Pub Date : 2022-12-31DOI: 10.15294/jsm.v11i2.63113
Alexander Eko Purnomo, Setyo Yanuartuti, I. N. Mariasa, Y. Yermiandhoko
A traditional music group from the Banyuwangi region with unique qualities is called Gamelan Banyuwangi. The peculiar laras known as the slendro sliring that distinguishes the Banyuwangi gamelan from other gamelan is one of its distinguishing features. The laras slendro sliring, however, became less common as time went on due to changes. This study set out to identify the variables that affected how the laras slendro changed in relation to the Banyuwangi gamelan. Descriptive qualitative research methodology was employed in this study. The laras on the Banyuwangi gamelan serve as the study's formal and material objects, respectively, together with the notion of change. Secondary information was gathered from records, such as old music videos and some pictures of previous forms of gamelan music. Data collection techniques used in this study include observation, interviews, and document studies. To get the validity of the data the author triangulated the sources. The analysis technique used by the author includes data reduction, data presentation, and drawing conclusions. The results of the study, there are two factors that affect the change in the laras of the Banyuwangi gamelan slendro, namely changes in evolution and acculturation. Evolutionary changes occur in the decrease in the tone of the laras slendro sliring to the slendro that is used today because the younger generation cannot follow the use of the laras slendro sliring so there is an evolution in Banyuwangi gamelan music. Second, there are changes due to acculturation factors that occur during tuning, so Banyuwangi gamelan craftsmen use standard Western music tuners to make tuning easier.
{"title":"Laras Slendro In Traditional Music Gamelan Banyuwangi Changes","authors":"Alexander Eko Purnomo, Setyo Yanuartuti, I. N. Mariasa, Y. Yermiandhoko","doi":"10.15294/jsm.v11i2.63113","DOIUrl":"https://doi.org/10.15294/jsm.v11i2.63113","url":null,"abstract":"A traditional music group from the Banyuwangi region with unique qualities is called Gamelan Banyuwangi. The peculiar laras known as the slendro sliring that distinguishes the Banyuwangi gamelan from other gamelan is one of its distinguishing features. The laras slendro sliring, however, became less common as time went on due to changes. This study set out to identify the variables that affected how the laras slendro changed in relation to the Banyuwangi gamelan. Descriptive qualitative research methodology was employed in this study. The laras on the Banyuwangi gamelan serve as the study's formal and material objects, respectively, together with the notion of change. Secondary information was gathered from records, such as old music videos and some pictures of previous forms of gamelan music. Data collection techniques used in this study include observation, interviews, and document studies. To get the validity of the data the author triangulated the sources. The analysis technique used by the author includes data reduction, data presentation, and drawing conclusions. The results of the study, there are two factors that affect the change in the laras of the Banyuwangi gamelan slendro, namely changes in evolution and acculturation. Evolutionary changes occur in the decrease in the tone of the laras slendro sliring to the slendro that is used today because the younger generation cannot follow the use of the laras slendro sliring so there is an evolution in Banyuwangi gamelan music. Second, there are changes due to acculturation factors that occur during tuning, so Banyuwangi gamelan craftsmen use standard Western music tuners to make tuning easier.","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"215 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121533236","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 : 2022-12-31DOI: 10.15294/jsm.v11i2.59552
Hendrik Lenama
Haleluya Music Course Institute is a music course intitute located in Kupang, East Nusa Tenggara province which provides Sasando lessons and opportunities for students to take part in Sasando performances at festivals, government events and other events. This study aimed to investigate the history and enculturation of Sasando performances. The qualitative research method was implemented with these data collecting techniques, i.e., observation, interview, documentation and document study. The results of the initial research showed the functions of Sasando as an auxiliary, support or accompanist in a poetry reading (Sasando gives life to the poem being read). Mr. Djony Theedens is interested to develop the use of Sasando through a course institute to bestow the musical instrument for the younger generations and avoid its extinction. It is done through the teaching of this instrument from the older generation to the younger one. The teaching is done to prevent its extinction and pass on the knowledge to future generations. Apart from that, the enculturation process of Sasando is also carried out through Sasando performances by the students from the course institute. Through the performances, the enculturation of Sasando occurs. Further, the distribution of cultural values also happens through the performances.
