Resital Jurnal Seni Pertunjukan最新文献

{"title":"Membaca Praktik Musik Mamanda Kutai Lewat Ekosistem Musikal","authors":"Yofi Irvan Vivian, Bayu Arsiadhi Putra, Singgih Daru Kuncara, Jonathan Irene Sartika Dewi Max","doi":"10.24821/resital.v23i3.7408","DOIUrl":"https://doi.org/10.24821/resital.v23i3.7408","url":null,"abstract":"ABSTRACT Mamanda Kutai (Ladon) music is a crucial aspect of Mamanda Kutai's performance. This is because, without the music, Mamanda Kutai is just an ordinary drama. Mamanda is a show originating from South Kalimantan. Mamanda arrived in East Kalimantan because Kutai was one of the areas controlled by the Banjarmasin Sultanate. The heyday of Mamanda Kutai occurred when this art was performed regularly by Kutainese society (not only in the Kutai Kartanegara Ing Maradipura Sultanate as the Karesmenan Aji). In its heyday, every village in Kutai Kartanegara had Mamanda Kutai group. Nowadays, there is only one group left, namely Mamanda Panji Berseri. This study aims to find out how to preserve Mamanda Kutai music by the Mamanda performer and the government. This study used a descriptive analysis method by collecting several sources of text and interview. The sustainability of Mamanda Kutai has degenerated in terms of the existing group’s quantity. This is due to the lack of preservation of the Mamanda Kutai musical ecosystem. Some of the challenges faced by Mamanda Kutai are (1) the lack of teachers with cultural literacy; (2) the lack of economic welfare of the Kutai Mamanda performer; (3) the absence of the documentation of this art; and (4) the lack of broadcasting of Mamanda Kutai's performances. ABSTRAK Musik Mamanda Kutai (Ladon) menjadi aspek yang sangat penting pada pertunjukan Mamanda Kutai. Hal ini dikarenakan, tidak adanya Musik Mamanda Kutai maka pertunjukan ini hanya sebagai drama biasa. Mamanda merupakan pertunjukan yang berasal dari Kalimantan Selatan. Mamanda sampai di Kalimantan Timur dikarenakan Kutai menjadi salah satu daerah yang dikuasai Kesultanan Banjarmasin. Masa kejayaan Mamanda Kutai pada saat kesenian ini dipertunjukan di masyarakat (tidak hanya di Kesultanan Kutai Kartanegara Ing Maradipura sebagai Keresmenan Aji). Pada masa kejayaannya, setiap desa di Kutai Kartanegara memiliki kelompok Mamanda Kutai. Pada saat ini hanya tersisa satu kelompok saja, yaitu Mamanda Panji Berseri. Penelitian ini bertujuan untuk mengetahui cara preservasi musik Mamanda Kutai oleh pelaku dan pemerintah. Penelitian ini menggunakan metode deskriptif analisis dengan mengumpulkan beberapa sumber literasi dan data wawancara. Keberlanjutan Mamanda Kutai mengalami kemunduran dilihat dari kuantitas kelompok yang ada. Hal ini disebabkan oleh kurangnya preservasi ekosistem musikal dari Mamanda Kutai. Beberapa tantangan yang dihadapi Mamanda Kutai yaitu (1) kurangnya guru pembawa kebudayaan; (2) kurangnya kesejahteraan ekonomi para pelaku Mamanda Kutai; (3) tidak adanya pengarsipan dari kesenian ini; dan (4) kurangnya penyiaran pertunjukan Mamanda Kutai. ","PeriodicalId":30706,"journal":{"name":"Resital Jurnal Seni Pertunjukan","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81919546","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"PRIYANGGA: Sebuah Komposisi Karawitan dalam Perspektif Personal","authors":"R. Atmojo, Marsudi Marsudi, Setya Rahdiyatmi Kurnia Jatilinuar","doi":"10.24821/resital.v23i3.6405","DOIUrl":"https://doi.org/10.24821/resital.v23i3.6405","url":null,"abstract":"ABSTRACT Priyangga composition is a karawitan composition that has a specific concept of presentation which is individual presentation. A karawitan composition performance normally has a lot of supportive elements because of affected by the collective character of traditional music. Inspired by the case, the writer has an idea to create a Priyangga composition then embody it into a musical artwork. A performer will individually or simultaneously play and present all of the available musical ricikan including himself/herself as the singer. The place arrangement of the ricikan is based on function and purpose so that the performer can easily move around. The arrangement procedure to create Priyangga composition is through two steps which are (1) preparation and implementation to rehearse and improve in order to find a new musical and vocal arrangement in the karawitan sphere; (2) to create karawitan composition with the number of ricikan which will be utilized by the