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

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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

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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/7412 2022-12-17T01:51:03Z resital:ART

Tembang Macapat Sebagai Metode Untuk Penanaman Dasar-Dasar Musikalitas Wahyudiono, Teguh Mulyanto, Mulyanto Supriyadi, Slamet Tembang macapat; musikalitas; pembelajaran.  ABSTRACT This research departs from a problem, namely that students of the Mangkunegaran Art Academy in Surakarta the II semester for the academic year 2021/2022 have difficulty understanding the musicality of the tembang macapat which includes titilaras and laya. Thus, this study aims to describe the learning process of the tembang macapat as an inculcation of the basics of student musicality in the students of the karawitan arts study program at the Mangkunegaran Art Academy in Surakarta. Researchers examine learning from the learning stages (pre, process, and post), learning components (objectives, materials, models, methods, media, and evaluation) and the basics of musicality including titilaras and laya. The research subjects are II semester students for the 2020/2021 academic year. The researcher chose a qualitative method in descriptive form by engaging directly with students and lecturers during the research process to obtain information and data about the learning process. The results of this study prove that there is an influence of the tembang macapat learning process on the cultivation of the basics of musicality in the form of theory and practice. This can be seen from the success of lecturers in instilling the basics of musicality to students as evidenced by 81.25% of students when presenting tembang macapat well in emphasizing titilaras and laya, due to various factors, namely basic conditions and student skills (eg the sound of sasap, blero, false "does not match the tone notation" and the beat of each tembang macapat is not the same), there are still 18.75% of students who have not been able to present the tembang macapat according to the predetermined titilaras and laya. According to the research findings, it can be said that lecturers have succeeded in carrying out their obligations as competent educators, apply learning tools well and are able to form creative, disciplined, independent, and motivated students.ABSTRAK Penelitian ini berangkat dari sebuah permasalahan yaitu mahasiswa Akademi Seni Mangkunegaran Surakarta pada semester II tahun ajaran 2020/2021 mengalami kesulitan dalam memahami tentang musikalitas tembang macapat yang diantaranya titilaras dan laya. Sehingga penelitian ini bertujuan untuk mendeskripsikan proses pembelajaran tembang macapat sebagai penanaman dasar-dasar musikalitas mahasiswa di progam studi seni karawitan Akademi Seni Mangkunegaran Surakarta. Peneliti mengkaji pembelajaran dari tahapan pembelajaran (pra, proses, dan post), komponen pembelajaran (tujuan, materi, model, metode, media, dan evaluasi) dan dasar-dasar musikalitas diantaranya titilaras dan laya. Subjek penelitian adalah mahasiswa semester II tahun ajaran 2020/2021. Peneliti memilih metode kualitatif dalam bentuk deskriptif dengan melakukan keterlibatan langsung dengan mahasiswa dan dosen selama proses penelitian untuk mendapatkan informasi dan data tentang proses pembelajaran. Hasil penelitian ini membuktikan bawa adanya pengaruh proses pembelajaran tembang macapat terhadap penanaman dasar-dasar musikalitas dalam bentuk teori maupun praktik. Hal ini dapat dilihat dari keberhasilan dosen dalam menamkan dasar-dasar musikalitas kepada mahasiswa dengan dibuktikan 81,25% mahasiswa ketika menyajikan tembang macapat dengan baik dalam penekanan titilaras dan laya, karena berbagai faktor yaitu kondisi dasar dan keterampilan mahasiswa (misal suara sasap, blero, fals “tidak sesuai notasi nada” dan ketukan setiap tembang macapat tidak sama), masih ada 18,75% mahasiswa yang belum bisa menyajikan tembang macapat sesuai dengan titilaras dan laya yang sudah ditentukan. Menurut temuan penelitian sehingga bisa dikatakan yakni dosen telah berhasil melaksanakan kewajibannya sebagai tenaga pendidik yang berkompeten, menerapkan perangkat pembelajaran dengan baik dan mampu membentuk mahasiswa yang kreatif, dispilin, mandiri, dan memiliki motivasi.  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/7412 10.24821/resital.v23i3.7412 Resital: Jurnal Seni Pertunjukan; Vol 23, No 3 (2022): Desember 2022; 149-159 2338-6770 2085-9910 10.24821/resital.v23i3 eng https://journal.isi.ac.id/index.php/resital/article/view/7412/2877 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/7412/1027 Copyright (c) 2022 Teguh Wahyudiono, Mulyanto, Slamet Supriyadi

oai:ojs.journal.isi.ac.id:article/12611 2025-06-09T15:20:41Z resital:ART

Bar Sheet: Panduan Sinkronisasi Bunyi Mickey-Mousing Terhadap Visualisasi Animasi Rhapsody Rabbit Fadly, Alvriza Mohammed Supiarza, Hery Pawitan, Zakiah Alfathadiningrat, Danendra Mickey-Mousing; Animasi; Bar Sheet Animasi tradisional pada industri film Hollywood dahulu memiliki proses kreatif yang kompleks karena keterbatasan teknologi dan kerap menyelaraskan rangkaian gambar dengan musik. Istilah proses ini mengacu pada ‘mickey-mousing’, yakni menyinkronkan setiap aksi atau gerakan dengan lantunan musik. Teknik mickey-mousing memiliki kasus dimana musik terlebih dahulu ada sehingga visual menyesuaikan dengan bagian-bagian musik yang dipilih. Tata cara ini dilakukan dengan membuat sebuah bar sheet sebagai panduan bagi animator dan komponis untuk menandakan frame dan musik yang sinkronik. Sebagai contoh, hal ini dapat dilihat pada film animasi Rhapsody Rabbit dari serial Merrie Melodies milik Warner Bros. Teknik mickey-mousing selain menyinkronkan dapat menyelaraskan pula irama antara visual dan bunyi. Oleh karena itu, Penelitian ini bertujuan untuk mengkaji perihal teknis penciptaan teknik mickey-mousing untuk menyelaraskan irama film animasi Rhapsody Rabbit. Penelitian ini menggunakan metode kualitatif dengan pendekatan analisis konten. Sumber data primer yakni film animasi Rhapsody Rabbit dan partitur lagu The Hungarian Rhapsody no.2 karya Franz Liszt, sumber data sekunder didapatkan melalui studi literatur berupa tulisan ilmiah yang memiliki topik relevan dengan penelitian ini. Teknik pengumpulan data melalui observasi, wawancara, dan studi dokumentasi dan analisis data dilakukan menggunakan metode analisis konten Klaus Krippendorf yang terbagi menjadi 6 tahapan. Hasil yang ditemukan adalah teknik mickey-mousing menyelaraskan irama denga cara mengatur, mengkoordinasi, dan menggambar pose kunci pada frame tertentu yang sinkronik bersamaan musik. Prinsip-prinsip animasi straight ahead and pose to pose dan timing and spacing berperan penting dalam menepatkan suatu unsur dari komposisi dengan sketsa animasi. Implikasi penelitian ini dapat menjadi panduan bagi animator, filmmaker, dan komponis film. Institut Seni Indonesia Yogyakarta LPPM Universitas Pendidikan Indonesia 2024 2024-04-06 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/12611 10.24821/resital.v25i1.12611 Resital: Jurnal Seni Pertunjukan; Vol 25, No 1 (2024): April 2024; 68-97 2338-6770 2085-9910 10.24821/resital.v25i1 eng https://journal.isi.ac.id/index.php/resital/article/view/12611/3711

oai:ojs.journal.isi.ac.id:article/17192 2025-12-24T06:26:35Z resital:ART

Musical Characteristics of the Pingxian Folk Song as Cultural Narrative Jing, Yang Theerapan, Suthasinee Chuangprakhon, Sayam Chaiyason, Noppon Jungate, Kittikun Wenying, Chen Pingxing Folk Song; musical characteristics; cultural narrative; cultural symbolism This study aims to analyze the musical characteristics of the Pingxian Folk Song in Ping’an District, Qinghai Province, with a particular focus on its function as a cultural narrative. Employing a qualitative methodology, the research integrates ethnomusicological analysis, field observations, and interpretive frameworks to examine four key dimensions: lyrical structure and language use, rhythmic patterns and vocal ornamentation, melodic and modal systems, and cultural symbolism embedded in performance contexts. Findings indicate that Pingxian folk songs exhibit a distinct lyrical form known as the “3.5-line structure,” incorporating hybrid use of Mandarin and local dialects that reflect regional linguistic identity. The flexible rhythmic style, often governed by breath and emotion, is supported by the traditional use of Paiban as a percussive timing device. Melodic lines follow a modal system capable of symbolic modulation, such as transitions between Bb Gong and C Shang Qingyue, to express shifts in emotional and ritual states. Culturally, the songs encode ethnic memory and social values through symbolic narratives referencing local myths, ancestral figures, and natural imagery. Performances are deeply embedded in ritual, seasonal festivals, and informal educational settings, thereby serving as dynamic vehicles for the transmission of intangible cultural heritage. These musical features collectively affirm the role of Pingxian Folk Song as a medium for maintaining ethnic identity and cultural continuity. The study highlights the necessity of understanding folk music as both sonic art and cultural practice. It is recommended that future research explore comparative modal systems across folk traditions in the Hehuang cultural region and investigate the integration of Pingxian folk elements into contemporary educational and digital platforms to support sustainable heritage preservation. Institut Seni Indonesia Yogyakarta Mahasarakham University 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/17192 10.24821/resital.v26i2.17192 Resital: Jurnal Seni Pertunjukan; Vol 26, No 2 (2025): Agustus 2025; 281-311 2338-6770 2085-9910 10.24821/resital.v26i2 eng https://journal.isi.ac.id/index.php/resital/article/view/17192/4508 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/17192/2729 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/17192/2730 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/17192/2731

oai:ojs.journal.isi.ac.id:article/6943 2022-04-30T05:51:56Z resital:ART

Penggarapan Ulang Ilustrasi Musik Film “Jendela” Karya Randi Pratama; Studi Karya Tugas Akhir Larasati Rahma Aditiara Rosiana Dewi, Maria Octavia music Illustration; film music; re-creation; film “Jendela” This research aims to examine the basic idea of Larasati Rahma Aditiara in the re-create of the music illustration of the film "Jendela" by Randi Pratama and the stages and creative processes in it. The "Jendela" is a family drama movie that tells the story of a less harmonious father and son relationship. The relationship eventually improved, and communication returned harmoniously. The methods in this study are qualitative with an interpretive descriptive approach based on film music theory. The result of this study is the desire of Larasati Rahma Aditiara to interpret the meaning and emotions contained in the film "Jendela" by reworking the film's musical illustrations to be conveyed directly to the audience. The desire becomes the basis of the idea in work. The concept of this work uses leitmotif development and efforts to place musical idioms of Javanese tradition. There are stages of making work, namely the determination of the film music genre, the determination of films and workflows. The composer performs five workflows under the direction of the director. The work has seven cue sections of musical illustration, with a brief introduction. The finale part is played in the credit title at the end of the film. 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/6943 10.24821/resital.v23i1.6943 Resital: Jurnal Seni Pertunjukan; Vol 23, No 1 (2022): April 2022; 51-61 2338-6770 2085-9910 10.24821/resital.v23i1 eng https://journal.isi.ac.id/index.php/resital/article/view/6943/2614 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/6943/957

oai:ojs.journal.isi.ac.id:article/10947 2024-03-29T05:54:10Z resital:ART

Ketokohan dan Nilai-nilai Spritualitas Ajaran Sunan Kalijaga dalam Praktik Kesenian Karawitan di Kabupaten Demak Bagaskara, Akbar Rokhani, Umilia Yuliantari, Ans Prawati Sunan Kalijaga; Karawitan; Demak Ketokohan dan Nilai-nilai Spritualitas Ajaran Sunan Kalijaga dalam Praktik Kesenian Karawitan di Kabupaten Demak. Tujuan penelitian ini dilakukan adalah untuk mengungkapkan ketokohan ataupun pengaruh Nilai-nilai spritualitas ajaran Sunan Kalijaga dalam praktek kesenian di Kabupaten Demak. Hal ini penting dilakukan, mengingat telah menjamurnya tokoh-tokoh dan ajaran atau falsafah barat yang lebih besar eksis di Indonesia, seolah Indonesia tidak mempunyai tokoh yang mewariskan falsafah/ajaran tertentu. Harapannya penelitian ini, bisa menjawab ketimpangan penggunaan falsafah/ajaran barat itu khususnya dalam bidang seni.  Metode yang digunakan dalam penelitian ini adalah jenis kualitatif. Dengan teknik pengumpalan data melalui observasi partisipatif, wawancara, dan studi pustaka. Adapun dalam analisis data, menggunakan model Miles & Huberman. Pertama, temuan dalam penelitian ini adalah, karya gending karawitan ciptaan Yusuf Sofyan pengurus Sanggar Seni Mulyo Sari Raras di Kabupaten Demak yang terinspirasi dari kisah hidup Wali sanga khususnya Sunan Kalijaga. Kedua, temuan falsafah murni Sunan Kalijaga dalam menjalani hidup bersosial maupun berkesenian yang diinformasikan oleh keturunan beliau. 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/10947 10.24821/resital.v24i3.10947 Resital: Jurnal Seni Pertunjukan; Vol 24, No 3 (2023): December 2023; 209-230 2338-6770 2085-9910 10.24821/resital.v24i3 eng https://journal.isi.ac.id/index.php/resital/article/view/10947/3606

oai:ojs.journal.isi.ac.id:article/15451 2025-12-05T06:30:25Z resital:ART

Revitalizing local wisdom values in Nandong Smong musical: Strengthening educational materials in Gen Z Hakim, Putri Rahmah Nur Pabbajah, Mustaqim Wisetrotomo, Suwarno Andiko, Benny Sari, Intan Permata Cultural Revitalization; Disaster Education; Gen Z; Local Wisdom; Nandong Smong This study explores the cultural and educational significance of Nandong Smong, a traditional oral literature form from Simeulue Island, Indonesia, which functions as both a disaster narrative and a medium of intergenerational knowledge transfer. The objective of this research is to analyze the lyrical content and sociocultural meaning embedded in the Smong song to understand its role in tsunami preparedness and collective memory among Simeulue communities. The study employed a qualitative approach, with data collected through direct observation in Simeulue and in-depth interviews with several local elders, who were asked to interpret the meanings and messages of the Smong lyrics. These primary data sources were supported by secondary data obtained from YouTube, where Smong songs were transcribed and examined word-by-word for textual analysis. The results reveal that Nandong Smong is not merely an artistic expression but a crucial oral tradition rooted in the island’s historical experience of the 1907 tsunami. The lyrics contain warnings, survival strategies, and moral teachings that emphasize local wisdom, memory, and collective responsibility. Furthermore, the discussion highlights the effectiveness of oral literature in shaping communal resilience and transmitting indigenous knowledge through non-formal education. The conclusion emphasizes the need to preserve Nandong Smong as both an intangible cultural heritage and an alternative model for disaster education. This research implies that integrating local narratives into disaster risk reduction strategies may enhance community preparedness in disaster-prone areas. Therefore, it is recommended that policymakers and educators consider incorporating oral traditions such as Nandong Smong into formal educational curricula and community-based disaster awareness programs. 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/15451 10.24821/resital.v26i1.15451 Resital: Jurnal Seni Pertunjukan; Vol 26, No 1 (2025): April 2025; 46-67 2338-6770 2085-9910 10.24821/resital.v26i1 eng https://journal.isi.ac.id/index.php/resital/article/view/15451/4387

