Musica: Journal of Music最新文献

{"title":"Re-Interpretasi Tradisi Dendang Ratok Suayan Maik Ka Turun Pada Pembuatan Komposisi “Maratok” (Re-Interpretation of Dendang Ratok Suayan Maik Ka Turun Tradition in Making the Composition of \"Maratok\")","authors":"Raissa Danuka, Hafif Hr, Andranofa Andranofa","doi":"10.26887/musica.v2i2.2896","DOIUrl":"https://doi.org/10.26887/musica.v2i2.2896","url":null,"abstract":"Maratok merupakan karya komposisi musik yang berangkat dari kesenian tradisi Dendang Ratok Suayan Maik Ka Turun yang berasal dari Nagari Suayan, Kec. Akabiluru, Kab. Limo Puluah Kota. Dendang Ratok Suayan maik ka turun merupakan ratapan yang mengisahkan tentang kesedihan atas kematian seseorang.  Ide penciptaan karya ini diambil dari aksentuasi isak yang terdapat didalam dendang ratok Suayan maik ka turun, lebih tepatnya berada pada ujung-ujung syair dendang. Sehingga aksentuasi isak diolah menjadi komposisi musik Maratok menggunakan pendekatan re-interpretasi tradisi. Komposisi Maratok digarap dalam dua bagian dengan bentuk free form menggunakan format ensamble campuran. Komposisi ini menggunakan beberapa teknik pengolahan motif seperti sequence, repetisi dan imitasi, teknik garapan komposisi musik seperti canon, serta teknik dissonansi harmoni tanpa menghilangkan ciri khas dari dendang ratok Suayan maik ka turun.ABSTRACTMaratok is a musical composition that departs from the traditional art of Dendang Ratok Suayan maik ka turun from Nagari Suayan, Kec. Akabiluru, Kab. Limo Puluah Kota. The dendang Ratok Suayan maik ka turun is a lament that tells of sadness over someone's death. The idea for the creation of this work was taken from the accentuation of isak contained in the dendang ratok Suayan maik ka turun, more precisely at the ends of the dendang poems. So that the accentuation isak is processed into a Maratok musical composition using a traditional re- interpretation approach. The Maratok composition was worked out in two parts in a free form using a mixed ensemble format. This composition uses several motif processing techniques such as sequences, repetition and imitation, musical composition techniques such as canon, as well as dissonance harmony techniques without losing the characteristics of the dendang ratok Suayan maik ka turun.","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"48 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":"131119433","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 dan Ekspresi Solis Violin: Repertoar Concerto In A Minor, Zapin Kasih dan Budi, Rangkaian Melati dan Amazing Grace (Solis Violin Interpretation and Expression: Concerto In A Minor Repertoire, Zapin Kasih dan Budi, Rangkaian Melati and Amazing Grace)","authors":"Arsenius Edi Susilo, Emridawati Emridawati, Yon Hendri, Martarosa Martarosa","doi":"10.26887/musica.v2i1.2320","DOIUrl":"https://doi.org/10.26887/musica.v2i1.2320","url":null,"abstract":"Artikel ini bertujuan untuk analisis interpretasi dan ekspresi solis violin dalam pertunjukan Concerto in A Minor, Zapin Kasih dan Budi, Rangkaian Melati dan Amazing Grace.  Arikel terkait interpretasi ini penting untuk dilakukan sebagai upaya bagi seorang penyaji dalam membawakan repertoar dengan mengedepankan aspek interpretasi terhadapa karya yang dimainkan. Repertoar Concerto in A Minor merupakan repertoar zaman barok dengan teknik yang meliputi Staccato, Appoggiatura, Arpeggio, Trill, Double Stop dan legato. Repertoar Zapin Kasih dan Budi yang tergolong musik Melayu, menggunakan teknik trio/triplet, legato dan grenek atau triller. Repertoar Rangkaian Melati yang tergolong musik keroncong, menggunakan teknik cengkok (gruppeto), gregel (mordent), mbesut (glissando), trill, Appoggiatura, Legato dan Staccato. Sedangkan repertoar Amazing Grace merupakan musik zaman barok, dengan teknik Sextuplet, Doublestop, vibrato, legato, dan arpeggio. Adapun metode yang digunakan dalam artikel ini ialah analisis interpretatif terhadap karya dalam pertunjukan. Hasil dari artikel ini menyajikan interpretasi dan ekspresi solis terhadap karya yang diwujudkan melalui