performer with high value musicality. ABSTRAK Komposisi Priyangga merupakan komposisi karawitan yang mempunyai spesifikasi konsep penyajian dengan penyajian oleh seorang diri. Pergelaran komposisi pada umumnya banyak melibatkan pendukung, hal tersebut dipengaruhi dari musik tradisonal yang bersifat kolektif. Berangkat dari hal tersebut maka, penulis tergugah untuk membuat komposisi Priyangga dalam bentuk perancangan karya seni. Pemain menyajikan semua ricikan yang ada, baik secara bersamaan untuk beberapa ricikan maupun satu ricikan dan sekaligus sebagai vokalis. Penataan ricikan ditata sesuai dengan fungsi dan peranannya agar pemain dapat leluasa berpindah tempat. Metode penelitian dalam menciptakan komposisi Priyangga melalui dua tahap yaitu tahap persiapan dan tahap pelaksanaan. Hasil karya menunjukkan bahwa berolah instrumen serta vokal dalam rangka mencari garapan baru dalam dunia karawitan serta menciptakan komposisi karawitan dengan menggunakan beberapa maupun banyak ricikan yang disajikan oleh seorang pemain yang terdapat rasa musikalitas dan nilai garap.","PeriodicalId":30706,"journal":{"name":"Resital Jurnal Seni Pertunjukan","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88609026","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Konsep Kempel dalam Keprakan dan Dhodhogan pada Pergelaran Wayang Golek Menak Gaya Yogyakarta","authors":"Dewanto Sukistono","doi":"10.24821/resital.v23i3.7154","DOIUrl":"https://doi.org/10.24821/resital.v23i3.7154","url":null,"abstract":"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 ga","PeriodicalId":30706,"journal":{"name":"Resital Jurnal Seni Pertunjukan","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76517018","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Pengaruh Mendengarkan Musik Terhadap Kondisi Rilaksasi","authors":"D. Djohan, Fortunata Tyasrinestu, Lady Angela Exlesia Sualang","doi":"10.24821/resital.v23i3.8337","DOIUrl":"https://doi.org/10.24821/resital.v23i3.8337","url":null,"abstract":"ABSTRACT The Impact of Listening to Music on Relaxation Condition. This study was conducted to identify the effectiveness of passively using instrumental music in stimulating subjects to reach relaxation. Music has been used for centuries in association with trance condition. Currently, the use has been developing, including in the realm of hypnosis or \"brainwashing\". The notion that music can affect listeners' self-control has become a well-known topic like the concepts of automatic responses and conditioned reflexes that form the basis of psychological models of musical stimulation. Relaxation as one of the achievements of hypnotherapy in which music has a role in the presence of 'physiological psychology' as a physical reflex phenomenon in response to sounds. The sound of gong – Indonesian traditional musical instrument – and tuning forks have been widely used to induce hypnotic trances to conditioned reflex – automatic responses to sounds that have physiological effects through the conscious mind. In the 1770s, Mesmer, a German doctor, combined the recovery process of his patients with the theory that the universe was deliberately manipulated used in health-related matters. The presence of hypnotism to gain relaxation was considered to be embodied from this treatment known as 'magnetic sleep'. The concept of magnetism was understood as a 'sympathetic vibration' which had something in common with music and it was believed that this condition can be communicated, transmitted and amplified through sounds. In subsequent developments, conventional musical instruments such as piano, violin, and harp were used which further strengthened the perspective of the previous theory. Nevertheless, hardly did the people use local traditional musical instruments or culture, such as gamelan. In this study the authors implemented experimental curation approach with one post-test design only for the same subject group. The authors picked sample consisting of adolescents with no hearing or health problems after being examined. The total sample of N = 10 were given passive musical intervention by listening through compositions of the sound sources and nuances Javanese gamelan nuances, then measurements were taken through self-report questionnaire and integrated group discussion. The results of the study indicate that attaining relaxed condition can reduce subjective stress through listening to music, thereby allowing a