Musica: Journal of Music最新文献

{"title":"Strategi Pembelajaran Ensamble Violin Di Purwacaraka Musik Studio Padang (Violin Ensamble Learning Strategy at Purwacaraka Music Studio Padang)","authors":"Melisa Fitri Rahmadinata","doi":"10.26887/musica.v1i2.2096","DOIUrl":"https://doi.org/10.26887/musica.v1i2.2096","url":null,"abstract":"Purwacaraka Music Studio (PCMS) Padang merupakan lembaga musik nonformal yang menawarkan berbagai macam jenis les musik, salah satunya violin. Strategi pembelajaran di PCMS Padang ialah berupa les privat dengan metode satu guru satu siswa. Namun yang menjadi pembeda les di Purwacaraka dengan tempat les musik lainnya ialah adanya kegiatan ensamble untuk masing-masing instrument. Kegiatan pembelajaran secara ensamble ini merupakan kegiatan ekstra sebagai peningkatan skill siswa-siswi dalam bermain bersama. Penelitian ini memaparkan bagaimana strategi pembelajaran ensambel violin di PCMS Padang, baik dari segi metode pembelajaran dan materi yang dipelajari. Adapun strategi pembelajaran dianalisis dan dikemukakan berdasarkan metode jenis penelitian deskriptif kualitatif. Pengumpulan data penelitian dilakukan melalui tiga tahapan yaitu observasi, wawancara, dan dokumentasi. Hasil penelitian ini menjelaskan bahwa strategi pembelajaran ensambel violin di PCMS Padang menggunakan empat metode pembelajaran yaitu metode ceramah, metode demonstrasi, metode drill, dan evaluasi pembelajaran.Kata Kunci: Strategi Pembelajaran; Ensamble Violin; PCMS PadangABSTRACTPurwacaraka Music Studio (PCMS) of Padang was a non-formal music institution that had branches in almost all of Indonesia, one of them was in the city of which offered various types of music lessons, one of them was the violin. The learning strategy at PCMS Padang was in the form of private lessons with the one teacher, one student method. However, what distinguishes at Purwacaraka lessons different from other music lessons was the ensemble activity for each instrument. This ensemble learning activity was an extra activity as an increase in students' skills in playing together. This study described how the violin ensemble learning strategy at PCMS Padang, both in terms of learning methods and the material studied. The learning strategies were analyzed and put forward based on the type of qualitative descriptive research method. Research data collection was carried out through three stages, observation, interviews, and documentation. The results of this study explained that the violin ensemble learning strategy at PCMS Padang used four learning methods; the lecture method, demonstration method, drill method, and learning evaluation.Keywords: Learning Strategy; Violin Ensemble; PCMS Padang","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"44 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":"127898649","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 Danzas Espanolas Op.37, Concerto De Aranjuez, Aek Sekotak, dan Moliendo Café pada Pertunjukan Gitar (Interpretation of the Repertoire of Danzas Espanolas Op.37, Concerto De Aranjuez, Aek Sekotak, and Moliendo Café on Guitar performances)","authors":"Muhammad Egi, Supriando Supriando, Awerman Awerman","doi":"10.26887/musica.v1i2.1736","DOIUrl":"https://doi.org/10.26887/musica.v1i2.1736","url":null,"abstract":"Artikel ini memuat tentang pertunjukan musik dan interpreatsi penyaji terhadap musik yang dipertunjukkan. Pertunjukan yang disajikan berasal dari berbagai era seperti romantik, modern, melayu dan popular yang dikemas kedalam sebuah pertunjukan solis gitar dengan menggunakan kaidah pertunjukan konvensional. Repertoar pertama dalam pertunjukan adalah repertoar era romantik yang berjudul Danzas Espanolas Op.37 dengan komposer Pantaleon Enrique Joaquen Granados atau yang lebih dikenal sebagai Enrique Granados. Repertor kedua adalah Concerto De Aranjuez dengan komposer Joaquin Radrigo Radrigo yang ditampilkan dalam format orkestra. Repertoar ketiga adalah Aek Sekotak merupakan lagu melayu daerah Provinsi Jambi yang diciptakan oleh NN (No Name). Moliendo Café disajikan sebagai repertoar terakhir yang merupakan komposisi musik ciptaan komposer Venezuela Jose Manzo Perroni pada tahun 1961. Masalah dalam artikel ini adalah terkait bagaimana penyaji gitar melakukan