2026-04-20T12:35:34Z https://journal.isi.ac.id/index.php/resital/oai

oai:ojs.journal.isi.ac.id:article/6528 2022-01-17T07:25:40Z lintas:ART

oai:ojs.journal.isi.ac.id:article/15097 2025-04-24T13:36:29Z lintas:ART

oai:ojs.journal.isi.ac.id:article/4692 2020-12-23T03:10:43Z JTKS:ART

oai:ojs.journal.isi.ac.id:article/12078 2024-02-16T05:54:35Z IDEA:ART

oai:ojs.journal.isi.ac.id:article/8178 2022-12-12T06:28:47Z fenomen:ART

oai:ojs.journal.isi.ac.id:article/6197 2022-01-27T07:59:41Z lintas:ART

oai:ojs.journal.isi.ac.id:article/14772 2025-06-10T08:59:45Z specta:spect%C4%81

oai:ojs.journal.isi.ac.id:article/2341 2021-08-31T05:15:51Z corak:FCov

oai:ojs.journal.isi.ac.id:article/10990 2023-09-30T08:39:14Z lintas:ART

oai:ojs.journal.isi.ac.id:article/8174 2022-12-12T06:28:46Z fenomen:ART

oai:ojs.journal.isi.ac.id:article/19532 2026-02-19T07:43:01Z DTR:ART

oai:ojs.journal.isi.ac.id:article/6193 2022-01-27T07:59:41Z lintas:ART

oai:ojs.journal.isi.ac.id:article/15098 2025-04-24T13:36:29Z lintas:ART

oai:ojs.journal.isi.ac.id:article/4772 2020-12-23T03:18:29Z JTKS:ART

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

oai:ojs.journal.isi.ac.id:article/8884 2023-02-09T07:02:16Z IDEA:ART

oai:ojs.journal.isi.ac.id:article/2817 2022-02-21T11:30:23Z dkv:ART

oai:ojs.journal.isi.ac.id:article/15550 2025-07-09T03:16:28Z specta:spect%C4%81

oai:ojs.journal.isi.ac.id:article/3925 2021-09-20T17:12:10Z selonding:ART

oai:ojs.journal.isi.ac.id:article/13842 2025-01-24T07:23:19Z corak:ART

oai:ojs.journal.isi.ac.id:article/8175 2022-12-12T06:28:46Z fenomen:ART

oai:ojs.journal.isi.ac.id:article/6194 2022-01-27T07:59:41Z lintas:ART

oai:ojs.journal.isi.ac.id:article/15099 2025-04-24T13:36:29Z lintas:ART

oai:ojs.journal.isi.ac.id:article/4901 2021-01-22T07:36:42Z lintas:ART

oai:ojs.journal.isi.ac.id:article/9607 2024-03-07T21:14:26Z ASCTIJ:ART

oai:ojs.journal.isi.ac.id:article/2743 2023-02-20T06:17:45Z joged:ART

oai:ojs.journal.isi.ac.id:article/6951 2022-04-13T07:22:50Z lintas:ART

oai:ojs.journal.isi.ac.id:article/15548 2025-07-09T11:39:30Z specta:spect%C4%81

oai:ojs.journal.isi.ac.id:article/5383 2021-09-21T05:10:16Z selonding:ART

oai:ojs.journal.isi.ac.id:article/12063 2025-02-27T07:35:41Z TUMATA:ART

oai:ojs.journal.isi.ac.id:article/9505 2024-01-18T07:47:40Z lintas:ART

oai:ojs.journal.isi.ac.id:article/8176 2022-12-12T06:28:46Z fenomen:ART

oai:ojs.journal.isi.ac.id:article/6195 2022-01-27T07:59:41Z lintas:ART

oai:ojs.journal.isi.ac.id:article/15100 2025-04-24T13:36:29Z lintas:ART

oai:ojs.journal.isi.ac.id:article/5087 2021-03-05T12:57:54Z jcia:JOCIA

oai:ojs.journal.isi.ac.id:article/12543 2024-04-04T16:49:18Z lintas:ART

oai:ojs.journal.isi.ac.id:article/9637 2023-06-08T01:56:00Z ASCTIJ:ART

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

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

oai:ojs.journal.isi.ac.id:article/5810 2022-01-17T07:13:09Z lintas:ART

oai:ojs.journal.isi.ac.id:article/15096 2025-04-24T13:36:29Z lintas:ART

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

oai:ojs.journal.isi.ac.id:article/8177 2022-12-12T06:28:47Z fenomen:ART

oai:ojs.journal.isi.ac.id:article/6196 2022-01-27T07:59:41Z lintas:ART

oai:ojs.journal.isi.ac.id:article/15112 2025-04-24T13:36:29Z lintas:ART

oai:ojs.journal.isi.ac.id:article/5045 2021-03-18T04:13:43Z selonding:ART

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

oai:ojs.journal.isi.ac.id:article/8170 2022-11-07T08:14:19Z fenomen:ART

oai:ojs.journal.isi.ac.id:article/15407 2026-01-23T03:57:19Z ars:ART

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/17607 2026-03-18T09:13:02Z resital:ART

Evolving Trends of Chinese Folk Music and Performing Arts Management in the Digital Age: A Bibliometric Analysis of Scopus-Indexed Articles Published between 2013 and 2024 Chuangprakhon, Sayam Liu, Qianqian Lin, You Seeyo, Warakorn Dong, Shujia Chinese folk music; performing arts management; digital transformation; bibliometric analysis; cultural heritage preservation This bibliometric analysis outlines relevant studies concerning Chinese folk music and performing arts management in the digital era, grounded in English-language publications indexed in the Scopus database between 2013 and 2024. This period was selected because English-language articles regarding digital approaches to Chinese folk music began to appear consistently during this time and reached a sufficient volume for a systematic bibliometric analysis. This analysis aims to provide insights into the intellectual landscape, the development of various themes, and the digital impact on the management of culture, artistic management, and the preservation of culture. Under the PRISMA protocol, 39 research articles were examined in the Scopus peer-reviewed database. The dataset was limited to English-language journal articles and conference papers that did not include publications from Chinese-language databases, which define the scopes and boundaries of the analysis. Each of the outputs was analyzed using bibliometric mapping, and quantitative publication trends and patterns concerning institutions and authors were complemented with qualitative thematic analysis, resulting in five thematic clusters. There is a noticeable increase in research results after 2020, aligning with digital cultural policy development in China and the growing use of online platforms for cultural dissemination. Given the relatively small dataset of 39 publications, findings should be interpreted as a focused analytical snapshot rather than a comprehensive representation of all articles on Chinese folk music. The results indicate a shift from ethnographic preservation toward the integration of digital technology to enhance audience engagement, interdisciplinary collaboration, and educational practice. The study underlines how digital integration reshapes the management of Chinese folk music by positioning technology as a tool for both cultural preservation and a medium of creative expression. Institut Seni Indonesia Yogyakarta This research project was financially supported by Mahasarakham University, Thailand. 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/17607 10.24821/resital.v26i3.17607 Resital: Jurnal Seni Pertunjukan; Vol 26, No 3 (2025): Desember 2025; 478-505 2338-6770 2085-9910 10.24821/resital.v26i3 eng https://journal.isi.ac.id/index.php/resital/article/view/17607/4709