{"title":"The Enculturation Sasando At Haleluya Music Course Institute East Nusa Tenggara","authors":"Hendrik Lenama","doi":"10.15294/jsm.v11i2.59552","DOIUrl":"https://doi.org/10.15294/jsm.v11i2.59552","url":null,"abstract":"Haleluya Music Course Institute is a music course intitute located in Kupang, East Nusa Tenggara province which provides Sasando lessons and opportunities for students to take part in Sasando performances at festivals, government events and other events. This study aimed to investigate the history and enculturation of Sasando performances. The qualitative research method was implemented with these data collecting techniques, i.e., observation, interview, documentation and document study. The results of the initial research showed the functions of Sasando as an auxiliary, support or accompanist in a poetry reading (Sasando gives life to the poem being read). Mr. Djony Theedens is interested to develop the use of Sasando through a course institute to bestow the musical instrument for the younger generations and avoid its extinction. It is done through the teaching of this instrument from the older generation to the younger one. The teaching is done to prevent its extinction and pass on the knowledge to future generations. Apart from that, the enculturation process of Sasando is also carried out through Sasando performances by the students from the course institute. Through the performances, the enculturation of Sasando occurs. Further, the distribution of cultural values also happens through the performances. \u0000 \u0000 \u0000 \u0000 ","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131078455","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 : 2022-12-31DOI: 10.15294/jsm.v11i2.63713
Nafik Salafiyah, S. Haryono, Mochammad Usman Wafa
It is necessary to develop a music aptitude test instrument as students, basic music knowledge is not optimally developed yet. Due to the inavailability of such instruments in the music education department, this study saimed to design and develop music aptitude test. The tests in used to measure students skills in understanding basic musical skills. This study used experimental quantitative approach. The findings resulted in 40 test items covering 8 teaching goals and 35 indicators aligned to the Semester Learning Plan (RPS) of solfeggio class. Further, the future research will focus on music aptitude test in audio form for the students.
{"title":"Development Of Music Aptitude Test Instruments For The Student Of Music Education Departement","authors":"Nafik Salafiyah, S. Haryono, Mochammad Usman Wafa","doi":"10.15294/jsm.v11i2.63713","DOIUrl":"https://doi.org/10.15294/jsm.v11i2.63713","url":null,"abstract":"It is necessary to develop a music aptitude test instrument as students, basic music knowledge is not optimally developed yet. Due to the inavailability of such instruments in the music education department, this study saimed to design and develop music aptitude test. The tests in used to measure students skills in understanding basic musical skills. This study used experimental quantitative approach. The findings resulted in 40 test items covering 8 teaching goals and 35 indicators aligned to the Semester Learning Plan (RPS) of solfeggio class. Further, the future research will focus on music aptitude test in audio form for the students.","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129030115","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 : 2022-12-31DOI: 10.15294/jsm.v11i2.54004
Agnes Emalisa Bauana
Traditional art through music, dance and even traditional rituals becomes a symbol and identity of the community because it is a reflection of collective thoughts and also regional solidarity. Kebalai is a dance danced by the people of Rote and is very famous. The kebalai does not only contain dances but also songs in the form of rhymes which are performed together in every event, from big events such as when. The poetry uses the Rote regional language and the meaning of each song is different. This makes researchers interested in looking at oral literature through the songs from the balai and efforts to document the meaning of the poem from the kebalai entitled "Susue Lain" which means brotherly love. This study uses a hermeneutic study according to Ricoeur. The research method uses qualitative methods and literature studies, data collection techniques. Data collection in this study is by observing and unstructured interviews. The results of the Kebalai research are a dance that is often danced together by the people of Rote, in every event or activity that exists. The conclusion in this study is that Kebalai is a performing art, which in the way of interpreting it uses poetry to convey messages.