pemahaman terhadap zaman, style dan teknik dari masing–masing repertoar.ABSTRACTThis article aims to analyze the interpretation and expression of the violin soloist in Concerto in A Minor, Zapin Kasih and Budi, Melati Series and Amazing Grace performances. This article related to interpretation is important to do as an effort for a presenter in bringing a repertoire by prioritizing the interpretation aspect of the work being played. The Concerto in A Minor repertoire is a baroque repertoire with techniques that include Staccato, Appoggiatura, Arpeggio, Trill, Double Stop and legato. Zapin Kasih and Budi's repertoire, which is classified as Malay music, uses trio/triplet, legato and grenek or triller techniques. The repertoire of the Melati series, which is classified as keroncong music, uses the techniques of cengkok (gruppeto), gregel (mordent), mbesut (glissando), trill, Appoggiatura, Legato and Staccato. Meanwhile, Amazing Grace's repertoire is music from the baroque era, with the techniques of Sextuplet, Doublestop, vibrato, legato, and arpeggio. The method used in this article is an interpretive analysis of works in performances. The results of this article present a solo interpretation and expression of the work that is realized through an understanding of the times, styles and techniques of each repertoire.","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126700950","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":"Proses Kreatif Organisasi STT Widya Dharma Shanti Dalam Kesenian Baleganjur di Desa Adat Nusa Agung Kecamatan Belitang III (Creative Process of STT Widya Dharma Shanti Organization in Baleganjur Arts in Nusa Agung Traditional Village, Belitang District III)","authors":"I. Sutami, Feri Firmansyah, Rio Eka Putra","doi":"10.26887/musica.v2i1.2580","DOIUrl":"https://doi.org/10.26887/musica.v2i1.2580","url":null,"abstract":"Artikel ini bertujuan untuk mengukapkan Proses Kreatif Organisasi STT Widya Dharma Shanti Dalam Kesenian Baleganjur di Desa Adat Nusa Agung Kecamatan Belitang III. Kesenian Baleganjur merupakan kesenian musik Bali yang digunakan dalam upacara keagamaan maupun non keagamaan. Instrumen musik dalam kesenian Baleganjur terbagi menjadi dua yaitu instrumen musik perkusi dan melodi dimana alat musik yang digunakan yaitu berupa Kendang Lanang, Kendang Wadon, Reong, Ceng-Ceng, Kempur, Kempli, Ponggang , Kajar, Gong. Dalam penelitian ini, peneliti menggunakan metode penelitian kualitatif. Dari penelitian didapatkan hasil yang ditemukan bahwa adanya proses kreatif yang dilakukan oleh Organisasi STT Widya Dharma Shanti dalam Kesenian Baleganjur mengenai hal-hal seperti Ide sebuah musik yang mampu memberikan suasana semangat bagi masyarakat yang akan melakukan Persembahyangan. Artikel juga menjelaskan tentang teknik permainan pada semua alat musik, dan pengembangan sebagai sebuah proses atau penciptaan karya dalam Kesenian Baleganjur untuk memotret rangkaian proses kreatif organisasi STT Widya Dharma Shanti Dalam Kesenian Baleganjur.ABSTRACThis article aims to reveal the Creative Process of the STT Widya Dharma Shanti Organization in Baleganjur Arts in the Nusa Agung Traditional Village, Belitang III District. Baleganjur art is a Balinese musical art used in religious and non-religious ceremonies. Musical instruments in Baleganjur art are divided into two, namely percussion and melodic instruments where the musical instruments used are Kendang Lanang, Kendang Wadon, Reong, Ceng-Ceng, Kempur, Kempli, Ponggang, Kajar, Gong. In this study, researchers used qualitative research methods. From the research, it was found that there was a creative process carried out by the STT Widya Dharma Shanti Organization in Baleganjur Arts regarding things such as the idea of a music that was able to provide an atmosphere of enthusiasm for people who would perform prayers. The article also describes the technique of playing on all musical instruments, and development as a process or creation of works in the Baleganjur Arts to photograph the series of creative processes of the STT Widya