interpretasi terhadap karya yang dimainkan. Tujuan penulisan artkel ini adalah untuk menjabarkan interpretasi penyaji untuk mewujudkan sebuah pertunjukan yang baik. Hasil dalam artikel ini berupa interpretasi penyaji terhadap seluruh komposisi musik yang dimainkan dalam pertunjukan.Kata kunci: Pertunjukan; Gitar Klasik; Solis; Teknik; InterpretasiABSTRACTThis article contains about musical performances and the interpretation of the music presenters who are performed. The shows presented are from various eras such as romantic, modern, Malay and popular which are packaged in a solo guitar performance using conventional performances. The first repertoire in the show is a repertoire-era romance entitled Danzas Espanolas Op.37 with Pantaleon composer Enrique Joaquen Granados or better known as Enrique Granados. The second repertoire is the Concerto De Aranjuez with composer Joaquin Radrigo Radrigo performed in an orchestral format. The third repertoire is Aek Sekota, a Malay song from the Jambi Province, which was created by NN (No Name). Moliendo Café is presented as the last repertoire which is a musical composition created by Venezuelan composer Jose Manzo Perroni in 1961. The problem in this article is related to how guitar presenters interpret the works played. The purpose of writing this article is to describe the interpretation of the presenter to create a good show. The results in this article are in the form of the presenter's interpretation of all musical compositions played in the show.Keywords: Performance; Classical Guitar; Solis; Technique; Interpretation","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"276 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":"121941725","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 Instrumen Musik Gondang Hasapi Oleh Grup Musik Palito Batak Toba di Kota Palembang (Gondang Hasapi Musical Instrument Playing Techniques by the Toba Batak Palito Music Group in Palembang City)","authors":"Cristina Adelia, F. Firmansyah, Rio Eka Putra","doi":"10.26887/musica.v1i2.2098","DOIUrl":"https://doi.org/10.26887/musica.v1i2.2098","url":null,"abstract":"Gondang Hasapi adalah ansambel musik yang digunakan untuk mengiringi upacara adat Batak Toba. Biasanya ansambel musik ini digunakan sebagai pengiring tari, upacara adat pernikahan, dan sebagai hiburan (Opera Batak). Gondang Hasapi pada saat ini memiliki formasi instrumen yang beragam. Alat musik yang digunakan oleh Grup Musik Palito Batak Toba pada saat permainan musik Gondang Hasapi yaitu hasapi, taganing, seruling, dan sarune etek. Tujuan dari penelitian ini adalah untuk mengetahui dan mendeskripsikan teknik permainan instrumen musik Gondang Hasapi yang terdiri dari teknik Hasapi dan Taganing oleh Grup Musik Palito Batak Toba yang masih eksis dalam kegiatan acara pesta adat pernikahan di Kota Palembang. Teknik pengumpulan data yang digunakan dalam penelitian ini adalah observasi, wawancara dan dokumentasi. Selanjutnya data yang telah dikumpulkan di analisis data dengan tahap reduksi data, penyajian data dan penarikan kesimpulan. Hasil penelitian didapatkan bahwa teknik bermain Hasapi disebut dengan teknik mamiltik (dipetik) dan taganing, yaitu teknik memainkan dengan cara memukul dengan pola permainan mangodop-odopi, manganak-anaki, dan mangarapat.Kata Kunci: Tekinik permainan; Gondang Hasapi; Palito Batak TobaABSTRACTGondang Hasapi is a musical ensemble used to accompany Toba Batak traditional ceremonies. Usually this musical ensemble is used as a dance accompaniment, traditional wedding ceremonies, and as entertainment (Batak Opera). Gondang Hasapi currently has a variety of instrument formations. The musical instruments used by the Palito Batak Toba Music Group during the Gondang Hasapi music game are hasapi, taganing, flute, and sarune etek. The purpose of this study was to determine and describe the technique of playing the Gondang Hasapi musical instrument consisting of the Hasapi and Taganing techniques by the Palito Batak Toba Music Group which still exists in traditional wedding events in Palembang City. Data collection techniques used in this study were observation, interviews and documentation. Furthermore, the data that has been collected in the data analysis with the stages of