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/6188 2023-10-15T14:30:46Z resital:ART

Musik Bambu Wiragawi: Representasi Komodifikasi Bambu dari Hasil Strukturasi di Tiga Locus Komarudin, Komarudin Ramlan, Lalan Laras, Meiga Fristya Wiresna, Asep Ganjar Saepudin, Asep bamboo; bamboo music; ancient manuscripts; revitalization; commodification Wiragawi Bamboo Music: the Representation of Commodification of Bamboo from the Structural Results at Three Locus. The purpose of this study is to describe the results of the commodification of Wiragawi Bamboo Music as a Representation of Structuring in Three Locus, among others, in West Java Province, Yogyakarta Special Region (DIY), and East Nusa Tenggara (NTT). This study uses a qualitative method with a deeper socio-cultural structuration, represented as a work in the form of commodification of bamboo as a musical instrument. The commodification of bamboo as a participatory of 'bamboo body grows' can legitimize an identity and regional authenticity as a form of cultural resilience based on a cultural economy. Bamboo plays an essential role in the cultural process, from birth to death according to its era, so it can be said that bamboo and humans have a close correlation, according to the locus of the area. Research findings include producing a set of Wiragawi bamboo musical instruments as a result of the commodification of bamboo music at three locuses, namely West Java Province, Yogyakarta Special Region (DIY), and East Nusa Tenggara (NTT). The conclusion shows that the primary material of bamboo is still very open to being a source of inspiration in creativity, mainly to produce various new instruments according to the interests and developments of the era. 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/6188 10.24821/resital.v22i3.6188 Resital: Jurnal Seni Pertunjukan; Vol 22, No 3 (2021): Desember 2021; 158-179 2338-6770 2085-9910 10.24821/resital.v22i3 eng https://journal.isi.ac.id/index.php/resital/article/view/6188/2501 Copyright (c) 2021 Komarudin, Lalan Ramlan, Meiga Fristya Laras, Asep Ganjar Wiresna, Asep Saepudin

oai:ojs.journal.isi.ac.id:article/7913 2024-12-11T04:20:10Z resital:ART

Gamelan Koromong dalam Konteks Ritual 14 Mulud pada Masyarakat Cikubang Sumedang Jawa Barat Sutisna, Rony Hidayat Wiresna, Asep Ganjar Sukmana, Ece gamelan koromong; 14-mulud ritual; masyarakat Cikubang Sumedang This research is about the social transformation process in gamelan Koromong performance in Cikubang Village area, Sumedang Regency, West Java. The fundamental objective of this research is to analyze the structural changes resulting social changes in the ritual of gamelan Koromong in Cikubang. The villagers still carry out this ritual activity as an annual activity which has a predetermined time accorded to the local calendar (Sundanese calendar) exactly on 14th of Mulud. This ritual is carried out by Cikubang community as a manifestation of a form of devotion and gratitude expression to God for everything that has been received and perceived during life. This disclosure is carried out with full rules based on what has been passed down by the ancestors in this region as a guide or management of ritual customs which then develops and adapts as time changes. The results of the study reveal that there are various structures that undergo a process of transformation, both textually and contextually. In the old structure that is ritualistic as well as in the context of the performance, it is the local wisdom that has high philosophical values. These are highly attractive to analyze. However, the values of this local wisdom have been degraded resulting changes in values. This phenomena is an interesting cultural transformation process which becomes the background for this research. The research method applied was qualitative approach. The data collection techniques implemented by the author were observation, interview, and document studies. The results show that the initial context of Koromong art as a ritual slowly experiences transformation process over time becoming a performing art that is not only ritualistic, but also popular.Artikel ini mengenai proses perubahan sosial pada masyarakat pelaku ritual seni gamelan koromong yang berada di wilayah Kampung Cikubang Kabupaten Sumedang Jawa Barat. Dasar pemikiran penting artikel ini adalah menganalisis perubahan struktur yang mengakibatkan terjadinya perubahan sosial pada ritual seni gamelan koromong Cikubang. Masyarakat di kampung ini masih melaksanakan kegiatan ritual ini sebagai rutinitas tahunan yang sudah ditentukan waktu pelaksanaannya pada penanggalan kalender lokal (kalender Sunda) yaitu pada tanggal 14 Mulud. Kegiatan ritual ini dilaksanakan oleh masyarakat Cikubang sebagai manifestasi dari bentuk pengabdian dan pengungkapan rasa bersyukur terhadap Tuhan atas segala yang telah diterima dan dirasakan selama menjalani kehidupan. Pengungkapan ini dijalankan dengan penuh aturan berdasarkan apa yang pernah diwariskan oleh para leluhur di wilayah ini sebagai panduan atau tata kelola adat ritual yang kemudian berkembang dan menyesuaikan terhadap perkembangan jaman. Hasil penelitian mengungkapkan terdapatnya berbagai struktur yang mengalami proses transformasi baik secara tekstual maupun kontekstual. Pada struktur yang bersifat ritual, dalam konteks pertunjukannya merupakan sebuah kearifan lokal yang mempunyai nilai filosofi tinggi yang menarik untuk dianalisis. Namun, nilai kearifan lokal ini mengalami degradasi yang mengakibatkan berubahnya nilai. Perubahan nilai tersebut merupakan sebuah proses perubahan sosial yang menarik untuk dikaji dan menjadi latar belakang pembahasan artikel ini. Metode penelitian yang digunakan adalah metode penelitian kualitatif dengan teknik pengumpulan data melalui observasi, wawancara, dan studi dokumen. Hasil penelitian menunjukkan bahwa konteks awal seni koromong dipakai oleh masyarakatnya sebagai seni ritual, perlahan-lahan mengalami proses perubahan seiring berubahnya waktu menjadi sebuah seni pertunjukan yang tidak hanya bersifat ritual saja namun bisa bersifat kekinian. 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/7913 10.24821/resital.v24i2.7913 Resital: Jurnal Seni Pertunjukan; Vol 24, No 2 (2023): Agustus 2023; 176-190 2338-6770 2085-9910 10.24821/resital.v24i2 eng https://journal.isi.ac.id/index.php/resital/article/view/7913/3260 Copyright (c) 2023 Rony Hidayat Sutisna, Asep Ganjar Wiresna, Ece Sukmana

oai:ojs.journal.isi.ac.id:article/14983 2025-05-19T07:27:46Z resital:ART

Bibliometric Analysis of 20 years of Traditional Music Research in Asia Larasati, Yuniar Galuh Fernando, Henky Abdullah, Irwan Harpawati, Tatik Morin, Leanne Traditional music; Asian studies; Bibliometric analysis; Scopus This study aims to explore and evaluate research on traditional music in Asia over the past 20 years based on a Scopus database search. This study adopts a qualitative descriptive approach using bibliometric analysis with VOSviewer software to examine and assess patterns, trends, and developments in studies on traditional music through Scopus-indexed publications. From an analysis of 1,872 documents in the Scopus database, the Asian-European Music Research Journal emerged as the most consistent source publishing studies on traditional music. The subject area of Social Sciences appeared most frequently and was the most commonly used category in studies on traditional music in Asia over the past two decades. However, these studies have remained to fully interpret and respond to the aesthetic and ethical transformations of traditional music in the era of globalization, which still has the potential to raise various issues related to culture, musical instruments, performance styles, and social functions. This study is significant for future research on traditional music, serving as a foundation for scholarly discussions in addressing the factors and implications of aesthetic and ethical transformations in traditional music in the globalized era. 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/14983 10.24821/resital.v25i3.14983 Resital: Jurnal Seni Pertunjukan; Vol 25, No 3 (2024): Desember 2024; 392-413 2338-6770 2085-9910 10.24821/resital.v25i3 eng https://journal.isi.ac.id/index.php/resital/article/view/14983/4180

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/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/8885 2023-05-05T09:59:35Z resital:ART

Ungkapan Estetika Karawitan Jawa pada Reproduksi Rekaman Gamelan Ageng Surakarta Santoso, Iwan Budi Sunarto, Bambang Santosa, Santosa Mistortoify, Zulkarnaen aesthetics; Javanese karawitan; recording; gamelan ageng ABSTRACTThe Expression of Javanese Karawitan Aesthetics in the Reproduction of Gamelan Ageng Surakarta Recordings. Sound recordings have the purpose of transferring musical offerings to the storage media. The aesthetics and sound meanings contained in musical performances of course become a mandatory when sound is recorded. The concept of Javanese karawitan recordings certainly takes into consideration of the aesthetic value of the presentation and will not leave the principles as well as the sound meanings behind. Recorded musical performances of musical instruments must present an ideal sound according to the cultural convention. Recording documents in the form of audios are felt to be highly essential in karawitan concert area because they are way of storing events. As a result, musical concerts which are already in the form of audio media have more value compared to concerts being integrated with particular event. The authors found that karawitan concert carried out by using recorded audio are more practical, economic, efficient and encourage preservation value. Practical value arises because musical concerts that are already in the form of record media can be carried anywhere. Furthermore, this also lead to improve economic value since documentation can be a product of a commodity process if properly utilized. The value is efficient as the sounds are in the form of media, musical concert records can be employed without having to use devices and human resources as in the event.ABSTRAKProduk rekaman suara mempunyai tujuan memindahkan sajian musikal ke dalam media penyimpan. Estetika dan makna bunyi yang terkandung dalam sajian musik karawitan Jawa tentunya menjadi hal wajib ketika direkam. Kemasan produk rekaman karawitan Jawa pastinya mempertimbangkan nilai estetika sajian, serta tidak akan meninggalkan norma dan makna bunyi dalam sajiannya. Penelitian ini menggunakan metode deskriptif kualitatif. Pendekatan ini mengharuskan peneliti melakukan tafsir tentang makna yang ada dibalik data, tujuan-nya untuk membantu memahami kehidupan sosial. Dokumen rekaman sajian musik karawitan wajib menghadirkan suara yang ideal sesuai konvensi budayanya. Dokumen perekaman dalam bentuk media audio dirasakan penting dalam wilayah konser karawitan karena menjadi cara penyimpanan akan peristiwanya, sehingga konser karawitan yang sudah dalam bentuk media audio lebih banyak memiliki nilai lebih dibandingkan dengan konser dalam konteks peristiwanya. Kelebihan media audio konser karawitan lebih memiliki nilai praktis, ekonomis, efisien dan pengawetan. Nilai praktis muncul karena konser karawitan yang sudah dalam bentuk media rekam bisa dibawa ke mana-mana. Nilai ekonomis karena dokumentasi bisa menjadi produk yang bisa bernilai ekonomi jika diberdayakaan sebagai barang komuditas. Nilai efisien karena dalam bentuk media rekam konser karawitan bisa dimanfaatkan tanpa harus menggunakan perangkat dan sumber daya manusia sebagaimana dalam peristiwanya. 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/8885 10.24821/resital.v24i1.8885 Resital: Jurnal Seni Pertunjukan; Vol 24, No 1 (2023): April 2023; 10-21 2338-6770 2085-9910 10.24821/resital.v24i1 eng https://journal.isi.ac.id/index.php/resital/article/view/8885/3106 Copyright (c) 2023 Iwan Budi Santoso, Bambang Sunarto, Santosa, Zulkarnaen Mistortoify

oai:ojs.journal.isi.ac.id:article/13421 2024-12-03T08:14:24Z resital:ART

Public Responsibility Towards Indonesian Idol's Music Talent: An Adorno Perspective Budiawan, Hery Torondek, Timothy Revival April Nyarong, Wise Witness Koswara, Jason Indonesian idol, music competition, Adorno, standardization, commodification, massification The music expressed around us, particularly in the realm of competitive music, faces significant challenges in maintaining subjectivity and objectivity to ensure a fair competition process. This study examines reality shows like Indonesian Idol, questioning whether they are pure competitions or avenues for capitalist profit. From Adorno's perspective, this issue is linked to societal impact, highlighting three main problems: standardization, commodification, and massification. Using both quantitative and qualitative methods, this research involved 67 respondents who completed questionnaires to explore the systematic flaws in Indonesian Idol’s competition structure. The study aimed to analyse how these flaws align with Adorno's concepts of standardization, commodification, and massification, and their influence on public perception and critical thinking. The quantitative aspect involved statistical analysis of questionnaire responses, while the qualitative approach included in-depth interviews to gain insights into participants' views on transparency and fairness in the competition. The findings indicate that Indonesian Idol’s competition system is heavily influenced by industry standards that prioritize commercial success over artistic integrity. This results in a homogenized musical output that caters to mass appeal, undermining the authenticity of the competition. Additionally, the commodification of contestants transforms them into marketable products rather than genuine artists, while the massification process dilutes the cultural significance of the musical content presented. The study concludes that for reality shows to serve as responsible public entertainment, they must instil transparency and fairness in their competition processes. Implementing these principles can foster a more critical and discerning audience, ensuring that such shows contribute positively to the cultural landscape rather than merely serving commercial interests Institut Seni Indonesia Yogyakarta 2024-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/13421 10.24821/resital.v25i2.13421 Resital: Jurnal Seni Pertunjukan; Vol 25, No 2 (2024): Agustus 2024; 166-185 2338-6770 2085-9910 10.24821/resital.v25i2 eng https://journal.isi.ac.id/index.php/resital/article/view/13421/3913

oai:ojs.journal.isi.ac.id:article/392 2023-10-15T14:22:09Z resital:ART

Musik Liturgi Inkulturatif di Gereja Ganjuran Yogyakarta Don Bosko Bakok, Yohanes ABSTRAK Gereja Ganjuran merupakan salah satu Gereja Katolik di Yogyakarta yang sering menggunakan music inkulturatif dalam perayaan liturgi. Penggunaan musik inkulturatif sering kali aspek budaya lebih mendominasi dibanding aspek liturgi yang dirayakan. Jenis musik dan instrumen tertentu yang tidak disetujui oleh sebagian besar umat untuk digunakan dalam perayaan liturgi pun tetap digunakan. Penelitian ini bermaksud mengkaji fenomenafenomena tersebut dalam perayaan Jumat Agung pada tanggal 22 April 2011 dengan berpedoman pada ketentuanketentuan mengenai musik liturgi yang berlaku dalam Gereja Katolik universal. Mengkaji fenomena ini digunakan teori inkulturasi dengan metode kualitatif. Hasil penelitian menunjukkan bahwa musik liturgi inkulturatif yang digunakan dalam perayaan ada yang sesuai dan ada yang tidak sesuai dengan ketentuan-ketentuan pada music liturgi. Kata kunci: musik liturgi, inkulturatif, Ganjuran. ABSTRACT The Inculturated Liturgical Music at the Sacred Heart of Jesus Church of Ganjuran Yogyakarta. The Sacred Heart of Jesus Church of Ganjuran is one of the Catholic Churches in Yogyakarta that often uses in culturated music in the liturgical celebration. In using the inculturated music, the cultural aspects often be more dominant than the celebrated liturgy. Certain types of music instruments that are not approved by the majority of people to be used in the celebration of the liturgy are still in use. This study is intended to analize this phenomenon, especially in the celebration of Good Friday on April 22nd, 2011 based on the provisions of the liturgical music that are applicable in the universal Catholic Church. The theory that is used to study the problem of this research is the theory of inculturation, and the research method is qualitative method. The result of the research showed that some inculturated liturgical music used in the celebration of Good Friday on April 22nd, 2011 was appropriate, and some of it was not appropriate based on the provisions of liturgical music.Keywords: liturgy music, inculturated, Good Friday, Ganjuran. 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/392 10.24821/resital.v14i1.392 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/392/31