{"title":"Hermeneutic Study: The Meaning of Lyric From Kebalai Singing In Rote Ndao Society","authors":"Agnes Emalisa Bauana","doi":"10.15294/jsm.v11i2.54004","DOIUrl":"https://doi.org/10.15294/jsm.v11i2.54004","url":null,"abstract":"Traditional art through music, dance and even traditional rituals becomes a symbol and identity of the community because it is a reflection of collective thoughts and also regional solidarity. Kebalai is a dance danced by the people of Rote and is very famous. The kebalai does not only contain dances but also songs in the form of rhymes which are performed together in every event, from big events such as when. The poetry uses the Rote regional language and the meaning of each song is different. This makes researchers interested in looking at oral literature through the songs from the balai and efforts to document the meaning of the poem from the kebalai entitled \"Susue Lain\" which means brotherly love. This study uses a hermeneutic study according to Ricoeur. The research method uses qualitative methods and literature studies, data collection techniques. Data collection in this study is by observing and unstructured interviews. The results of the Kebalai research are a dance that is often danced together by the people of Rote, in every event or activity that exists. The conclusion in this study is that Kebalai is a performing art, which in the way of interpreting it uses poetry to convey messages. ","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"502 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115517892","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 : 2022-12-31DOI: 10.15294/jsm.v11i2.61134
Agoes Dariyo
Early marriage is one of the problems faced by the Indonesian people, because it has a negative impact on the increase in the divorce rate for young couples. Furthermore, divorce will suffer children, because they do not get the attention and love of their parents, so they become neglected children. One of the causes of early marriage is the lack of information about the bad effects of early marriage. On this basis, this research is a development of previous research (Dariyo, Rahaditya & Hadiati, 2020) with the aim of providing information about the dangers of early marriage, which is realized with the song "Do not marry young". The research method uses the ADDIE approach (Analysis, Design, Development, Implementation & Evaluation). The results of the research that the birth of the song “ Jangan Kawin Muda” was carried out through the ADDIE process. The poems and songs Jangan Kawin Muda have been validated by a music psychologist and 74 teenagers. The song "Jangan Kawin Muda" has fulfilled the rhythm, melody, style, instrument and beat that can be felt positively by teenagers, so that they can understand, memorize and sing the song well. In the end, they are motivated to delay early marriage. On the other hand, the video display still needs improvement with the thematic video clip display of the song.
{"title":"The Development Of The Song “Jangan Kawin Muda” For Postpone Of Early Marriage In Adolescent","authors":"Agoes Dariyo","doi":"10.15294/jsm.v11i2.61134","DOIUrl":"https://doi.org/10.15294/jsm.v11i2.61134","url":null,"abstract":"Early marriage is one of the problems faced by the Indonesian people, because it has a negative impact on the increase in the divorce rate for young couples. Furthermore, divorce will suffer children, because they do not get the attention and love of their parents, so they become neglected children. One of the causes of early marriage is the lack of information about the bad effects of early marriage. On this basis, this research is a development of previous research (Dariyo, Rahaditya & Hadiati, 2020) with the aim of providing information about the dangers of early marriage, which is realized with the song \"Do not marry young\". The research method uses the ADDIE approach (Analysis, Design, Development, Implementation & Evaluation). The results of the research that the birth of the song “ Jangan Kawin Muda” was carried out through the ADDIE process. The poems and songs Jangan Kawin Muda have been validated by a music psychologist and 74 teenagers. The song \"Jangan Kawin Muda\" has fulfilled the rhythm, melody, style, instrument and beat that can be felt positively by teenagers, so that they can understand, memorize and sing the song well. In the end, they are motivated to delay early marriage. On the other hand, the video display still needs improvement with the thematic video clip display of the song.","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"329 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123699795","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 : 2022-12-31DOI: 10.15294/jsm.v11i2.64407
Indry Ayu Novita, Syahrul Syah Sinaga, S. Sunarto
Talking about traditional music, it is important to discuss the religious beliefs of the people around the music. This also applies to the Toraja tribe, which is located in the mountainous region of the southern island of Sulawesi. One of the arts that exist within the Toraja environment is Manimbong. Manimbong is a Torajan art form that combines two arts, music and dance, performed by a group of men at the Rambu Tuka' ceremony. This art is known as the art of Aluk Todolo (Toraja tribal religion). The introduction of Christianity in Toraja society has also affected some Toraja cultures. This research aims to see the changes in function that occur in Manimbong. In analyzing this research to see changes in the function of Manimbong using descriptive qualitative research methods. Primary and secondary data were obtained using observation, interview, and document study data collection techniques. Credibility criteria as a basis for conducting data validation techniques and data triangulation are in the standard of degrees of trust. The conclusion of this research is that Manimbong is not an art owned by Aluk Todolo or Christian, but belongs to all Toraja people. In addition, in the process of changing its function, Manimbong changes according to the context of several things, such as changes in the meaning of the poem of Manimbong itself in both Christianity and Aluk Todolo, as well as in the context in which Manimbong is performed or staged.