oai:ojs.journal.isi.ac.id:article/5180 2023-10-15T14:30:03Z resital:ART

Inovasi dan Pembauran Genre dalam Pertunjukan Keroncong Wayang Gendut Wrahatnala, Bondet Innovation;Genre-Mixing;Performing Arts; This paper aims to discuss the forms of design and genre-mixing carried out by the Keroncong Wayang Gendut -Congwayndut-group in Surakarta, which tries to offer a state of wayang performance with a more interactive packaging. The universal evolution approach uses the analytical tool in this paper to examine the new elements offered by Congwayndut as a form of innovation in the puppet show. The research method used is qualitative with a descriptive model. The conceptual approach and research methods found that the creation and genre-mixing carried out by Congwayndut were implemented in music, stories, and performance forms. The use of keroncong's music with combos and contemporary bands is the main illustration in the show. They are still based on  Ramayana and Mahabharata's epics but actualized in current phenomena in society. Congwayndut's innovative form of performance is packaged in interactive language and builds closeness to the audience. It intended so that the messages and values to be conveyed will be readily accepted and understood by the audience, whose segmentation is the younger generation. 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/5180 10.24821/resital.v22i2.5180 Resital: Jurnal Seni Pertunjukan; Vol 22, No 2 (2021): Agustus 2021; 69-79 2338-6770 2085-9910 10.24821/resital.v22i2 eng https://journal.isi.ac.id/index.php/resital/article/view/5180/2416 Copyright (c) 2021 Bondet Wrahatnala

oai:ojs.journal.isi.ac.id:article/8028 2023-04-30T13:41:23Z resital:ART

Akhir Zaman: Representasi Fenomena Alam dan Sosial melalui Komposisi Kacapi Yulaeliah, Ela the end of time; composition; kacapi; kawih ABSTRACTThe End of Time: Representations of Natural and Social Phenomena through Kacapi Kawih Composition. The objective of this study is to analyze the results of a composition entitled End Times as a representation of natural and social phenomena. The method proposed by Alma W. Hawkins used in the process of creating this work include exploration, improvisation, and formation. The work entitled End Times is inspired by various natural and social phenomena that occur in society, such as volcanic eruption, flood, tsunami, and even covid-19 that boomed recently. Furthermore, the social order of society is increasingly uncertain due to war, assassination, and even oppression by the powerful over the weak. These are signs or characteristics of the end of time related to the involvement of mankind in nature. These various phenomena are the source of creativity and inspire the author to create a fresh work in the composition of the Sundanese kacapi kawih entitled "The End of Time". This composition attempts to construct an atmosphere of silence, emotion, comfort as well as anxiety through the Sundanese musical concepts and elements (rhythmic, melodic, ornamentation, dynamics, and other musical interweaving). In this study, the author used kacapi instruments, flutes, and song lyrics in which the song lyrics were carried through vocals. Since the lyrics are means of conveying moral messages to the public, they are considered as the prominent priority in this composition. The result indicates that the composition work entitled "The End of Time" has succeeded in conveying moral messages about the characteristics of the world’s end of time (apocalypse) to the public through the various phenomena reflected in performances and publications in online media. This art work is a wholesome reminder of moral values that have been eroded recently and encourages people to realize the true purpose of life.ABSTRAKTujuan penulisan ini untuk menganalisis hasil komposisi berjudul Akhir Zaman sebagai representasi dari fenomena alam dan sosial. Metode Alma W. Hawkins digunakan dalam proses penciptaan karya ini meliputi eksplorasi, improvisasi, dan pembentukan. Karya berjudul Akhir Zaman terinspirasi oleh berbagai fenomena alam dan sosial yang terjadi di masyarakat dunia. Dunia sudah dianggap tua dan rapuh, sehingga sering terjadi bencana di mana-mana, seperti gunung meletus, banjir, sunami, bahkan covid-19 yang terjadi bau-baru ini. Begitu pula tatanan sosial masyarakat dunia semakin tidak menentu dengan terjadi perang di mana-mana, pembunuhan, bahkan penindasan oleh orang yang berkuasa terhadap orang yang lemah. Inilah sebagai tanda atau ciri-ciri akhir zaman yang penuh gejolak dengan keterlibatan umat manusia beserta alam lingkungannya. Berbagai fenomena tersebut menjadi inspirasi pengkarya untuk membuat karya baru serta dijadikan sumber ide penciptaan dalam komposisi kacapi kawih Sunda berjudul “Akhir Zaman”. Komposisi ini mencoba membangun suasana hening, haru, hidmat namun was-was yang dibangun melalui konsep musikal Sunda dan unsur-unsurnya (ritmis, melodi, ornamentasi, dinamika, serta jalinan musikal lainnya) dengan instrumen kacapi, suling, dan lirik lagu. Lirik lagu melalui vokal bertujuan agar pesan moral dapat tersampaikan ke publik. Kekuatan lirik lagu merupakan prioritas utama dalam komposisi ini untuk menyampaikan pesan pengkarya. Hasil kesimpulan menunjukkan bahwa karya komposisi berjudul Akhir Zaman telah berhasil menyampaikan pesan moral tentang ciri-ciri akhir zaman (kiamat) kepada publik dengan berbagai fenomenanya yang disampaikan melalui pertunjukan serta publikasi di media online. Hasil karya ini bermanfaat bagi pengingat nilai-nilai moralitas yang sudah tergerus akhir-akhir ini untuk lebih menyadarkan tujuan hidup yang sebenarnya. 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/8028 10.24821/resital.v24i1.8028 Resital: Jurnal Seni Pertunjukan; Vol 24, No 1 (2023): April 2023; 22-35 2338-6770 2085-9910 10.24821/resital.v24i1 eng https://journal.isi.ac.id/index.php/resital/article/view/8028/3108 Copyright (c) 2023 Ela Yulaeliah