oai:ojs.journal.isi.ac.id:article/16176 2026-03-18T09:13:02Z resital:ART

The Musical Identity, Women's Struggles, and Ecological Knowledge in the Samanim’s Oral Opera Layan, Septina Rosalina Litaay, Darlane Kanem, Veronika Pahun, Theodora M. Programmatic Music Composition; Women’s Struggles; Indigenous Ecology; Oral Opera; Malind Samanim’s oral opera is a programmatic musical composition designed to embody the cultural identity of Malind, highlighting the challenges faced by women and the rich local ecological knowledge, all conveyed through the medium of performing arts. This research seeks to uncover, express, and revitalize Malind local wisdom, often marginalized in dominant narratives of development and modernity. In this context, Samanim’s oral opera serves as a form of artistic expression and a vital tool for challenging established knowledge systems, all while elevating Indigenous perspectives in the broader discussion. Rooted in the principles of decoloniality, local feminism, and Indigenous ecology, this work emphasizes the vital role of women as key participants and guardians of values, knowledge, and the continuity of traditions across generations. This study utilizes practice-led research, a method selected for its ability to foster knowledge creation through creative practice, which in turn provides valuable insights via aesthetic experiences and thoughtful artistic processes. This analysis delves into three important areas: the musical and cultural identity of the Malind people, the vital roles women play in preserving and sharing knowledge, and the ecological values represented by Samanim as a central figure. The findings show that the Samanim’s oral opera plays a vital role in shaping the collective memory of the Malind community by how it engages with musical elements, cultural narratives, and representations of women. This work highlights the vital contributions of women in both cultural and ecological stewardship, while addressing pressing contemporary challenges like environmental degradation, social marginalization, and the impact of capitalism on Indigenous ways of life. In the end, Samanim’s oral opera operates as a medium through which cultural values and political reflection, showcasing how art can inspire resistance, enhance critical awareness, and contribute to sustainable thinking. Institut Seni Indonesia Yogyakarta Institut Seni Budaya Indonesia Tanah Papua 2025-12-12 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/16176 10.24821/resital.v26i3.16176 Resital: Jurnal Seni Pertunjukan; Vol 26, No 3 (2025): Desember 2025; 428-456 2338-6770 2085-9910 10.24821/resital.v26i3 eng https://journal.isi.ac.id/index.php/resital/article/view/16176/4662

oai:ojs.journal.isi.ac.id:article/7083 2022-08-01T01:39:08Z resital:ART

Seni Pertunjukan dan Kreativitas Kelompok Musik Setabuhan Yogyakarta Indonesia Sejati, Irfanda Rizki Harmono Sunaryo, Tejo Bagus Sunarto, Sunarto Seni Pertunjukan, Kreativitas, Kelompok Setabuhan, Musik Setabuhan ABSTRACT Setabuhan is a musical group consisting of three people who have different musical concepts from the others. The form of Setabuhan group music is rhythmic or percussion music in which two people are percussionists, and the other plays the exploration of vocal sound. The musical instruments used by Setabuhan are drums, percussion and vocal music using digital effects. The form of music used by this Setabuhan music group is not commonly used in structural forms of musical compositions because it does not use melodic musical instruments, and the vocal music does not have lyrics. The form of the Setabuhan group performance is a collaboration of rhythmic music with the arts of Pencak Silat, or martial arts. The rhythm and tempo of the beats tend to be loud with a fast rhythmic game. This group becomes very interesting and has particular characteristics because not many musical groups have the same concept as Setabuhan . The Setabuhan music group is not well known in Indonesia but has performed many performances in various other countries. The focus of the research on the Setabuhan music group is: 1) The form of Setabuhan music performances; and 2) The creativity of the Setabuhan music group. The research method used in this research is qualitative with descriptive exposure. The research subjects were musicians of the Setabuhan music group in Yogyakarta. Data collection techniques were observation, interviews, documentation, and data analysis. The results show that the form and creativity of the Setabuhan music group lie in the rhythmic drum and percussion music playing, which is filled with exploration of vocal sounds with musical effects and collaboration with the art of Pencak Silat. The conclusion of this research is the form and creativity process of the Setabuhan music group, which is very interesting and has the characteristics of its work and form of performance.ABSTRAK Setabuhan merupakan kelompok musik yang terdiri dari tiga orang yang mempunyai konsep musik yang berbeda dari yang lain. Bentuk musik kelompok Setabuhan adalah musik ritmis atau disebut dengan musik perkusi. Dua orang sebagai pemain perkusi dan satu orang memainkan eksplorasi bunyi vokal. Alat musik yang digunakan Setabuhan menggunakan drum, perkusi dan satu musik vokal yang menggunakan efek digital. Bentuk musik yang digunakan kelompok musik Setabuhan ini tidak lazim digunakan pada bentuk struktural komposisi musik pada umunya karena tidak menggunakan alat musik musik melodis dan bentuk musik vokal nya juga tidak berlirik. Bentuk pertunjukan kelompok Setabuhan adalah kolaborasi musik ritmis dengan seni pencak silat atau bela diri. Irama dan tempo musik Setabuhan cenderung keras dengan permainan ritmis yang cepat. Kelompok ini menjadi sangat menarik dan mempunyai ciri khas karena belum banyak kelompok musik yang mempunyai konsep yang sama dengan Setabuhan. Kelompok musik Setabuhan memang belum begitu dikenal di Indonesia tetapi sudah banyak melakukan pertunjukan di berbagai negara lain. Fokus dari penelitian pada kelompok musik Setabuhan adalah: 1) Bentuk pertunjukan musik Setabuhan; dan 2) Kreativitas kelompok musik Setabuhan. Metode penelitian yang digunakan dalam penelitian ini adalah kualitatif dengan paparan secara deskriptif. Subjek penelitian adalah musisi kelompok musik Setabuhan di Yogyakarta. Teknik pengumpulan data dengan observasi, wawancara, dokumentasi, dan analisis data. Hasil penelitian menunjukan bahwa bentuk dan kreativitas yang dilakukan kelompok musik Setabuhan terletak pada permainan musik ritmis drum dan perkusi yang di isi oleh eksplorasi bunyi vokal yang diberi efek musik dan berkolaborasi dengan seni pencak silat. Kesimpulan dari penelitian ini adalah bentuk dan proses kreativitas kelompok musik Setabuhan yang sangat menarik dan mempunyai ciri khas karya dan bentuk pertunjukannya. 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/7083 10.24821/resital.v23i2.7083 Resital: Jurnal Seni Pertunjukan; Vol 23, No 2 (2022): Agustus 2022; 107-116 2338-6770 2085-9910 10.24821/resital.v23i2 eng https://journal.isi.ac.id/index.php/resital/article/view/7083/2694 Copyright (c) 2022 Irfanda Rizki Harmono Sejati, Tejo Bagus Sunaryo, Sunarto

oai:ojs.journal.isi.ac.id:article/10500 2024-03-29T06:10:16Z resital:ART

Adaptasi Membaca Notasi Viola sebagai Solusi Teknis dalam Mata Kuliah Ansambel Gesek R.M. Surtihadi, R.M. Surtihadi Yunita, Ayu Tresna Maulana, Iqbal Harja adaptasi membaca notasi; notasi viola; ansambel gesek Pada prinsipnya secara struktur anatomi dan teknik memainkan instrumen violin dan viola tidak ada perbedaan yang signifikan. Kedua instrumen gesek tersebut boleh dikatakan serupa tetapi tidak sama. Perbedaan antara kedua instrumen tersebut terletak pada ukuran bodi, dawai yang digunakan, register suara dan notasi musiknya. Urgensi penelitian ini difokuskan pada perbedaan notasi yang digunakan pada kedua instrumen tersebut. Violin menggunakan kunci G (G clef) dan Viola menggunakan kunci C (C clef alto). Perbedaan notasi ini sering menimbulka masalah ketika pemain violin akan memainkan viola dalam sebuah ansambel atau orkestra. Pemain violin yang akan memainkan viola membutuhkan adaptasi membaca notasi ke kunci C alto. Tujuan dari penelitian ini untuk mencari solusi permasalahan yang dihadapi dalam Mata Kuliah Ansambel Gesek agar sebuah formasi ansambel gesek menjadi lengkap dan standar sesuai kebutuhan aransemen musik yang dimainkan. Penelitian ini menggunakan metode kualitatif dengan pendekatan studi kasus. Studi kasus yang terjadi pada Mata Kuliah Ansambel Gesek dikarenakan jumlah mahasiswa violin banyak dan tidak ada mahasiswa viola, tetapi mahasiswa cello dan kontrabass terpenuhi. Hal ini perlu dicarikan solusi untuk memecahkan masalah tersebut dengan memberi kesempatan kepada para mahasiswa violin untuk memainkan instrumen viola agar dapat mengisi kekosongan pemain viola yang tidak ada. Tentu saja dengan mempelajari membaca notasi viola yang menggunakan kunci C diharapkan pemain violin bisa cepat menyesuaikan dalam bermain ansambel gesek. Hasil penelitian ini yakni formasi ansambel gesek menjadi lengkap dan standar karena posisi pemain viola yang kosong sudah terisi oleh mahasiswa violin yang telah melakukan adaptasi baik teknik permainan maupun teknik membaca notasi viola dengan lancar. 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/10500 10.24821/resital.v24i3.10500 Resital: Jurnal Seni Pertunjukan; Vol 24, No 3 (2023): December 2023; 329-348 2338-6770 2085-9910 10.24821/resital.v24i3 eng https://journal.isi.ac.id/index.php/resital/article/view/10500/3613

oai:ojs.journal.isi.ac.id:article/15410 2025-08-20T12:36:28Z resital:ART

Music Transformation of Gondrang Sipitu-pitu in Simalungun Community Nelson, Ricky Purba, Mauly Ginting, Pulumun Peterus Gondrang sipitu-pitu; musical transformation; musical style; Simalungun community This study investigates the transformation and adaptation processes of gondrang sipitu-pitu music within Simalungun society in response to social, cultural, and technological dynamics. Originally serving as a medium for ritual and spiritual communication in the context of Simalungun customs, gondrang sipitu-pitu has undergone significant changes in its musical structure, social function, and performance style due to the influence of religion, modernization, and external cultural forces. The research employs a descriptive qualitative method with a phenomenological approach, drawing upon Margaret Kartomi theory of transformation and adaptation, Jeff Todd Titon theory of musical style, and William F. Ogburn theory of socio-cultural change. The findings reveal that although modern instruments have begun to challenge the dominance of traditional ones, key musical elements such as rhythm, sarunei melodies, and ensemble structure remain preserved. The emerging musical style reflects the creative adaptation of traditional artists to contemporary performance contexts. However, this transformation is also accompanied by critical issues, including the erosion of sacred meaning, the influence of modern aesthetic pressures, and the commodification of local culture. The shift from sacred ritual to popular entertainment raises concerns regarding the authenticity and sustainability of cultural values. Thus, this transformation must be understood not merely as an adaptive process, but as a contested arena of meaning, identity, and cultural power within Simalungun society. Institut Seni Indonesia Yogyakarta BPI (Indonesian Education Scholarship) PPAPT Kemdiksaintek (Center for Higher Education Funding and Assessment) LPDP (Indonesian Endowment Fund for Education) 2025-05-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/15410 10.24821/resital.v26i1.15410 Resital: Jurnal Seni Pertunjukan; Vol 26, No 1 (2025): April 2025; 167-194 2338-6770 2085-9910 10.24821/resital.v26i1 eng https://journal.isi.ac.id/index.php/resital/article/view/15410/4414

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/6162 2022-04-30T05:47:34Z resital:ART

Orkestra sebagai Peristiwa Mediasi: Jakarta City Philharmonic, Tubuh dan Materialitas Fisandra, Halida Bunga Danusiri, Aryo orchestra; covid-19 pandemic; body; materiality The Covid-19 virus has infiltrated the recesses of human life around the world. The phenomenon that arises from restrictions on movement in offline spaces is the massive effort by humans to adapt to online media. We can see many artists and musicians performing through various digital platforms, including the Jakarta City Philharmonic (JCP) orchestra. This article will describe the changing process of orchestral space-time in online media which has eliminated bodily interactions as an essential element in musical performances. Through contemporary anthropology, we argue that technology allows orchestras to exist as mediating events through their role as mediators; which reassembles the connections and negotiations between the body and the materiality of the orchestra. The virtual ethnographic method was used through online observations and in-depth interviews with artistic directors, assistant musicians, and orchestra musicians. The results showed that the JCP orchestra experienced an embodied experience arising from technological disassembly and reassembly as a connecting tissue. It can be seen from the relation between actants, and their implications for evaluating artistic values and performativity of orchestral performances. 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/6162 10.24821/resital.v23i1.6162 Resital: Jurnal Seni Pertunjukan; Vol 23, No 1 (2022): April 2022; 1-14 2338-6770 2085-9910 10.24821/resital.v23i1 eng https://journal.isi.ac.id/index.php/resital/article/view/6162/2610