temporary reduction in somatic symptoms.ABSTRAK Penelitian ini dilakukan untuk mengidentifikasi efektivitas penggunaan musik instrumental secara pasif dalam menstimuli subjek agar dapat mencapai kondisi rilaksasi. Musik telah berabad lamanya digunakan dalam asosiasinya dengan kondisi trans dan saat ini pemanfaatannya makin berkembang termasuk ke ranah hypnosis atau “cuci otak”. Gagasan bahwa musik dapat memengaruhi pengendalian diri pendengar telah menjadi tema yang makin dikenal seperti konsep respons otomatis dan refleks terkondisi yang menjadi da","PeriodicalId":30706,"journal":{"name":"Resital Jurnal Seni Pertunjukan","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80456124","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Tembang Macapat Sebagai Metode Untuk Penanaman Dasar-Dasar Musikalitas","authors":"Teguh Wahyudiono, M. Mulyanto, S. Supriyadi","doi":"10.24821/resital.v23i3.7412","DOIUrl":"https://doi.org/10.24821/resital.v23i3.7412","url":null,"abstract":" 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","PeriodicalId":30706,"journal":{"name":"Resital Jurnal Seni Pertunjukan","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77347190","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Saru Pakareman: Refleksi Pengalaman Diri sebagai Practice-led Research","authors":"Rizky Fauzy Ananda, Helena Evelin Limbong, Hery Budiawan","doi":"10.24821/resital.v23i2.7328","DOIUrl":"https://doi.org/10.24821/resital.v23i2.7328","url":null,"abstract":"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","PeriodicalId":30706,"journal":{"name":"Resital Jurnal Seni Pertunjukan","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76652057","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Membangun Nasionalisme dan Patriotisme melalui Penciptaan Lagu Anak","authors":"Ayub Prasetiyo, Fahrizal Adi Nugraha","doi":"10.24821/resital.v23i2.4911","DOIUrl":"https://doi.org/10.24821/resital.v23i2.4911","url":null,"abstract":"ABSTRACT Building Nationalism and Patriotism Through the Creation of Children’s Songs. The tumult of political problems in the past few years has brought the issue of racial discrimination and the rise of horizontal conflicts in society. It can reflect how the state must reformulate policies fostering the four pillars of national life through more communicative media such as music. Music can give us deep experiences which cannot be expressed verbally. Songwriting plays an essential role in teaching and maintaining the values of nationalism and patriotism for children. The method used in this study is a qualitative research method through an experiment in creating songwriting works. In the description, it will use the point of view of autoethnography, which tries to describe the process of this research in narrating the creative efforts of making children's songs which are very subjective from the musical experience of researchers. The results of the study are expected to be able to provide awareness about music and defend the country through appreciation of song lyrics and music itself.ABSTRAK Riuh rendah masalah politik beberapa tahun ke belakang yang membawa isu sara, dan maraknya konflik horizontal di masyarakat dapat menjadi cermin bagaimana negara harus merumuskan ulang kebijakan terkait pembinaan empat pillar kehidupan berbangsa melalui media yang lebih komunikatif seperti musik. Lewat musik kita mendapat pengalaman yang begitu mendalam dan tak bisa diungkapkan secara verbal. Penciptaan lagu menjadi penting perannya guna mengajarkan dan memelihara nilai-nilai nasionalisme dan patriotisme bagi anak-anak. Metode yang digunakan dalam penelitian ini adalah metode penelitian kualitatif melalui sebuah eksprimentasi penciptaan karya cipta lagu. Dalam penjabarannya akan menggunakan sudut pandang autoethnography yang berusaha menguraikan proses penelitian ini dalam menarasikan upaya kreatif pembuatan lagu anak yang sangat subjektif dari musical experience peneliti. Hasil penelitian diharapkan mampu memberikan kesadaran tentang musik dan bela negara melalui penghayatan lirik lagu dan musik itu sendiri.","PeriodicalId":30706,"journal":{"name":"Resital Jurnal Seni Pertunjukan","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86393079","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"GITA SEWANA: Kreativitas Bunyi pada Masa Pandemi","authors":"I. G. Arsana","doi":"10.24821/resital.v23i2.7097","DOIUrl":"https://doi.org/10.24821/resital.v23i2.7097","url":null,"abstract":"ABSTRACT