Dharma Shanti organization in the Baleganjur Arts.","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"2004 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114193661","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 Penyaji Solis Violin pada Pertunjukan Concerto in F Minor, Hang Tuah, dan Know You by Heart (Interpretation of the Violin Soloist at the Concerto in F Minor, Hang Tuah, and Know You by Heart Performances)","authors":"A. Febrian, M. Murniati, Hadaci Sidik","doi":"10.26887/musica.v2i1.2319","DOIUrl":"https://doi.org/10.26887/musica.v2i1.2319","url":null,"abstract":"Artikel ini bertujuan untuk memberikan gambaran mengenai interpretasi penyaji dalam memainkan karya musik, pertunjukan, dan penerapan teknik-teknik permainan violin sebagai seorang solis pada repertoar Concerto in F Minor (Winter) Antonio Vivaldi, Hang Tuah karya Husni Thamrin, dan Know You by Heart oleh Dave Koz. Adapun teknik-teknik yang dipakai dalam penyajian karya-karya tersebut antara lain; arpeggio, staccato, legato, acciaccatura, appoggiatura, dan expression. Setiap karya memiliki karakteristik dan tingkat kesulitan yang berbeda-beda baik dari aspek gaya, zaman, dan komposer. Selain itu, eksplorasi penerapan teknik yang diperoleh dari proses latihan individu menggunakan etude juga sangat dibutuhkan untuk pencapaian interpretasi dalam penerapan ekspresi terhadap karya. Interpretasi terhadap karya yang dimainkan menjadi penting agar tercipta sebuah pertunjukan yang baik. Metode yang gunakan dalam artikel ini adalah metode deskriftif interpretatif, yaitu menjabarkan secara nartif, bagaimana seorang pemain musik melakukan interpretasi terhadap karya musik yang dimainkan. Hasil yang diperoleh dalam artikel ini adalah interpretasi penyaji dalam memainkan repertoar Concerto in F Minor (Winter), Hang Tuah, dan Know You by Heart.ABSTRACTThis article aims to provide an overview of the interpretation of the presenter in playing musical works, performances, and the application of violin playing techniques as a soloist in Antonio Vivaldi's repertoire of Concerto in F Minor (Winter), Hang Tuah by Husni Thamrin, and Know You by Heart by Dave Koz. The techniques used in the presentation of these works include; arpeggio, staccato, legato, acciaccatura, appoggiatura, dan expression. Each work has different characteristics and levels of difficulty, both in terms of style, age, and composer. In addition, exploration of the application of techniques obtained from the process of individual practice using etude is also very much needed for the achievement of interpretation in the application of expression to the work. Interpretation of the work played is important in order to create a good show. The method used in this article is an interpretive descriptive method, which describes in a narrative way how a musician interprets the piece of music being played. The results obtained in this article are the interpretation of the presenters in playing the repertoire of Concerto in F Minor (Winter), Hang Tuah, and Know You by Heart.","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121833467","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":"Produksi Karya Musik “The Story of Tapa Malenggang” (Production of Musical Works \"The Story of Tapa Malenggang\")","authors":"Aby Rahman, Yon Hendri, Nora Anggraini","doi":"10.26887/musica.v2i1.2370","DOIUrl":"https://doi.org/10.26887/musica.v2i1.2370","url":null,"abstract":"Tujuan artikel ini adalah untuk menjabarkan proses kerja produksi karya musik The Story of Tapa Malenggang.Tapa Malenggang merupakan sastra lisan yang berasal dari Kabupaten Batanghari, Desa Tanjung, Maruo Provinsi Jambi. Tapa Malenggang mempunyai nama asli yaitu Mambang Diawan yang hidup dipintu langit merupakan sebuah ritual. Dalam ritual Tapa Malenggang, terdapat dendang yang dihadirkan sebagai bentuk syukur dan terima kasih atas kebaikan Tapa Malenggang yang telah menjaga kedamaian masyarakat disekitar sungai Batanghari. Pengkarya tertarik untuk mengangkat cerita Tapa Malenggang dengan mengadodpsi sepenggal melodi dendang