Resital Jurnal Seni Pertunjukan最新文献

{"title":"Seni Pertunjukan dan Kreativitas Kelompok Musik Setabuhan Yogyakarta Indonesia","authors":"Irfanda Rizki Harmono Sejati, Tejo Bagus Sunaryo, S. Sunarto","doi":"10.24821/resital.v23i2.7083","DOIUrl":"https://doi.org/10.24821/resital.v23i2.7083","url":null,"abstract":"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 berb","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":"90960594","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":"Orkestra sebagai Peristiwa Mediasi: Jakarta City Philharmonic, Tubuh dan Materialitas","authors":"Halida Bunga Fisandra, Aryo Danusiri","doi":"10.24821/resital.v23i1.6162","DOIUrl":"https://doi.org/10.24821/resital.v23i1.6162","url":null,"abstract":"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.","PeriodicalId":30706,"journal":{"name":"Resital Jurnal Seni Pertunjukan","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77533228","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":"Estetika Tri Mandala Dalam Komposisi Baru Pasupati: Strategi Pengembangan Wacana Keindahan dalam Karawitan","authors":"I. Ardana, Maria Goretti Indah Della Consentta","doi":"10.24821/resital.v1i1.6892","DOIUrl":"https://doi.org/10.24821/resital.v1i1.6892","url":null,"abstract":"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.","PeriodicalId":30706,"journal":{"name":"Resital Jurnal Seni Pertunjukan","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77067625","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 Pelatihan Penilaian Praktik Seni Budaya Berbasis Pergelaran bagi Guru Seni Budaya SMK di Salatiga","authors":"Rosalia Meita Widhiardanti, Ade Iriani, Wasito Hadi","doi":"10.24821/resital.v23i1.6200","DOIUrl":"https://doi.org/10.24821/resital.v23i1.6200","url":null,"abstract":"Art education is one of the major determinants in improving the skills of 21st century students. Various assessment in art education is held to create active and creative students, one of them is the performance-based arts and culture assessment. The limited ability of teachers and the lack of learning resources for teachers so that the implementation in several schools has not been implemented and is not running effectively and efficiently, so teachers need reinforcement in the form of training. This study aims to see the effect of performance-based cultural arts practice assessments training for arts and culture teachers. The training was carried out in a limited with a small sample of 5 art and culture teachers from SMKN 1, SMKN 2, SMKN 3, SMK Bhakti Nusantara Salatiga.  The research used quantitative research with a pre-experimental of One Group Pretest Posttest Design with data collection techniques in the form of interviews, documentation studies and tests. Interviews and documentation studies were conducted to analyze the needs of the training carried out. The test used to measure the teacher's understanding and knowledge of material by giving a pretest and posttest. The data analysis technique was processed by quantitative descriptive techniques by conducting the Normality Test and the Paired Samples T-Test. The results showed that the value of sig. (2-tailed) is 0.012 (< 0.050), meaning that H0 is rejected and Ha is accepted. Therefore, it can be said that there is an increase in competence between before and after the training is carried out.","PeriodicalId":30706,"journal":{"name":"Resital Jurnal Seni Pertunjukan","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86989697","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":"Interpretasi Musik Barok Pada Lagu The Trumpet Shall Shound Karya Handel","authors":"Taryadi Taryadi, Bakhrudin Latif","doi":"10.24821/resital.v23i1.6758","DOIUrl":"https://doi.org/10.24821/resital.v23i1.6758","url":null,"abstract":"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.","PeriodicalId":30706,"journal":{"name":"Resital Jurnal Seni Pertunjukan","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81257794","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":"Metode Pembelajaran Suling Laras Slendro Gaya Yogyakarta","authors":"Marsudi Marsudi","doi":"10.24821/resital.v1i1.6112","DOIUrl":"https://doi.org/10.24821/resital.v1i1.6112","url":null,"abstract":"This research is motivated by the fact that many flute players, artists, musical practitioners and students do not recognize the characteristics of the Yogyakarta style flute, so there is a tendency to abandon it. On the other hand, the Yogyakarta style flute instrument has specifications that lead to special characteristics. This study aims to provide an understanding of the Yogyakarta style flute as well as produce teaching materials for the Yogyakarta style flute as a guide for learning. This study uses two methods, namely data collection and analysis and design methods. Yogyakarta Style flute learning techniques include: knowledge of the flute, basic techniques, intermediate techniques, and advanced techniques. Knowledge of the flute includes the characteristics of the shape, blow hole, tone hole, closing tone, cengkok seleh, and the application of cengkok seleh flute Yogyakarta style. Basic techniques include