Pub Date : 2023-06-30DOI: 10.15294/jsm.v12i1.61196
Muhammad Ilham Fahruddin, S. Sunarto
Music plays several significant roles in life, one of which is as a medium for healing and therapy. The objective of this study was to identify and describe the utilization of music as a therapeutic medium at the Kyai Ageng Majapahit Orphanage Foundation in Semarang. The use of music as a therapeutic medium at the Kyai Ageng Majapahit Orphanage Foundation in Semarang is evident in terms of the musical form and the application process. This study employed qualitative descriptive method. The data collection techniques included observation, interviews, and documentation. The data analysis used interactive model, and data validity was ensured through triangulation of data, sources, and time. The findings reveal that the form of music employed in music therapy activities at the Kyai Ageng Majapahit Orphanage Foundation in Semarang involves the use of tambourine musical instrument. The process of music therapy itself takes place in the school building's hall owned by the Kyai Ageng Majapahit Orphanage Foundation in Semarang, and employs specific methods and considers various crucial aspects throughout the music therapy process. The objective of music therapy activities utilizing tambourine is not only entertainment but also serves as a relaxation therapy medium for foster children, particularly those with anxiety disorders.
音乐在生活中扮演着几个重要的角色，其中之一是作为一种治愈和治疗的媒介。本研究的目的是确定和描述在三宝垄的Kyai Ageng Majapahit孤儿院基金会使用音乐作为治疗媒介的情况。在三宝垄的Kyai Ageng Majapahit孤儿院基金会，音乐作为一种治疗媒介的使用在音乐形式和应用程序方面是显而易见的。本研究采用定性描述方法。数据收集技术包括观察、访谈和记录。数据分析采用交互模型，通过数据、来源和时间的三角剖分保证数据的有效性。调查结果显示，三宝垄Kyai Ageng Majapahit孤儿院基金会在音乐治疗活动中使用的音乐形式涉及使用铃鼓乐器。音乐治疗本身的过程是在三宝朗的Kyai Ageng Majapahit孤儿院基金会拥有的学校大楼的大厅里进行的，并采用特定的方法，并考虑了整个音乐治疗过程中的各个关键方面。利用小手鼓进行音乐治疗活动的目的不仅是为了娱乐，而且还可以作为一种放松治疗的媒介，特别是对于那些有焦虑障碍的寄养儿童。
{"title":"Music as A Therapeutic Medium at Kyai Ageng Majapahit Semarang Orphanage Foundation","authors":"Muhammad Ilham Fahruddin, S. Sunarto","doi":"10.15294/jsm.v12i1.61196","DOIUrl":"https://doi.org/10.15294/jsm.v12i1.61196","url":null,"abstract":"Music plays several significant roles in life, one of which is as a medium for healing and therapy. The objective of this study was to identify and describe the utilization of music as a therapeutic medium at the Kyai Ageng Majapahit Orphanage Foundation in Semarang. The use of music as a therapeutic medium at the Kyai Ageng Majapahit Orphanage Foundation in Semarang is evident in terms of the musical form and the application process. This study employed qualitative descriptive method. The data collection techniques included observation, interviews, and documentation. The data analysis used interactive model, and data validity was ensured through triangulation of data, sources, and time. The findings reveal that the form of music employed in music therapy activities at the Kyai Ageng Majapahit Orphanage Foundation in Semarang involves the use of tambourine musical instrument. The process of music therapy itself takes place in the school building's hall owned by the Kyai Ageng Majapahit Orphanage Foundation in Semarang, and employs specific methods and considers various crucial aspects throughout the music therapy process. The objective of music therapy activities utilizing tambourine is not only entertainment but also serves as a relaxation therapy medium for foster children, particularly those with anxiety disorders. \u0000 ","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121904097","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}
Pub Date : 2023-06-30DOI: 10.15294/jsm.v12i1.67874
Muhammad Fajar Aji Dananjaya, Moh Muttaqin
Pyong Pyong Band is a pop punk band from Semarang formed on December 8, 1999. The purpose of this research was to describe and discuss the existence and the efforts of Pyong Pyong band to maintain its existence. This study used a phenomenological approach and qualitative methods. Data collection techniques were carried out through the stages of observation, interviews and documentation. Based on the results of the research and discussion, it was concluded that Pyong Pyong Band still exists today. This is evidenced by the increasing recognition by the public of the works of Pyong Pyong Band, including the number of Instagram followers which reached 3,806. Furthermore, to maintain its existence, Pyong Pyong Band makes efforts through activities by continuing to work in music, collaborating, and utilizing various social media in establishing communication with their fans as well as a medium to popularize his works.