ke dalam konsep musik elektro-akustik dan menggunakan beberapa teknik-teknik sound design. Elektro-akustik merupakan suara atau bunyi yang terdengar, tidak lagi terlihat sumber aslinya. Metode yang di gunakan dalam artikel ini adalah pengolahan elektro-akustik menggunakan beberapa teknik sound design seperti audio synthesis yang meliputi wave shape, LFO dan volume envelope. Hasil yang diperoleh dalam artikel ini adalah gambaran proses kerja dalam produksi karya musik The Story of Tapa Malenggang.ABSTRACTThe purpose of this article is to describe the work process of producing the musical work The Story of Tapa Malenggang. Tapa Malenggang is an oral literature originating from Batanghari Regency, Tanjung Village, Maruo, Jambi Province. Tapa Malenggang has a real name, namely Mambang Diawan, who lives at the door of the sky as a ritual. In the Tapa Malenggang ritual, there is a song that is presented as a form of gratitude and thanks for the kindness of Tapa Malenggang who has kept the peace of the community around the Batanghari river. The authors are interested in bringing up the story of Tapa Malenggang by adopting a piece of dendang melody into the concept of electro-acoustic music and using several sound design techniques. Electro-acoustic is a sound or sound that is heard, no longer seen the original source. The method used in this article is electro-acoustic processing using several sound design techniques such as audio synthesis which includes wave shape, LFO and volume envelope. The results obtained in this article are an overview of the work process in the production of the musical work The Story of Tapa Malenggang.","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"55 11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122865117","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 Hadroh oleh Kelompok Darus Sakinah Kertapati-Palembang (The Structure of Hadroh Music by Darus Sakinah Kertapati Group-Palembang)","authors":"R. Sanda, Silo Siswanto","doi":"10.26887/musica.v2i1.2578","DOIUrl":"https://doi.org/10.26887/musica.v2i1.2578","url":null,"abstract":"Artikel ini bertujuan untuk mengungkapkan struktur musik Hadroh oleh Kelompok Darus Sakinah Kertapati-Palembang. Kesenian Hadroh merupakan kesenian yang bernuansa islami yang berasal dari wilayah Timur Tengah, dalam pertunjukannya menggunakan alat musik perkusi sambil melantunkan sholawat kepada Nabi Muhammad SAW. Kesenian Hadroh Darus Sakinah merupakan salah satu kesenian yang berkembang di kecamatan Kertapati, kesenian musik Hadroh ini menggunakan alat musik seperti rebana, darbuka, tamborin, dan kendang bass. Lagu yang dinyanyikan mengandung pujian dan sholawat kepada Nabi Muhammad SAW, menggunakan bahasa Arab dan sesekali menggunakan bahasa Indonesia. Penelitian ini dilakukan dengan menggunakan metode penelitian kualitatif. Hasil penelitian menunjukkan bahwa struktur musik Hadroh kelompok Darus Sakinah merupakan struktur lagu tiga bagian yaitu bagian A, A’, B, dan C. ritme yang terdapat dalam lagu Ya Ahmad Habibi menggunakan tanda birama 4/4, dan  melodi yang digunakan hanya bersumber dari vokal, dalam hal ini berarti tidak ada alat musik melodis yang digunakan kelompok Darus Sakinah.ABSTRACTThis article aims to reveal the musical structure of Hadroh Hadroh by the Darus Sakinah Group. Kertapati-Palembang Hadroh art is an Islamic nuanced art originating from the Middle East region, in its performance using percussion instruments while chanting sholawat to the Prophet Muhammad SAW. Hadroh Darus Sakinah art is one of the arts that developed in Kertapati district, this Hadroh music art uses musical instruments such as tambourines, darbuka, tambourines, and bass drums. The song sung contains praise and sholawat to the Prophet Muhammad SAW, using Arabic and using Indonesian. This research was conducted using qualitative research methods. The results showed that the structure of the Hadroh music of the Darus Sakinah group is a three-part song structure, namely parts A, A', B, and C. The rhythm contained in the song Ya Ahmad Habibi uses 