oai:ojs.journal.isi.ac.id:article/9534 2024-12-11T04:20:10Z resital:ART

Embedded Criticism Sebagai Cara Lain Menulis Kritik Seni Pertunjukan di Indonesia Raditya, Michael Haryo Bagus critic-artist relationship; embedded criticism; online media; performing arts criticism; website Embedded criticism as another way to write performing arts criticism in Indonesia. This paper performs a re-examining of performing arts criticism in Indonesia, particularly about a critic-artist relationship. The modern tradition of criticism has built a hierarchy in the performing arts ecosystem. It happened in any tradition of criticism and has been living in Indonesia for more than 50 years. Instead of it has lived in print media, for instance, newspapers and magazines, the relationship also happens on the Indonesian website. In fact, traditional performing arts in Indonesia were connected by a good relationship between a critic—for instance, a teacher or influential person—and an artist. It means the critic has access to watch a rehearsal, has a good chit-chat with an artist, can talk about the idea of the performance, and so on; it is not like the West critic, who was watching only the performance. The paper aims at presenting the other way of writing criticism, not only as an option of ways of writing but also providing the idea of a reciprocal relationship and renders less hierarchal the critic-artist relationship. As explained, this paper would like to discuss embedded criticism, the other way of criticism that attempted showing the relation between critic and artist as a productive work. Writing an embedded criticism describes a critic's duty that is not about judging the performance but also articulating the production and performance complexity. This paper would like to ask, how does critic presenting the criticism accommodates the relation between them? How can the embedded criticism apply to performing arts criticsm in Indonesia? Those questions will be answered by a literature study. The result of this research is that embedded criticism can be solved the gap problem of criticism—emphasizing the relationship between critic and artist in traditional performing arts, that undisclosed in the modern tradition of critic—through a website that disseminates performing art criticism.Tulisan ini mengkaji ulang kritik seni pertunjukan di Indonesia, khususnya tentang hubungan antara kritikus-seniman. Tradisi kritik modern telah membangun hierarki dalam ekosistem seni pertunjukan. Itu terjadi dalam tradisi kritik apa pun dan telah hidup di Indonesia selama lebih dari 50 tahun. Selain hidup di media cetak, misalnya koran dan majalah, yang cukup disayangkan hubungan itu juga terjadi di Indonesia melalui website seni. Padahal, seni pertunjukan tradisional di Indonesia dihubungkan oleh hubungan yang baik antara seorang kritikus—misalnya seorang guru atau orang berpengaruh—dan seorang seniman. Tidak seperti kritikus Barat, yang hanya menonton pertunjukan; tradisi kritik kita memiliki akses untuk menonton geladiresik, berbincang-bincang dengan artis secara akrab, dapat berbicara tentang ide pertunjukan, dan sebagainya. Atas dasar itu, tulisan ini bertujuan untuk menyajikan cara lain dalam menulis kritik, tetapi bukan hanya sebagai pilihan cara menulis melainkan juga memberikan gagasan tentang hubungan timbal balik dan memangkas hierarki antara kritikus-seniman. Seperti yang telah dijelaskan, tulisan ini hendak membahas embedded criticism atau kritik melekat, yaitu cara ungkap kritik yang berusaha menunjukkan hubungan antara kritikus dan seniman sebagai sebuah hal yang produktif. Menulis kritik melekat menunjukkan tugas seorang kritikus yang tidak hanya menilai ketika pertunjukan dihelat, tetapi juga mengartikulasikan kompleksitas produksi sekaligus pertunjukan. Tulisan ini memiliki dua pertanyaan, bagaimana kritikus menyampaikan kritik yang mengakomodasi relasi di antara kritik-pencipta karya? Bagaimana kritik melekat bisa diterapkan pada kritik seni pertunjukan di Indonesia? Pertanyaan-pertanyaan tersebut akan dijawab dengan studi literatur. Hasil dari penelitian ini adalah bahwa kritik melekat dapat memecahkan masalah kesenjangan kritik—menekankan hubungan antara kritikus dan seniman yang terjadi pada seni pertunjukan tradisional, yang tidak terungkap dalam kritik tradisi modern—melalui website yang menyebarkan kritik seni pertunjukan. 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/9534 10.24821/resital.v24i2.9534 Resital: Jurnal Seni Pertunjukan; Vol 24, No 2 (2023): Agustus 2023; 122-135 2338-6770 2085-9910 10.24821/resital.v24i2 eng https://journal.isi.ac.id/index.php/resital/article/view/9534/3255 Copyright (c) 2023 Michael Haryo Bagus Raditya

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

oai:ojs.journal.isi.ac.id:article/14907 2025-05-19T07:27:46Z resital:ART

Jazz Guitar Reharmonization in Malay Asli Music: A Case Study on Harmonic Adaptation in Pedagogy Mazlan, Chamil Arkhasa Nikko Abdullah, Mohd Hassan Imam Koning, Sajastanah Hidayatullah, Riyan Jamnongsarn, Surasak Awang Hassim, Dayang Siti Hazar Jazz guitar reharmonization; Malay Asli music; cross-cultural pedagogy; usability assessment Jazz reharmonization techniques are a well-established area of focus in Western music. However, their application to non-Western genres, such as Malay Asli music, is, at best, an unexplored area of music. This disconnect is rooted in the absence of a theoretical model, one which exists within a broader Eurocentric approach to music pedagogy that privileges Western harmony. Jazz reharmonization of Malay Asli presents challenges in cross-cultural reinterpretation and hybrid learning. This study aims to develop and evaluate a guidebook on jazz guitar reharmonization techniques to be applied in Malay Asli music. It treats the guide’s pedagogical efficacy in a cross-idiomatic context while maintaining the genre’s stylistic integrity—A qualitative case study with five jazz guitarists following a structured method book. Data consisted of assessments of performance before and after instruction, participant reflections, and semi-structured interviews. Using ISO 9241-11 measurements—efficiency, effectiveness, and satisfaction—observational analysis and participant feedback were used to measure usability. Participants exhibited improved fluency and flexibility in processing Malay Asli melodies in jazz. They recommend the guide’s poetic and flexible approach as a tool for mastering complex harmonic ideas while keeping the central idea in Malay Asli music intact. The classification of jazz harmony in stages allowed for gradual integration into their normal structural perception, which complemented their understanding of both practices. Analysis implemented through usability testing found overall acceptance of the direct scope of instructions, ordering of steps needed, and appropriate application. The study's results demonstrated how jazz reharmonization can be potent in enhancing creativity versatility within the framework of Malay Asli music and closing its traditional monopoly barriers to cross-cultural engagement through creativity. This study addresses the larger conversation of inclusive music pedagogy by connecting jazz harmony and Malay Asli aesthetics. Further engagement in hybrid music learning could involve interactive tutorials or similar digital tools explored through future research. Institut Seni Indonesia Yogyakarta 2024-12-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/14907 10.24821/resital.v25i3.14907 Resital: Jurnal Seni Pertunjukan; Vol 25, No 3 (2024): Desember 2024; 460-516 2338-6770 2085-9910 10.24821/resital.v25i3 eng https://journal.isi.ac.id/index.php/resital/article/view/14907/4214

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/6047 2023-10-15T14:30:03Z resital:ART

The Evaluation of Music Department Students of Institut Seni Indonesia Yogyakarta in Modes Identification De'Vries Mau, Peter Angga Branco Hapsari, Prima Dona Modes; Modes Identification; Modality; Tonality Modes in Modality concept is a musical thinking that was used before 1600s. After 1600s (Baroque Era), the concept of modes changed into a contrast concept called Tonality (major-minor) and still exist today, in our era. Musical knowledge will evolve along with technological advances, but in fact there are so many composers today using the concept of modes to give another nuance and interpretation in their musical works. As academic musicians, surely the students of Music Department of ISI Yogyakarta got the concept of modes in several subject such as music theory, music structure and style, music analysis, and etc. However, the tonality concept that always used by common academic musicians today makes the concept of Modality become so hard to identify if they are heard a musical work that contains modes. This research will show us how many students of Music Department of ISI Yogyakarta who can’t identify a musical work that contains modes. 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/6047 10.24821/resital.v22i2.6047 Resital: Jurnal Seni Pertunjukan; Vol 22, No 2 (2021): Agustus 2021; 100-104 2338-6770 2085-9910 10.24821/resital.v22i2 eng https://journal.isi.ac.id/index.php/resital/article/view/6047/2419 Copyright (c) 2021 Peter Angga Branco De’Vries Mau & Prima Dona Hapsari

oai:ojs.journal.isi.ac.id:article/7865 2023-04-30T13:41:23Z resital:ART

Gayutan Rondo Alla Turca Karya WA. Mozart sebagai Iringan dalam Film Amadeus Panggabean, Ance Juliet Simangunsong, Emmi Batubara, Junita interconnection; Rondo Alla Turca; accompaniment; Amadeus film scenes ABSTRACTThe Use of WA Mozart's Gayutan Rondo Alla Turca in the Film Amadeus. This study describes the interconnection of Rondo music as an accompaniment in Amadeus film to the melodic structure of scene footage produced by HD Film Tributes and explains the form of Rondo which consists of six parts involving displayed scene expressions. The authors implemented qualitative approach with descriptive method in which the authors conducted literature review as well as observation through musical scores and YouTube channel to attain thorough results of field studies and documentation. Furthermore, the authors also conducted an analysis that began with the description of the film structure of the Rondo Alla Turca musical composition. The analysis was carried out by observing each scene footage of used melodic structure to form feelings and aesthetics in the film. The results of the study reveal that the melodic structure used in each scene creates feelings and aesthetics in Amadeus film since musical accompaniment plays an essential role in conveying the story of the film. In addition, the role of musical accompaniment is inherently employed to highlight the tones in Rondo Alla Turca music and visuals have the ability to provide a deeper and more complex interpretation of emotional content in every scene of Amadeus.ABSTRAKKajian ini mendiskripsikan gayutan atau hubungan musik Rondo sebagai iringan dalam film Amadeus terhadap struktur melodi dengan cuplikan adegan yang diproduksi oleh HD Film Tributes dan bentuk Rondo yang terdiri dari enam bagian dengan ekspresi adegan yang ditampilkan. Adapun metode yang digunakan dalam penelitian adalah deskriptif kualitatif dimana peneliti melakukan telaah pustaka, melakukan observasi melalui skor musik, channel youtube untuk mendapat hasil kajian lapangan yang optimal dan dokumentasi. Selain itu peneliti juga melakukan analisis yang dimulai dengan penjabaran struktur film terhadap komposisi musik Rondo Alla Turca. Analisis dilakukan dengan pengamatan antara setiap cuplikan adegan terhadap struktur melodi yang digunakan untuk membetuk perasaan dan estetika dalam film. Hasil penelitian menunjukkan bahwa struktur melodi yang digunakan dalam setiap cuplikan adegan membentuk perasaan dan estetika dalam film Amadeus, iringan musik memegang peranan penting dalam mengusung cerita film Amadeus, peran iringan musik secara inheren digunakan untuk menyoroti nada-nada dalam musik Rondo Alla Turca dan visual memiliki kemampuan untuk memberikan makna interpretasi konten emosional yang lebih dalam dan kompleks dalam setiap adegan fim Amadeus. 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/7865 10.24821/resital.v24i1.7865 Resital: Jurnal Seni Pertunjukan; Vol 24, No 1 (2023): April 2023; 58-68 2338-6770 2085-9910 10.24821/resital.v24i1 eng https://journal.isi.ac.id/index.php/resital/article/view/7865/3111 Copyright (c) 2023 Ance Juliet Panggabean, Emmi Simangunsong, Junita Batubara

oai:ojs.journal.isi.ac.id:article/13675 2025-01-31T05:51:14Z resital:ART

Penciptaan Karya Konserto Grosso Untuk Menunjang Pembelajaran Mata Kuliah Ansambel Gesek Garibaldi, Pipin Ceri, Danny Lundito, Farel Jonggi string ensemble; concerto grosso; technique development Artikel ini ditulis untuk menjelaskan proses penciptaan Konserto Grosso yang disusun penulis sebagai materi pembelajaran ansambel gesek di Jurusan Musik ISI Yogyakarta. Karya konserto ini memuat pembelajaran teknik permainan instrumen gesek, meliputi biola, viola, cello, dan contrabass. Teknik seperti tangga nada mayor, minor, arpeggio, double stop, detache, legato, staccato, dan spiccato disertakan dalam komposisi ini demi membangun fondasi teknik bagi tangan kanan dan tangan kiri seorang instrumentalis. Komposisi ini memiliki satu gerakan  yang terdiri dari bagian cepat dan lambat sebagaimana konserto pada umumnya. Penulis menyoroti bahwa sejumlah besar mahasiswa yang diterima di Jurusan Musik, ISI Yogyakarta belum memiliki kemampuan bermain instrumen gesek yang memadai. Penciptaan karya Konserto Grosso dilakukan guna menjembatani proses pembelajaran ansambel gesek baik dalam dimensi edukatif maupun performatif. Kreasi Konserto Grosso dengan teknik tangan kiri dan kanan ini menjadi alternatif yang menumbuhkan minat belajar dan meningkatkan kompetensi mahasiswa dalam memainkan karya-karya standar instrumen gesek, baik itu konserto, divertimento, sonata, serenade, dan lain-lain. Penelitian ini menggunakan metode kualitatif dengan pendekatan studi kasus. Ada pun tahapan penelitian meliputi; pengumpulan dokumen, observasi, wawancara, penciptaan karya, penerapan karya, dan diseminasi. Demonstrasi atau penerapan uji karya dilakukan di dalam kelas ansambel gesek. Hasil penelitian menunjukan bahwa penciptaan Konserto Grosso menjadi terbatasi karena penulis selaku pencipta hanya mengolah teknik tangga nada dan arpeggio saja sehingga tidak banyak wilayah musikalitas yang dapat dieksplorasi. Di sisi lain, pemakaian teknik tangan kiri dan kanan yang terbatas ini membuat mahasiswa mampu memainkan sebuah karya ansambel dengan nyaman dan kualitas yang cukup baik, meskipun masih belum mampu memainkan sepenuhnya tempo yang dikehendaki.Kata kunci: ansambel gesek; Konserto Grosso; pengembangan teknik This article outlines the compositional process of a concerto grosso created by the author as a pedagogical tool for string ensembles at the Music Department of ISI Yogyakarta. The concerto serves as a comprehensive learning resource, incorporating essential techniques for playing string instruments, including the violin, viola, cello, and contrabass. These techniques encompass major and minor scales, arpeggio, double stops, détaché, legato, staccato, and spiccato, providing a solid foundation for both right and left-hand technique. The composition features a single movement with contrasting fast and slow sections, akin to traditional concerto structures. The author highlights a prevalent challenge among students admitted to the Music Department: a lack of adequate string instrument playing skills. The concerto grosso was composed with the aim of bridging this gap, fostering both educational and performance-based learning experiences within the string ensemble context. By incorporating a variety of left and right-hand techniques, the concerto seeks to stimulate interest in learning and enhance students' ability to perform standard works for string instruments, such as concertos, divertimentos, sonatas, serenades, and more. This study employs a qualitative research methodology, adopting a case study approach. The research process involved document collection, observation, interviews, composition, application, and dissemination. The concerto's effectiveness was evaluated through demonstrations and applications in string ensemble classes. The findings of the study reveal certain limitations in the concerto's scope, as the author primarily focused on scale and arpeggio techniques, restricting the exploration of other musical elements. However, the use of limited left and right-hand techniques enabled students to perform the ensemble work with relative ease and a reasonable level of proficiency. Despite these achievements, the students ultimately faced challenges in maintaining the desired tempo.Keywords: string ensemble, concerto grosso, technique development 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/13675 10.24821/resital.v25i2.13675 Resital: Jurnal Seni Pertunjukan; Vol 25, No 2 (2024): Agustus 2024; 290-320 2338-6770 2085-9910 10.24821/resital.v25i2 eng https://journal.isi.ac.id/index.php/resital/article/view/13675/4106