{"title":"The Existence of Pyong Pyong Band in Semarang","authors":"Muhammad Fajar Aji Dananjaya, Moh Muttaqin","doi":"10.15294/jsm.v12i1.67874","DOIUrl":"https://doi.org/10.15294/jsm.v12i1.67874","url":null,"abstract":"Pyong Pyong Band is a pop punk band from Semarang formed on December 8, 1999. The purpose of this research was to describe and discuss the existence and the efforts of Pyong Pyong band to maintain its existence. This study used a phenomenological approach and qualitative methods. Data collection techniques were carried out through the stages of observation, interviews and documentation. Based on the results of the research and discussion, it was concluded that Pyong Pyong Band still exists today. This is evidenced by the increasing recognition by the public of the works of Pyong Pyong Band, including the number of Instagram followers which reached 3,806. Furthermore, to maintain its existence, Pyong Pyong Band makes efforts through activities by continuing to work in music, collaborating, and utilizing various social media in establishing communication with their fans as well as a medium to popularize his works.","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134304870","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}
Pub Date : 2023-06-30DOI: 10.15294/jsm.v12i1.67450
Panji Estain Siregar, Antonius Edi Nugroho
Toba Nauli is a group with a typical traditional genre of the Batak tribe with a unique way of managing the group and performing differently from other groups in general. Player substitutions happen at every event. For 8 years, Toba Nauli Music Group has been in the business of providing music services, especially Batak music. So, the question in this phenomenon is what form of management and how can the management function be applied to Toba Nauli Music Group? This study uses a qualitative descriptive method to analyze the management forms and functions of the Toba Nauli musical group and some data obtained through documentary research, observation, interviews, and documents. Data analysis techniques are performed by collecting data, presenting data, reducing data and drawing conclusions, and then checking the validity of the data by Triangulation method.The research results show that Toba Nauli Music Group has a management form, namely (1) the legal basis including the form of organizational structure, management structure, management policy, and it turns out that they have not prepared Drafting the Group Charter (AD) and Internal Regulations (ART). Music Toba Nauli; (2) Management functions include planning, organizing, monitoring, and targeting. It can be concluded that Toba Nauli Music Group has a qualified performing arts and organization management system even though there is no written AD/ART and can perform all possible management functions. maintains existence to this day.
{"title":"Batak Music Performance Management in The Toba Nauli Music Group Semarang","authors":"Panji Estain Siregar, Antonius Edi Nugroho","doi":"10.15294/jsm.v12i1.67450","DOIUrl":"https://doi.org/10.15294/jsm.v12i1.67450","url":null,"abstract":"Toba Nauli is a group with a typical traditional genre of the Batak tribe with a unique way of managing the group and performing differently from other groups in general. Player substitutions happen at every event. For 8 years, Toba Nauli Music Group has been in the business of providing music services, especially Batak music. So, the question in this phenomenon is what form of management and how can the management function be applied to Toba Nauli Music Group? This study uses a qualitative descriptive method to analyze the management forms and functions of the Toba Nauli musical group and some data obtained through documentary research, observation, interviews, and documents. Data analysis techniques are performed by collecting data, presenting data, reducing data and drawing conclusions, and then checking the validity of the data by Triangulation method.The research results show that Toba Nauli Music Group has a management form, namely (1) the legal basis including the form of organizational structure, management structure, management policy, and it turns out that they have not prepared Drafting the Group Charter (AD) and Internal Regulations (ART). Music Toba Nauli; (2) Management functions include planning, organizing, monitoring, and targeting. It can be concluded that Toba Nauli Music Group has a qualified performing arts and organization management system even though there is no written AD/ART and can perform all possible management functions. maintains existence to this day. ","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121560632","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}
This study aims to describe the structure and techniques of playing Pancula Ndeme by Justinus Hokey on classical guitar composition. This study uses a qualitative approach. The data analyzed is the sheet music of Pancula Ndeme. The results of this study indicate that the structure of this composition consists of several parts, namely Introduction – A – B – C – A – B – Coda. There are four motifs in section A (m1, m2, m3, m4), two sentences (sentences a and a'), and two themes in each sentence. Section B consists of three motifs (n1, n2, n3), two phrases (phrase b and b'), and two themes in each sentence. Section C consists of 2 motifs (o1 and o2). The guitar playing techniques contained in this composition are the right-hand technique and the left-hand technique. The right-hand techniques found in this composition include; apoyando, tirando, and strumming techniques. The left-hand techniques contained in this composition include; slur, barre, and harmonic.