data reduction, data presentation and drawing conclusions. The results showed that the Hasapi playing technique was called the mamiltic technique (plucked) and taganing, namely the technique of playing by hitting with the pattern of playing mangodop-odopi, manganak-anaki, and mangarapat.Keywords: Playing technique; Gondang Hasapi; Palito Batak Toba","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"19 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":"122220296","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 Programa Sebagai Alternatif Pendokumentasian Peristiwa Masa Lalu (Programme Music as an Alternative for Documenting Past Events)","authors":"Vindo Alhamda Putra, Hafif Hr, A. Zaidi","doi":"10.26887/musica.v1i2.1913","DOIUrl":"https://doi.org/10.26887/musica.v1i2.1913","url":null,"abstract":"Artikel ini memuat tentang karya musik programma yang berangkat dari peristiwa galodo yang terjadi di Bukik Tui Padangpanjang pada tanggal 4 Mei 1987. Peristiwa ini terjadi pada sore menjelang magrib dan memakan korban 133 jiwa. Pengkarya menghadirkan suasana sesuai alur cerita sebelum terjadinya galodo sampai setelah terjadinya peristiwa tersebut. Konsep garapan yang dihadirkan berupa musik multimedia, dengan menggunakan software Digital Audio Workstation. Masalah dalam artikel mencakup tentang bagaimana produksi musik digital yang dalam menjadi alternatif pendokumentasian peristiwa. Metode yang digunakan pada karya ini adalah eksplorasi dan eksperimen dari sample audio yang diolah, dimana bahan bakunya bersumber dari suara sound fx dan Virtual Sound Technology (VST) dengan menggunakan Cubase Pro 10.5 sebagai wadah pengolahannya. Tujuan penulisan artikel ini adalah menjabarkan karya Music of Screen: Galodo Bukik Tui yang dapat menjadi alternatif pendokumentasian peristiwa. Hasil dari artikel ini adalah gambaran langkah kerja produksi Music of Screen: Galodo Bukik Tui sebagai alternatif pendokumentasian peristiwa.Kata kunci: Peristiwa; Musik Programma; Musik Multimedia; Sound fx; Virtual Sound TechnologyABSTRACTThis article describes a musical program that started from the Galodo incident that occurred in Bukik Tui Padangpanjang on May 4, 1987. This incident occurred at sunset and claimed 133 lives. The author presents the atmosphere according to the storyline before the Galodo event until it occurs after the event. The concept presented is in the form of multimedia music, using Digital Audio Workstation software. The problem in the article covers how digital music production is an alternative for documenting events. The method used in this work is exploration and experimentation of processed audio samples, where the raw materials are sourced from sound fx and Virtual Sound Technology (VST) using Cubase Pro 10.5 as the processing container. The purpose of writing this article is to describe the work of Music of Screen: Galodo Bukik Tui which can be an alternative for documenting events. The result of this article is an overview of the steps in the music production of Music of Screen: Galodo Bukik Tui as an alternative for documenting events.Keywords: Incident; Program Music; Multimedia Music; Sound fx; Virtual Sound Technology","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":"128903347","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":"Deteritorialisasi Khaos Melalui Permainan Musik Calempong di Nagari Unggan","authors":"Fahmi Marh, Selvi Kasman","doi":"10.26887/MUSICA.V1I1.1715.G700","DOIUrl":"https://doi.org/10.26887/MUSICA.V1I1.1715.G700","url":null,"abstract":"This article reveals the element of deterritorialization in the sub-culture of the Minangkabau community with the Deleuze concept. The concept of deterritorialization to reveal what the Minangkabau man with the title Datuak Paduko Alam did to the chaos he faced with the loss of a woman is called Mande. The female figure behind the birth of the traditional Minangkabau calempong music game in Nagari Uggan. The musical detritorialization that occurs in Minangkabau society is particularly a part of the life experiences of female calempong players in Nagari Uggan. The purpose of this research using the Deleuze concept is to reveal the past problems of calempong which have deterritorialization elements. However, this