oai:ojs.journal.isi.ac.id:article/397 2023-10-15T14:22:09Z resital:ART

How Children Decode Visual Narrative in Gaiman’s and McKean’s The Wolves in the Walls Siddha Malilang, Chrysogonus ABSTRAK Bagaimana Anak Mengkode-ulang Narasi Visual dalam The Wolves in the Walls karya Gaiman dan McKean. Buku cerita bergambar sebagai teks untuk anak-anak merupakan kombinasi unik dari kata-kata dan gambar. Dua elemen yang saling terkait sama lain menciptakan inter-animasi bersama dalam membangun makna. Para ahli telah lama mempercayai bahwa proses membaca buku cerita bergambar melibatkan proses yang rumit dalam lingkaran hermeneutik. Namun, karena buku cerita bergambar terutama ditujukan untuk anak-anak, maka proses tersebut terjadi dalam pikiran sadar mereka. Oleh karena itu, penelitian ini bertujuan untuk mengungkapkan proses pembuatan makna anak dalam narasi visual buku cerita bergambar yang mana dalam penelitian ini menggunakan karya Gaiman, The Wolves in the Walls. Setelah melalui serangkaian penelitian kualitatif dengan lima anak di Inggris, aspek yang diteliti dalam penelitian ini adalah gaya bercerita, penggambaran pengalaman, dan tempat. Hasil penelitian ini menunjukkan bahwa anak-anak membaca buku cerita bergambar dengan cara yang berbeda dari orang dewasa, terutama dalam strategi yang digunakan untuk membaca teks yang panjang dan rumit. Kata kunci: cerita bergambar, gaya bercerita, penggambaran pengalaman, tempat, lingkaran hermeneutik  ABSTRACT Picturebook as a text for children is a unique combination of words and images. Those two elements are interrelated into one another, creating a mutual interanimation in constructing the meaning. Experts have long believed that the process of reading picturebook involves a complicated process of hermeneutic circle. However, since picturebook is mainly aimed for children, the process happens subconsciously within their mind. Therefore, this research aims to reveal children’s meaning making process in visual narrative of picturebook, in this research is Gaiman’s The Wolves in the Walls. After a series of qualitative research with fi ve children in UK, the aspects to research are style, projection of experience, and setting. The result shows that children read the picturebook in a different way than adult, alongside their strategy to cope with long and complicated text. Keywords: picturebook, style, projection of experience, setting, hermeneutic circle 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/397 10.24821/resital.v14i1.397 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/397/36 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/397/1

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

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

oai:ojs.journal.isi.ac.id:article/7154 2022-12-17T01:51:03Z resital:ART

Konsep Kempel dalam Keprakan dan Dhodhogan pada Pergelaran Wayang Golek Menak Gaya Yogyakarta Sukistono, Dewanto keprakan; dhodhogan; kempel; Wayang Golek Menak; Yogyakarta ABSTRACT The Concept of Kempel in Keprakan and Dhodhogan in Yogyakarta-style Menak Wooden Puppet Show. KKeprakan and dhodhogan are two of the accompaniments in Menak wooden puppet show in Yogyakarta. The term keprakan is derived from the essential word ‘keprak’ which refers to the principle of form, material, variety, and technique of creating sounds from the iron plates pounded by using cempala made from iron or wood. The term dhodhogan is taken from the root ‘dhog’ which refers to the sound produced by iron or wood that is pounded on kothak. The term kempel has meaning as ‘whole’ and ‘blend into one’. Further, in the context of keprakan, its meanings is that the sound created is harmonically integrated with the movement of the puppet and the motif of kendhangan. This study aims to disclose the pattern of keprakan and dhodhogan to produce a sense of kempel in supporting the aesthetic expression of puppet characters and the scenes’ ambiences. The author collected the data through direct participation, in-depth interviews, and observations of recordings of Menak puppet show in which Sukarno as the puppeteer. The data analysis was conducted to draw a conclusion as a result of an investigation of the relationship among the pattern of both keprakan and dhodhogan; the movement diversity of puppet characters; and the motif of kendhangan. According to the results, it can be stated that the design of keprakan and dhodhogan in Menak wooden puppet show in Yogyakarta consists of two styles – the one is free style and the other is bound style. The sense of kempel lies in the accuracy of keprakan and dhodhogan diverse sound combinations in relation to the movement varieties of puppet figures incorporated with the motif of kendhangan.ABSTRAK Keprakan dan dhodhogan adalah salah satu bagian dari iringan pergelaran wayang golek Menak gaya Yogyakarta. Istilah keprakan dari kata dasar keprak menunjuk pada persoalan bentuk, bahan, ragam, serta teknik menghasilkan bunyi dari lempengan besi yang dipukul menggunakan cempala berbahan besi maupun kayu. Istilah dhodhogan diambil dari kata dasar dhog yang menunjuk pada bunyi yang dihasilkan cempala besi atau kayu yang dipukul pada kothak. Kosa kata kempel mempunyai makna utuh dan melebur menjadi satu, dalam konteks keprakan maknanya bahwa bunyi yang dihasilkan menyatu dengan gerak wayang dan motif kendhangan. Penelitian ini bertujuan untuk mengungkap pola keprakan dan dhodhogan untuk menghasilkan rasa kempel dalam mendukung ekspresi estetis tokoh wayang maupun suasana adegan. Data diperoleh melalui partisipasi terlibat, wawancara mendalam, serta pengamatan terhadap rekaman pergelaran wayang golek Menak dengan dalang Ki Sukarno. Analisis dilakukan untuk mendapatkan simpulan berdasarkan telaah terhadap relasi antara pola keprakan dan dhodhogan dengan ragam gerak tokoh wayang serta motif atau pola kendhangan. Berdasarkan hasil penelitian dapat dijelaskan bahwa pola keprakan dan dhodhogan dalam pergelaran wayang golek Menak gaya Yogyakarta terdiri dari dua ragam, yaitu ragam bebas dan ragam berpola. Rasa kempel terletak pada ketepatan dalam memadukan ragam bunyi keprakan dan dhodhogan sesuai dengan ragam gerak tokoh wayang yang menyatu dengan motif kendhangan. 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/7154 10.24821/resital.v23i3.7154 Resital: Jurnal Seni Pertunjukan; Vol 23, No 3 (2022): Desember 2022; 139-148 2338-6770 2085-9910 10.24821/resital.v23i3 eng https://journal.isi.ac.id/index.php/resital/article/view/7154/2876 Copyright (c) 2022 Dewanto Sukistono

oai:ojs.journal.isi.ac.id:article/11998 2025-06-09T15:20:41Z resital:ART

Musik Iringan Tari Pencak Silat Rancak Takasima dalam Koreografi Idiom Baru Rustiyanti, Sri Listiani, Wanda Ningdyah, Anrilia E.M. Dwiatmini, Sriati Suryanti, Suryanti Dance Accompaniment Music, Pencak Silat Dance, Rancak Takasima, New idiom choreography, Serut Bambu Property The objective of this article is to elucidate the significance of music in complementing the choreography of the innovative Pencak Silat dance form known as Rancak Takasima. In the realm of dance performance, music plays a pivotal role as an accompaniment. While dance accompaniment music can exist independently, the reciprocal is not true – dance cannot be fully actualized without the support of accompanying music. Essentially, dance and music are inseparable counterparts, mutually enhancing and interdependent, akin to the interconnected sides of a coin. In the crafting of a dance performance, the presence of dance accompaniment, specifically in the form of musical compositions, serves as a crucial catalyst. This concept is referred to as external music, encompassing instruments like percussion, strings, and wind instruments employed as accompaniment in dance. In contrast, internal music entails sounds not generated by instrumental music but rather emanating from the dancer or performer, such as vocals, rhythmic footwork, finger snaps, chest and thigh percussion, hand claps, elbow taps, and the use of galembong (a patting technique on wide-legged pants). This research used a qualitative method with a dance ethnographic approach model. This technique research collected data through diverse methods such as observation, demonstration, interviews, and documentation during creating the creative process of choreographing the new idiom of Rancak Takasima. The development of dance accompaniment music and choreography unfolds gradually, originating from initially abstract ideas and taking visual form through Seni Pencak movements and the musicality crafted by the internal body's dancers themselves and using sound of  'serut bambu' props. The research outcomes showcase the Seni Pencak dance accompaniment music model as a valuable contribution to the evolution of Pencak Silat Nusantara dance. This particular dance accompaniment music model integrates seamlessly into the new idiom's choreography, featuring the distinctive ‘serut bambu’ property that generates the accompanying dance music. This research result conducted under Penelitian Terapan Jalur Hilirisasi (PTJH) scheme. For those interested in learning more, the dance accompaniment music and Seni Pencak choreography of Rancak Takasima can be easily accessed through the website https://www.dayaversapasua.tech. Institut Seni Indonesia Yogyakarta 2024-04-25 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/11998 10.24821/resital.v25i1.11998 Resital: Jurnal Seni Pertunjukan; Vol 25, No 1 (2024): April 2024; 98-114 2338-6770 2085-9910 10.24821/resital.v25i1 eng https://journal.isi.ac.id/index.php/resital/article/view/11998/3717

oai:ojs.journal.isi.ac.id:article/17136 2025-12-29T01:09:32Z resital:ART

Performing Cosmology: Sound, Movement, and World-Making in the Turuk Lagai Ritual of Mentawai Loravianti, Susas Rita Alfalah, Alfalah Iswandi, Iswandi Emri, Emri Chaterji, Katia Y, Eva Cosmological World-Making; Ritual Performativity; Mentawai Cosmology; Relational Ontology; Turuk Lagai This research investigates Turuk Lagai, a central ritual of the Mentawai people in West Sumatra, Indonesia, as a performative act that enacts and sustains their cosmological worldview. The study's objective is to understand how this ritual reflects belief and constitutes reality through embodied and relational practices. Using a qualitative ethnographic approach, the study draws on long-term fieldwork, in-depth interviews, and thematic analysis assisted by QualCoder. Data were coded and interpreted through a theoretical framework combining Victor Turner's ritual process, Catherine Bell's ritualization theory, and Tim Ingold's concept of relational ontology. The analysis identified three overarching themes—Embodiment, Spiritual Correspondence, and Relational Ontology—that demonstrate how bodily movement, chants, offerings, and environmental elements co-produce a cosmological order. Rather than symbolizing cosmology, Turuk Lagai brings it into being, renewing social and spiritual relationships between humans, nature, and ancestral forces. The study concludes that Turuk Lagai is a dynamic system of knowledge production and cosmological maintenance. It recommends greater recognition of indigenous ritual not as static tradition but as an active and vital mode of world-making with implications for cultural preservation and ecological ethics. 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/17136 10.24821/resital.v26i2.17136 Resital: Jurnal Seni Pertunjukan; Vol 26, No 2 (2025): Agustus 2025; 312-338 2338-6770 2085-9910 10.24821/resital.v26i2 eng https://journal.isi.ac.id/index.php/resital/article/view/17136/4509 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/17136/2722 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/17136/2723 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/17136/2742 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/17136/2755 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/17136/2756

oai:ojs.journal.isi.ac.id:article/6758 2022-04-30T05:50:37Z resital:ART

Interpretasi Musik Barok Pada Lagu The Trumpet Shall Shound Karya Handel Taryadi, Taryadi Latif, Bakhrudin Baroque; Interpretation; Trumpet The reason behind the research of Baroque era music interpretation analysis in The Trumpet Shall Sound by Handel is there are many trumpet players and music students who do not have deep understanding in interpreting the baroque era music correctly. The purpose of this research is to find out the music form and music structure from The Trumpet Shall Sound Song by Handel, also to find out the interpretation of trumpet music instrument in The Trumpet Shall Sound Song by Handel. The method used in this research is qualitative method research since there are no use of numbers as its data source. The research object is focused on the interpretation of the song itself by applying some theories i.e., music form, music structure, the rules of music interpretation of baroque era and the music expression of Baroque era. The data collection was done by observation, interview, and documentation. The analysis is from the interpretation which is analyzed through music interpretation rules of Baroque era which is expected to have an outcome by playing The Trumpet Shall Sound song by Handel with correct music interpretation of Baroque era. 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/6758 10.24821/resital.v23i1.6758 Resital: Jurnal Seni Pertunjukan; Vol 23, No 1 (2022): April 2022; 62-73 2338-6770 2085-9910 10.24821/resital.v23i1 eng https://journal.isi.ac.id/index.php/resital/article/view/6758/2615

oai:ojs.journal.isi.ac.id:article/9396 2024-03-29T05:59:09Z resital:ART

Memahami Hubungan Tarawangsa dan Erhu dalam Perspektif Etnomusikologi Adhimas, Yogi Bagus Anggoro, Raden Roro Maha Kalyana Mitta Maulana, Muhammad Ahsin Yasya, Luthfia Agsita Deng, Boer Etnomusikologi; Tarawangsa; Erhu Etnomusikologi merupakan suatu pendekatan yang bisa diterapkan guna menganalisis dua buah atau lebih alat musik dengan cara diperbandingkan. Aspek-aspek yang dikaji juga sangat menyeluruh dari bentuk fisik, teknis tangga nada, hingga sejarah pembentukannya. Hal ini juga yang coba diterapkan pada alat musik yang mirip secara penampilan, namun memiliki asal pemilik bangsa yang tidak berdekatan. Akan tetapi fakta lain menyebutkan bahwa budaya Tiongkok dengan Indonesia sudah ada sejak lama, maka keunikan ini yang coba diuraikan dalam penelitian ini. Hasil penelitian membuktikan bahwa terdapat kemiripan yang tinggi antara tarawangsa dan erhu dalam aspek bentuk fisik dan fungsi, namun kepastian secara sejarah belum bisa dibuktikan secara pasti bahwa erhu memiliki andil dalam terciptanya tarawangsa ataupun sebaliknya. 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/9396 10.24821/resital.v24i3.9396 Resital: Jurnal Seni Pertunjukan; Vol 24, No 3 (2023): December 2023; 231-251 2338-6770 2085-9910 10.24821/resital.v24i3 eng https://journal.isi.ac.id/index.php/resital/article/view/9396/3608 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/9396/1447 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/9396/1449

oai:ojs.journal.isi.ac.id:article/15071 2025-08-20T12:36:28Z resital:ART

Sasando as a Symbol of Cultural Identity of the Rote Island Community and the Challenges of Preserving Natonis, Rolfi Junyanto Is Jazuli, Muhammad Utomo, Udi Widodo, Widodo Narselina, Puput Meinis Sasando; Cultural Identity; Rote Island; Social Function; Cultural Preservation This research examines Sasando as a symbol of cultural identity and pride of the people of Rote Island by exploring its philosophical values, social functions, and the challenges of its preservation in the midst of modernization. The present study employed a qualitative case study approach, with data collected through participatory observation and in-depth interviews with Sasando players, craftsmen, and cultural figures. The research findings reveal three key aspects: the value of cultural identity reflected in the use of natural materials (bamboo and palm) and its role in traditional rituals as a marker of local wisdom, social function as a medium of community unification in collaborative events and a means of intergenerational value transmission, and preservation challenges in the form of declining interest from the younger generation, lack of integration in formal education, and limited promotion. The research also identified opportunities through cultural festivals and tourism-based economic potential. The research conclusions emphasize that Sasando is not merely a musical instrument, but rather a symbol of collective identity that represents the history, social values, and cultural resilience of the Rote people. The following policy recommendations are put forth: first, the integration of a Sasando-based curriculum; second, the strengthening of youth training programs; and third, multi-stakeholder collaboration for sustainable promotion strategies. This research makes a theoretical contribution to the discussion of the relationship between traditional musical instruments, identity construction, and cultural preservation strategies in the midst of globalization. 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/15071 10.24821/resital.v26i1.15071 Resital: Jurnal Seni Pertunjukan; Vol 26, No 1 (2025): April 2025; 68-95 2338-6770 2085-9910 10.24821/resital.v26i1 eng https://journal.isi.ac.id/index.php/resital/article/view/15071/4388