本研究旨在描述Justinus Hokey在古典吉他作曲上演奏Pancula Ndeme的结构与技巧。本研究采用定性方法。所分析的数据是Pancula Ndeme的乐谱。研究结果表明，这篇作文的结构由引言- A - B - C - A - B -尾段几个部分组成。A段有四个主题(m1, m2, m3, m4)，两个句子(句子A和A’)，每个句子有两个主题。Section B由三个母题(n1, n2, n3)，两个短语(短语B和B’)和每个句子中的两个主题组成。Section C由2个基序(o1和o2)组成。这首曲子中包含的吉他演奏技巧是右手技巧和左手技巧。在这幅构图中发现的右手技巧包括;Apoyando, tirando，和弹奏技巧。这幅构图中包含的左手技法包括;污损，巴利，和声。
{"title":"Analysis of Structure and Techniques of Pancula Ndeme By Justinus Hokey on Classic Guitar Composition","authors":"Juanita Theresia Adimurti, Fery Virgiawan Tampatonda","doi":"10.15294/jsm.v12i1.66289","DOIUrl":"https://doi.org/10.15294/jsm.v12i1.66289","url":null,"abstract":"This study aims to describe the structure and techniques of playing Pancula Ndeme by Justinus Hokey on classical guitar composition. This study uses a qualitative approach. The data analyzed is the sheet music of Pancula Ndeme. The results of this study indicate that the structure of this composition consists of several parts, namely Introduction – A – B – C – A – B – Coda. There are four motifs in section A (m1, m2, m3, m4), two sentences (sentences a and a'), and two themes in each sentence. Section B consists of three motifs (n1, n2, n3), two phrases (phrase b and b'), and two themes in each sentence. Section C consists of 2 motifs (o1 and o2). The guitar playing techniques contained in this composition are the right-hand technique and the left-hand technique. The right-hand techniques found in this composition include; apoyando, tirando, and strumming techniques. The left-hand techniques contained in this composition include; slur, barre, and harmonic.","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123308822","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}
Pub Date : 2023-06-30DOI: 10.15294/jsm.v12i1.67128
Hani Setiyowati, J. Wiyoso
Studio Seni Lombang Sarwi which is located in Tuwel Village, is unique in that it has musical lessons specifically or targeted at teenagers in the village. This activity is of course as a filler for children's free time so that it is used for useful activities compared to playing gadgets and without parental supervision, it will have a negative impact. In this thesis research, researchers used a phenomenological approach and used qualitative methods. Data collection is done through observation, interviews and documentation. In the data validity technique using the triangulation technique. The results of this research are the preservation strategy used, namely by using staging media and media. Based on the results of the research and discussion related to the strategy for preserving karawitan of studio Lombang Sarwi, the following conclusions can be drawn: the strategy used by the Lombang Sarwi in the effort to preserve musical instruments is by using staging media and through visits. Through a musical performance played by teenagers, it will attract the interest of their friends to participate in playing karawitan music, this is because those who watch the performance of their friends feel motivated to be able to do the same thing. In addition to encouragement from the teenage audience, parents who have children will also be motivated because they are motivated so that their children can also have positive activities, so they advise their children to fill their free time to learn karawitan music at the Lombang Sarwi. Then by providing the best presentation when there is a visit, it is hoped that it can make the visitors interested and the most important thing is to give the impression of an interesting experience during a visit to the Lombang Sarwi Art Studio. That way the visitors after leaving the studio will bring this impression to the wider community and share their experiences during a visit to the Studio Seni Lombang Sarwi.