4/4 time signatures, and the melody used only comes from vocals. , in this case it means that there is no melodic musical instrument used by the Darus Sakinah group.","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124633616","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":"Teknik Permainan Solis Marimba dan Vibraphone pada Pertunjukan Concerto In F Mayor Autumn, Satellite Of Zapin, dan Exsplosive (Marimba and Vibraphone Solis Playing Techniques in Concerto In F Major Autumn, Satellite Of Zapin, and Explosive Performance)","authors":"Novaliano Novaliano, Andranofa Andranofa, Wilman Ismira Novatianus","doi":"10.26887/musica.v2i1.2294","DOIUrl":"https://doi.org/10.26887/musica.v2i1.2294","url":null,"abstract":"Jurnal ini bertujuan untuk memberikan gambaran mengenai pertunjukan solis marimba dengan menerapkan teknik-teknik permainan perkusi serta interpetasi sebagai seorang solis pada repertoar Concerto in F major Rv.293 op.8 no.3 Autumn (L'Autumno) karya Antonio Lucio Vivaldi, Satellite Of Zappin karya dari grup musik melayu Riau Rhythm Chambers dan Exsplosive karya Tonci Huljic yang dipopularkan oleh Bond. Adapun teknik-teknik yang dipakai dalam penyajian karya-karya  tersebut antara  lain; single stroke, double stroke, pengungkapan ekspresi dan dinamika. Metode yang penyaji gunakan dalam artikel ini adalah deskriptif analisis terhadap karya yang dimiankan baik dari aspek teknik dan proses latihan menggunakan etude Goldenberg. Eksplorasi penerapan teknik yang diperoleh dari proses latihan individu menggunakan etude digunkan untuk pencapaian interpretasi dalam penerapan ekspresi terhadap karya. Hasil dalam artikel ini adalah teknik permainan yang digunakan dalam pertunjukan serta analisis interpretatif terhadap karya yang dimainkan dalam pertunjukan solis Marimba dan Vibraphone Concerto In F Mayor Autumn, Satellite Of Zapin, dan Exsplosive.ABSTRACTThis journal aims to provide an overview of marimba solo performances by applying percussion techniques and interpretation as a soloist in the repertoire of Concerto in F major Rv.293 op.8 no.3 Autumn (L'Autumno) by Antonio Lucio Vivaldi, Satellite Of Zappin by the Malay music group Riau Rhythm Chambers and Explosive by Tonci Huljic popularized by Bond. The techniques used in the presentation of these works include; single stroke, double stroke, expression and dynamics disclosure. The method that the presenter uses in this article is descriptive analysis of the work performed both from the technical aspect, and the training process using the Goldenberg etude. Exploration of the application of techniques obtained from the individual training process using etude is used to achieve interpretation in the application of expression to the work. The results in this article are the game techniques used in the performance as well as interpretive analysis of the works played in the solo performances of Marimba and Vibraphone Concerto In F Major Autumn, Satellite Of Zapin, and Exsplosive.","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126691543","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":"Teknik Garapan dalam Komposisi Musik “The Sound of Gasiang Tangkurak” (Techniques in the Musical Composition of “The Sound of Gasiang Tangkurak”)","authors":"Andre Dwi Wibowo, Yusnelli Yusnelli, Sastra Munafri","doi":"10.26887/musica.v2i1.2310","DOIUrl":"https://doi.org/10.26887/musica.v2i1.2310","url":null,"abstract":"Artikel ini bertujuan untuk menjabarkan teknik dalam penggarapan komposisi musik multimedia yang berjudul The Sound of Gasiang Tangkurak. Gagasan komposisi musik ini berangkat dari ritual magis basirompak, yang terdapat di Nagari Taeh Baruah Kabupaten Limapuluh Kota. Musik ini digarap menjadi sebuah karya musik electroacoustic. Penggarapan karya bertujuan untuk menjabarkan Teknik dalam menggunakan software Digital Audio Workstation (DAW), Virtual Studio Tecnology (VST), midi controller, sample atau library sound dan beberapa event fx, yaitu berupa tahapan mixing seperti balancing (Volume, Panning, Autamation), Dinamic fx (Compressor, Multiband