Jurnal Seni Musik

The Singing Ornamentation of Lagu Melayu Asli

2023-12-31T23:30:32+07:00

_{Ornamentation is a source of beauty and uniqueness for each Lagu Melayu Asli singer. The ornamentation in Lagu Melayu Asli is better known as lenggok, bunga lagu, air lagu (Suflan, 2015; Rosny, 2018), cengkok, grenek, or gerenek (Silitonga, 2011; Zulaikha, 2008; Suflan, 2015; Rosny, 2018), and some researchers are more comfortable naming it melismatic (Ritawati, 2017). Although Lagu Melayu Asli music in the Malay world is rich in the beauty of ornamentation, guidelines on ornamentation are not specifically stated but rather are to be played or sung by heart and by improvising on the basis of knowledge learned verbally from their idols or teachers (Rosny, 2018; Suflan, 2015; Rizaldi, 2010; Zulaikha, 2008). The systematic distillation in this writing uses a qualitative literature study methodology derived from the articles and interviews of Lagu Melayu Asli. In general, a literature review can be thought of as a more or less methodical method of compiling and analyzing earlier studies (Baumeister & Leary, 1997; Tranfield, Denyer, & Smart, 2003). This study provides literature reviews and concludes guidelines for singers by placing specific categories of ornamentation in Lagu Melayu Asli.}

Jamet Stereotyping in Jedag-Jedug Music: An Analysis of Jedag-Jedug Music Stereotype

2023-12-31T23:30:34+07:00

Several music genres have stereotypes from the society, especially music that comes from low culture. One of the types of music that is stereotyped is jedag-jedug music, a music that is identical with fast beats and specific video editing. This type of music is widely known due to the influence of the TikTok application, which is a social media platform that offers audio-visual content. Jedag-Jedug music is often stereotyped as jamet music and also considered as tacky or alay. This research aims to find out how jamet stereotypes in Jedag-Jedug music can change and become a popular trend on social media. The approach used in this research is a qualitative approach using in-depth interviews with participants. The criteria for participants were participants aged 18 years and over and who had listened to jedag-jedug music with various economic and educational backgrounds. Primary data in this research are interview transcripts and secondary data used are journal articles, books and other supporting sources. To analyze the data, researchers used Dual-Process by Shelly Chaiken. There are three aspects that form a stereotype which are cognitive, affective, and behavioral aspects that will be used to see how stereotypes are changed in the jedag-jedug music. The result found in this study was that participants experienced a change in their views towards the stereotypes that exist in jedag-jedug music. The shifting of the stereotypes occurred because of the popularization of jedag-jedug music in social media which influence the participants’ cognitive, affective, and behavior.

Analysis of Joged Kahyangan Works in Saxophone Recitals "Lintas Waktu"

2023-12-31T23:30:35+07:00

This research aimed to describe the structure of the composition "Joged Kahyangan" by Dewa Budjana. This study employed qualitative approach, analyzing the musical score of the piece. The findings indicate that the composition's structure consists of several sections, including Introduction, A, Bridge, B, A’, Bridge, B’, A’’, Solo Drum, Solo Piano, Solo Saxophone, C, B’, and Coda. The piece utilizes the tonalities of E and D, with time signatures of 4/4 and 5/5. Saxophone playing techniques found in this composition include Arpeggio, Tongue, Legato, and Altissimo

Relationship Between Intensity of Listening to The Song Diri by Tulus and Self-Acceptance in The Solo Tulus Friends Community

2023-12-31T23:30:36+07:00

Self-acceptance is an essential component of psychological well-being, and music or songs have their potential to contribute to mental health and well-being. This research aims to determine the influence of the intensity of listening to the song Diri by Tulus on self-acceptance in the Teman Tulus Solo Community. The research method used is quantitative with person-product moment correlation. The research population is members of the Teman Tulus Solo Community who follow the official Instagram account @temantulussolo and live in Solo Raya (Surakarta, Boyolali, Sukoharjo, Karanganyar, Wonogiri, Sragen, and Klaten). The sampling technique uses snowball sampling. The total sample size was 102 respondents, consisting of 89 women and 13 men. The instruments in this research were the intensity scale for listening to self-songs (α=0.812) and the Berger Self-Acceptance Scale (α=0.844), distributed online in the form of a Google form to respondents. Based on the correlation test results, there is a significant relationship between the intensity of listening to the song Diri and self-acceptance (p=0.035; r=0.209).

Sakit Rindu: Romanticization of Manthous's Songs in Commodification Practices by Dapur Musik Project

2023-12-31T23:30:37+07:00

The phenomenon of music cover in new media is now increasingly mushrooming, especially in Indonesia. Dapur Musik Project, as a keroncong music group consisting of young people, also works on cover versions of Manthous's songs, who is considered a predecessor to them. Sakit Rindu is one of Dapur Musik Project content that is most popular with the audience, as evidenced by the acquisition of million viewers.