is expressed through the experiences of calempong players and stories or stories of life in society. The method used in this research is qualitative data analysis from five players who are really experienced in playing the composition of calempong in Nagari Uggan. The approach used to reveal the experiences and stories of the community is life history ethnography. The results of this study are about how the experiences of female calempong players are able to express their deterritorialization musically, as well as a new form of reading about Minangkabau traditional music problems through women.Keywords: Deterritorialization; calempong; man and woman; Minangkabau.ABSTRAKArtikel ini mengungkapkan unsur deteritorialisasi dalam sub-budaya masyarakat Minangkabau dengan konsep Deleuze. Konsep deteritorialisasi untuk mengungkapkan apa yang dilakukan laki-laki Minangkabau yang bergelar Datuak Paduko Alam terhadap khaos yang dihadapinya terhadap kehilangan perempuan yang disebut Mande. Sosok perempuan yang melatarbelakangi lahirnya permainan musik tradisional Minangkabau calempong di Nagari Unggan. Detritorialisasi yang secara musikal terjadi dalam masyakat Minangkabau secara khusus menjadi bagian dari pengalaman hidup perempuan pemain calempong di Nagari Unggan. Tujuan penelitian dengan menggunakan konsep Deleuze ini adalah untuk mengungkapkan masalah masa lalu calempong yang memiliki unsur deteritorialisasi. Namun hal itu diungkap melalui pengalaman pemain calempong dan cerita atau kisah yang hidup dalam mayarakat. Metode yang digunakan dalam penelitin ini yaitu data analisis kualitatif dari lima orang pemain yang benar-benar berpengalaman dalam memainkan komposisi calempong di Nagari Unggan. Pendekatan yang digunakan untuk mengungkapkan pengalaman dan cerita masyarakat tersebut adalah etnografi life history. Hasil dari penelitian ini adalah tentang bagaimana pengalaman perempuan pemain calempong mampu mengungkapkan deteritorialisai secara musikal, sekaligus sebagai bentuk pembacaan baru masalah musik tradisional sub-budaya Minangkabau melalui perempuan.Kata Kunci: Deteritorialisasi; calempong; laki-laki dan perempuan; Minangkabau.","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"109 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133623224","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 No 1 In A Minor, Liebesleid dan Batanghari","authors":"Seprizal Seprizal, Nora Anggaraini, M. Murniati","doi":"10.26887/MUSICA.V1I1.1721.G706","DOIUrl":"https://doi.org/10.26887/MUSICA.V1I1.1721.G706","url":null,"abstract":"This article is an article that describes how a violin soloist performs a musical performance and interprets the karaya that is played. The repertoire played in the show is Concerto No. 1 in A minor, Liebesleid, and Batanghari. The presenter dissects the interpretative aspects of playing the work so that a good musical performance is realized. This journal aims to provide an overview of the application of techniques and interpretations of violin solo play in the repertoire of Concerto No. 1 in A minor, Liebesleid, and Batanghari. The techniques used are; rubato, arpeggio, staccato, rhythm variation, vibrato, staccato, legato, and shifting. Execution of expression marks in notations such as; Ritardando, Con Espresso, Con Sentiment, and Poco Meno Mosso are studied to find the right way to play them. Each work has different characteristics and levels of difficulty, so it is very important to do interpretive research on the work before performing. The method used in the performance is related to how the music presenter designs the performance, the rehearsal process, and the techniques used to carry out the execution of the work..Keywords: Violin Solist; Aplication of Techniques; InterpretationABSTRAKArtikel ini merupakan tulisan yang menggambarkan bagaimana seorang solis violin melakukan pertunjukan musik dan interpretasi terhadap karaya yang dimainkan. Adapaun repertoar yang dimainkan dalam pertunjukan adalah Concerto No. 1 in A minor, Liebesleid, dan Batanghari. Penyaji membedah aspek-aspek insterpretatif dalam memainkan karya sehingga terwujud sebuah pertunjunkan musik yang baik. Jurnal ini bertujuan untuk memberikan gambaran tentang penerapkan teknik dan interpetasi