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/5227 2023-10-15T14:30:46Z resital:ART

Pemakaian Kosakata Tema Kesehatan dalam Penciptaan Lirik Lagu Anak Tyasrinestu, Fortunata health-themed vocabulary; song creation; song lyrics; children's songs The Use of Health-Themed Vocabulary in Creating Children's Song Lyrics. Children's songs can convey the songwriter's messages and describe the children's lives and the environment through their perspective in the lyrics. In this context, the song is the unity of the melody and lyrics. In addition, songs can also function as a means of exploration, information, expression, and entertainment. This research was conducted to determine the description of health-themed vocabulary uses in children's song lyrics. How health vocabulary, especially in children's song lyrics, is used by children's songwriters. The study sample was a set of songs from a collection of the best children's songs, Dendang Kencana. The research used a descriptive-analytical method, which was preceded by a literature study followed by determining the lyrics of the health-themed song lyrics created by the songwriters of Dendang Kencana song album. Data collection was carried out by using the ten-song lyrics with scores. Those songs were the best songs chosen from the Dendang Kencana album. The two songs were the best-selected songs in the Dendang Kencana Children's Songwriting Competition in 2017. The lyrics were observed and recorded, and analyzed to determine the vocabulary used within the children's song lyrics. The vocabulary was then grouped and interpreted according to the purpose of this study. The results show that in children's songs, the vocabulary of the health-themed is often used by the songwriters to emphasize the importance of being healthy and healthy since childhood. The vocabulary is related to children's daily activities, such as bathing, washing hands, washing hair, maintaining a healthy body, exercising, eating nutritiously, and other movement activities. 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/5227 10.24821/resital.v22i3.5227 Resital: Jurnal Seni Pertunjukan; Vol 22, No 3 (2021): Desember 2021; 180-186 2338-6770 2085-9910 10.24821/resital.v22i3 eng https://journal.isi.ac.id/index.php/resital/article/view/5227/2502 Copyright (c) 2021 Fortunata Tyasrinestu

oai:ojs.journal.isi.ac.id:article/7934 2024-12-11T04:20:10Z resital:ART

The Use of Growl Vocal Technique to Enhance Voice Quality in Singing Pop Songs Suryati, Suryati singing; vocal technique; growl; pop songs This study aims to provide solutions for students of Music Education Study Program of Indonesia Institute of the Arts Yogyakarta who face problems in singing pop songs, particularly to reach high notes. Growl is a kind of vocal technique for producing growling sounds. Initially, Growl vocal technique was used by metal or rock vocalists. However, this technique can be applied to pop songs as a variation. As a result, it can be functioned as a solution to reach high notes for the singers having low range of notes. This study focused on the process of practicing Growl vocal technique and the use of Growl when singing pop songs. The author implemented qualitative method emphasizing on cas study approach. The data collection was carried out through literature studies, observations, and interviews by selecting sample from the respondents engaging in this study case in which the subjects of the study were Pop Jazz vocal students in Music Education Study Program of Indonesia Institute of the Arts Yogyakarta. The application of Growl Vocal Technique is highly efficacious when singing both low and high notes in legato manner. In addition, Growl can be an emphasis on the specific lines of song lyrics to convey the enotional meaning of that part. Furthermore, it also can be functioned as an alteration to create divergence of a singer in using vocal techniques when singing. It leads to a novelty that the use of Growl vocal technique can be said to be an aesthetic expression to make voice much more amusing.  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/7934 10.24821/resital.v24i2.7934 Resital: Jurnal Seni Pertunjukan; Vol 24, No 2 (2023): Agustus 2023; 167-175 2338-6770 2085-9910 10.24821/resital.v24i2 eng https://journal.isi.ac.id/index.php/resital/article/view/7934/3259 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/7934/1102 Copyright (c) 2023 Suryati

oai:ojs.journal.isi.ac.id:article/14890 2025-05-19T07:27:46Z resital:ART

The Sacred and the Sinister: A Musicological Inquiry into Ave Satani in The Omen Indrawan, Andre Julio, Christofer Van Ness, Edward Christian horror film; musicology; theme song; film music No horror film song has won the Academy Award for Best Original Song, yet Jerry Goldsmith’s Ave Satani from The Omen (1976) remains the only nominee. Its fusion of Latin liturgical elements, ritualistic rhythms, and dissonant harmonies enhances the film’s dark symbolism. This study analyzes Ave Satani through a musicological approach, exploring its composition, thematic role, and cultural impact. Findings reveal its significance in reinforcing The Omen’s conflict between good and evil, highlighting the importance of interdisciplinary perspectives in film music analysis and the potential of thematic scoring to deepen cinematic storytelling. 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/14890 10.24821/resital.v25i3.14890 Resital: Jurnal Seni Pertunjukan; Vol 25, No 3 (2024): Desember 2024; 414-429 2338-6770 2085-9910 10.24821/resital.v25i3 eng https://journal.isi.ac.id/index.php/resital/article/view/14890/4212

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/3379 2025-06-04T15:28:28Z resital:ART

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

oai:ojs.journal.isi.ac.id:article/8757 2023-04-30T13:41:23Z resital:ART

The Logic of Sensation and Fantasy as a Step of Art Creation Through Practice-Based Research Budiawan, Hery logic of sensation; fantasy; practice-based research; music composition; art creation ABSTRACTThe objective of this study is to identify a stage of art creation, especially composition, where the sensations and fantasies of a composer can be understood in detail based on logic of sensation (Deleuze) and fantasy (Freud). Every work of art produced is not just a sensation or a fantasy of the artist put into the work. However, that process has its logic. Sensations and fantasies in the creation of art work are highly essential and may continue to occur until the artwork is produced. In this study the author implemented practice-based research where experience and work become the basis of a study with various approaches: literature study, content analysis, musicology, philosophy, experimental, and several things that corroborate practice-based research. The result of this study is a method of art creation with several stages that need to be done, even already done by a creator; aesthetic experience, body rhythm, chaos, fantasy, and force. These five stages are at least an interesting reference in the process of artwork and reveal that our logic of sensations and fantasies can work properly. The implications of these results can be used in any area of the art, so that the creator is aware of the working steps of the perceived sensations. This study can be applied in the process of creating and can be discussed in the process of work creation. As a result, it can be used as a reference by art creators.ABSTRAKLogika Sensasi dan Fantasi sebagai Langkah dalam Kreasi Seni melalui Practice-Based Research. Tujuan penelitian ini menemukan sebuah tahapan penciptaan karya seni khusnya komposisi dimana sensasi dan fantasi seorang komposer dapat dipahami proses kerjannya secara detail dengan logika sensasi (Deleuze) dan fantasi (Freud). Setiap karya seni yang lahir bukan sekedar sebuah sensasi maupun fantasi seniman yang dituangkan ke dalam karya. Namun proses itu mempunyai logikanya sendiri. Sensasi dan fantasi dalam penciptaan karya seni sangat perlu dan mungkin terus terjadi sampai karya seni itu lahir. Penelitian ini menggunakan pratice-based research dimana pengalaman, karya menjadi dasar sebuah penelitian dengan berbagai macam pendekatan: studi pustaka, analisis isi, filsafat, eksperimental dan beberapa hal yang menguatkan practice-based research. Hasil dari penelitian ini adalah sebuah metode penciptaan seni dengan beberapa tahapan yang perlu dilakukan bahkan sudah dilakukan seorang pencipta; pengalaman estetis, ritme tubuh, chaos, fantasi dan force. Kelima tahapan ini setidaknya menjadi sebuah acuan yang menarik dalam proses karya seni dan bagaimana logika sensasi dan fantasi kita dapat bekerja dengan baik. Implikasi dari hasil ini dapat digunakan wilayah apapun di seni sehingga pencipta sadar akan langkah kerja sensasi yang dirasakan. Penelitian ini bisa diterapkan dalam proses berkarya dan dapat didiskusikan pada tahapan penciptaan dari hasil penelitian ini agar dapat menjadi rujukan oleh para pencipta seni. 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/8757 10.24821/resital.v24i1.8757 Resital: Jurnal Seni Pertunjukan; Vol 24, No 1 (2023): April 2023; 1-9 2338-6770 2085-9910 10.24821/resital.v24i1 eng https://journal.isi.ac.id/index.php/resital/article/view/8757/3107 Copyright (c) 2023 Hery Budiawan

oai:ojs.journal.isi.ac.id:article/13664 2024-12-03T08:14:24Z resital:ART

Jazz in Lampung: Community’s Perspective, Social Practices, Cultural Performance, Organization, and Consequences Hidayatullah, Riyan Irawan, Ricky Alam, Pandu Watu Mazlan, Chamil Arkhasa Nikko Jazz perspective; Lampung culture; community perspective; sense of community This article attempts to reveal the perspectives of the Lampung jazz community members dealing with organizational issues related to members’ perceptions or administrators. The cause is an extramusical issue that leads to the ulun Lappung (indigenous Lampung people) social characteristics. In general, problems uncommon in the jazz community arise in this communal setting. This article focuses on the Lampung jazz community’s perspective, cultural performances, social practices, and consequences. The data for this study came from immersive fieldwork conducted in Lampung jazz circles between 2017 and 2021. In addition to in-person data collection, field sites and apps were used. The research participants include senior musicians with over 20 years of experience, music scholars, music entrepreneurs, and jazz activists. Each participant has a unique perspective on group organization, jazz culture and knowledge, and socially musical practices. The significance of Lampung’s musical sense of community is discussed. Institut Seni Indonesia Yogyakarta 2024-08-28 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/13664 10.24821/resital.v25i2.13664 Resital: Jurnal Seni Pertunjukan; Vol 25, No 2 (2024): Agustus 2024; 186-216 2338-6770 2085-9910 10.24821/resital.v25i2 eng https://journal.isi.ac.id/index.php/resital/article/view/13664/3914

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/17472 2026-03-18T09:13:02Z resital:ART

The Role of Musical Frequency Differences in Shaping Listeners’ Brainwave Responses Djohan, Djohan Wardani, Indra Kusuma Legowo, Adityo Firmansyah, Ahmad Insanu Sittiprapaporn, Phakkarawat anxiety reduction; tuning frequencies; musical composition; neurosky; brainwave Music-based interventions have been widely explored as non-invasive approaches to emotional regulation and anxiety reduction. Within this context, alternative tuning frequencies—particularly 432 Hz and 528 Hz—are frequently used in therapeutic and wellness practices and are often claimed to exert distinct psychophysiological effects. However, empirical evidence supporting differential neural responses to these frequencies remains limited, and existing claims are rarely grounded in direct measurements of brain activity. This study aimed to empirically examine whether music tuned to 432 Hz and 528 Hz produces differential effects on neural oscillatory activity, as measured by brainwave patterns, with particular attention to indicators associated with relaxation and meditative states. A quantitative repeated-measures design was implemented. Ten undergraduate music education students (aged 19–21 years) from the Indonesian Institute of the Arts (ISI) Yogyakarta participated. Each participant listened to the same musical composition presented in two tuning conditions (432 Hz and 528 Hz) in counterbalanced order. Neural activity was recorded using a single-channel EEG device (Neurosky MindWave), which provides spectral estimates of canonical brainwave bands. Delta-band amplitude was selected a priori as the primary outcome measure. Differences between tuning conditions were analyzed using paired-sample t-tests, supplemented by bootstrapping to address the small sample size. Both tuning conditions elicited increased delta-band dominance during music listening. However, no statistically significant difference in delta-band amplitude was observed between the 432 Hz and 528 Hz conditions (t(9) = −1.29, p = 0.229). Bootstrapped confidence intervals corroborated the absence of a reliable frequency-dependent effect. Under controlled within-subject conditions and using single-channel EEG-derived spectral estimates, no evidence was found for differential modulation of delta-band activity between music tuned to 432 Hz and 528 Hz. The results suggest that neural responses are more strongly driven by general musical engagement than by tuning frequency per se. Methodologically, the study highlights both the utility and limitations of low-density EEG for probing music-related neural oscillations and supports the need for future work employing higher spatial resolution EEG, baseline-corrected spectral analyses, and larger samples to test frequency-specific hypotheses with greater sensitivity. Institut Seni Indonesia Yogyakarta 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/17472 10.24821/resital.v26i3.17472 Resital: Jurnal Seni Pertunjukan; Vol 26, No 3 (2025): Desember 2025; 457-477 2338-6770 2085-9910 10.24821/resital.v26i3 eng https://journal.isi.ac.id/index.php/resital/article/view/17472/4691