This research uses qualitative methods to analyze how Dapur Musik Project commodifies the songs composed by Manthous. In general, this research uses the framework of Adorno and Horkheimer (1944) which expresses the cultural industry theory, commodification theory put forward by Mosco (2009), and social practice theory or structural-constructive theory from Bourdieu's (1984) framework. The results of this research explain the commodification practices carried out by Dapur Musik Project in the realm of musicals and performances, as well as in the realm of packaging and marketing, with an attachment to industry and economic value. Dapur Musik Project also utilizes the symbolic power they have over relational relationships as the Manthous family in perpetuating commodification practices.

The various changes in form, composition, packaging and strategy carried out by Dapur Musik Project are not considered renewal, but only a form of romanticization of Manthous's songs. Dapur Musik Project is an example of how youth people try to mediate the standardization polemic in keroncong music with their own roles and methods. This research annunciating the keroncong music community about the urgency of commodification practices in the discourse on the preservation and development of keroncong music in the Indonesian music scene.

Simple Arrangement of Children’s Song with Trilingual Characters As Learning Media For PGSD and PGMI Students

2023-12-31T23:30:38+07:00

The existing quality of learning media, particularly in teaching multilingual characters of Early Childhood Education, poses a challenge in education. Teachers should possess the skills to continuously innovate in creating instructional materials, including prospective teachers, namely PGSD and PGMI students. This program aims to enhance the skills of PGSD and PGMI students in developing multilingual character education media for children. The primary focus is on using children's songs as an engaging and effective educational tool. Another issue is the need for more skills among students in creating multilingual and character-based instructional media that can captivate children's interest. The ultimate goal is to improve students' skills in creating engaging and effective instructional media, providing benefits to children, and contributing positive knowledge to the general public. As a solution, this program creates a simple arrangement of children's songs with characters in three languages as instructional media for PGSD and PGMI students. In its implementation, students are equipped with the skills to create simple arrangements of children's songs with the hope that this will serve as valuable preparation for creating engaging instructional materials.

Musical Accompaniment in Dolalak Dance: The Perspective of Beauty Philosophy

2023-12-31T23:30:39+07:00

Dolalak is an art form that encompasses the integration of dance and music components. Dolalak, a widely known folk art form, continues to thrive in the local community of Purworejo Regency, located in the province of Central Java. This form of Dolalak art is classified within the collective folk art genre, serving as a distinctive representation of the artistic tradition found in Purworejo Regency. This research is of the qualitative descriptive type. The data collection technique employed in this research is document study. The data analysis technique in this research involves data collection, data reduction, data presentation, and drawing conclusions. The authenticity of the data is ensured through the technique of theoretical triangulation. The aesthetics of the music in Tari Dolalak reflect deep-seated cultural, religious, and creative values. Through harmony, rhythm, and emotional expression, the music in Tari Dolalak offers a captivating and profound artistic experience for its enthusiasts, solidifying this dance as an inseparable part of Indonesia's rich and valuable cultural heritage.

Creation of Bundengan Organology

2023-12-31T23:30:40+07:00

Bundengan is a traditional musical instrument whose existence is still maintained and is also an icon of Wonosobo Regency. The music group Rungon Wresthi created the Bundengan organology in the Wonosobo Regency. This research aims to examine the organological creations carried out. This research uses qualitative methods with a musicological approach. Data was collected through direct interviews and documentation studies. Data analysis was carried out by reducing data, presenting data, and providing conclusions. The results of this research show that Rungon Wresthi is a music group dedicated to preserving Bundengan’s musical instruments. This music group carries out organological creations in the form of changes and developments in Bundengan musical instruments regarding design, materials, and how to play them. There are four types of Bundengan creations, each with its function or using instruments.

Strategies of Music Learning for Children With Special Needs in Kindergarten

2024-01-02T10:05:45+07:00

Hj. Isriati Baiturrahman 2 Semarang kindergarten, which is included in the category of public schools, has differences from other public schools, namely there are children with special needs. This study aims to determine the learning process and strategies used in Hj. Israti Baiturahman 2 Semarang Kindergarten. This research uses qualitative research methods, as well as various theories for qualitative research. The result of this study was that during the music learning process, the teachers introduced and listened to several types of songs, such as regional music, to see the children’s responses. And the music learning strategy implemented at TK Hj. Isriati Baiturrahman 2 Semarang is carried out with the process of seeing, imitating, and finding. The strategy is to know the condition of children, especially children with special needs, because of each child's emotional differences. The imitation strategies that teachers use greatly help children in learning comprehension. Learning strategies make teachers more creative in learning in the classroom.