permainan solis violin pada pertunjukan repertoar Concerto No. 1 in A minor, Liebesleid, dan Batanghari. Adapun teknik-teknik yang digunakan adalah; rubato, arpeggio, staccato, rhythm variation,vibrato, staccato, legato, dan shifting. Eksekusi terhadap tanda ekspresi dalam notasi seperti; ritardando, con espresso, con sentiment, dan poco meno mosso dikaji untuk ditemukan cara yang tepat dalam memainkannya. Setiap karya memiliki karakteristik dan tingkat kesulitan yang berbeda-beda sehingga sangat penting untuk melakukan research interpretatif terhadap karya sebelum melakukan pertunjukan. Metode yang digunakan dalam pertunjukan adalah terkait bagaimana pernyaji musik merancang pertunjukan, proses latihan, dan teknik-teknik yang digunakan untuk melakukan eksekusi terhadap karya.Kata Kunci: Solis Violin; Penerapan Teknik; Interprestasi","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"425 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116402791","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":"Identifikasi Interval Melodi Lagu Aneuk Yatim Ciptaan Rafly Kande","authors":"Surya Rahman, Rico Gusmanto","doi":"10.26887/MUSICA.V1I1.1717.G702","DOIUrl":"https://doi.org/10.26887/MUSICA.V1I1.1717.G702","url":null,"abstract":"Aneuk Yatim is a Aceh Pop song created by Rafly who is a member of the Kande Group. This group creates songs using lyrics, characters, and Aceh music instruments. The vocals of this song consist of three parts, where each part has antecedents and consequent sentences or what is known as question sentences and answer sentences. Each sentence of the song has a measurable interval. In western music theory, the intervals are in the order of Prime, Second, Terts, Quart/Kwart, Quint/Kwint, Sekt, Septim, None, Decim, Undecim, Dodecim, and Tredecim. Then, this study identifies the use of intervals using western music theory in studying and analyzing each part of the Aneuk Yatim song by Rafly Kande. This study uses a qualitative method with stages in the form of data reduction, data presentation, and looking of conclusions. Data analysis was carried out with an interactive model as a way to looking the conclusions and verify all things contained in the reduction and presentation of the data when data collection ended. The purpose of this study is to identify more deeply the tune intervals in the melody in each part of music. The result of this research is to know the shape of the interval of each melodic journey of the Aneuk Yatim song.Keywords: Aneuk Yatim; Interval; Melody; Rafly KandeABSTRAKLagu Aneuk Yatim adalah lagu Pop Aceh ciptaan Rafly yang tergabung dalam Grup Kande. Grup ini menciptakan karya lagu menggunakan lirik, karakter, dan penggunaan instrumen musik Aceh. Vokal lagu ini terdiri dari tiga bagian, dimana setiap bagian memiliki kalimat antecedents dan consequents atau yang dikenal dengan kalimat tanya dan kalimat jawab. Setiap kalimat lagu memiliki interval atau jarak nada yang dapat diukur. Dalam teori musik barat, interval tersebut memiliki urutan antara lain Prime, Second, Terts, Quart/Kwart, Quint/Kwint, Sekt, Septim, None, Decim, Undecim, Dodecim, dan Tredecim. Dengan demikian, penelitian ini mengidentifikasi penggunaan interval dengan menggunakan teori musik barat dalam mengkaji dan menganalisis setiap bagian pada lagu Aneuk Yatim karya Rafly Kande. Penelitian ini menggunakan metode kualitatif dengan tahapan berupa reduksi data, penyajian data, dan penarikan kesimpulan. Analisa data dilakukan dengan model interaktif sebagai cara untuk menarik kesimpulan dan verifikasi atas semua hal yang terdapat dalam reduksi dan sajian datanya ketika pengumpulan data berakhir. Tujuan dari penelitian ini adalah mengidentifikasi lebih dalam mengenai interval nada pada melodi dalam sebuah karya musik. Hasil dari penelitian ini adalah mengetahui bentuk jarak nada dari setiap perjalanan melodi dari lagu Aneuk Yatim.Kata Kunci: Aneuk Yatim; Interval Nada; Melodi Lagu; Rafly Kande","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116002464","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":"Sampelong Batu Putiah: Komposisi Musik untuk Orkestra","authors":"Aluna Aluna, Hadaci Sidik, Delfi Enida","doi":"10.26887/MUSICA.V1I1.1720.G705","DOIUrl":"https://doi.org/10.26887/MUSICA.V1I1.1720.G705","url":null,"abstract":"Sampleong