{"title":"Strategy of Conserving Karawitan in Studio Seni Lombang Sarwi Tuwel Village, Tegal Regency","authors":"Hani Setiyowati, J. Wiyoso","doi":"10.15294/jsm.v12i1.67128","DOIUrl":"https://doi.org/10.15294/jsm.v12i1.67128","url":null,"abstract":"Studio Seni Lombang Sarwi which is located in Tuwel Village, is unique in that it has musical lessons specifically or targeted at teenagers in the village. This activity is of course as a filler for children's free time so that it is used for useful activities compared to playing gadgets and without parental supervision, it will have a negative impact. In this thesis research, researchers used a phenomenological approach and used qualitative methods. Data collection is done through observation, interviews and documentation. In the data validity technique using the triangulation technique. The results of this research are the preservation strategy used, namely by using staging media and media. Based on the results of the research and discussion related to the strategy for preserving karawitan of studio Lombang Sarwi, the following conclusions can be drawn: the strategy used by the Lombang Sarwi in the effort to preserve musical instruments is by using staging media and through visits. Through a musical performance played by teenagers, it will attract the interest of their friends to participate in playing karawitan music, this is because those who watch the performance of their friends feel motivated to be able to do the same thing. In addition to encouragement from the teenage audience, parents who have children will also be motivated because they are motivated so that their children can also have positive activities, so they advise their children to fill their free time to learn karawitan music at the Lombang Sarwi. Then by providing the best presentation when there is a visit, it is hoped that it can make the visitors interested and the most important thing is to give the impression of an interesting experience during a visit to the Lombang Sarwi Art Studio. That way the visitors after leaving the studio will bring this impression to the wider community and share their experiences during a visit to the Studio Seni Lombang Sarwi.","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125759119","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}
Pub Date : 2023-06-30DOI: 10.15294/jsm.v12i1.69893
Abdika Taslih Amrullah, J. A. Khusyairi, E. Riyanto
This article discusses the prevailing debate regarding the phenomenon of ‘nonsense’ lyrical meaning of Asmalibrasi, a song released in 2020 by Soegi Bornean, in the scope of audience reception analysis. The analysis focuses on how the audiences interpret the process of meaning making and how they perceive the aesthetic of the song amidts the backlash to its lyrical meaning which is deemed as meaningless and nonsense. This research used qualitative approach and collected the data through semi-structured interview and virtual observation. The data are the combination of primary data collected from semi-structured interview and virtual observation on twitter and secondary data gathered from online news and online articles. The discussion of the audience’s reception is based on encoding and decoding model by Stuart Hall to analyse the audience responses. Furthermore, the overall findings were synthesized and analysed according to the concept of characteristic and aesthetic of postmodern artworks, music, by Jameson. From the study, it is shown that the aesthetic of the song Asmalibrasi is not predefined and subject to fixed perception. It is rather more varied according to the listener’s individual perception. Moreover, the song Asmalibrasi maintains its aesthetic through emanating a vibe. The vibe emanated by Asmalibrasi is also what matters for the song to be enjoyed by the listeners. In other words, listeners have their personal perspective and consideration aspects in decoding the meaning which further define how they perceive the aesthetic of the song.
{"title":"Audience Reception Analysis on the Phenomenon of ‘Nonsense’ Lyrical Meaning of Asmalibrasi by Soegi Bornean","authors":"Abdika Taslih Amrullah, J. A. Khusyairi, E. Riyanto","doi":"10.15294/jsm.v12i1.69893","DOIUrl":"https://doi.org/10.15294/jsm.v12i1.69893","url":null,"abstract":"This article discusses the prevailing debate regarding the phenomenon of ‘nonsense’ lyrical meaning of Asmalibrasi, a song released in 2020 by Soegi Bornean, in the scope of audience reception analysis. The analysis focuses on how the audiences interpret the process of meaning making and how they perceive the aesthetic of the song amidts the backlash to its lyrical meaning which is deemed as meaningless and nonsense. This research used qualitative approach and collected the data through semi-structured interview and virtual observation. The data are the combination of primary data collected from semi-structured interview and virtual observation on twitter and secondary data gathered from online news and online articles. The discussion of the audience’s reception is based on encoding and decoding model by Stuart Hall to analyse the audience responses. Furthermore, the overall findings were synthesized and analysed according to the concept of characteristic and aesthetic of postmodern artworks, music, by Jameson. From the study, it is shown that the aesthetic of the song Asmalibrasi is not predefined and subject to fixed perception. It is rather more varied according to the listener’s individual perception. Moreover, the song Asmalibrasi maintains its aesthetic through emanating a vibe. The vibe emanated by Asmalibrasi is also what matters for the song to be enjoyed by the listeners. In other words, listeners have their personal perspective and consideration aspects in decoding the meaning which further define how they perceive the aesthetic of the song.","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134464803","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}
Pub Date : 2023-06-30DOI: 10.15294/jsm.v12i1.65377
Maria Magdalena Cita Hapsari, Hafid Zuhdan Bahtiar
Christian Entertainment is a music group from Semarang that manages its management to maintain its existence and music quality. This is evidenced by the participation of Christian Entertainment in the entertainment industry and music performances, especially in wedding events, from 1999 until now. The purpose of this research was to understand and describe the performance management of Christian Entertainment and identify the factors that hinder and support the management activities carried out by the group. This research is a descriptive study with a qualitative approach. Data collection techniques employed in this study included observation, interviews, and documentation. Data validity was ensured through triangulation. Christian Entertainment, in terms of management functions, involve planning, organizing, directing, and controlling. The elements of Christian Entertainment's management include man, material, method, machine, market, and money. The management principles applied by Christian Entertainment are division of labor, delegation of rights and responsibilities, and unity of direction. The lack of a dedicated rehearsal space poses a challenge to the management activities conducted by Christian Entertainment Music Group. .