oai:ojs.journal.isi.ac.id:article/7328 2022-08-01T01:39:08Z resital:ART

Saru Pakareman: Refleksi Pengalaman Diri sebagai Practice-led Research Ananda, Rizky Fauzy Limbong, Helena Evelin Budiawan, Hery Saru Pakareman; komposisi; refleksi; pengalaman diri; Practice-led Research ABSTRACT This research on the art creation of Saru Pakareman's work aims to find the importance of repetition in both musical and extra-musical. This work is a process of creating musical compositions that depart from the reflection of the researcher's self-experience.  This art creation research activity is based on musical and extra-musical experiences in the researcher's life that have an influence on the researcher's music writing style or language. These experiences are mostly found by researchers from everyday life from childhood in the realm of family (social) phenomena where the influence of cultural teachings brought by mothers plays a major role in the process of self-introduction and the researcher's musical style. The art creation research methodology used is Practice-led Research artistic research which is also integrated with ethnographic and phenomenological approaches. The stages carried out a) the collection of data on phenomena, minimalist music, repetitions, Sundanese, and drum patterns, b) deepening of art creation: Repetition, Art creation Internship, Laboratory, and Curation. The results of this art creation research are in the form of program music works based on family socio-cultural phenomena and repetitions with simple development, interpretation of laras saléndro padantara into the whole tone scale in Western music, as well as the transition of traditional musical instruments kendang, karawitan degung laras madenda, and karawitan jaipong into the form of a string ensemble presentation. The results of such art creation research prove that the importance of repetition in music as well as in the context of life. Without repetitions in music a piece will not sound musical, while in the context of life repetition is something that always exists in everyday life such as worship activities and life patterns, in the context of education repetition is the easiest and most basic way of learning to learn and recall about understanding something. Reflection on life-experience through Practice-led Research is proven to be an idea of art creation research and is able to bridge the gap between subjectivity and objectivity in scientific writing.ABSTRAK Penelitian penciptaan karya Saru Pakareman ini bertujuan untuk menemukan arti pending repetisi baik dalam musikal maupun ekstra-musikal. Karya ini merupakan proses penciptaan komposisi musik yang berangkat dari refleksi pengalaman diri penulis. Kegiatan penelitian penciptaan ini didasari oleh pengalaman musikal dan ekstra-musikal dalam hidup penulis yang memiliki pengaruh terhadap gaya atau bahasa penulisan musik penulis. Pengalaman pengalaman tersebut sebagian besar didapati penulis dari kehidupan sehari-hari sedari kecil dalam ranah fenomena (sosial) keluarga di mana pengaruh ajaran kebudayaan yang dibawa oleh ibu berperan besar dalam proses pengenalan diri dan gaya musik penulis. Metodologi penelitian penciptaan yang digunakan adalah penelitian artistik Practice-led Research yang juga diintegrasikan dengan pendekatan etnografi dan fenomenologi. Tahapan yang dilakukan: a) Pengumpulan data mengenai fenomena, musik minimalis, repetisi, Sunda, dan pola kendang; b) Pendalaman penciptaan: repetisi, magang penciptaan, laboratorium, dan kurasi. Hasil penelitian penciptaan ini berupa karya musik program yang didasari oleh fenomena sosial budaya keluarga dan repetisi dengan pengembangan sederhana, penginterpretasian laras saléndro padantara ke dalam whole tone scale dalam musik barat, serta peralihan wahana instrumen musik tradisional kendang, karawitan degung laras madenda, dan karawitan jaipong ke dalam bentuk sajian ansambel gesek. Hasil dari penelitian penciptaan tersebut membuktikan bahwa pentingnya repetisi dalam musik maupun dalam konteks kehidupan. Tanpa adanya repetisi dalam musik suatu karya tidak akan terdengar musikal, sedangkan dalam konteks kehidupan repetisi adalah hal yang selalu ada dalam keseharian seperti kegiatan peribadatan maupun pola hidup, dalam konteks Pendidikan repetisi merupakan cara belajar termudah dan paling dasar untuk mempelajari dan mengingat kembali tentang pemahaman sesuatu. Refleksi atas pengalaman diri lewat Practice-led Research terbukti dapat dijadikan sebuah ide penelitian penciptaan dan mampu menjembatani antara subjektifitas dan objektifitas dalam penulisan ilmiah. 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/7328 10.24821/resital.v23i2.7328 Resital: Jurnal Seni Pertunjukan; Vol 23, No 2 (2022): Agustus 2022; 75-87 2338-6770 2085-9910 10.24821/resital.v23i2 eng https://journal.isi.ac.id/index.php/resital/article/view/7328/2692 Copyright (c) 2022 Rizky Fauzy Ananda, Helena Evelin Limbong, Hery Budiawan

oai:ojs.journal.isi.ac.id:article/9462 2025-06-09T15:20:41Z resital:ART

Keroncong Arrangement as an Expression of Freedom Congrock 17 Satria, Dioda Setiawan, Aris Darlenis, Teti Congrock 17; keroncong; arrangement; freedom; progressive This study aims to analyze the results of the arrangement of keroncong music performed by Congrock 17. Congrock 17 is a well-known progressive keroncong music group from Semarang City, Central Java, Indonesia. This study’s two musical works are the object of analysis: Keroncong Pemuda-Pemudi and Perdamaian. This study uses a musicological approach emphasizing the concepts of arrangement, freedom, expression, and musical form. These concepts determine how far Congrock 17 can create new characters and nuances in existing musical works. Musical considerations were made by Congrock 17 by keeping the fundamental nature of keroncong the same, especially in the use of musical instruments such as cak, cuk, bass, violin, and cello. As a result, the arrangement of old works by Congrong 17 was intended so that keroncong would develop more progressively, be liked by the younger generation, and avoid monotony. Institut Seni Indonesia Yogyakarta 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/9462 10.24821/resital.v25i1.9462 Resital: Jurnal Seni Pertunjukan; Vol 25, No 1 (2024): April 2024; 1-25 2338-6770 2085-9910 10.24821/resital.v25i1 eng https://journal.isi.ac.id/index.php/resital/article/view/9462/3672

oai:ojs.journal.isi.ac.id:article/16915 2025-12-24T06:26:35Z resital:ART

Cultural Evolution in Action: Royal Boat Song Transmission and Adaptation in Thai Buddhist Communities Boonrod, Vich Srisakon, Prachakon Ruangjirayos, Purita cultural evolution; cultural transmission; traditional music; Buddhist ceremonies; Thailand This ethnographic study examines Royal Boat Song (He Ruea Luang) cultural transmission as empirical evidence for evolutionary approaches to imaginative culture. Through ethnographic fieldwork conducted in Phitsanulok Province, Thailand (2024-2025), we analyzed how this elite court tradition successfully adapted from royal water processions to community Buddhist merit-making ceremonies while maintaining core musical and ceremonial elements. Our findings demonstrate cultural transmission mechanisms predicted by evolutionary theory: selective retention of adaptive features including four-section musical structure, specialized vocal techniques, and ceremonial significance, combined with contextual modifications serving contemporary community needs through localized poetic content, Buddhist ceremonial integration, and riverbank performance venues. The research reveals how Royal Boat Songs function as adaptive cultural inheritance systems, facilitating group bonding, cultural memory preservation, and religious expression while evolving through community agency. Results show high-fidelity transmission of core musical structures with systematic adaptive variation in textual content, supporting cultural attraction theory predictions about cognitive constraints in cultural evolution. This case study provides empirical support for theories positioning imaginative culture as arising from human nature's evolved capacities for social cooperation, meaning-making, and collective identity formation, while demonstrating that cultural preservation occurs through adaptive evolution rather than static maintenance. Institut Seni Indonesia Yogyakarta funded by Thailand Science Research and Innovation (TSRI) and Naresuan University, Thailand. 2025-10-05 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/16915 10.24821/resital.v26i2.16915 Resital: Jurnal Seni Pertunjukan; Vol 26, No 2 (2025): Agustus 2025; 195-216 2338-6770 2085-9910 10.24821/resital.v26i2 eng https://journal.isi.ac.id/index.php/resital/article/view/16915/4464 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/16915/2688

oai:ojs.journal.isi.ac.id:article/3518 2023-10-15T14:26:13Z resital:ART

Pengaruh Posmodernisme terhadap Karya Gitar: Studi Kasus Karya Roland Dyens, Andrew York, dan Leo Brower Koapaha, Royke Bobby posmodernisme; gitar; roland dynes; andrew york; leo brouwer Postmodernisme dapat dikatakan sebagai penolakan atau kritik terhadap modernisme Barat yang berorientasi pada kemajuan. Ciri posmodernisme seperti alam tanpa titik pusat atau hilangnya fokus yang mengontrol akan segala sesuatu, tidak ada standar yang berlaku umum atau universal untuk mengukur, menilai dan mengevaluasi suatu konsep atau gaya hidup tertentu. Repertoar musik gitar tidak dapat dipisahkan dari pengaruh posmodernisme. Hingga saat ini relatif belum ada penelitian seputar pengaruh posmodernisme pada repertoar musik gitar.  Penelitian ini bertujuan akan mengkaji pengaruh posmodernisme terhadap karya-karya musik untuk Gitar dari Roland Dyens, Andrew York dan Leo Brouwer. Data-data penelitian ini didapat dari studi literatur mengenai wacana posmodernisme secara umum, wacana posmodernisme dalam musik, serta menganalisis pemikiran-pemikiran posmodernisme pada karya musik untuk Gitar. Dari hasil penelitian disimpulkan bahwa karya-karya musik untuk Gitar yang diciptakan oleh Roland Dynes, Andrew York, dan Leo Brouwer mendapat pengaruh posmodernisme dari musik jazz, rock, musik rakyat dan musik klasik. Ketiga komposer ini menggunakan idiom-idiom musik yang tidak hanya terbatas pada musik klasik, namun menggunakan idiom-idiom dari berbagai macam musik, termasuk musik populer.Postmodernism can be agreed as a rejection or criticism of western modernism which oriented on a progression. Its characteristic like a world without center point or without focus that can control everything, there is no certain standard to measure, assess, and evaluate a particular concept or lifestyle. The guitar music repertoire cannot be separated from the influence of  postmodernism. Until now there has been relatively no research on the influence of postmodernism on the guitar music repertoire. This research aims describing the effect of postmodernism towards guitar’s music composed by Roland Dynes, Andrew York, and Leo Brouwer. The data gathered from literature study on postmodernism discourse, postmodernism in music, and also the analysis of postmodernism thoughts on guitar’s music. The result shown that the effect of postmodernism lies on musical works from Roland Dynes, Andrew York, and Leo Brouwer. Those composers using not only western classical music idioms, but also jazz, rock, folk music, including popular music. Keywords: Postmosernism; guitar; Roland Dynes; Andrew York; Leo Brouwer 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/3518 10.24821/resital.v19i2.3518 Resital: Jurnal Seni Pertunjukan; Vol 19, No 2 (2018): Agustus 2018; 63-75 2338-6770 2085-9910 10.24821/resital.v19i2 eng https://journal.isi.ac.id/index.php/resital/article/view/3518/1998 Copyright (c) 2021 Resital: Jurnal Seni Pertunjukan

oai:ojs.journal.isi.ac.id:article/6892 2022-04-30T05:50:56Z resital:ART

Estetika Tri Mandala Dalam Komposisi Baru Pasupati: Strategi Pengembangan Wacana Keindahan dalam Karawitan Ardana, I Ketut Ketut Consentta, Maria Goretti Indah Della composition; karawitan; new aestethics; pasupati; tri mandala Aesthetics has an important role in determining the weight of karawitan. Aesthetics can also justify the creation of a composition. Naturally, if in the assessment of composition is always influenced by aesthetic factors to determine the high and low value of karawitan. However, aesthetic perspective also needs to be a reference to show the renewal of a karawitan. It's a form of creativity in art. One of the conceptions that can give aesthetic harmony in karawitan composition is the concept of tri mandala. Tri mandala is a three-dimensional philosophical concept of harmony that is usually a reference in the field of architecture to build sacred places, residences, and even traditional markets in Bali. Through the concept of Tri mandala, a karawitan harmony system that was originally oriented to the second dimension became developed into the third dimension. Therefore, the topic of tri mandala aesthetics in pasupati composition needs to be researched so that it can result in a new aesthetic point of view in karawitan. This topic is a type of qualitative research that is studied with several stages, namely: observation, consoralization, composite realization. The results showed that tri mandala renews the aesthetic value of a karawitan composition. The renewal is represented in a system of harmony, structure, and meaning. The connection of the three with the tri mandala is the third dimension. Everything refers to the power of three, the harmony of three, part three, and the meaning of three in the symbolization of the three realms namely, bhur, bwah, and swah. 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/6892 10.24821/resital.v23i1.6892 Resital: Jurnal Seni Pertunjukan; Vol 23, No 1 (2022): April 2022; 15-27 2338-6770 2085-9910 10.24821/resital.v23i1 eng https://journal.isi.ac.id/index.php/resital/article/view/6892/2611 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/6892/949

oai:ojs.journal.isi.ac.id:article/9747 2024-12-11T04:20:10Z resital:ART

Efek Reinstrumentasi Karya Organ Js. Bach Melalui Alih Timbre Terhadap Selera Musik Djohan, Djohan Wirayudha, Asep Hidayat Mawarni, Aghisna Indah reinstrumentation; baroque; rock; timbre; electric guitar As today teenagers have less appreciation for instrumental works from Baroque era, the objective of this research is to identify the indicators their music preference through timbre shifting of the musical instrument. In the context of the creative economy, this will open opportunities for art music to compete in the music industry. Music has been studied and observed for centuries, and even today, the works of great composers are associated with timeless creations. One factor that has contributed to the continued existence of music is its strong reliance on conductors during performances, especially when presented in orchestral format involving dozens of supporting musicians. Generally, not only do audiences watch a stage filled with musicians, but they also listen to the works of composers in various timbres. Some musics are performed in the form of solo, duet, or as ensemble. However, the challenge for musicians is that the majority of society do not understand art music well due to lack of knowledge and the prevalence of easily accepted popular music. It occurs because music education still upholds the tradition of classifying music into high and low art according to European concepts. Art music carries musicological elements rooted in mathematical discipline, which implicitly requires audiences to have a background in music knowledge, even during performances. In Indonesia, which is currently developing and strengthening its creative economy, creative breakthroughs are needed to make art music more popular and have a positive impact on musicians. In this study, the author implemented a quantitative method with a one-posttest design approach. The sample consisted of teenagers studying art music. The total sample was N=100, consisting of students in music performance vocational program who were given treatment by listening to a recorded toccata in D minor by JS Bach played on the organ and re-instrumented using the electric guitar, electric bass, and synthesizer. The results reveal that the subjects' preference for rock music is significantly influenced by personal preference with p<0.05. Particularly, the predictor of preference has a coefficient of R 0.900 with an R2 of 0.809, indicating that preference contributes 80.9% to the variability of the preferences. Therefore, it can be concluded that the renewing instrumentaion of Baroque music by shifting timbre of electric instruments with rock sensation has an influence on the musical preference of today youth. It happens especially when the ornamentation, one of the characteristic of Baroque music, is played with forte dynamic and blended technique, resulting in piercing and swinging sounds as an effect of electric guitar distortion.Tujuan penelitian ini untuk mengidentifikasi indikator selera musik remaja masa kini yang kurang menyukai karya instrumental era Barok (musik seni) melalui rekayasa warna suara (timbre) alat musiknya. Karena dalam konteks ekonomi kreatif akan membuka peluang musik seni untuk berkompetisi dalam dunia industri musik. Selama ini musik seni telah berabad lamanya dipelajari dan ditekuni hingga saat ini bahkan karya-karya para komponis besar diasosiasikan dengan karya abadi. Salah satu faktor yang menjadikan eksistensi musik seni hingga sekarang adalah karena dalam pertunjukkannya sangat dipengaruhi oleh konduktor. Terutama sekali jika karya tersebut dipertunjukkan dalam format orkestra yang melibatkan puluhan musisi pendukung. Di satu sisi secara visual selain menyaksikan panggung penuh dengan musisi juga mendengarkan karya para komponis dalam berbagai macam warna suara. Sementara di sisi lain, ada musik seni yang dimainkan secara solo, duet atau kelompok (musik kamar). Pada kenyataannya, tantangan musisi musik seni adalah karena sebagian besar masyarakat tidak paham musik seni baik karena kurangnya pengetahuan dan maraknya musik industri yang jauh lebih mudah dicerna. Hal ini terjadi karena dalam pendidikan musik seni pun masih mempertahankan tradisi seni tinggi sesuai dengan sumbernya di Eropah. Musik seni memiliki muatan musikologi yang berasal dari disiplin matematika sehingga dalam bentuk pertunjukanpun secara implisit mensyaratkan audiens memiliki latar belakang pengetahuan musik. Indonesia yang sedang mengembangkan serta memperkuat ekonomi kreatif maka diperlukan terobosan kreatif agar musik seni dapat semakin digemari sehingga membawa dampak positif bagi musisi musik seni. Penelitian ini menggunakan metode penelitian kuantitatif dengan pendekatan one posttest design only dan sampel dalam penelitian ini adalah remaja yang sedang belajar musik seni. Total sampel sebanyak N=100 terdiri dari mahasiswa program vokasi penyajian musik yang diberi intervensi dengan mendengarkan rekaman toccata in d-minor karya JS Bach untuk alat musik organ dan yang sudah direinstrumentasi menggunakan alat musik gitar, bas elektrik dan synthesizer. Hasilnya menunjukkan bahwa selera subjek terhadap musik rock secara signifikan lebih ditentukan oleh preferensi pribadi dengan p<0.05. Terutama dengan prediktor preferensi yang memiliki koefisien R 0.900 dengan R2 0.809 sehingga preferensi memberi sumbangsih sebanyak 80.9% terhadap variabilitas selera. Maka, dapat disimpulkan bahwa reinstrumentasi musik barok menggunakan warna suara instrumen elektrik dengan sensasi rock memiliki pengaruh terhadap selera musik subjek remaja. Terutama sekali ketika pada bagian ornamentasi sebagai ciri khas musik barok dibunyikan dalam dinamika forte dengan teknik blend sehingga terdengar melengking dan mengayun sebagai efek dari suara distorsi gitar elektrik. 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/9747 10.24821/resital.v24i2.9747 Resital: Jurnal Seni Pertunjukan; Vol 24, No 2 (2023): Agustus 2023; 136-145 2338-6770 2085-9910 10.24821/resital.v24i2 eng https://journal.isi.ac.id/index.php/resital/article/view/9747/3256 Copyright (c) 2023 Djohan, Asep Hidayat, Aghisna Indah Mawarni