as one of the traditional Minangkabau music that grows and develops in the Tolang Mau area, kec. Please, kab. 50 Kota has a unique and interesting musical idiom to be developed as a musical idea in the creation of new musical compositions. Sampleong is a traditional Minangkabau music performance that is performed in a duet between a singer and a sample of wind music player. At the beginning of its growth, it had a mystical feel, but along with the development of religion and culture, it turned into a function of entertainment music. This mystical atmosphere is reflected in the melodic aesthetics of the songs contained in the sampleong music. Sampleong music has several songs, one of which is Batu Putiah. In this paper, the melody of the sampleong Batu Putiah is taken as the basis for the creation of a thematic new musical composition that is worked on in an orchestral format. This material was worked out through examination of, exploration, and experimentation of musical elements, so that it became a new musical that represents the journey of Sampelong without losing the distinctiveness of Sampleong itself.Keywords: Sampelong, Batu Putiah, CompositionABSTRAKSampelong sebagai salah satu musik tradisional minangkabau yang tumbuh dan berkembang di daerah Tolang Mau, kec. Mungka, kab. 50 Kota memiliki idiom musikal yang unik dan menarik untuk dikembangkan sebagai ide musikal dalam penciptaan komposisi musik baru. Sampelong merupakan pertunjukan musik tradisional minangkabau yang ditampilkan secara duet antara penyanyi dan pemain musik tiup sampelong. Pada awal pertumbuhannya sampelong memiliki nuansa mistik, namun seiring dengan perkembangan agama dan kebudayaan, sampelong berubah fungsi menjadi musik hiburan. Suasana mistik ini tergambar dalam estetika melodi yang dimiliki oleh lagu-lagu yang terdapat pada musik sampelong. Musik sampelong memiliki beberapa lagu, salah satunya adalah Batu Putiah. Pada tulisan ini, melodi lagu sampelong Batu Putiah diambil sebagai dasar terciptanya sebuah tematik komposisi musik baru yang digarap ke dalam format orkestra. Komposisi ini digarap melalui identifikasi, eksplorasi, dan eksperimentasi terhadap unsur-unsur musikal, sehingga menjadi musikal baru yang mewakili perjalanan Sampelong tanpa menghilangkan ciri khas dari Sampelong itu sendiri.Kata Kunci: Sampelong, Batu Putiah, Komposisi","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130846281","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":"Bentuk Melodi Syair Saleum Pada Kesenian Meusifeut Sebagai Media Dakwah Di Kemukiman Lamteuba Kabupaten Aceh Besar","authors":"Berlian Denada, Husnul Khatimah","doi":"10.26887/MUSICA.V1I1.1719","DOIUrl":"https://doi.org/10.26887/MUSICA.V1I1.1719","url":null,"abstract":"Meusifeu is one of the arts in Aceh Province which is a medium of da'wah and is conveyed through poems that are formed in such a way with certain rules. Meusifeut itself is influential in spreading the teachings of Islam to the community which is later expected so that listeners can get closer to Allah and always obey His commands. The poems conveyed through Meusifeut are taken from Aceh's dhikr books, the results of the ancient teungku or ulama's compositions and also the compositions of the Meusifeut members themselves. Meusifeuut art is presented from several Arabic languages which are translated into Acehnese. Apart from being a medium of propaganda. In an era that is all about using technology like today, Acehnese arts, especially those with Islamic nuances are expected to foster a sense of knowledge and also the desire of the younger generation to always get closer to Allah SWT. The purpose of this study was to identify the melody of Saleum's poetry and to seek accurate information by directly asking the sources of Meusifeut art as a medium of da'wah in the Lamteuba settlement, Aceh Besar District, using descriptive qualitative research methods.Keywords: Meusifeut; Saleum Poetry Melody; Da’wah; Acehnese Arts; Lamteuba; Lambada.ABSTRAKMeusifeut merupakan salah satu kesenian di Provinsi Aceh yang menjadi media dakwah dan disampaikan melalui syair-syair yang dibentuk sedemikian rupa dengan aturan-aturan tertentu. Meusifeut