On December 2, 2020, the Department of Ethnomusicology, Faculty of Performing Arts, ISI Yogyakarta, showcased faculty works entitled \"Knitting the Tones of Nusantara\" (Merajut Nada Nusantara). The event was broadcasted online via YouTube. The students presented five works during the proceedings, one of which was Gita Sewana. This paper aims to elaborate on Gita Sewana as a case study related to the process of artistic creativity during the pandemic. Two subjects are explored in this research: the methods used for Gita Sewana and their application to creative work in general. The research data is taken from the author's experience during the process of Gita Sewana's creation and the video documentation of the event. The results of this study are presented through analytical and descriptive methodologies. These results demonstrate that the method used in the composition of Gita Sewana is based on the Panca Sthiti Ngawi Sani concept. The concept was applied to create Gita Sewana and adapted to the COVID-19 pandemic, referring to planning and performance activities. This work provides a model for music creation strategy during the pandemic.ABSTRAK Jurusan Etnomusikologi Fakultas Seni Pertunjukan ISI Yogyakarta pada penghujung tahun 2020, tepatnya tanggal 2 Desember, melangsungkan gelar karya dosen bertajuk “Merajut Nada Nusantara”. Kegiatan tersebut disiarkan secara daring melalui platform youtube. Ada lima karya yang ditampilkan dalam acara tersebut, salah satunya adalah Gita Sewana. Tulisan ini bertujuan untuk mengungkap karya Gita Sewana sebagai studi kasus berkaitan proses kreativitas seni pada masa pandemi. Ada dua hal yang digali dalam penelitian yaitu metode yang digunakan dalam penciptaan Gita Sewana dan aplikasinya dalam proses penciptaan karya. Data penelitian bersumber dari pengalaman pada saat proses karya Gita Sewana dan dokumentasi pertunjukan. Hasil penelitian disajikan dengan metode deskriptif analitis. Hasil penelitian menunjukkan bahwa metode yang digunakan dalam proses karya Gita Sewana adalah metode Panca Sthiti Ngawi Sani. Tahap perencanaan sampai pada tahap pertunjukan dalam metode tersebut, diaplikasikan dalam proses penciptaan karya Gita Sewana dengan beradaptasi pada situasi pandemi Covid-19, sebagai strategi penciptaan musik pada masa pandemi.","PeriodicalId":30706,"journal":{"name":"Resital Jurnal Seni Pertunjukan","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89791727","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Lagu Salam Sahabat Anak Sebagai Inspirasi Penciptaan Karya Komposisi Tari","authors":"Daruni Daruni","doi":"10.24821/resital.v23i2.7606","DOIUrl":"https://doi.org/10.24821/resital.v23i2.7606","url":null,"abstract":"ABSTRACT. The series of beautiful, rhythmic and comical tones leave an impression of joy for the listeners. Once a musical work was auditive stimulated by Studio Omah Cangkem's entitled Salam Sahabat Anak, it prompted the birth of a dance work with the same title as the accompanying music. Following the title and the song's lyrics, the dance tells about the importance of making friends with children. The dance method of Jacqueline Smith was chosen to realize this dance design with the steps of dance design starting with listening and analyzing the structure of the song, which was identified as a varied composition of instrumental and vocals. The pattern of the musical framework and vocal variations became the basis for the selection of motifs and movement patterns and their variations. The concept of Creative Dance is also an option in this dance. The design aims to realize the Sahabat Anak dance, this pure dance type, to explore simple motion motifs according to the musical pattern. It is expected this simple dance can attract children's talents and encourage children to have a new perspective in which dancing is everyone's right; dancing is to set the heart; dance is for all; dance is an element of life; dancing makes life more beautiful, and dance makes life stronger to face various situations.ABSTRAK. Rangkaian nada indah, ritmik dan komikal meninggalkan kesan suka cita bagi pendengarnya. Dirangsang secara auditif dari karya musik Studio Omah Cangkem yang berjudul Salam Sahabat Anak, mendorong lahirnya karya tari yang diberi judul sama dengan musik pengiringanya. Sesuai dengan judul dan syair lagu yang terkandung di dalamnya maka tarian ini ini menceritakan