Interpretation of Jae Hee Choi: Cadenza "Clarinet Concerto No. 3 in Bb – Allegro Moderato" by Carl Philip Stamitz

2023-12-31T23:30:41+07:00

The research of Cadenza "Clarinet Concerto No. 3 in Bb – Allegro Moderato” by Carl Philipp Stamitz by Jae Hee Choi is motivated by the clarinet solo performance of a clarinetist performing the cadenza part of this concerto. The focus of this research is to find out the interpretation and technique of Jae Hee Choi's clarinet playing by analyzing the cadenza part through the interpretation and technique of playing the clarinet to be able to have a good impact in interpreting an interpretation of playing music, especially concertos in the baroque era. The method used in this research is a descriptive research method with three stages of analysis. The first stage is audio-visual analysis. The second stage rewrites the notation with the Sibelius application. The third step is to analyze the rewritten notes and make a comparison between the cadenza played by Jae Hee Choi and the original cadenza in this concerto. This research found two very important things namely; clarinet interpretation and technique. Interpretation includes interpretation of expression, rhythm, melody, and dynamics. The clarinet playing technique includes blowing techniques and fingering techniques.

Music Jaranan Turangga Yaksa in Dongko Village Trenggalek Regency (Study Ethnomusicology)

2023-12-31T23:30:42+07:00

Jaranan Turangga Yaksa is an original art from Dhongko Village, Trenggalek Regency. Turangga Yaksa is a horse with a giant head and ridden by a knight who can control amarah, syaitonah, lauamah, dan serakah. This art is the result of creations from the Baritan ceremony (bar ngarit tanduran), local people usually hold tayub parties which aim to express gratitude for the harvest they have received. In this research, Jaranan Turangga Yaksa was studied ethnomusicologically by taking several approaches, namely describing the notation, musical aspects and organology found in the musical instrument Jaranan Turangga Yaksa. The research was conducted in Dhongko Village, Trenggalek Regency. The data collection method was carried out by interviewing several sources such as Mbah Mu'an (Creator of the Jaranan Turangga Yaksa music), chairman of the Sanggar Purwo Budaya, singer, dancer, and also pengrawit. Observe the development of musical accompaniment, and also perform FGD (Forum Group Duscussion) to deepen information and data to make it more valid. The description of the musical notation used by the author includes using number notation on balungan instruments and also vocals. The use of the terms plak, dlang, dhe as notation for percussion instruments such as kendang. Writing drum notation using notasi balok, and also using symbols as another term in writing gamelan notation. From the musical aspect, Jaranan Turangga Yaksa music has its own drum beats that differentiate it from other jaranan music such as Jaranan Buto, Jaranan Senterewe, Jaranan Pegon, and Jaranan Dor.

The Application of The Creative Multiplicity: Black Box and Glass Box Stages in Songwriting Activities at PKBM Omah Dongeng Marwah

2023-12-31T23:30:43+07:00

Creativity does not start from a rational and systematic mind. Creativity multiplicity believes that creative activities and products start from an 'infinite', dynamic, accepting of possibilities, random, disorganized and chaotic thinking structure. This stage is referred to as the 'black box', which then proceeds to a leap of understanding as the mind manages the disorder. The second stage is the 'glass box', where the information in the mind only gets a rational stage through a planned process of analysis, synthesis, and evaluation. The black box and glass box creative processes of the multiplicity creativity concept were tested in songwriting activities at PKBM Omah Dongeng Marwah. The method used in this research is qualitative. The primary data came from systematic, participatory, and experimental observations of songwriting activities at PKBM Omah Dongeng Marwah. The data is summarized through the process of data analysis, synthesis and reduction. As a result, learners are more involved in a holistic and humanistic process. 11 learners aged 15-17 years at PKBM Omah Dongeng Marwah succeeded in creating original songs with their uniqueness and character, so that the process of creating songs through the stages of black box and glass box creativity was said to be successful.

Audio Test for Musicality: Designing A Technology-Based Instrument for Measuring Music Learning Outcomes

2024-01-02T09:56:01+07:00

The Musicality Assessment Test is a notation-based examination covering three concepts: ear training, listening, and reading. Due to the incorporation of these three conceptual domains, the musicality test can only be effectively conducted when the test questions are presented in audio format. The aim of this study was to innovate the testing process as a means of assessing music learning outcomes through an audio-based format. This study employed qualitative descriptive method, and utilized Sibelius and Cubase software as technological tools. The design phase began with the preparation of the structured test instrument, followed by the recording process using Sibelius software. This involved recording questions related to rhythmic, pitch, interval, melodic, scale, and harmonic notation, which were then transformed into MIDI format. Cubase software was employed for combining human voice with MIDI in the recording process. The testing instrument was meticulously crafted as an innovative product, ready for trial to measure the musicality abilities of test takers. The test tool was designed as an innovative product, poised for use in assessing the musicality skills of test takers.