{"title":"Changes In The Function Of Manimbong Music In The Rambu Tuka' Ceremony Of The Toraja People","authors":"Indry Ayu Novita, Syahrul Syah Sinaga, S. Sunarto","doi":"10.15294/jsm.v11i2.64407","DOIUrl":"https://doi.org/10.15294/jsm.v11i2.64407","url":null,"abstract":"Talking about traditional music, it is important to discuss the religious beliefs of the people around the music. This also applies to the Toraja tribe, which is located in the mountainous region of the southern island of Sulawesi. One of the arts that exist within the Toraja environment is Manimbong. Manimbong is a Torajan art form that combines two arts, music and dance, performed by a group of men at the Rambu Tuka' ceremony. This art is known as the art of Aluk Todolo (Toraja tribal religion). The introduction of Christianity in Toraja society has also affected some Toraja cultures. This research aims to see the changes in function that occur in Manimbong. In analyzing this research to see changes in the function of Manimbong using descriptive qualitative research methods. Primary and secondary data were obtained using observation, interview, and document study data collection techniques. Credibility criteria as a basis for conducting data validation techniques and data triangulation are in the standard of degrees of trust. The conclusion of this research is that Manimbong is not an art owned by Aluk Todolo or Christian, but belongs to all Toraja people. In addition, in the process of changing its function, Manimbong changes according to the context of several things, such as changes in the meaning of the poem of Manimbong itself in both Christianity and Aluk Todolo, as well as in the context in which Manimbong is performed or staged. ","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132162296","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 : 2022-12-31DOI: 10.15294/jsm.v11i2.64235
Moh Afit Muzaqi, Eko Raharjo
Creativity in music can be formed by observing, studying, and understanding existing creative works or creating new music. In the city of Salatiga, there is a keroncong orchestra called "Brascong Vijaya Kusuma." This study aimed to determine, analyze, and describe the musical creativity in the brascong keroncong orchestra Vijaya Kusuma in Salatiga. The method used in this study is a qualitative research method that presents a descriptive analysis. This research approach uses musicology. The results of this study indicated that creativity in brascong keroncong Orchestra Vijaya Kusuma transpired because of the encouragement of Ajenrem 073 Salatiga, which, indeed, Brascong has the task of providing entertainment to the soldiers in Ajenrem 073 Salatiga. Musical creativity that exists in brascong Orchestra keroncong Vijaya Kusuma includes: (1) the arrangement of the addition of wind instruments such as trumpet, tenor horn, and trombone into keroncong music inspired by the Corsican in unit Ajenrem 073 Salatiga; (2) the creation of the song "Kr. Tanah Airku" did not use flute/violin prospels instead uses trumpet instruments; (3) in the interlude, brass instruments play blocking notes and play imitations of the main melody; (4) in the coda brass instruments play passing notes and blocking notes and at the end get ritardando;(5) the use of chords in the arrangement of the song "Kr. Tanah Airku" added a chord outside the original keroncong standard chord. Kreativtas music in brascong through the stages of creativity which consist of; aspects of personality, drivers, processes, and products.