{"title":"Management of Christian Entertainment in Semarang","authors":"Maria Magdalena Cita Hapsari, Hafid Zuhdan Bahtiar","doi":"10.15294/jsm.v12i1.65377","DOIUrl":"https://doi.org/10.15294/jsm.v12i1.65377","url":null,"abstract":"Christian Entertainment is a music group from Semarang that manages its management to maintain its existence and music quality. This is evidenced by the participation of Christian Entertainment in the entertainment industry and music performances, especially in wedding events, from 1999 until now. The purpose of this research was to understand and describe the performance management of Christian Entertainment and identify the factors that hinder and support the management activities carried out by the group. This research is a descriptive study with a qualitative approach. Data collection techniques employed in this study included observation, interviews, and documentation. Data validity was ensured through triangulation. Christian Entertainment, in terms of management functions, involve planning, organizing, directing, and controlling. The elements of Christian Entertainment's management include man, material, method, machine, market, and money. The management principles applied by Christian Entertainment are division of labor, delegation of rights and responsibilities, and unity of direction. The lack of a dedicated rehearsal space poses a challenge to the management activities conducted by Christian Entertainment Music Group. \u0000.","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115792494","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}
Pub Date : 2023-06-30DOI: 10.15294/jsm.v12i1.68029
Rico Aprilliano, Bagus Susetyo
Killer of Gods, also known as KOG, has participated in events such as Rockin Solo and Jakarta. The performance style of KOG has successfully created an energetic atmosphere on stage, and captivated the audience with the use of dynamic lighting to enhance the musical experience. This research aimed to explore the performance format of the band Killer of Gods, serving as a reference for musicians and other researchers. The study employed a qualitative method with a phenomenological approach. Data collection was conducted through observation, interviews, and documentation. Data validity was ensured through triangulation. The data analysis process involved data collection, data reduction, data presentation, and drawing conclusions. The performance format of Killer of Gods consists of two aspects, namely composition and presentation. The composition aspect includes rhythm, melody, harmony, instruments, lyrics, arrangement, formation, and performance elements. Meanwhile, the presentation aspect includes stage design, sound system, lighting, makeup, performance timing, and music presentation. In addition, Killer of Gods exclusively performs their own compositions during their music performances.
Killer of Gods，也被称为KOG，曾参加过Rockin Solo和Jakarta等活动。KOG的表演风格成功地在舞台上营造了一种充满活力的氛围，并通过动态灯光的使用来增强音乐体验，吸引了观众。本研究旨在探讨“神之杀手”乐队的演出形式，以供音乐人和其他研究者参考。本研究采用现象学的定性方法。通过观察、访谈和文献资料收集数据。通过三角剖分保证数据的有效性。数据分析过程包括数据收集、数据简化、数据呈现和得出结论。《杀神者》的表演形式包括构图和呈现两个方面。作曲方面包括节奏、旋律、和声、乐器、歌词、编曲、阵型和表演元素。同时，表演方面包括舞台设计、音响系统、灯光、化妆、表演计时和音乐表演。此外，在音乐演出中，Killer of Gods还专门演奏自己的作品。
{"title":"The Performance of Killer of Gods Band in Semarang","authors":"Rico Aprilliano, Bagus Susetyo","doi":"10.15294/jsm.v12i1.68029","DOIUrl":"https://doi.org/10.15294/jsm.v12i1.68029","url":null,"abstract":"Killer of Gods, also known as KOG, has participated in events such as Rockin Solo and Jakarta. The performance style of KOG has successfully created an energetic atmosphere on stage, and captivated the audience with the use of dynamic lighting to enhance the musical experience. This research aimed to explore the performance format of the band Killer of Gods, serving as a reference for musicians and other researchers. The study employed a qualitative method with a phenomenological approach. Data collection was conducted through observation, interviews, and documentation. Data validity was ensured through triangulation. The data analysis process involved data collection, data reduction, data presentation, and drawing conclusions. The performance format of Killer of Gods consists of two aspects, namely composition and presentation. The composition aspect includes rhythm, melody, harmony, instruments, lyrics, arrangement, formation, and performance elements. Meanwhile, the presentation aspect includes stage design, sound system, lighting, makeup, performance timing, and music presentation. In addition, Killer of Gods exclusively performs their own compositions during their music performances.","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126897995","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}
Pub Date : 2023-06-30DOI: 10.15294/jsm.v12i1.70097
Riyan Hidayatullah