oai:ojs.journal.isi.ac.id:article/13564 2024-12-03T08:14:24Z resital:ART

The Phenomenon of Bamboo Music Buskers in Semarang: An Urban Music Perspective Sunarto, Sunarto Sejati, Irfanda Rizki Harmono Haryono, Slamet Susetyo, Bagus Urban Music; Urbanism; Bamboo Music; Buskers; Semarang This study aims to explore the phenomenon of bamboo music buskers in Semarang from an urban music perspective, focusing on their role in the city's cultural landscape and the dynamics of social interactions in public spaces. The methodology used in this study is a qualitative approach with participatory observation techniques, in-depth interviews with buskers, and documentation analysis. Data collection was conducted in several strategic locations in Semarang, such as the town square, markets, and other crowded centers. The results of the study indicate that bamboo music buskers play a significant role in enriching the color of urban music in Semarang. They not only function as street entertainers, but also as cultural agents who introduce and preserve traditional music in a modern context. Bamboo music, with its unique and organic characteristics, attracts the attention of people from various circles and often creates warmer social interactions between buskers and their listeners. In addition, this study found that bamboo music buskers face challenges in the form of social stigma and government regulations that are less supportive of their activities in public spaces. The implications of this study indicate that bamboo music buskers have the potential to be developed as a city cultural asset that can support local tourism and strengthen Semarang's cultural identity. In addition, this study recommends the need for more inclusive policies and support for the sustainability of urban music rooted in local traditions, so that it can create more dynamic and culturally diverse public spaces. Institut Seni Indonesia Yogyakarta 2024-08-29 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/13564 10.24821/resital.v25i2.13564 Resital: Jurnal Seni Pertunjukan; Vol 25, No 2 (2024): Agustus 2024; 217-238 2338-6770 2085-9910 10.24821/resital.v25i2 eng https://journal.isi.ac.id/index.php/resital/article/view/13564/3915

oai:ojs.journal.isi.ac.id:article/17137 2025-12-24T06:26:35Z resital:ART

The Resonant Roots of Pappaseng: Seeking Musical Inspiration from the Film Kuru Sumange Aziz, Baso Indra Wijaya Burhan, Mukhamad Agus Irwandi, Irwandi Skinner, Anthea Pappaseng, film music, local cinema, Bugis culture, practice-based research This article examines the creative process of creating film music inspired by the cultural heritage of the Bugis people, focusing specifically on the incorporation of pappaseng verses in the film Kuru Sumange. Pappaseng denotes the oral transmission of ancestral wisdom, moral guidance, and philosophical insights that have been repeatedly passed down through generations, embodying profound ethical and spiritual values that are intricately woven into Bugis culture. This study emphasizes how film music serves as a medium for revitalizing traditional values, enabling them to be reimagined and expressed through modern artistic e ces amidst the challenges posed by modernization and the diminishing presence of oral traditions. The study utilizes a Practice-Based Research (PBR) method, framing the process of musical creation as a method for gathering data and a way to interpret them analytically. This method intertwines the process of composition with the act of inquiry, transforming the music into a space for generating knowledge. In the case of Kuru Sumange, selected pappaseng quotations are converted into lyrics and further crafted into melodic, harmonic, and rhythmic structures that closely align with the film’s narrative flow and emotional atmosphere. This transformation allows the music to serve not solely as an aesthetic enhancement to the visual imagery,  but also as a means of conveying traditional values to contemporary audiences. The findings indicate two key contributions: firstly, film scenes serve as the main stimuli for musical creation, influencing decisions regarding instrumentation, dynamics, and thematic development; secondly, the philosophical dialogues found in pappaseng are skillfully transformed into lyrical content, thus connecting oral tradition with cinematic expression. This work showcases the considerable potential of music as a culturally contextual and emotionally impactful approach for preserving culture, facilitating intergenerational communication, and creatively revitalizing Bugis heritage through local cinema. Institut Seni Indonesia Yogyakarta 2025-08-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/17137 10.24821/resital.v26i2.17137 Resital: Jurnal Seni Pertunjukan; Vol 26, No 2 (2025): Agustus 2025; 217-246 2338-6770 2085-9910 10.24821/resital.v26i2 eng https://journal.isi.ac.id/index.php/resital/article/view/17137/4465 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/17137/2714

oai:ojs.journal.isi.ac.id:article/4488 2021-08-07T05:10:17Z resital:ART

City Branding Ambon City Of Music Sebagai Folk Identity Music Di Maluku Noya, Aksa Keywords: City Branding, Ambon City Of Music, Folk Identity Music di Maluku. The article of city branding on Ambon City of Music discusses the legalisation of folk music identity in Maluku. By using the qualitative research method with a case study approach. Data obtained were primary data in the field, and the secondary data were obtained from various media. Data was collected by doing direct interviews and essential documents. Ambon City of Music is an iconic branding that becomes the identity for the people of Maluku. The people of Maluku have music DNA so that it is worth mentioning as a City of Music. It can be seen through the selection of Ambon city as a City of Music by UNESCO in October 2019. Ambon City has become a new identity to introduce the musical culture of the Maluku people. Music is used as social capital in creating peace, while the acculturation of the folk music genre is a symbol of community identity in Maluku. The author argues that the branding of Ambon City of Music itself elevates the dignity of folk music identity. The people of Maluku are known as having the highly musical skills, singing, and experts in playing traditional instruments, such as tifa, totobuang, bamboo flute, tahuri, etc. The recognition by UNESCO strengthens the musical identity of the people of Maluku in the world. Ambon city branding is a legitimation of Maluku folk identity in music and singing and a city of peace because of the music, with the result of the people of Maluku collectively having an awareness of primordial relations. Institut Seni Indonesia Yogyakarta Gadja Mada University 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/4488 10.24821/resital.v21i3.4488 Resital: Jurnal Seni Pertunjukan; Vol 21, No 3 (2020): Desember 2020; 138-149 2338-6770 2085-9910 10.24821/resital.v21i3 eng https://journal.isi.ac.id/index.php/resital/article/view/4488/2256 Copyright (c) 2020 Aksa Noya