音乐的创造力可以通过观察、学习和理解现有的创作作品或创作新的音乐来形成。在萨拉蒂加市，有一支名为“Brascong Vijaya Kusuma”的keroncong乐队。本研究旨在确定、分析和描述萨拉提加的Vijaya Kusuma brascong keroncong乐团的音乐创造力。本研究使用的方法是一种定性研究方法，提出了描述性分析。这种研究方法使用了音乐学。这项研究的结果表明，由于Ajenrem 073 Salatiga的鼓励，brascong keroncong乐团Vijaya Kusuma的创造力得以实现，这确实是brascong的任务，为Ajenrem 073 Salatiga的士兵提供娱乐。kroncong Vijaya Kusuma铜管乐团存在的音乐创造力包括:(1)在kroncong音乐中加入小号、次中音号和长号等管乐器，灵感来自科西嘉人的Ajenrem 073 Salatiga单元;(2)歌曲“Kr. Tanah Airku”的创作没有使用长笛/小提琴，而是使用小号乐器;(3)在中间段，铜管乐器奏出拦阻音符，模仿主旋律演奏;(4)在尾部铜管乐器演奏传递音符和阻滞音符，并在尾部奏出旋奏;(5)在歌曲《Kr. Tanah Airku》的编曲中使用和弦，在原keroncong标准和弦之外增加了一个和弦。在铜管音乐创作中所经历的创作阶段包括;个性、驱动、流程和产品的各个方面。
{"title":"Music Creativity In The Brascong Vijaya Kusuma Keroncong","authors":"Moh Afit Muzaqi, Eko Raharjo","doi":"10.15294/jsm.v11i2.64235","DOIUrl":"https://doi.org/10.15294/jsm.v11i2.64235","url":null,"abstract":"Creativity in music can be formed by observing, studying, and understanding existing creative works or creating new music. In the city of Salatiga, there is a keroncong orchestra called \"Brascong Vijaya Kusuma.\" This study aimed to determine, analyze, and describe the musical creativity in the brascong keroncong orchestra Vijaya Kusuma in Salatiga. The method used in this study is a qualitative research method that presents a descriptive analysis. This research approach uses musicology. The results of this study indicated that creativity in brascong keroncong Orchestra Vijaya Kusuma transpired because of the encouragement of Ajenrem 073 Salatiga, which, indeed, Brascong has the task of providing entertainment to the soldiers in Ajenrem 073 Salatiga. Musical creativity that exists in brascong Orchestra keroncong Vijaya Kusuma includes: (1) the arrangement of the addition of wind instruments such as trumpet, tenor horn, and trombone into keroncong music inspired by the Corsican in unit Ajenrem 073 Salatiga; (2) the creation of the song \"Kr. Tanah Airku\" did not use flute/violin prospels instead uses trumpet instruments; (3) in the interlude, brass instruments play blocking notes and play imitations of the main melody; (4) in the coda brass instruments play passing notes and blocking notes and at the end get ritardando;(5) the use of chords in the arrangement of the song \"Kr. Tanah Airku\" added a chord outside the original keroncong standard chord. Kreativtas music in brascong through the stages of creativity which consist of; aspects of personality, drivers, processes, and products.","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134559125","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 : 2022-12-30DOI: 10.15294/jsm.v11i2.60504
Lingga Ramafisela
The materials of Manual Harmony course are a combination of harmony science class materials and basic piano practice class materials. The subject is aimed to train students to play four-part harmony on pianos and accompany a melody using the correct chords. Regarding the lectures, it is necessary to modify the teacher-centered to student-centered method to help students better understand the materials. It is also expected that the student-centered method will give the students opportunities to explore their skills and express their ideas during classes. The aim of this research was to improve students’ skills in playing four-part harmony correctly, accompanying songs or melodies with correct chords, building problem solving as well as thinking skills in Harmony Manual class which will benefit them in the future. The researcher implemented qualitative method. The data were obtained from Manual Harmony class at the Undergraduate Program of Music Education FSP ISI Yogyakarta. They were taken from literary studies, observations, and interviews. The data were then analyzed through data reduction, data display, and conclusion drawing. The findings revealed that problem-based learning method was highly effective in teaching Manual Harmony subject.