compressor, Limiter), Modulation fx ¬(Chorus, Phaser, Delay) dan Stereo Imager (Left-Right, dan Mid-Side) hinggal menghasilkan karya musik. Selain itu karya ini juga menggunakan teknik-teknik sound design, yaitu pengolahan audio shyntesis yang meliputi wave shape (sine, square, triangle, sawtooth), LFO (low frekuensi oscillator) dan juga envelope (attack, decay, sustain dan relase). Metode yang digunakan dalam karya dan dijabarkan dalam artikel ini adalah ekplorasi, eksperimentasi, dan perwujudan. Hasil dalam artikel ini berupa teknik yang digunakan dalam membuat karya musik electroacoustic berjudul The Sound of Gasiang TangkurakABSTRACTThis article aims to describe the techniques in composing a multimedia music composition entitled The Sound of Gasiang Tangkurak. The idea of this musical composition departs from the magical ritual of the basirompak, which is found in Nagari Taeh Baruah, Limapuluh Kota Regency. This music was made into a work of electroacoustic music. The purpose of this work is to describe techniques for using Digital Audio Workstation (DAW) software, Virtual Studio Technology (VST), midi controllers, sound samples or libraries and several fx events, namely in the form of mixing stages such as balancing (Volume, Panning, Authentication), Dynamic fx (Compressor, Multiband compressor, Limiter), Modulation fx (Chorus, Phaser, Delay) and Stereo Imager (Left-Right, and Mid-Side) to produce music. In addition, this work also uses sound design techniques, namely audio synthesis processing which includes wave shape (sine, square, triangle, sawtooth), LFO (low frequency oscillator) and envelope (attack, decay, sustain and release). The methods used in this work and described in this article are exploration, experimentation, and embodiment. The results in this article are the techniques used in making electroacoustic music entitled The Sound of Gasiang Tangkurak.","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"3 10","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133205411","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":"Brainwave Stimulation: Konsep Binaural Beats dalam Produksi Musik Digital (Brainwave Stimulation: The Concept of Binaural Beats in Digital Music Production)","authors":"Yos Hendra, Ganesh Hariamansyah","doi":"10.26887/musica.v1i2.2097","DOIUrl":"https://doi.org/10.26887/musica.v1i2.2097","url":null,"abstract":"Brainwave Stimulation merupakan karya musik digital yang berangkat dari objek material klasifikasi frekuensi gelombang otak manusia yang dikenal dengan nama Brainwave. Frekuensi Brainwave tersebut diolah dengan konsep Binaural Beats audio. Konsep Binaural Beats digunakan sebagai media replikasi bunyi dari klasifikasi frekuensi Brainwave. Karya ini menghadirkan bunyi dari beberapa klasifikasi Brainwave yang terdiri dari frekuensi dalam range Alpha, Betha, Theta, dan Delta serta dipadukan dengan musik yang konsep penciptaannya diambil dari idiom musik minimalis dalam bentuk  free form. Penggarapan karya dilakukan sepenuhnya dengan menggunakan software DAW Presonus Studio One 5 dan berbagai VSTi serta samplepack tanpa menggunakan record audio terhadap instrumen musik, dan sumber suara lainnya. Masalah dalam penggarapan karya ini adalah bagaimana cara memproduksi musik digital dengan konsep Binaural Beats. Artikel karya Brainwave Stimulation ini bertujuan untuk mengurai langkah kerja yang digunakan dalam produksi musik digital dengan menggunakan konsep Binaural Beats. Metode yang digunakan dalam penggarapan karya adalah eksplorasi, eksperimen, dan perwujudan. Hasil dari artikel ini merupakan sebuah karya seni musik digital dengan judul Brainwave Stimulation.Kata Kunci: Brainwave Stimulation; Binaural Beats; Musik DigitalABSTRACTBrainwave Stimulation is a digital musical work that departs from the object of classifying the frequency of human brain waves known as Brainwave. Brainwave frequencies are processed with the concept of Binaural Beats audio. The concept of Binaural Beats is used as a medium for sound replication from Brainwave frequency