oai:ojs.journal.isi.ac.id:article/7606 2022-08-01T01:39:08Z resital:ART

Lagu Salam Sahabat Anak Sebagai Inspirasi Penciptaan Karya Komposisi Tari Daruni, Daruni song of Salam Sahabat Anak; inspiration; creation; dance work ABSTRACT. The series of beautiful, rhythmic and comical tones leave an impression of joy for the listeners. Once a musical work was auditive stimulated by Studio Omah Cangkem's entitled Salam Sahabat Anak, it prompted the birth of a dance work with the same title as the accompanying music. Following the title and the song's lyrics, the dance tells about the importance of making friends with children. The dance method of Jacqueline Smith was chosen to realize this dance design with the steps of dance design starting with listening and analyzing the structure of the song, which was identified as a varied composition of instrumental and vocals. The pattern of the musical framework and vocal variations became the basis for the selection of motifs and movement patterns and their variations. The concept of Creative Dance is also an option in this dance. The design aims to realize the Sahabat Anak dance, this pure dance type, to explore simple motion motifs according to the musical pattern. It is expected this simple dance can attract children's talents and encourage children to have a new perspective in which dancing is everyone's right; dancing is to set the heart; dance is for all; dance is an element of life; dancing makes life more beautiful, and dance makes life stronger to face various situations.ABSTRAK. Rangkaian nada indah, ritmik dan komikal meninggalkan kesan suka cita bagi pendengarnya. Dirangsang secara auditif dari karya musik Studio Omah Cangkem yang berjudul Salam Sahabat Anak, mendorong lahirnya karya tari yang diberi judul sama dengan musik pengiringanya. Sesuai dengan judul dan syair lagu yang terkandung di dalamnya maka tarian ini ini menceritakan tentang pentingnya bersahabat bagi anak-anak. Metode perancangan dimulai dengan mendengarkan, menganalisis struktur lagunya yang diidentifikasi sebagai sebuah komposisi bervariasi instrumental dan vokal. Pola kerangka musik dan variasi vocal menjadi landasan pemilihan motif dan pola gerak beserta variasinya serta konsep tari kreatif juga menjadi pilihan dalam perancangan karya ini. Perwujudan karya tari Sahabat Anak, bertipe tari murni dengan mengeksplor motif gerak sederhana sesuai pola musiknya. Harapan tarian sederhana ini dapat mengundang minat bakat anak dan mendorong anak memiliki citra baru bahwa menari itu hak siapa saja, menari itu menata hati, dance for all, dance as an element of life, menari itu membuat hidup lebih indah, membuat hidup lebih kuat menghadapi aneka situasi. 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/7606 10.24821/resital.v23i2.7606 Resital: Jurnal Seni Pertunjukan; Vol 23, No 2 (2022): Agustus 2022; 88-95 2338-6770 2085-9910 10.24821/resital.v23i2 eng https://journal.isi.ac.id/index.php/resital/article/view/7606/2693 Copyright (c) 2022 Daruni

oai:ojs.journal.isi.ac.id:article/12059 2025-06-09T15:20:41Z resital:ART

"Manguni," A Minahasan Cultural Identity: The Application of Practice-Based Research on A Program Music Gosal, Clifford Israel Listya, Agastya Rama Komalig, Yudi Novrian Tan, Arwin Quiñones Manguni, program music, practice-based research, orchestra, Minahasan culture, twentieth-century harmony Manguni is a Minahasan term for a carnivorous, nocturnal bird known as an owl. The manguni has the Latin name otus manadensis. Minahasan people believe that the manguni is a bird that brings news from Opo Wailan Wangko or God Almighty. In the modern era, mangunis have become endangered due to hunting and logging of trees that were mangunis' original habitat. The extinction of these birds has impacted the younger generation's understanding of the manguni as the identity of the Minahasan people, as well as the ancestral cultural values found in this bird. This research aims to introduce and preserve the noble values found in manguni to the younger generation through symphonic works that combine Minahasan and Western musical idioms. The use of orchestral instruments in nationalistic works has also been done by Romantic-era composers such as Bedrich Smetana, Antonin Dvorak, Bela Bartok, Zoltan Kodaly, and others. However, Manguni is the first orchestral composition to capture the magical figure of this bird musically. This research applies a qualitative and practice-based approach that positions the researcher as the vital instrument. Several stages of research include conceptualizing the composition, incorporating leitmotifs, adding extramusical ideas, pouring ideas or creations, composing detailed compositions, and evaluating. The research output is a descriptive programmatic musical work that uses manguni as an extramusical idea. Leitmotifs represent the nature and character of the manguni and its meanings to the Minahasan people. The work adopts Minahasan musical idioms, such as the rhythmic patterns of Kabasaran dance and the modes and ornamentation of Maengket singing. The Manguni movement is written in a sonata form consisting of exposition, development, recapitulation, and coda. The techniques used include polytonal, cluster, quartal, artificial harmony, polychord, sequence, augmentation, diminution, and retrograde. Institut Seni Indonesia Yogyakarta Universitas Kristen Satya Wacana Salatiga 2024-04-08 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/12059 10.24821/resital.v25i1.12059 Resital: Jurnal Seni Pertunjukan; Vol 25, No 1 (2024): April 2024; 26-47 2338-6770 2085-9910 10.24821/resital.v25i1 eng https://journal.isi.ac.id/index.php/resital/article/view/12059/3671

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/3362 2025-06-09T15:36:10Z resital:ART