{"title":"Implementation Of Problem Based Learning Method In Manual Harmony Course At The Music Education Study Program Of FSP ISI Yogyakarta","authors":"Lingga Ramafisela","doi":"10.15294/jsm.v11i2.60504","DOIUrl":"https://doi.org/10.15294/jsm.v11i2.60504","url":null,"abstract":"The materials of Manual Harmony course are a combination of harmony science class materials and basic piano practice class materials. The subject is aimed to train students to play four-part harmony on pianos and accompany a melody using the correct chords. Regarding the lectures, it is necessary to modify the teacher-centered to student-centered method to help students better understand the materials. It is also expected that the student-centered method will give the students opportunities to explore their skills and express their ideas during classes. The aim of this research was to improve students’ skills in playing four-part harmony correctly, accompanying songs or melodies with correct chords, building problem solving as well as thinking skills in Harmony Manual class which will benefit them in the future. The researcher implemented qualitative method. The data were obtained from Manual Harmony class at the Undergraduate Program of Music Education FSP ISI Yogyakarta. They were taken from literary studies, observations, and interviews. The data were then analyzed through data reduction, data display, and conclusion drawing. The findings revealed that problem-based learning method was highly effective in teaching Manual Harmony subject.","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126286264","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 : 2022-12-30DOI: 10.15294/jsm.v11i2.61627
Hery Budiawan, Siti Nurmalasari
The purpose of this study is to determine whether there is a difference in the level of student learning motivation between classes and the use of application-based learning media, namely bandlabs with classes without the use of bandlab learning media at SMPN 24 Jakarta. And the second is the supporting factor and inhibition of class VII learning motivation at SMPN 24 Jakarta. The method used quantitative research method with Post Test Only Control Group Design. Data that has been distributed is processed and processed using the Likert scale. The data analysis techniques used in this study are t test analysis and homogeneity test. The results of this study show that there is no significant difference in student learning motivation between classes and the use of application-based learning media, namely bandlabs with classes without the use of bandlab learning media. This is supported by research data on significance values of 0.856 > 0.05. The research was conducted online from their respective homes through online media Whatsapp and Zoom Meeting
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Pub Date : 2022-06-30DOI: 10.15294/jsm.v11i1.53017
Dini Permata Risqi, Syahrul Syah Sinaga
The KSYR Lestari Sintren art group is an art group that has musical expressions in their performances with songs that are played and add various atmospheres to the performance of each scene. The songs of the Sintren art show involve the musical function of Sintren art dance performed by the KSYR Lestari group. This study aims to identify and explain the musical expression of the song type performed and the musical function of the Sintren art dance of the KSYR Lestari group. This study used a qualitative research method with a phenomenological approach and the data collection techniques used in this study are observation, interview, and documentation. The results of this study indicate that the musical expressions contained in the KSYR Lestari Sintren art through songs performed include; (1) Tempo, the song Dunung Ala Dunung is played at a slow tempo which expresses feelings of sadness, and the song Turun Sintren is played at a fast tempo which describes a happy expression. (2) Dynamic, in every song that is sung, there are dynamic changes (3) The style produces tones on four vocalists who have been selected according to the character of the voice and song. Sintren performance elements include; (1) Theme, (2) Dancer, (3) Fashion, (4) Makeup, (5) Movement, (6) Accompaniment, (7) Stage arrangement, (8) Lighting and sound system, (9) Property. The function of music in Sintren dance includes; (1) Music as a dance binder, and (2) Music as a dance illustration.
KSYR Lestari Sintren艺术团体是在表演中加入音乐表达的艺术团体，在每个场景中都播放歌曲，为表演增添各种氛围。辛特伦艺术表演的歌曲包含了由KSYR Lestari组合表演的辛特伦艺术舞蹈的音乐功能。本研究旨在识别和解释KSYR Lestari组Sintren艺术舞蹈所表演的歌曲类型的音乐表达和音乐功能。本研究采用现象学方法的定性研究方法，采用观察法、访谈法和文献法进行数据收集。本研究结果表明:KSYR Lestari Sintren艺术通过表演歌曲所包含的音乐表达包括;(1)节奏，歌曲Dunung Ala Dunung以慢节奏演奏，表达悲伤的感情，歌曲Turun Sintren以快节奏演奏，描述快乐的表情。(2)动态，每首歌曲都有动态的变化(3)根据声音和歌曲的特点挑选出四位歌手，这种风格产生音调。Sintren的性能要素包括;(1)主题，(2)舞者，(3)服装，(4)化妆，(5)动作，(6)伴奏，(7)舞台布置，(8)灯光音响系统，(9)道具。音乐在辛特伦舞蹈中的作用包括:(1)音乐作为舞蹈的粘合剂;(2)音乐作为舞蹈的插图。
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