tentang pentingnya bersahabat bagi anak-anak. Metode perancangan dimulai dengan mendengarkan, menganalisis struktur lagunya yang diidentifikasi sebagai sebuah komposisi bervariasi instrumental dan vokal. Pola kerangka musik dan variasi vocal menjadi landasan pemilihan motif dan pola gerak beserta variasinya serta konsep tari kreatif juga menjadi pilihan dalam perancangan karya ini. Perwujudan karya tari Sahabat Anak, bertipe tari murni dengan mengeksplor motif gerak sederhana sesuai pola musiknya. Harapan tarian sederhana ini dapat mengundang minat bakat anak dan mendorong anak memiliki citra baru bahwa menari itu hak siapa saja, menari itu menata hati, dance for all, dance as an element of life, menari itu membuat hidup lebih indah, membuat hidup lebih kuat menghadapi aneka situasi.","PeriodicalId":30706,"journal":{"name":"Resital Jurnal Seni Pertunjukan","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76709569","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Peran Emosi dalam Interpretasi Musikal Musisi untuk Meningkatkan Kinerja Estetis: Studi Kasus Pada Pemain Cello dan Gitar","authors":"Asep Hidayat Wirayudha","doi":"10.24821/resital.v23i2.5075","DOIUrl":"https://doi.org/10.24821/resital.v23i2.5075","url":null,"abstract":"ABSTRACT The complex task in musical performance sometimes makes musicians get an unsatisfactory evaluation. On the other hand, the structural approach to music itself, which is believed to be a fundamental tool for musical interpretation, has not clear yet how its capacities could become the basis for translating written notes into musical sounds. Moreover, music is experienced not exclusively as a mere structure and sound event but also participated as a subjective event. This study, therefore, explores the role of musicians' personal experiences, particularly emotions, in shaping musical interpretation. It uses a qualitative method with a comparative approach. The approach is used to investigate how emotion can mediate the transformation of written notes into musical sounds. A comparison of two cases of interpretation on the cellist and the guitar player is held to explain if there are differences in the interpretation process of the two groups of musicians. The result of this study shows that, firstly, emotional experience gained in the socialization of everyday emotions plays an essential role in understanding music. Secondly, after musicians can apprehend the feeling in the musical structure, they can manifest them into an acoustic code that has an iconic relationship with the emotional content of the musical form. And thirdly, emotional experience posts as the basis for translating structural information into meaningful sound.ABSTRAK Rumitnya tugas atau peran pemain musik membuat musisi terkadang mendapat evaluasi yang kurang memuaskan dari pendengar. Di sisi lain, pendekatan teoritis yang diyakini dapat menjadi alat bantu untuk menginterpretasi musik belum diketahui dengan jelas bagaimana musisi dapat menjadi basis dalam menerjemahkan nada-nada tertulis menjadi bunyi musikal. Padahal, musik dialami tidak hanya ekslusif sebagai peristiwa struktural dan bunyi semata, namun juga dialami sebagai peristiwa subjektif. Oleh sebab itu, penelitian ini mengeksplorasi peran pengalaman emosi subjektif pemain dalam membentuk interpretasi musikal. Penelitian ini menggunakan metode kualitatif dengan pendekatan komparatif. Pendekatan ini digunakan untuk mempelajari bagaimana emosi dapat menjadi perantara musisi dalam mentransformasi not tertulis menjadi bunyi musikal. Komparasi dua kasus interpretasi pada pemain cello dan pemain gitar dilakukan dalam rangka melihat apakah ada kemiripan dan perbedaan dalam proses menginterpretasi pada dua kelompok musisi intrumen yang berbeda. Hasilnya ditemukan bahwa pertama, pengalaman emosi yang diperoleh dalam sosialisasi emosi sehari-hari, berperan penting dalam memahami musik yang muatannya juga sarat dengan emosi. Kedua, setelah musisi dapat menangkap emosi yang terkandung dalam struktur musikal, musisi dapat merealisasikannya menjadi kode akustik yang memiliki relasi ikonikal dengan muatan emosi struktur musikal. Ketiga, pengalaman emosi menjadi basis dalam menterjemahkan informasi struktual menjadi bunyi yang ber","PeriodicalId":30706,"journal":{"name":"Resital Jurnal Seni Pertunjukan","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85164664","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}