Mengukur Perubahan Hasil Belajar Mahasiswa Melalui Penggunaan Modul Teori Musik Akbar, Mohamad Alfiah Jatmika, Ovan Bagus modul ajar; teori musik; hasil belajar Penelitian ini bertujuan untuk mengukur perubahan hasil belajar mahasiswa kelas teori musik sebelum dan sesudah diterapkan modul teori musik. Metode penelitian yang digunakan adalah penelitian tindakan kelas (PTK) yang dilaksanakan dalam dua siklus. Adapun tahapan dalam penelitian ini meliputi, tahap perencanaan, pelaksanaan tindakan, observasi, dan refleksi. Data yang diperoleh antara lain hasil belajar mahasiswa, hasil observasi aktivitas belajar mahasiswa yang diperoleh dari lembar observasi dan hasil wawancara. Hasil penelitian pada siklus I menunjukkan bahwa ada peningkatan hasil belajar mahasiswa, namun masih ada mahasiswa yang mendapat nilai pada kategori kurang. Selain itu, sebagian mahasiswa masih belum terbiasa dalam penggunaan modul. Sedangkan hasil penelitian pada siklus II ada peningkatan hasil belajar mahasiswa yang signifikan jika dibandingkankan dengan sebelum penerapan modul teori musik dan pada siklus I. Hasil ini menunjukkan bahwa penggunaan modul ajar dapat meningkatkan hasil belajar mahasiswa pada mata kuliah teori musikABSTRACTMeasure changes in student learning outcomes through the use of music theory module. This study aims to measure changes in student learning outcomes in music theory classes before and after the music theory module is applied. The research method used was classroom action research (CAR), which was carried out in two cycles. The stages in this study include, the planning stage, the implementation of actions, observation, and reflection. The data obtained include student learning outcomes, observations of student learning activities obtained by observation sheets and interview results. The results of the study in the first cycle showed that there was an increase in student learning outcomes, but there were still students who scored in the poor category. In addition, some students are still unfamiliar with using modules. While the research results in the second cycle there is an increase in student learning outcomes significantly if dibandingkankan with prior application of music theory modules and the first cycle. These results indicate that the use of teaching modules to improve learning outcomes of students in the subject of music theory.Keywords: modules; music theory; learning outcomes Institut Seni Indonesia Yogyakarta Direktorat Riset dan Pengabdian Masyarakat Direktorat Jenderal Penguatan Riset dan Pengembangan Kementerian Riset, Teknologi, dan Pendidikan Tinggi 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/3362 10.24821/resital.v21i1.3362 Resital: Jurnal Seni Pertunjukan; Vol 21, No 1 (2020): April 2020; 41-51 2338-6770 2085-9910 10.24821/resital.v21i1 eng https://journal.isi.ac.id/index.php/resital/article/view/3362/1860 Copyright (c) 2020 Resital: Jurnal Seni Pertunjukan

oai:ojs.journal.isi.ac.id:article/6200 2022-04-30T05:51:21Z resital:ART

Pengaruh Pelatihan Penilaian Praktik Seni Budaya Berbasis Pergelaran bagi Guru Seni Budaya SMK di Salatiga Widhiardanti, Rosalia Meita Iriani, Ade Hadi, Wasito assessment; practice of performance-based; performing arts; art and culture teacher; SMK Salatiga Art education is one of the major determinants in improving the skills of 21st century students. Various assessment in art education is held to create active and creative students, one of them is the performance-based arts and culture assessment. The limited ability of teachers and the lack of learning resources for teachers so that the implementation in several schools has not been implemented and is not running effectively and efficiently, so teachers need reinforcement in the form of training. This study aims to see the effect of performance-based cultural arts practice assessments training for arts and culture teachers. The training was carried out in a limited with a small sample of 5 art and culture teachers from SMKN 1, SMKN 2, SMKN 3, SMK Bhakti Nusantara Salatiga.  The research used quantitative research with a pre-experimental of One Group Pretest Posttest Design with data collection techniques in the form of interviews, documentation studies and tests. Interviews and documentation studies were conducted to analyze the needs of the training carried out. The test used to measure the teacher's understanding and knowledge of material by giving a pretest and posttest. The data analysis technique was processed by quantitative descriptive techniques by conducting the Normality Test and the Paired Samples T-Test. The results showed that the value of sig. (2-tailed) is 0.012 (< 0.050), meaning that H0 is rejected and Ha is accepted. Therefore, it can be said that there is an increase in competence between before and after the training is carried out. 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/6200 10.24821/resital.v23i1.6200 Resital: Jurnal Seni Pertunjukan; Vol 23, No 1 (2022): April 2022; 28-38 2338-6770 2085-9910 10.24821/resital.v23i1 eng https://journal.isi.ac.id/index.php/resital/article/view/6200/2612

oai:ojs.journal.isi.ac.id:article/8563 2024-03-29T06:05:43Z resital:ART

Teknik Pengembangan Kacapi Siter: Menuju Permainan Kacapi Gaya Baru oleh Yayan Lesmana Amirah Soraya, Dhiya Silmi Wrahatnala, Bondet Putra, Randy Geovani Musik Gaya Baru; Tepak Kendang Jaipong; Kacapi Siter Penelitian ini bertujuan untuk mendeskripsikan proses berkembangnya musik gaya baru dan berbagai faktor yang mempengaruhi dalam mengadaptasi, mengadopsi dan mengkonvensi pola tepakan kendang yang diaplikasikan dalam permainan kacapi siter. Kacapi Siter merupakan salah satu alat musik tradisi Sunda yang berfungsi sebagai pembawa melodi lagu (amardawalagu) pada umumnya. Dalam perkembangannya terjadi sebuah perubahan pada teknik dasar, fungsi dan peran, karena adanya kreativitas yang dilakukan oleh para praktisi seni tradisi. Salah satunya adalah Yayan Lesmana, seorang praktisi yang ahli dalam memainkan kacapi siter. Kreativitas merupakan kata kunci dari praktik bermusik, oleh karena itu, konsep proses kreatif Trustho digunakan untuk menggambarkan dan menganalisis bagaimana tepak kendang jaipongan berubah dan dapat diaplikasikan dalam memetik kacapi siter. Konsep tersebut terdiri dari metode mendapatkan bahan: ngrancang, ngentha-entha, nggrambyang, dan metode penciptaan: proses mengubah bentuk dan alih fungsi. Pengumpulan data dilakukan melalui observasi dan literatur. Penelitian ini menunjukan bahwa faktor internal dan eksternal berpengaruh secara signifikan terhadap pembentukan konsep dari permainan baru kacapi siter yang dikembangkan oleh Yayan Lesmana. Jenis permainan kacapi siter ini kemudian dikenal dengan kacapi jaipongan gaya Yayan Lesmana. 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/8563 10.24821/resital.v24i3.8563 Resital: Jurnal Seni Pertunjukan; Vol 24, No 3 (2023): December 2023; 270-187 2338-6770 2085-9910 10.24821/resital.v24i3 eng https://journal.isi.ac.id/index.php/resital/article/view/8563/3610

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/15020 2025-08-20T12:36:28Z resital:ART

