Musica: Journal of Music最新文献

{"title":"Musik Militer di Kodiklat TNI AD Babakan Ciamis, Bandung (Military Music at the Kodiklat TNI AD Babakan Ciamis, Bandung)","authors":"Rahmat Akbar, Asril Asril, Gusrizal Gusrizal, Aluna Aluna","doi":"10.26887/musica.v3i1.3251","DOIUrl":"https://doi.org/10.26887/musica.v3i1.3251","url":null,"abstract":"ABSTRAKMusik militer adalah salah satu aspek penting dalam kegiatan militer di Indonesia, khususnya di Kodiklat TNI AD Babakan Ciamis, Bandung. Musik militer terdiri dari beberapa jenis dan digunakan dalam berbagai kegiatan kemiliteran, baik kegiatan sehari-hari, maupun kegiatan-kegiatan khsusus lainnya yang diselenggarakan angkatan militer. Pada penelitian ini dikasifikasikan fungsi dan tujuan musik dalam kegiatan militer, khususnya di Kodiklat TNI AD Babakan Ciamis, Bandung. Penelitian ini menggunakan metode pendekatan kualitatif deskriptif dan sumber data dari wawancara dan studi pustaka di angakatan militer Kodiklat Babakan Ciamis, Bandung. Data yang diambil dalam penelitian ini adalah jenis musik militer, tujuan, dan fungsi musik dalam kegiatan militer di Kodiklat TNI AD Babakan Ciamis, Bandung.Kata Kunci: Musik Militer; jenis musik; Fungsi ABSTRACTMilitary music is an important aspect of military activities in Indonesia, especially at the Babakan Ciamis Army Kodiklat, Bandung. Military music consists of several types and is used in various military activities, both daily activities and other special activities organized by the military. In this study, the functions and purposes of music were classified in military activities, especially in the Babakan Ciamis Army Kodiklat, Bandung. This study uses a descriptive qualitative approach and data sources from interviews and literature studies at the military training center, Babakan Ciamis Kodiklat, Bandung. The data taken in this study are the types of military music, the purpose, and the function of music in military activities at the Babakan Ciamis Army Kodiklat, Bandung.Keywords: Military Music; type of music; Function","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116874263","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 Repertoar Sonata No.1, Dondang Sayang, dan Pagan Part II pada Pertunjukan Gitar (Interpretation of the Repertoire of Sonata No.1, Dondang Sayang, and Pagan Part II on Guitar Performance)","authors":"Shoiful Machfudz, Supriando Supriando, Yon Hendri","doi":"10.26887/musica.v3i1.3471","DOIUrl":"https://doi.org/10.26887/musica.v3i1.3471","url":null,"abstract":"ABSTRAKRepertoar musik dari berbagai era seperti modern, melayu dan popular dikemas kedalam sebuah pertunjukan solis gitar dengan menggunakan kaidah pertunjukan konvensional. Repertoar dalam pertunjukan ini terdiri dari repertoar pada berbagai era. Repertoar pertama dalam pertunjukan adalah repertoar era modern atau pada abad 19 yang berjudul Sonata No.1 dengan komposer Leo Brouwer yang diciptakan pada tahun 1990, karya ini didedikasikan Leo Brouwer untuk Julian Bream. Repertor kedua adalah Dondang Sayang merupakan lagu melayu Negeri Malaka yang diciptakan oleh NN (No Name). Repertoar terakhir adalah Pagan Part II yang diciptakan oleh band Vitalism. Penyaji menginterpretasikan dan menerapkan berbagai teknik seperti arpeggio, tirando, apoyando, harmonic, rasguedo, appogiatura, sweep picking, tapping, bending, hybrid picking dan speed picking  untuk mewujudkan sebuah pertunjukan yang baik. Kata kunci: Pertunjukan; Gitar Klasik; SolisABSTRACTMusic repertoire from various eras such as modern, Malay and popular are packaged into a guitar solo performance using conventional performance conventions. The repertoire in this performance consists of repertoires from various eras. The first repertoire in the show was the repertoire of the modern era or in the 19th century entitled Sonata No.1 by composer Leo Brouwer which was created in 1990, this work was dedicated by Leo Brouwer to Julian Bream. The second repertor is Dondang Sayang, a Malay song from the State of Malacca created by NN (No Name). The last repertoire is Pagan Part II which was created by the band Vitalism. Presenters interpret and apply various techniques such as arpeggios, tirando, apoyando, harmonics, rasguedo, appogiatura, sweep picking, tapping, bending, hybrid picking and speed picking to create a good performance. Keywords: Performance; Classical Guitar; Solis ","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"19 