Formal music education often uses systematic teaching methods, a planned curriculum, leveling, organization, and standardized learning stages. From a pedagogical perspective, learning music provides a more imaginative, improvisatory learning structure besides all these standard rules. By capturing the social practice of music in the community, music scholars can enrich their academic experience and ideas about designing informal music learning in the classroom. The gitar tunggal players from Lampung may serve as ideas for those learning music formally. While they lack musical and academic literacy, they also provide useful self-learning concepts. Over the past four years, data for this study were gathered using ethnomusicological methods. Online databases were used in addition to the primary data collected through fieldwork. When designing curricula, music scholars might include the ideas of enculturation and Ethno pedagogy. A useful suggestion for enhancing formal music education is to base instruction on local culture and learn it from vernacular musicians in Lampung.
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Pub Date : 2023-06-30DOI: 10.15294/jsm.v12i1.69540
Maula Waytisi Kirana, Andrea Alberthiene, Fabiola Carissa Rusdi
Music is a means of expressing feelings and aesthetics in the human mind and heart. Through increasing human creativity, this media for expression comes in many types, one of which is program music, whose compositional construction is based on the composer's imagination to describe a character, atmosphere, or an event. Allegro of “Concerto No. 1 in E major, Op. 8, RV 269: Spring (La primavera)”, as the first movement of the program music The Four Seasons from Vivaldi, is famous for depicting the atmosphere of spring filled with birdsong, the wind blowing, to the sound of the river flowing. Therefore, this study intents to thoroughly examine those representations of this atmosphere through the deconstruction of the semiotic dimension. As an inductive qualitative research, Peirce's semiotic theory and the descriptive analysis data method are applied. Based on Peirce's semiotic theory, the description of the spring atmosphere is present in interpretant through the imitation of bird sounds, river flow, and storms; harmonic progressions, melodic motifs, musical technique ornaments, and collective structures in objects; as well as sonnets in representamen. Thus, it can be summarized that the illustration of the atmosphere in the title and sonnet is closely related to the music notation, meaning they are inseparable. In the past few years, an akin exploration that focuses on Vivaldi's works through the semiotic perspective was absent; hence, this study plays a huge part in its research contribution to the field of knowledge.
{"title":"Semiotic Dimension Deconstruction in the First Movement of \"Spring\" by Vivaldi","authors":"Maula Waytisi Kirana, Andrea Alberthiene, Fabiola Carissa Rusdi","doi":"10.15294/jsm.v12i1.69540","DOIUrl":"https://doi.org/10.15294/jsm.v12i1.69540","url":null,"abstract":"Music is a means of expressing feelings and aesthetics in the human mind and heart. Through increasing human creativity, this media for expression comes in many types, one of which is program music, whose compositional construction is based on the composer's imagination to describe a character, atmosphere, or an event. Allegro of “Concerto No. 1 in E major, Op. 8, RV 269: Spring (La primavera)”, as the first movement of the program music The Four Seasons from Vivaldi, is famous for depicting the atmosphere of spring filled with birdsong, the wind blowing, to the sound of the river flowing. Therefore, this study intents to thoroughly examine those representations of this atmosphere through the deconstruction of the semiotic dimension. As an inductive qualitative research, Peirce's semiotic theory and the descriptive analysis data method are applied. Based on Peirce's semiotic theory, the description of the spring atmosphere is present in interpretant through the imitation of bird sounds, river flow, and storms; harmonic progressions, melodic motifs, musical technique ornaments, and collective structures in objects; as well as sonnets in representamen. Thus, it can be summarized that the illustration of the atmosphere in the title and sonnet is closely related to the music notation, meaning they are inseparable. In the past few years, an akin exploration that focuses on Vivaldi's works through the semiotic perspective was absent; hence, this study plays a huge part in its research contribution to the field of knowledge.","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"89 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128757271","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}
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