Features of National Mentality in Ukrainian Musical Folklore Yakymchuk, Olena national mentality; folklore; Ukrainian song; ethnos The article explores the manifestation of the Ukrainian national mentality in the genres of musical folklore, focusing on dumas, schedrivkas, and lyrical songs. The study considers the national mentality as a historically formed system of cognitive and emotional dispositions, culturally coded and transmitted through collective practices such as folklore. Applying a multidisciplinary methodology that combines elements of cultural studies, ethnomusicology, and semiotic analysis, the study identified specific features of the Ukrainian worldview, which are reflected in the symbolic structures and stylistic features of the folk song, namely: individualism, emotional expressiveness, respect for nature and family, and democratic ethos. This study adopts a semiotic approach, which considers folklore as a complex system of cultural signs that convey collective meanings and values. The semiotic analysis focuses on the symbolic structure of folk songs, i.e., binary oppositions, archetypal images, ritual motifs, which interpret the Ukrainian national mentality. The study comprises 100 Ukrainian folk songs, including shchedrivkas, dumas, and lyrical songs, collected from different regions of Ukraine, with a particular emphasis on the Central and Western regions of Ukraine. Moreover, it is established that the dual cultural heritage of the agrarian and Cossack traditions forms the ambivalent structure of the Ukrainian mentality. By analyzing the textual and musical characteristics of key folklore genres, the article shows how musical folklore functions as a means of preserving and transmitting national identity and collective memory. Ukrainian musical folklore reproduces key features of the Ukrainian character, such as emotionality, the desire for freedom, democratic ideals, and a deep connection to nature. Thus, it stipulates reinterpretation of the role of folklore in the formation of cultural identity in postcolonial societies. 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/15020 10.24821/resital.v26i1.15020 Resital: Jurnal Seni Pertunjukan; Vol 26, No 1 (2025): April 2025; 1-24 2338-6770 2085-9910 10.24821/resital.v26i1 eng https://journal.isi.ac.id/index.php/resital/article/view/15020/4286 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/15020/2426

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/6040 2023-10-15T14:30:03Z resital:ART

Pemanfaatan YouTube sebagai Media Pembelajaran Vokal Pop Jazz di Prodi Pendidikan Musik Institut Seni Indonesia Yogyakarta Suryati, Suryati learning; pop-jazz vocal; YouTube; Music Education Utilizing Youtube as a Learning Media for Pop-Jazz Vocal Course at Music Education Study Program of Institut Seni Indonesia Yogyakarta. The research aims to reveal the learning process of the Pop-Jazz vocal course and the utilization of youtube as an accompaniment in learning the Pop- Jazz vocal course. This research is expected to provide solutions for students who face problems in the learning process of the Pop-Jazz vocal course during the covid-19 pandemic. It is qualitative research with a case study approach. Data collection techniques were carried out through direct observation during the learning process. Furthermore, interviews with teachers and vocal students of Pop-Jazz were conducted to obtain the data. It was a case study of vocal students of Pop-Jazz Intermediate 1 at the Music Education Study Program. The literature studies were carried out to support the data and references. This study shows that the interest in vocal learning of Pop-Jazz at the Music Education Study Program by utilizing youtube as an accompaniment at the pop-jazz vocal course can be increased. 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/6040 10.24821/resital.v22i2.6040 Resital: Jurnal Seni Pertunjukan; Vol 22, No 2 (2021): Agustus 2021; 117-126 2338-6770 2085-9910 10.24821/resital.v22i2 eng https://journal.isi.ac.id/index.php/resital/article/view/6040/2421 Copyright (c) 2021 Suryati

oai:ojs.journal.isi.ac.id:article/8330 2023-04-30T13:41:23Z resital:ART

“Jroning Salah”, Realitas Sosial Politik: Sebuah Proses Kreatif Karawitan yang berpijak pada Salah Gumun Subowo, Yohanes Wahyudi, Aris wrong phenomena; Salah Gumun; acoustic; Jroning Salah composition ABSTRACT“Jroning Salah”, A Socio-Political Reality: A Karawitan Creative Process based on Salah Gumun. “Jroning Salah” is a karawitan work that tells a social phenomenon based on one of Gender Barung, Indonesian traditional musical instrument, whose patterns called “salah gumun” become the basis of this artwork. This work is a new genre in karawitan projecting three “wrong” phenomena in Javanese: “Salah Gumun”, “Salah Kaprah”, and “Salah Kedadèn”. Therefore, the work is entitled “Jroning Salah”. The authors used acoustic approach whose point of view emphasizes combining two or more tones to express all ideas into karawitan compositions. The presence of dance in this karawitan composition is not a collaboration, but a strengthening of the presentation. Its function is to give tone pressure on certain instruments. Furthermore, the authors also implemented experimental method to avoid regulatory absoluteness for the sake of imagination development— an exploration process to find particular voices as alternatives that are relatively capable of representing ideas. Following the phenomenon of “wrong” as the source of the idea for this work, “Jroning Salah” was constructed in three repertoires entitled “Salah Gumun”, “Salah Kaprah”, and “Salah Kedadèn”. The presentation process was conducted sequentially and continuously, each of which was an expression of a situation in each story line.ABSTRAK“Jroning salah” adalah karya karawitan yang menceritakan salah satu fenomena sosial yang didasarkan pada salah satu pola tabuhan gender, yaitu “salah gumun”. Karya ini merupakan genre baru dalam karawitan untuk mempresentasikan tiga fenomena “salah”, yaitu salah kaprah, salah gumun, dan salah kedaden. Oleh karena itu, karya ini diberi judul “Jroning Salah”. Sudut pandang pendekatan akustik yang menekankan pada perpaduan dua nada atau lebih untuk mengungkapkan semua gagasan ke dalam komposisi karawitan. Kehadiran tarian dalam komposisi karawitan ini bukan sebagai kolaborasi, melainkan hanya sebagai penguatan presentasi. Fungsinya untuk memberi tekanan nada pada instrumen tertentu. Metode eksperimen digunakan untuk menghindari kemutlakan regulasi agar mampu mengembangkan imajinasi. Eksplorasi untuk menemukan suara tertentu sebagai suara alternatif yang relatif mampu merepresentasikan ide. Sesuai dengan fenomena salah sebagai sumber ide karya ini, maka “Jroning Salah” ini dibangun menjadi tiga repertoar, yaitu “Salah Gumun”, “Salah Kaprah”, dan “Salah Kedadèn”. Proses penyajiannya dibuat secara berurutan dan berkesinambungan, yang masing-masing merupakan ekspresi situasi fase cerita. 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/8330 10.24821/resital.v24i1.8330 Resital: Jurnal Seni Pertunjukan; Vol 24, No 1 (2023): April 2023; 79-96 2338-6770 2085-9910 10.24821/resital.v24i1 eng https://journal.isi.ac.id/index.php/resital/article/view/8330/3113 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/8330/1200 Copyright (c) 2023 Y. Subowo, Aris Wahyudi