5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130716450","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":"Nyanyian Kromong : Komposisi Musik Dua Bagian (Nyanyian Kromong : Two Part Musical Composition)","authors":"Eliza Nurbaiti, Hadaci Sidik, Nora Anggraini","doi":"10.26887/musica.v3i1.2848","DOIUrl":"https://doi.org/10.26887/musica.v3i1.2848","url":null,"abstract":"ABSTRAK Kromong adalah salah satu instrumen musik tradisional dan kesenian yang berada didaerah Setangguk Remas, desa Mandiangin Tuo, Kecamatan Mandiangin, Provinsi Jambi. Kromong memiliki idiom musik yang unik dan menarik untuk dikembangkan sebagai ide musikal dalam penciptaan komposisi musik baru. Kromong ditampilkan bersamaan dengan gong, dan gendang pada acara adat penyambutan dan kedatangan keluarga kerajaan serta para pejabat pemerintahan. Dimainkan juga pada ritual acara perkawinan, khitan, dan pengiring tari kain kromong dan serta acara kesenian lainnya. Dari salah satu potongan ritme dan melodi yang dimainkan oleh kromong pada ritual acara perkawinan, dan pengiring tari kain kromong diambil sebagai dasar terciptanya sebuah tematik komposisi musik baru yang digarap ke dalam format orkestra dengan bentuk dua bagian. Komposisi ini digarap melalui identifikasi, eksplorasi, dan eksperimentasi terhadap unsur-unsur musikal, sehingga menjadi musikal baru.Kata kunci: Kromong; komposisi; dua bagianABSTRACTKromong is one of the traditional musical instruments and arts located in Setangguk Remas area, Mandiangin Tuo village, Mandiangin district, Jambi province. Kromong has a unique and interesting musical idiom to develop as a musical idea in creating new musical compositions. Kromong is displayed along with gongs and drums during traditional welcome and arrival ceremonies by the royal family and government officials. It is also played during wedding ceremonies, circumcision ceremonies and accompanies the kromong cloth dance and other artistic events. From one of the rhythms and melodies of the kromong played at the wedding ceremony, and the accompaniment of the kromong dance was taken as the basis to create a new thematic musical piece elaborately orchestrated in the form of an orchestra. the form of two pieces of music. This composition is made possible through the identification, discovery and experimentation of musical elements, so that it becomes a new musical.Keywords:  : Kromong; composition; two parts  ","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124379310","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":"Implementasi Mode Hexatonic Scale Pada Musik Tradisional Sirompak (Implementation of Hexatonic Scale Mode in Traditional Sirompak Music)","authors":"Indra Guslian, Irwan Irwan, Nursyirwan Nursyirwan","doi":"10.26887/musica.v3i1.3511","DOIUrl":"https://doi.org/10.26887/musica.v3i1.3511","url":null,"abstract":"Penggarapan Musik Sirompak For Orchestra And Minangkabau Tradition adalah komposisi yang berangkat dari unsur musikal pada kesenian tradisional Kanagarian Taeh Kabupaten Lima Puluh Kota. Kesenian tersebut telah bertransformasi dari ritual magis menuju kesenian tradisional masyarakat Kanagarian Taeh. Unsur musikal kesenian tradisional tersebut ialah dendang dan saluang sirompak. Metode penciptaan komposisi terdiri atas empat tahap, diantaranya; persiapan, perancangan, perwujudan, dan penyajian. Tahap persiapan penciptaan diantaranya; observasi, studi pustaka, dan wawncara. Informasi yang diperoleh kemudian dirancang pada tahap perancangan. Perwujudan penciptaan komposisi ini terbagi atas beberapa tahap; transkripsi, penulisan score, orkestrasi, dan latihan praktik intrumen dalam formasi orkestra. Hasil penciptaan komposisi musik “Penggarapan Musik Sirompak For Orchestra And Minangkabau Tradition” adalah komposisi bentuk bebas dua bagian (biner). Pada setiap bagian terdiri dari periode A-B-C, dan terdiri dari beberapa sectional sebagai unit penyusun struktur komposisi. Tanda waktu yang digunakan adalah adagio, dan moderato pada tanda biarama 4/4. Harmoni yang diterapkan ialah bagian part I (in D minor) dan part I (in G minor). Penempatan dendang pada paduan suara, adalah wujud melestarikan kebudayaan pada suatu masyarakat.Kata kunci: Dendang, Sirompak, Dan Bentuk Biner ABSTRACTThe creationof Sirompak Music for Orchestraand Minangkabau Traditionis a composition that departs from musical elements in the traditional arts of Kanagarian Taeh, Fifty City District. The art has transformed from a