itu sendiri berpengaruh dalam penyampaian ajaran-ajaran Islam kepada masyarakat yang nantinya diharapkan agar pendengar bisa lebih mendekatkan diri kepada Allah dan selalu taat atas segala perintahNya. Syair-syair yang disampaikan melalui Meusifeut diambil dari buku dzikir Aceh, hasil karangan teungku atau ulama pada zaman dahulu dan juga karangan dari anggota Meusifeut itu sendiri. Kesenian Meusifeut ini disajikan dari beberapa bahasa Arab yang diterjemahkan kedalam bahasa Aceh. Selain sebagai media dakwah. Di zaman yang serba menggunakan teknologi seperti sekarang ini, kesenian-kesenian Aceh khususnya yang bernuansa Islami diharapkan dapat memupuk rasa pengetahuan dan juga keinginan generasi muda agar selalu mendekatkan diri kepada Allah SWT. Tujuan dari penelitian ini adalah untuk mengidentifikasi melodi syair Saleum serta menggali informasi yang akurat dengan bertanya langsung kepada narasumber mengenai kesenian Meusifeut sebagai media dakwah di Kemukiman Lamteuba Kabupaten Aceh Besar dengan menggunakan metode penelitian kualitatif deskriptif.Kata Kunci: Meusifeut; Melodi Syair Saleum; Dakwah; Kesenian Aceh; Lamteuba; Lambada","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131459098","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":"Manajemen Sanggar Seni Saweuna Kecamatan Kuta Malaka Kabupaten Aceh Besar","authors":"Benny Andiko, Lusia Intan Permata Sari","doi":"10.26887/MUSICA.V1I1.1718.G703","DOIUrl":"https://doi.org/10.26887/MUSICA.V1I1.1718.G703","url":null,"abstract":"This study examines how the management of the Saweuna Art Studio, Kuta Malaka, Aceh Besar District. The purpose of this research is to find out how the management of the Saweuna Art Studio. This study uses a qualitative research method with a descriptive approach. The theory used is management theory by George R. Terry, which suggests the basic function of management as a dynamic process which includes planning, organizing, movement, monitoring or evaluation functions. The research results obtained in the manajement of the Saweuna Art Studio which includes: 1). Planning process by making weekly, monthy, annual, incidental and field work programs. 2). Organizing, namely in the form of division of each respective field and division of responsibilities. 3). The movement process is a process of traveling for all members of the studio in terms of training, coordination of performances and all work programs that have been determined. 4). Supervision, namely through evaluation after each routine exercise with the aim of discussing the obstacles encountered during the training process in order to pursue activities in accordance with predetermined plans.Keywords: Management; Saweuna Art Studio; Kuta MalakaABSTRAKPenelitian ini mengkaji bagaimana manajemen Sanggar Seni Saweuna Kecamatan Kuta Malaka Kabupaten Aceh Besar. Tujuan penelitian ini adalah untuk mendeskripsikan bagaimana manajemen Sanggar Seni Saweuna Kecamatan Kuta Malaka Kabupaten Aceh Besar. Penelitian ini menggunakan metode penelitian kualitatif dengan pendekatan deskriptif. Teori yang digunakan adalah teori Manajemen oleh George R. Terry, yang mengemukakan fungsi dasar manajemen sebagai proses dinamis yang meliputi fungsi-fungsi perencanaan (planning), pengorganisasian (organizing), pergerakan (actuating), pengawasan atau evaluasi (controlling). Hasil penelitian yang didapatkan dalam Manajemen Sanggar Seni Saweuna yaitu meliputi: 1). Proses Perencanaan dengan pembuatan program kerja mingguan, bulanan, tahunan, Insidental dan program kerja lapangan. 2). Pengorganisasian yaitu berupa pembagian bidang masing-masing dan tanggung jawab perdivisi. 3). Proses Pergerakan berupa proses perjalanan seluruh anggota sanggar dalam hal latihan, koordinasi pertunjukan dan segala program kerja yang telah ditetapkan. 4). Pengawasan, yaitu melalui evaluasi setiap selesai latihan rutin dengan tujuan membahas kendala yang dihadapi saat proses latihan demi mengupayakan kegiatan sesuai dengan perencanaan yang telah ditetapkan.Kata Kunci: Manajemen; Sanggar Seni Saweuna; Kuta Malaka.","PeriodicalId":349352,"journal":{"name":"Musica: Journal of Music","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123347293","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}