oai:ojs.journal.isi.ac.id:article/13783 2025-01-31T05:52:43Z resital:ART

Integrasi Platform Media Sosial Instagram dalam Pertunjukan dan Pembelajaran Musik Gamad di Sendratasik FBS UNP Hakim, Uswatul Dilfa, Alrizka Hairi Trinanda, Riri Hidayat, Hengki Armez Gamad music, digital learning, Instagram, music education, social media Penelitian ini bertujuan untuk mendeskripsikan dan menganalisis integrasi pertunjukan musik Gamad ke dalam platform media sosial dan dampaknya terhadap pembelajaran musik Gamad di Jurusan Pendidikan Drama, Tari, dan Musik (Sendratasik), Fakultas Bahasa dan Seni (FBS), Universitas Negeri Padang (UNP). Penelitian ini berfokus pada bagaimana Instagram, sebuah platform digital populer, dimanfaatkan untuk mengajarkan dan menampilkan musik Gamad, mengeksplorasi perannya dalam mentransformasikan pedagogi musik tradisional. Dengan menggunakan pendekatan studi kasus kualitatif, penelitian ini mengkaji strategi yang digunakan oleh para pendidik untuk memasukkan fitur-fitur Instagram—seperti postingan video, reel, dan siaran langsung—ke dalam proses pembelajaran. Temuan ini menyoroti bahwa Instagram memfasilitasi keterlibatan mahasiswa yang lebih besar, menawarkan ruang yang dinamis dan interaktif untuk latihan dan pertunjukan. Selain itu, media digital membantu memperluas audiens musik Gamad, menghubungkan karya mahasiswa ke platform global. Studi ini menyimpulkan bahwa mengintegrasikan media sosial ke dalam pendidikan musik tidak hanya meningkatkan pengalaman belajar tetapi juga mendukung pelestarian dan penyebaran tradisi musik lokal dalam konteks modern.Kata Kunci: Musik Gamad, Pembelajaran, Pewarisan, dan Transmisi Musik Tradisional, Media SosialThis study aims to describe and analyze the integration of Gamad music performances into social media platforms and their impact on Gamad music learning at the Department of Drama, Dance, and Music Education (Sendratasik), Faculty of Languages and Arts (FBS), Universitas Negeri Padang (UNP). The research focuses on how Instagram, a popular digital platform, is utilized to teach and showcase Gamad music, exploring its role in transforming traditional music pedagogy. Using a qualitative case study approach, the study examines the strategies employed by educators to incorporate Instagram features—such as video posts, reels, and live broadcasts—into the learning process. The findings highlight that Instagram facilitates greater student engagement, offering a dynamic and interactive space for both practice and performance. Additionally, the digital medium helps to broaden the audience for Gamad music, connecting students' work to a global platform. The study concludes that integrating social media into music education not only enhances the learning experience but also supports the preservation and dissemination of local musical traditions in a modern context.Keywords: Gamad Music, Learning, Inheritance, and Transmission of Traditional Music, Social Media. Institut Seni Indonesia Yogyakarta LP2MUNP 2024-08-31 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/13783 10.24821/resital.v25i2.13783 Resital: Jurnal Seni Pertunjukan; Vol 25, No 2 (2024): Agustus 2024; 338-356 2338-6770 2085-9910 10.24821/resital.v25i2 eng https://journal.isi.ac.id/index.php/resital/article/view/13783/4108 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/13783/2200

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/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/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/10569 2024-12-11T04:20:10Z resital:Cover+etc

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/846 2023-10-15T14:39:13Z resital:ART

Kosmologis Tetabuhan dalam Upacara Ngaben Arsana, I Nyoman Cau Lono L. Simatupang, G. R. Soedarsono, R. M. Dibia, I Wayan tetabuhan, ngaben, Balinese music, tetabuhan, ngaben, musik Bali Penelitian ini difokuskan pada dua hal, yaitu: (1) mendeskripsikan hubungan musik dan ritual melalui penggunaan tetabuhan dalam upacara ngaben dan (2) menemukan aspek-aspek kosmologis tetabuhan dalam upacara ngaben. Penelitian ini menggunakan perspektif etnomusikologis dipadukan dengan konsep agama dan filsafat bunyi yang tertuang dalam lontar Prakempa. Hasil penelitian ini menunjukkan bahwa ada hubungan yang sangat erat antara tetabuhan dan upacara ngaben yang teraplikasi lewat penggunaan tetabuhan dalam prosesi upacara ngaben. Penggunaan tetabuhan dalam upacara ngaben berkaitan erat dengan aspek-aspek kosmologis. Suara yang dijadikan dasar dari nada-nada gamelan Bali adalah suara (bunyi) yang keluar dari alam. Suara tersebut digabungkan menjadi sepuluh suara yaitu panca suara patut pelog dan panca suara patut slendro yang menyebar ke seluruh penjuru alam. Tetabuhan dalam upacara ngaben, melalui jalinan nada-nada merupakan manifestasi dari pemujaan kepada ista dewata sebagai cermin konsep keseimbangan mikrokosmos, makrokosmos, dan metakosmos. Penelitian ini difokuskan pada dua hal, yaitu: (1) mendeskripsikan hubungan musik dan ritual melalui penggunaan tetabuhan dalam upacara ngaben dan (2) menemukan aspek-aspek kosmologis tetabuhan dalam upacara ngaben. Penelitian ini menggunakan perspektif etnomusikologis dipadukan dengan konsep agama dan filsafat bunyi yang tertuang dalam lontar Prakempa. Hasil penelitian ini menunjukkan bahwa ada hubungan yang sangat erat antara tetabuhan dan upacara ngaben yang teraplikasi lewat penggunaan tetabuhan dalam prosesi upacara ngaben. Penggunaan tetabuhan dalam upacara ngaben berkaitan erat dengan aspek-aspek kosmologis. Suara yang dijadikan dasar dari nada-nada gamelan Bali adalah suara (bunyi) yang keluar dari alam. Suara tersebut digabungkan menjadi sepuluh suara yaitu panca suara patut pelog dan panca suara patut slendro yang menyebar ke seluruh penjuru alam. Tetabuhan dalam upacara ngaben, melalui jalinan nada-nada merupakan manifestasi dari pemujaan kepada ista dewata sebagai cermin konsep keseimbangan mikrokosmos, makrokosmos, dan metakosmos. 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/846 10.24821/resital.v15i2.846 Resital: Jurnal Seni Pertunjukan; Vol 15, No 2 (2014): Desember 2014; 107-125 2338-6770 2085-9910 10.24821/resital.v15i2 eng https://journal.isi.ac.id/index.php/resital/article/view/846/162