magical ritual to the traditional arts of the Kanagarian Taeh people. The musical elements of the setraditional arts are the singing and the sirompak saluang. The composition creation method consists off ourstages, including; preparation, design, embodiment, andpresentation. The preparation stage of creation includes; observation, literature study, and interviews. The information obtained is then design edat the design stage. The embodiment of the creation of this composition is divided into several stages; transcription, score writing, orchestration, and instrument practice exercises in orchestral formations. The result of the creation of the musical composition \"The Composition of Sirompak Music For Orchestra And Minangkabau Tradition\" is a two-part (binary) free-form composition. Each section consists of periods A-B-C, and consists of several sectionals as structural units of composition. The time signature used is the adagio, and the moderato is the 4/4 monastic sign. The harmony applied is part I (in D minor) and part I (in G minor). Placement of singing in the choiris a form of preserving culture in a society.Keywords: Incident; Program Music; Multimedia Music; Sound fx; Virtual Sound Technology.","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129655372","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":"Pertunjukan Solis Gitar dengan Repertoar Concerto in D Major Rv 93, Laila Canggung, dan Ephiphany (Guitar Solis Performance with Repertoire Concerto in D Major Rv 93, Laila Awkward, and Ephiphany)","authors":"Moch Faisal Seption, Supriando Supriando, Della Rosa Panggabean, Andranofa Andranofa","doi":"10.26887/musica.v3i1.3484","DOIUrl":"https://doi.org/10.26887/musica.v3i1.3484","url":null,"abstract":"Artikel ini memuat tentang pertunjukan repertoar gitar dan analisis permainan karya seni musik instrumen gitar klasik dan elektrik dengan repertoar yang dipilih yaitu Concerto In D Major, Laila Canggung dan Ephiphany. Analisis yang dihadirkan berupa permainan teknik gitar klasik serta gitar elektrik seperti Tirando dan appoyando, Apergio Right Hand, Legato, Barrer, Palm Mute, Vibrato, Slide dan Bending, Form Musik, gaya dan genre, serta metode pertunjukan. Ketiga repertoar yang dipilih ditinjau dari tingkat kesulitan sebagai bentuk pencapaian dari hasil pembelajaran musik di kampus ISI PadangpanjangKata Kunci: Pertunjukan Solois; Teknik Gitar Klasik dan Elektrik; Repertoar; ConcertoABSTRACTThis article contains an repertoire show and analysis of the playing of classical and electric guitar instruments with the selected repertoire of Concerto In D Major, Laila Canggung and Ephiphany. The analysis presented is in the form of playing classical guitar and electric guitar techniques such as Tirando and appoyando, Right Hand Apergio, Legato, Barrer, Palm Mute, Vibrato, Slide and Bending, Music Form, style and genre, and performance methods. The three repertoires chosen are reviewed from the level of difficulty as a form of achievement from the results of music learning at the ISI Padangpanjang campus.Keywords: Soloist Performance; Classical and Electric Guitar Technique; Repertoire; Concerto","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134060933","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":"Keberadaan Musik Cenang Tigo Pada Prosesi Adat Perkawinan Di Kampung Air Meruap Kecamatan Kinali Kabupaten Pasaman Barat (The Existence of Cenang Tigo Music in Traditional Marriage Processions in Air Meruap Village, Kinali District, West Pasaman Regency)","authors":"Herni Fahtul Azizah, Emridawati Emridawati, Delfi Enida","doi":"10.26887/musica.v3i1.3569","DOIUrl":"https://doi.org/10.26887/musica.v3i1.3569","url":null,"abstract":" Penelitian ini bertujuan untuk mengetahui keberadaan, proses, dan bentuk musik tradisional cenang tigo dalam prosesi adat perkawinan maniti anak dan Pai Balimau. Penelitian ini berjenis kualitatif dengan memakai pendekatan sosiologi dan musikologi. Teknik pengumpulan data yang digunakan: studi pustaka dan studi lapangan, sedangkan teknik analisis data: reduksi data, sajian data dan penarikan kesimpulan. Hasil penelitian ini menunjukan bahwa pertunjukan musik tradisional cenang tigo keberadaannya dalam masyaraka,t karena melekat pada upacara adat sehingga sering digunakan oleh masyarakat. Para pemuka adat mewajibkan masyarakat yang melaksanakan prosesi tersebut untuk minta izin terlebih dahulu, hal ini tidak boleh dilanggar dan tidak boleh sembarangan membunyikan atau memukulnya. Secara musikalitas musik cenang tigo dimainkan oleh tiga orang pemain wanita di atas 40 tahun. Dimana masing-masing pemain bermain secara kompak dan indah menggunakan teknik interlocking yaitu melahirkan jalinan pola ritme yang berbeda dari ketiga instrumen. Adapun nada yang dimainkan oleh para pemain cenang tigo antara lain: Cenang Partamo mendekati nada (B/si), Cenang Kaduo mendekati nada (D#/re), dan Cenang Paningkah mendekati nada (G/sol).Kata Kunci : Cenang Tigo, Keberadaan, Prosesi Adat.     