mastery of blowing and closing types in finding the tone of both the slendro  barrels. Intermediate techniques include basic mastery of crooked selh, slendro barrel and pelog barrel. Advanced techniques include the application of seleh bends on the gending and lagon.","PeriodicalId":30706,"journal":{"name":"Resital Jurnal Seni Pertunjukan","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72903744","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":"Penggarapan Ulang Ilustrasi Musik Film “Jendela” Karya Randi Pratama; Studi Karya Tugas Akhir Larasati Rahma Aditiara","authors":"Maria Octavia Rosiana Dewi","doi":"10.24821/resital.v1i1.6943","DOIUrl":"https://doi.org/10.24821/resital.v1i1.6943","url":null,"abstract":"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.","PeriodicalId":30706,"journal":{"name":"Resital Jurnal Seni Pertunjukan","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79183839","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":"Penggunaan Metode Suzuki dalam Pembelajaran Biola dan Piano dengan Materi Lagu Dolanan Anak","authors":"Kristiyanto Christinus, Rianti Mardalena Pasaribu","doi":"10.24821/resital.v22i3.6163","DOIUrl":"https://doi.org/10.24821/resital.v22i3.6163","url":null,"abstract":"Lagu dolanan merupakan salah satu kekayaan budaya yang perlu dilestarikan. Banyak sekali nilai luhur yang terkandung dalam setiap syair lagu dolanan, misalnya nilai harmoni, kesederajatan sosial, standar-standar moralitas yang sangat penting. Nilai-nilai ini penting khususnya sebagai bentuk ketahanan budaya di tengan serbuan budaya asing yang makin tidak terbendung. Penggunaan lagu dolanan anak dalam belajar iringan musik memiliki dua tujuan. Pertama, dengan diterapkannya pola garapan lagu dolanan lewat eksploitasi diharapkan mampu menghasilkan nuansa baru dan memperkaya khasanah repertoar untuk biola dengan menggunakan iringan piano. Kedua, mengingat bahwa medium lagu dolanan merupakan daya tarik bagi anak-anak, maka diharapkan dengan tersedianya repertoar yang berakar dari komposisi lagu dolanan melalui instrumen biola dan iringan piano ini dapat memberikan sumbangan atau minimal dapat mengimbangi repertoar-repertoar untuk biola yang sudah tersedia. Penelitian ini menggunakan jenis penelitian kualitatif dengan pendekatan studi kasus. Teknik pengumpulan data dilakukan melalui, observasi langsung pada saat proses pembelajaran. Pembelajaran biola melalui lagu dolanan yang diciptakan oleh penulis diterapkan dengan menggunakan metode Suzuki. Metode ini memberikan panduan dalam menciptakan lingkungan ideal dan optimal bagi perkembangan kemampuan musik anak sekaligus sebagai sosialisasi nilai-nilai kultural. Penciptaan dan penelitian musik yang telah dilakukan ini menunjukkan bahwa lagu-lagu dolanan tradisional dengan pendekatan metode Suzuki dapat dipakai sebagai media belajar musik anak baik untuk instrumen biola maupun piano dengan sangat baik.","PeriodicalId":30706,"journal":{"name":"Resital Jurnal Seni Pertunjukan","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75796641","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":"Musik Bambu Wiragawi: Representasi Komodifikasi Bambu dari Hasil Strukturasi di Tiga Locus","authors":"K. Komarudin, Lalan Ramlan, Meiga Fristya Laras, Asep Ganjar Wiresta, Asep Saepudin","doi":"10.24821/resital.v22i3.6188","DOIUrl":"https://doi.org/10.24821/resital.v22i3.6188","url":null,"abstract":"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.","PeriodicalId":30706,"journal":{"name":"Resital Jurnal Seni Pertunjukan","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79005224","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":"The Children’s Songs Composition: A Contribution to Fill in The Absence of Children’s Songs in Indonesian Preschool Education","authors":"W. Wadiyo, Udi Utomo, S. Haryono, J. Wiyoso","doi":"10.24821/resital.v22i3.6826","DOIUrl":"https://doi.org/10.24821/resital.v22i3.6826","url":null,"abstract":"The song is one of the teaching media used by preschool teachers around the globe. Indonesian preschool teachers face a rising problem: the government regulates a standard curriculum where the educational song is compulsory. Yet, there is no concern to facilitate and fill in the absence of children's educational songs. This study aims to unveil the creative process of non-music education graduate teachers in composing educational songs as required by the curriculum. This study employs a qualitative design based on a case study of thirty-three teachers from eleven different preschools in Semarang, Central Java, Indonesia. The researchers analyze the preschools' curriculum, teachers' interviews, field observations, and documentation. The findings show that teachers can use their creativity to create songs with educational messages projected in a collective poetry singing performance. Poetry singing allows students' aesthetic skills development through continuous song probe and response between teachers and students.","PeriodicalId":30706,"journal":{"name":"Resital Jurnal Seni Pertunjukan","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78842008","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}