melody and rhythm. Institut Seni Indonesia Yogyakarta Helena Evelin Limbong 2021-08-22 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/5137 10.24821/resital.v22i2.5137 Resital: Jurnal Seni Pertunjukan; Vol 22, No 2 (2021): Agustus 2021; 89-99 2338-6770 2085-9910 10.24821/resital.v22i2 eng https://journal.isi.ac.id/index.php/resital/article/view/5137/2418 Copyright (c) 2021 Arini Nur Said

oai:ojs.journal.isi.ac.id:article/1271 2019-12-03T15:20:33Z resital:ART

Peran Partisipan sebagai Bagian Infrastruktur Seni di Sumatera Barat: Perkembangan Seni Musik Talempong Kreasi Ardipal, Ardipal Art Participant, Art Development, Talempong Kreasi Perkembangan seni tidak lepas dari peran pelaku seni atau seniman musik. Namun peran itubukan hanya terletak pada seniman, tetapi juga berbagai unsur yang terlibat dalam kesenian dalammasyarakat atau partisipan seni, yang terlihat dalam infrastruktur seni. Penelitian ini menggunakanpendekatan deskriptif analisis, dengan maksud memberikan gambaran partisipan seni sebagai bagiandari infrastruktur seni dalam konteks kesenian Talempong Kreasi. Penelitian ini dilakukan untukmenjawab pertanyaan siapa yang berperan dan apa yang dilakukan mereka dalam musik talempongtradisi. Hasil penelitian ini menunjukkan bahwa talempong tradisi berhasil dikembangkan olehtokoh partisipan akademik. Pengembangan ini terlihat dari konsep harmoni dalam komposisi musikdan penggabungan alat musik baru dan tradisi sehingga lahirlah Talempong Kreasi. Genre musikini dapat berfungsi untuk pembentuk imaji dan identitas Minangkabau di masyarakat. Di antara permasalahan baru yang timbul, karena hasilnya masih berfokus kepada produksi musik komersial, bukan pada kualitas musik. The Participants Role as a Part of the Arts Infrastructure in West Sumatra: The Developmentof Talempong Kreasi Musical Arts. The development of art cannot be separated from the role of performersor musical artists. But the role does not merely only lie in the artists themselves, but also in the various elementsinvolved in the arts in the community or the participants of art, which are commonly visible in the artsinfrastructure. This study used a descriptive analytical approach, with the intention of giving the participantsan overview of art as a part of the infrastructure of the art in the context of Talempong Kreasi art. Thisstudy was conducted to answer the questions of who play the role, and what they have done for Talempongmusic tradition. These results indicate that the tradition of talempong has successfully been developed by theacademic participants. This development can be seen from the concept of harmony in the music compositionand the incorporation of new and traditional music instruments so that the the tradition of TalempongKreasi is emerged. This genre of music can be served for forming the image and Minangkabau identity inthe society. Among the new problems that arise, the result still focuses on the production of commercial music, not on the quality of the music. Institut Seni Indonesia Yogyakarta 2015-04-17 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/1271 10.24821/resital.v16i1.1271 Resital: Jurnal Seni Pertunjukan; Vol 16, No 1 (2015): April 2015; 15-24 2338-6770 2085-9910 10.24821/resital.v16i1 eng https://journal.isi.ac.id/index.php/resital/article/view/1271/213 5175a8a1856b28897467dff9aabac395