ABSTRACTThis study aims to determine the existence, process, and form of traditional cenang tigo music in the customary marriage procession of Maniti Anak and Pai Balimau. This research is a qualitative type using sociology and musicology approaches. Data collection techniques used: literature study and field studies, while data analysis techniques: data reduction, data presentation and conclusion. The results of this study indicate that traditional cenang tigo music performances exist in society because they are attached to traditional ceremonies so that they are often used by the community. The traditional leaders oblige the people who carry out the procession to ask for permission first, this cannot be violated and they cannot be randomly honked or hit. Musically, Cenang Tigo is played by three female players over 40 years. Where each player plays compactly and beautifully using the interlocking technique, which creates a different rhythmic pattern from the three instruments. The notes played by the tigo cenang players include: Cenang Partamo approaching the tone (B/si), Cenang Kaduo approaching the tone (D#/re), and Cenang Paningkah approaching the tone (G/sol).                                                                  Keywords: Form Of Performance, Cenang Tigo Music","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122990746","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 Hearts Sound Of Victim (Electro Acoustic Music)","authors":"Sheehan Maulana Syamah, Yusnelli Yusnelli, Bambang Wijaksana","doi":"10.26887/musica.v2i2.3034","DOIUrl":"https://doi.org/10.26887/musica.v2i2.3034","url":null,"abstract":"TThe Hearts Sound Of Victim merupakan sebuah komposisi musik multimedia yang berangkat dari sebuah fenomena sosial yaitu menjadi korban Bullying.  Penciptaan karya ini bertujuan untuk mengungkapkan pengalaman empiris menjadi sebuah karya multimedia agar kejadian bullying tidak terjadi lagi di lingkungan sosial anak-anak dan sekolah. Karya musik multimedia ini digarap dengan Elektro Akustik Musik dan pendekatan experimental musik. Metode yang digunakan dalam proses penggarapan karya ini yaitu eksplorasi, ekperimentasi dan perwujudan. Selain dari pada itu untuk menjadi acuan pengkarya menggunakan beberapa teori diantarnya teori ekperimental music, teori Elektro Akustik Musik, teori musik programa dan teori musik sound design sebagai landasan dalam proses penggarapan. Karya ini akan digarap menjadi tiga bagian karya. Bagian pertama, mengekspresikan kondisi seorang anak yang tenang belum mengalami pembulian, bagian dua mengekspresikan kegiatan pembulian sedang terjadi dan bagian tiga mengekspresikan perasaan seseorang setelah mengalami pembulian.ABSTRACTThe Hearts Sound Of Victim is a multimedia music composition that departs from a social phenomenon, namely being a victim of bullying. The creation of this work aims to reveal empirical experiences into a multimedia work so that bullying does not happen again in the social environment of children and schools. This multimedia music work is done with Electro Acoustic Music and experimental music approach. The methods used in the process of making this work are exploration, experimentation and embodiment. Apart from that, as a reference, the authors use several theories including experimental music theory, Electro Acoustic Music theory, program music theory and sound design music theory as the basis in the cultivation process. This work will be divided into three parts. The first part, expresses the condition of a calm child who has not been bullied, part two expresses the bullying activity is going on and part three expresses one's feelings after being bullied.","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"84 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134353292","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":"Struktur Musik Gual Huda-Huda dalam