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/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/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/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/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/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/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/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/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/851 2023-10-15T14:39:13Z resital:ART

Musik Kontemporer dalam Kurikulum dan Buku Sekolah di Jerman Sukmayadi, Yudi musik kontemporer, kurikulum, sekolah Jerman, contemporary music, curriculum, German’s school Tulisan ini menyajikan tentang posisi musik kontemporer dalam kurikulum dan buku sekolah di Jerman. Hal yang dibahas adalah pemilihan materi musik kontemporer untuk setiap kelas, jenis musik kontemporer yang dibahas, serta metode didaktis yang diterapkan. Berdasarkan analisis dapat disimpulkan bahwa melalui pelajaran musik kontemporer, siswa tidak hanya mempelajari hal musikal, namun juga mempelajari masalah kontekstualnya di masyarakat, termasuk di dalamnya masalah musik kontemporer dan perkembangan teknologi. Contemporary Music in German Curriculum and Schoolbooks. This study presents the position of contemporary music in German curriculum and schoolbooks in Germany. This study discusses how to select contemporary music materials for every class, kinds of contemporary music, and how the didactic concepts are applied. This study also discusses how, through contemporary music, the students are introduced to contextual problems in society, including the issue of contemporary music and technology development. 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/851 10.24821/resital.v15i2.851 Resital: Jurnal Seni Pertunjukan; Vol 15, No 2 (2014): Desember 2014; 169-178 2338-6770 2085-9910 10.24821/resital.v15i2 eng https://journal.isi.ac.id/index.php/resital/article/view/851/167

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/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/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/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/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/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/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/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/800 2023-10-15T14:22:50Z resital:ART

Struktur, Fungsi, dan Makna Talempong Bundo dalam Upacara Maanta Padi Saratuih Sriwulan, Wilma Haryono, Timbul Ganap, Victor L. Simatupang, G.R. Lono Talempong bundo, structural fungsionalism, induak bako, anak pisang, matrilineal Talempong bundo adalah istilah untuk permainan musik talempong oleh sekelompok musisiperempuan di Nagari Singkarak Minangkabau. Permainan musik ini hanya dipertunjukkan dalamupacara maanta padi saratuih, yaitu upacara persembahan hasil panen yang dilakukan oleh perempuanperempuandari pihak induak bako dalam rangkaian tradisi perkawinan anak pisangnya. Dalam upacaraini induak bako menjemput anak pisang, membawanya ke rumah bako, kemudian mengantarkankembali dengan arak-arakan maanta padi saratuih. Talempong bundo merupakan satu-satunya musikprosesi yang dihadirkan dalam upacara itu, dan hingga saat ini kehadirannya masih dijunjung tinggioleh masyarakat setempat. Fokus dari tulisan ini menjelaskan latar belakang kehadiran talempong bundodi dalam upacara maanta padi saratuih, melacak dan menjelaskan struktur talempong bundo dan relasiantar struktur secara fungsional, dan kemudian menjelaskan makna talempong bundo dalam upacaratersebut. Melalui teori fungsionalisme struktural A.R. Radcliffe-Brown dibantu dengan teori simbolVictor Turner diperoleh pemahaman bahwa prosesi arak-arakan maanta padi saratuih yang didukungoleh bunyi-bunyian talempong bundo mengumandangkan kepada masyarakat bahwa eksistensi pihakinduak bako masih fenomenal di daerah tersebut. Talempong bundo merupakan simbol eksistensipihak induak bako dalam konteks legitimasi terhadap anak pisangnya. Keberadaan talempong bundodalam upacara maanta padi saratuih merupakan representasi sistem matrilineal dalam masyarakatMinangkabau di Nagari SingkarakThe Structure, Function, and Meaning of Talempong Bundo in the Ceremony of MaantaPadi Saratuih. Talempong bundo is a term that is used for music performace of talempong by some femalemusicians in Nagari Singkarak, Minangkabau. The music is typically performed only in the ceremony ofmaanta padi saratuih, namely an offering ceremony for a rice harvest that is made by some women of induakbako in a context of their anak pisang, a tradition of its marriage ceremony. In this induak bako ceremony,anak pisang is picked up, taken to rumah bako, and then returned back with maanta padi saratuih procession.It is interesting that talempong bundo is the only ritual music that is played in the ceremony, and until nowits existence is respected so much by the local community. The focus of this research is to explain a backgroundof talempong bundo in the ceremony of maanta padi saratuih, to search and explore a structure of talempongbundo and inter-structure functionally, and then to describe the meaning of talempong bundo in the ceremonyof maanta padi saratuih. With A.R. Radcliffe Brown’s structural functionalism theory, supported by VictorTurner’s symbol theory, it can be accepted that maanta padi saratuih procession enlivened by talempongbundo music performance announces to people of Nagari Singkarak specifically and Minangkabau peoplegenerally that induak bako’s existence is still phenomenon in this area. Talempong bundo is a symbol ofexistence of induak bako’s side for her legitimacy toward her anak pisang. Finally, an abstract reads that talempong bundo’s existence in the ceremony of maanta padi saratuih is a proof of matrilineal kinship systemamong Minangkabau community in Nagari Singkarak. 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/800 10.24821/resital.v15i1.800 Resital: Jurnal Seni Pertunjukan; Vol 15, No 1 (2014): Juni 2014; 52-70 2338-6770 2085-9910 10.24821/resital.v15i1 eng https://journal.isi.ac.id/index.php/resital/article/view/800/158

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/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/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/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/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/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/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 e8874b1518ede0fb17fe68510289feae