classification. This work presents sounds from several Brainwave classifications consisting of frequencies in the Alpha, Betha, Theta, and Delta ranges and is combined with music whose concept of creation is taken from minimalist music idioms in free form. The work is done entirely using the DAW Presonus Studio One five software and various VSTi and sample packs without audio recordings of musical instruments and other sound sources. The problem in working on this work is how to produce digital music with the concept of Binaural Beats. This article by Brainwave Stimulation aims to describe the work steps used in digital music production using the concept of Binaural Beats. The methods used in the production of the work are exploration, experimentation, and embodiment. The result of this article is a digital music artwork with the title Brainwave Stimulation.Keywords: Brainwave Stimulation; Binaural Beats; Digital Music","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114895810","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":"Fungsi Musik pada Film Tenggelamnya Kapal Van Der Wijck (The Function of Music in the Sinking of the Van Der Wijck Ship)","authors":"Abdul Rozak, Haria Nanda Pratama","doi":"10.26887/musica.v1i2.2101","DOIUrl":"https://doi.org/10.26887/musica.v1i2.2101","url":null,"abstract":"Suara atau musik merupakan salah satu untur sinematik pada film, musik menjadi hal terpenting dalam membangun efek dramatis pada setiap adegan pada film untuk mempengaruhi mood penonton. Artinya musik pada film merepresentasikan efek pendengaran terhadap pengalaman visual. Objek material pada penelitian ini yaitu Film Tenggelamnya Kapal Van Der Wijck, sedangkan objek formal yaitu fungsi musik yang menjadi pendukung dalam membangun suasana serta mempengaruhi mood penonton. Tujuan Penelitian ini adalh untuk mengetahui fungsi musik dalam film Tenggelamnya Kapal Van Der Wijck. Metode penelitian yang digunakan pada penelitian ini berupa metode kualitatif. Hasil dari penelitian ini antara lain menutup suara yang tak diinginkan (noise); menjaga kesinambungan antar shots; menuntun perhatian kepada hal-hal penting dalam film melalui struktur atau hal-hal yang kongruen; mempengaruhi perasaan meskipun digunakan untuk mengiringi hal yang tidak berhubungan (dengan emosi); menyampaikan maksud kelanjutan cerita, khususnya dalam situasi (adegan) yang membingungkan; berintegrasi dengan film dan memungkinkan simbolisasi terhadap masa lalu dan masa depan melalui teknik leitmotiv; meningkatkan rasa nyata dari sebuah film; dan menambah nilai seni dari sebuah film.Kata Kunci: Fungsi; Musik; Film Tenggelamnya Kapal Van Der WijckABSTRACTSound or music is one of the cinematic elements in the film, music is the most important thing in building a dramatic effect on every scene in the film to affect the mood of the audience. This means that the music in the film represents the auditory effect on the visual experience. The material object in this study is the film Tenggelamnya Kapal Van Der Wijck, while the formal object is the function of music which is a supporter in building the atmosphere and influencing the mood of the audience. The purpose of this study was to determine the function of music in the film Tenggelamnya Kapal Van Der Wijck. The research method used in this study is a qualitative method. The results of this study include closing unwanted sounds (noise); maintain continuity between shots; directing attention to important things in the film through congruent structures or things; affect feelings even if used to accompany things that are not related (with emotions); convey the meaning of the continuation of the story, especially in a confusing situation (scene); integrates with film and enables symbolization of the past and future through leitmotiv techniques; enhance the real feel of a film; and add to the artistic value of a film.Keywords: Function; Music; The Tenggelamnya Kapal Van Der Wijck Movie","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129813979","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}