Ansambel Gonrang Sipitu-Pitu di Bandar Tongah Kecamatan Silau Kahean Kabupaten Simalungun (Gual Huda-Huda Music Structure in the Gonrang Sipitu-Pitu Ensemble in Bandar Tongah, Silau Kahean District, Simalungun Regency)","authors":"Ricky Nelson, Wilma Sriwulan, Yasril Adha","doi":"10.26887/musica.v2i2.2786","DOIUrl":"https://doi.org/10.26887/musica.v2i2.2786","url":null,"abstract":"GuGual Huda-Huda merupakan salah satu repertoar musik tradisi yang dimainkan dalam Ansambel Gonrang Sipitu-pitu. Gual Huda-Huda ini dimainkan oleh satu sampai dengan enam orang yang hanya dimainkan oleh laki-laki dewasa. Instrumen yang digunakan adalah Gonrang Sipitu-pitu, Ogung, Mongmongan, dan Sarunei. Ansambel Gonrang Sipitu-pitu ini merupakan musik yang mengiringi jalannya Upacara Adat Kematian Sayur Matua. Penelitian ini bertujuan untuk menganalisis struktur dan bentuk Musik Gual Huda-Huda. Metode yang digunakan dalam penelitian ini adalah metode penelitian kualitatif dengan pendekatan deskriptif analisis dengan tujuan untuk mengungkap dan mendeskripsikan tentang struktur pertunjukan dan bentuk Musik Gual Huda-Huda di Desa Bandar Tongah Kecamatan Silau Kahean Kabupaten Simalungun. Teori yang digunakan dalam penelitian Gual Huda-Huda ialah teori struktur musik Leon Stein dan Karl Edmund Prier. Hasil penelitian ini menemukan bahwa Musik Gual Huda-Huda dalam pertunjukannya terdiri dari tujuh unsur yaitu: 1) Instrumen, 2) Pemain, 3) Kostum, 4) Panggung, 5) Penonton, 6) Lagu, serta 7) Struktur dan bentuk musiknya.ABSTRACTGual Huda-Huda is one of the traditional musical repertoires played in the Gonrang Sipitu-pitu ensemble. Gual Huda-Huda is played by one to six people who are only played by adult men. The instruments used are Gonrang Sipitu-pitu, Ogung, Mongmongan, and Sarunei. The Gonrang Sipitu-pitu ensemble is the music that accompanies the Matua Vegetable Death Traditional Ceremony. This study aims to analyze the structure and form of Gual Huda-Huda Music. The method used in this study is a qualitative research method with a descriptive analysis approach with the aim of revealing and describing the structure of the performance and the form of Gual Huda-Huda Music in Bandar Tongah Village, Silau Kahean District, Simalungun Regency. The theory used in Gual Huda-Huda's research is the theory of the musical structure of Leon Stein and Karl Edmund Prier. The results of this study found that the Gual Huda-Huda Music in the performance consisted of seven elements, namely: 1) Instruments, 2) Players, 3) Costumes, 4) Stage, 5) Audience, 6) Song, and 7) The structure and form of the music.","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131565185","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 Budak Lorong dalam Perspektif Analisis Bentuk dan Kreativitas (Song Budak Lorong in the Perspective of Form Analysis and Creativity)","authors":"Rama Eko Nugroho Santoso, Achmad Wahidi, Silo Siswanto","doi":"10.26887/musica.v2i2.2628","DOIUrl":"https://doi.org/10.26887/musica.v2i2.2628","url":null,"abstract":"Melatar belakangi penelitian ini adalah pada bentuk lagu Budak Lorong, dimana lagu tersebut diminati masyarakat hal ini menunjukkan bahwa lagu tersebut memiliki unsur kreatif dari komposernya yakni Andi Lisso. Maka setelah melihat bentuk dan struktur lagu Budak Lorong mengkaji kreativitas yang termuat di dalam juga menjadi fokus dalam penelitian ini. Masalah dalam penelitian ini adalah bagaimana bentuk Lagu Budak Lorong dalam kreativitas Andi Lisso di kota Palembang dengan melihat kreativitas di dalamnya. Penelitian menggunakan metode penelitian kualitatif yang mana kerangka konseptual menjadi acuan kerja dengan berbagai pendekatan yang dilakukan untuk mendapatkan hasil analisis yang baik dan mendalam, dengan teknik pengumpulan data penelitian ini observasi, dokumentasi, dan wawancara menjadi strategi dalam pencarian jawaban permasalahan. Dengan teknik analisis data yang digunakan adalah reduksi data, penyajian data yang berbentuk audio kemudian di transkip ke dalam notasi balok. Dimana pada akhir penelitian ini mendapatkan hasil bahwa bentuk lagu Budak Lorong yakni (“(A)”, “(A’)” dan “(B)” dari setiap bagian tersebut memiliki phrase antecedent dan phrase consequent. Berdasarkan struktur tersebut kreativitas lagu Budak Lorong akan jelas terbaca sebagai lagu materi etnik Palembang (Bahasa Palembang) yang dikemas dengan keterkinian.ABSTRACTThe background of this research is the form of the song Budak