oai:ojs.journal.isi.ac.id:article/10569 2024-12-11T04:20:10Z resital:Cover+etc

oai:ojs.journal.isi.ac.id:article/14343 2025-05-19T07:27:46Z resital:ART

Campursari as a Hybrid Music: A Case Study on Three Models of Campursari Music Wahyudi, Aris Laksono, Joko Tri Abdullah, Zolkipli Sriwulan, Wilma campursari; diatonic; pentatonic; modernism; hybrid Some music researcher state that campursari is a hybrid music. However, this opinion is only based on the combination of diatonic and pentatonic tones. But, Clothier explains, what is meant by hybrid culture is not just a mixture of several types of culture, but there are historical aspects and certain conditions to declare its existence as a hybrid culture. Therefore, this research aims to review the campursari phenomenon to gain clarity its capacity on theoretical. This research is qualitative research using analytical descriptive methods through tracing the history of campursari music. The term campursari appeared around the 1950s when Waljinah performed the “Kembang Kacang” song in keroncong music. This song was adopted from Javanese musical compositions, and then developed until now. in terms of major genres, campursari music consists of three models, there are Waljinah (keroncong), Manthou’s (Javanese musical/pentatonic), and Didi Kempot (Western/diatonic music). Through the case of the “Kembang Kacang” song which was analyzed by the hybrid cultural theory of Bhaba, Livenson, and Clothier and combined with Titon’s theory, it was concluded that the Waljinah model campursari is first derivative (F1), the Manthou’s model campursari is true hybrid music (pure strain), while the other model of campursari called “gedanken” hybrid. Institut Seni Indonesia Yogyakarta 2024-12-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://journal.isi.ac.id/index.php/resital/article/view/14343 10.24821/resital.v25i3.14343 Resital: Jurnal Seni Pertunjukan; Vol 25, No 3 (2024): Desember 2024; 555-578 2338-6770 2085-9910 10.24821/resital.v25i3 eng https://journal.isi.ac.id/index.php/resital/article/view/14343/4240

oai:ojs.journal.isi.ac.id:article/847 2023-10-15T14:39:13Z resital:ART

Model Pembelajaran Seni Musik melalui Lesson Study: Studi Kasus di SDN Jawilan, Serang Fitriani, Yulianti pembelajaran musik, Sekolah Dasar, Lesson Study, music learning, Elementary School, Lesson Study Artikel ini dilatar-belakangi persoalan pembelajaran seni musik di SDN Jawilan Kab. Serang. Di SD ini penyelenggaraan pendidikan seni belum memperoleh perhatian yang cukup baik dari guru. Hal ini dapat dilihat dari pembagian alokasi waktu pembelajaran dan keterlibatan guru kelas yang tidak memiliki latar belakang pendidikan seni (musik). Dampak yang muncul, rata-rata siswa belum memiliki kemandirian dalam berkreativitas dan kurang berpartisipasi aktif dalam kegiatan musik baik di sekolah maupun di luar sekolah. Untuk memperbaiki persoalan tersebut dirasa perlu meminjam Lesson Study yang di dalamnya terdapat metode, pendekatan dan strategi pembelajaran sebagai pola untuk membelajarkan seni musik agar dapat memberikan alternatif sudut pandang terhadap persoalan metode yang tepat guna dan terencana dalam pengajaran pendidikan musik di SD, termasuk paradigma membelajarkan musik secara hakiki. Hasil yang diperoleh dapat memberikan alternatif sebagai dasar pengembangan pembelajaran seni musik. The Model of Music Learning through a Lesson Study: A Case Study in Jawilan Elementary School, Serang. The learning problems of music lessons at Jawilan Elementary School in Serang becomes the mainly source of the research background in this article. The implementation of art education in this school has not gained enough attention from teachers. It can be seen from the distribution of the allocated time of learning and the involvement of classroom teachers who do not have sufficient background in art education (music). The appearing impact shows that the average of students do not have any independence in creativity and have less-active participation in the activities of musical arts either in school or outside the school. However, solving the problem is necessary to do by using a Lesson Study as a pattern (approaches, strategies, and methods of learning) to teach music that can be used as an alternative point of view in developing methods and organizing the appropriate ones, including the paradigm of teaching music at school essentially. The results obtained from the activity may provide the alternative method as a basis for the development of learning music at school. 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/847 10.24821/resital.v15i2.847 Resital: Jurnal Seni Pertunjukan; Vol 15, No 2 (2014): Desember 2014; 126-138 2338-6770 2085-9910 10.24821/resital.v15i2 eng https://journal.isi.ac.id/index.php/resital/article/view/847/163

oai:ojs.journal.isi.ac.id:article/5818 2023-10-15T14:30:03Z resital:ART

Stimulasi Ekspresi Melalui Teknik Reinterpretasi dalam Pertunjukan Musik Seni Djohan, Djohan Tyasrinestu, Fortunata Setiawan, Chriestian Denny musician; reinterpretation; gesture; emotional responses The purpose of this study is to proved that musik reinterpretation is the most important aspect for both musikians and audiences in enjoying art musik. This is because in recent years there has been a declined in album sales and the number of audience for performing arts musik. So that the efforts of musikians to reinterpret various art musik repertoires by presenting new perspectives and impressions which in turn are expected to increased interest in art musik. The concept of emotion from Mehrabian-Russell in Bakker (1977) is used to understand the mechanism of emotional responses experienced by the audience after being treated by the modification of musikal reinterpretation. Then measurements were designed based on Westbrook & Reilly's theory of consumer satisfaction in Atila and Fisun Yüksel (2008) to identify the emotional responses which is the main factor in audiences satisfaction after listening to the repertoire being played. Mixed methods were used through a case study approach and a one-group experimental design with post-treatment measurements (One-group posttest-only design). Musikians recorded Allemande from Suite No. 6 for Johann Sebastian Bach's cello through the first video in the original style and in the second video, interpreting it in a romantic sense. Some of the musikal elements manipulated were tempo, dynamics, timbre and musikians' gestures. After the audience watched the two videos, they filled out a questionnaire to find out the emotional responses such as 'happy', 'joyful', 'sad', and 'bored'. The results showed that 56.4% did not experience pleasure and excitement when watching the first video. Then 73.8% of viewers experienced the emotions of 'fun' and 'joy' when watching the second video. The conclusion shows that reinterpretation of a repertoire is important because it can bring new perspectives and impressions to attract attention and give satisfaction to the audience. 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/5818 10.24821/resital.v22i2.5818 Resital: Jurnal Seni Pertunjukan; Vol 22, No 2 (2021): Agustus 2021; 105-116 2338-6770 2085-9910 10.24821/resital.v22i2 eng https://journal.isi.ac.id/index.php/resital/article/view/5818/2420 Copyright (c) 2021 Djohan, Fortunata Tyasrinestu, & Chriestian Denny Setiawan

oai:ojs.journal.isi.ac.id:article/8054 2023-04-30T13:41:23Z resital:ART

Pengaruh Nyanyian Buku Ende terhadap Kualitas Bernyanyi Jemaat Gereja HKBP Yogyakarta Sitinjak, Linda Ende book; HKBP Yogyakarta congregation; quality of singing ABSTRACTThe Influence of the Buku Ende Hymn on the Quality of Singing Among the Congregation of the HKBP Church in Yogyakarta. This paper talks about Ende book, a collection of worship songs for the HKBP congregation composed by European composers in the 16th and 17th centuries. Conveyed by missionaries to Batak land, these songs were later translated into Toba Batak language and some were composed to suit the rhythms of Batak indigenous music. In singing the songs, HKBP Yogyakarta congregation sing the original notation (not transfused lower) that frequently consists of high notes, causing the congregation having low vocal range to sing the song in one octave below the basic tone. The objective of the study is to examine how immense Ende Book influences the vocal quality of HKBP Yogyakarta congregation. The author implemented descriptive qualitative method by adapting the theory of 'The Power of Habit' by Charles Duhigg. Data collection techniques used by the author were observation, interview, and documentation. The results of this study reveal that habit plays a major role in the routines to achieve a satisfactory quality of singing. When singing Ende book, HKBP Yogyakarta congregation have unconsciously acquainted several elements of vocal techniques. The vocal techniques in particular are breathing, resonance, voice range, and interpretation, in which a significant impact on the quality of the singing voices of HKBP Yogyakarta congregation retain. By implementing the original range and sentence structure (phrasing) in Ende book, the learning process taken place e every Sunday worshipping has unconsciously imporoved the singing quality of HKBP Yogyakarta congregation.ABSTRAKBuku Ende merupakan buku yang berisi nyanyian ibadah bagi jemaat HKBP yang sebagian besar diciptakan oleh komponis Eropa pada abad ke-16 dan ke-17 Masehi. Nyanyian ini dibawa oleh para misionaris ke tanah Batak lalu diterjemahkan ke dalam bahasa Batak Toba dan ada juga yang digubah untuk disesuaikan dengan irama musik Batak. Menyanyikan nyanyian buku Ende ini jemaat HKBP Yogyakarta bernyanyi dengan tangga nada aslinya (tidak ditransfus lebih rendah) sehingga ketika menyanyikan nada-nada tinggi, bagi jemaat yang mempunyai ambitus suara yang rendah sering menyanyikannya dengan nada satu oktaf dibawah nada dasar. Tujuan dari penelitian ini untuk melihat sejauh mana pengaruh nyanyian pada Buku Ende ini terhadap kualitas bernyanyi jemaat HKBP Yogyakarta. Penelitian ini menggunakan metode deskriptif kualitatif dengan memakai teori ‘The Power of Habit’ dari Charles Duhigg. Teknik pengumpulan data dengan cara observasi, wawancara, dan dokumentasi. Hasil penelitian ini menunjukkan bahwa faktor kebiasaan menjadi salah satu rutinitas untuk mencapai kualitas bernyanyi yang memuaskan. Dalam menyanyikan buku Ende ini terdapat banyak unsur-unsur teknik vokal yang tanpa disadari telah memberikan pembelajaran vokal, khususnya kepada jemaat HKBP Yogyakarta. Teknik vokal yang dimaksud, antara lain: pernapasan, resonansi, ambitus suara, dan interpretasi, berdampak besar bagi kualitas suara bernyanyi jemaat HKBP Yogyakarta. Dengan nyanyikan tangga nada asli pada buku Ende dan kebiasaan menerapkan teknik vokal yang baik dan benar, tanpa disadari proses pembelajaran berlangsung setiap Minggu. Hal ini yang menyebabkan suara jemaat gereja HKBP Yogyakarta semakin berkualitas baik. 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/8054 10.24821/resital.v24i1.8054 Resital: Jurnal Seni Pertunjukan; Vol 24, No 1 (2023): April 2023; 69-78 2338-6770 2085-9910 10.24821/resital.v24i1 eng https://journal.isi.ac.id/index.php/resital/article/view/8054/3112 https://journal.isi.ac.id/index.php/resital/article/downloadSuppFile/8054/1103 Copyright (c) 2023 Linda Sitinjak

oai:ojs.journal.isi.ac.id:article/13913 2025-01-31T05:52:02Z resital:ART

Integrating Tradition and Technology: Digital Audio Workstation-Based Learning for Traditional Music Preservation Saputra, Dani Nur Cahyono, Agus Utomo, Udi Raharjo, Eko Nainggolan, Oriana Tio Parahita Traditional Music; Digital Audio Workstation (Daw); Music Preservation; Technology; Cultural Heritage The use of technology into conventional music education offers novel prospects for both preservation and creativity. This study examines the application of Digital Audio Workstations (DAWs) as an educational instrument for instructing and conserving traditional music, specifically within the setting of Desa Cisaat, Subang, West Java. The study included 25 young participants from the hamlet, with the objective of evaluating how DAW-based learning may enhance their involvement with traditional Sundanese music. The study illustrates how DAWs connect old musical traditions with contemporary digital approaches through workshops and instructional activities, allowing kids to engage with traditional music in more innovative and accessible manners. The research conducted used a type of qualitative research with a descriptive approach. The data collection techniques used are through observation, interviews, and literature studies. The analysis carried out adopted from miles and huberman where the process includes data collection, data reduction, data presentation, and conclusion. The results indicate that DAW-based learning cultivates creativity, increases student engagement, and facilitates a profound comprehension of musical legacy among younger generations. This technique facilitates the recording, adaptation, and widespread dissemination of traditional music, thus assuring its preservation in the digital era. The study indicates that the integration of tradition and technology via Digital Audio Workstations (DAWs) signifies a viable avenue for the future of music instruction and preservation, especially in rural regions. 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/13913 10.24821/resital.v25i2.13913 Resital: Jurnal Seni Pertunjukan; Vol 25, No 2 (2024): Agustus 2024; 321-337 2338-6770 2085-9910 10.24821/resital.v25i2 eng https://journal.isi.ac.id/index.php/resital/article/view/13913/4107 1ee645224fb7776c35913ac84a6c0ab1