Lorong, where the song is popular with the public, this shows that the song has a creative element from the composer, namely Andi Lisso. So after looking at the form and structure of the Budak Lorong song, examining the creativity contained within is also the focus of this research. The problem in this study is how the shape of the Lorong Budak Song in Andi Lisso's creativity in Palembang city by looking at the creativity in it. The research used a qualitative research method in which the conceptual framework became a work reference with various approaches taken to obtain good and in-depth analysis results, with this research data collection technique observation, documentation, and interviews became a strategy in finding answers to problems. The data analysis technique used is data reduction, the presentation of data in the form of audio is then transcribed into block notation. Where at the end of this study the results were obtained that the form of the Budak Lorong song namely (“(A)”, “(A')” and “(B)” from each of these parts had an antecedent phrase and a consequent phrase. Based on this structure, the creativity of the Budak Lorong song it will be clearly read as a song of Palembang ethnic material (Palembang language) which is packaged in an up-to-date manner.","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"102 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121984754","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":"Nilai Estetik Pertunjukan Gondang Borogong dalam Upacara Pernikahan Di Desa Kepenuhan Barat Kecamatan Kepenuhan Kabupaten Rokan Hulu (The Aesthetic Value of Gondang Borogong Performances in a Wedding Ceremony in West Kepenuhan Village, Kepenuhan District, Rokan Hulu Regency)","authors":"Rima Wanti Sabilah Hrp, Wilma Sriwulan, Emridawati Emridawati","doi":"10.26887/musica.v2i2.2802","DOIUrl":"https://doi.org/10.26887/musica.v2i2.2802","url":null,"abstract":"Penelitian ini bertujuan menyelidiki dan menganalisis bentuk pertunjukan dan nilai estetik yang muncul dalam pertunjukan Gondang Borogong pada upacara pernikahan di Desa Kepenuhan Barat, Rokan Hulu. Saat peneliti mendefenisikan dan menghasilkan data, peneliti menggunakan metode kualitatif serta menggunakan teori: estetika Djelantik dan Monroe Beardsley. Hasil penelitian ini menunjukkan bahwa pertunjukan Gondang Borogong selalu ditampilkan dalam upacara pernikahan dan dimainkan oleh lima orang pemain musik terdiri dari: satu ogong, dua gondang, dan dua calempong. Membawakan lagu wajib berjudul Nayong Lalu yang merupakan lagu persembahan sebagai pengiring silek, salah satu materi pokok dari proses penikahan. Penelitian ini juga menemukan, bahwa pertunjukan Gondang Borogong serat dengan nilai-nilai estetik antara lain: nilai estetis pemain atau seniman, nilai estetik alat musik, nilai estetik lagu, nilai estetik kostum, nilai estetik waktu dan tempat pertunjukan, serta nilai estetik penonton. Disamping itu, nilai-nilai estetik ini memiliki kesatuan hubungan yang saling bersinergi dan tidak terpisah dari pertunjukan Gondang Borogong pada upacara pernikahan.ABSTRACTThis study aims to investigate and analyze the form of performance and aesthetic values that appear in the Gondang Borogong performance at a wedding ceremony in Kepuhan Barat Village, Rokan Hulu. When researchers define and generate data, researchers use qualitative methods and apply theory: Djelantik and Monroe Beardsley aesthetics. The results of this study indicate that the Gondang Borogong performance is always performed in wedding ceremonies and is played by five musicians consisting of: one ogong, two gondang and two calempong. Performing the obligatory song titled Nayong Lalu which is a tribute song as an accompaniment to silek, one of the main materials of the marriage process. This study also found that Gondang Borogong fiber performances have aesthetic values, including: the aesthetic values of the players or artists, the aesthetic values of musical instruments, the aesthetic values of songs, the aesthetic values of costumes, the aesthetic values of the time and place of performance, and the aesthetic values of the audience. Besides that, these aesthetic values have a unified relationship that is synergized with each other and is inseparable from the Gondang Borogong performance at the wedding ceremony.","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126140003","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}