Pub Date : 2021-06-30DOI: 10.15294/jsm.v10i1.46058
Cicilia Dikna Astrina Dewi, S. Suharto
This study aims to determine, describe, and analyze the development of the Barongan work of the Turonggo Laras group in Kendal Regency. The method used is descriptive qualitative with a musicological approach. Data collection techniques include observation, interviews, and documentation. The results showed that the development of working on Barongan Turonggo Laras music was in the form of adding western musical instruments, such as drums and keyboards in collaboration with gamelan. The use of the keyboard is intended as a filler for the main melody in campursari songs. This is because there are tones in the campursari song that does not exist on the gamelan instrument but exist on the keyboard. The addition of drums in the show is intended to lift the mood and strengthen the trance scene. The drum play tends to follow the dynamics of the kendang when accompanying the performance.
{"title":"Musical Development Of Barongan Turonggo Laras Through Additional Instrument In Kendal Regency","authors":"Cicilia Dikna Astrina Dewi, S. Suharto","doi":"10.15294/jsm.v10i1.46058","DOIUrl":"https://doi.org/10.15294/jsm.v10i1.46058","url":null,"abstract":"This study aims to determine, describe, and analyze the development of the Barongan work of the Turonggo Laras group in Kendal Regency. The method used is descriptive qualitative with a musicological approach. Data collection techniques include observation, interviews, and documentation. The results showed that the development of working on Barongan Turonggo Laras music was in the form of adding western musical instruments, such as drums and keyboards in collaboration with gamelan. The use of the keyboard is intended as a filler for the main melody in campursari songs. This is because there are tones in the campursari song that does not exist on the gamelan instrument but exist on the keyboard. The addition of drums in the show is intended to lift the mood and strengthen the trance scene. The drum play tends to follow the dynamics of the kendang when accompanying the performance.","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"301 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114474850","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 : 2021-06-30DOI: 10.15294/jsm.v10i1.42883
Benny Mahendra, N. Cahaya, Muhammad Najamudin
This research was conducted due to the lack of public knowledge about the music accompaniment of Japin Carita from South Kalimantan. This research focused more on the theory and practice of music science regarding the music accompaniment of this local South Kalimantan theater. This research used naturalistic qualitative method because it was held in natural conditions (natural setting), this method is also called the ethnographic method. Data gathering techniques include; observation, interview, documentation. Data analysis techniques include data reduction, data presentation, and verification. Japin Carita is a traditional theater art from South Kalimantan which is derived from the art of Japin, a dance that originates from Arab. The word Japin in Arabic originating from the word zafin which means fast footwork, and just like the definition Japin dance movement is indeed prioritizing foot movements. The structure of musical forms that can be used as music accompaniment to Japin Carita are; Gasim, Takzim, Rawis, Melagu, Nyanyian, and Tahtim. Japin music in Japin Carita theater is not only for the opening music, but also when the actors enter and leave the stage, and for the closing music. Music illustrations depicting the atmosphere of a place or the mood of an actor, whether sad, afraid, anxious, happy and so on must also follow the rhythm of Japin music. Japin Carita musical instruments consist of baboons, gongs, violins, keprak, and gambus. The function of Japin music accompaniment includes entertainment media, communication media, symbolic tribute, physical responses, continuity media, cultural statistics, and atmosphere proponent of the Japin Carita play/ script.
{"title":"Music Accompaniment Of Japin Carita South Kalimantan","authors":"Benny Mahendra, N. Cahaya, Muhammad Najamudin","doi":"10.15294/jsm.v10i1.42883","DOIUrl":"https://doi.org/10.15294/jsm.v10i1.42883","url":null,"abstract":"This research was conducted due to the lack of public knowledge about the music accompaniment of Japin Carita from South Kalimantan. This research focused more on the theory and practice of music science regarding the music accompaniment of this local South Kalimantan theater. This research used naturalistic qualitative method because it was held in natural conditions (natural setting), this method is also called the ethnographic method. Data gathering techniques include; observation, interview, documentation. Data analysis techniques include data reduction, data presentation, and verification. Japin Carita is a traditional theater art from South Kalimantan which is derived from the art of Japin, a dance that originates from Arab. The word Japin in Arabic originating from the word zafin which means fast footwork, and just like the definition Japin dance movement is indeed prioritizing foot movements. The structure of musical forms that can be used as music accompaniment to Japin Carita are; Gasim, Takzim, Rawis, Melagu, Nyanyian, and Tahtim. Japin music in Japin Carita theater is not only for the opening music, but also when the actors enter and leave the stage, and for the closing music. Music illustrations depicting the atmosphere of a place or the mood of an actor, whether sad, afraid, anxious, happy and so on must also follow the rhythm of Japin music. Japin Carita musical instruments consist of baboons, gongs, violins, keprak, and gambus. The function of Japin music accompaniment includes entertainment media, communication media, symbolic tribute, physical responses, continuity media, cultural statistics, and atmosphere proponent of the Japin Carita play/ script.","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121392749","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 : 2021-06-30DOI: 10.15294/jsm.v10i1.47094
Gilank Yonsutrisno, M. Idris, Deria Sepdwiko
This study aims to describe mixed ensemble learning in extracurricular activities in class IX students of SMP Negeri 15 Palembang. The research method used is descriptive qualitative with data collection techniques in the form of observation, interviews, and documentation. The preparation of the trainer before doing the learning is to determine the material that is taught to students at each meeting, then the trainer determines the strategies and learning methods that will be used in learning so that learning objectives are achieved. The implementation of mixed ensemble learning at SMP Negeri 15 Palembang includes; 1) The mixed ensemble learning process consists of group division, placement and selection of musical instruments, learning for each instrument, 2) Mixed ensemble learning includes three stages, namely preparation, implementation, and evaluation
本研究旨在描述巨港15中学九班学生在课外活动中的混合合奏学习。使用的研究方法是描述性定性与数据收集技术在观察，访谈和文件的形式。培训师在学习前的准备工作是确定在每次会议上教授给学生的材料，然后培训师确定将在学习中使用的策略和学习方法，以实现学习目标。在SMP Negeri 15 Palembang实施混合集成学习包括;1)混合合奏的学习过程包括分组、乐器的放置和选择、每种乐器的学习;2)混合合奏的学习包括准备、实施和评价三个阶段
{"title":"Mixed Ensemble Learning In Extracurricular Student Of SMPN 15 Palembang","authors":"Gilank Yonsutrisno, M. Idris, Deria Sepdwiko","doi":"10.15294/jsm.v10i1.47094","DOIUrl":"https://doi.org/10.15294/jsm.v10i1.47094","url":null,"abstract":"This study aims to describe mixed ensemble learning in extracurricular activities in class IX students of SMP Negeri 15 Palembang. The research method used is descriptive qualitative with data collection techniques in the form of observation, interviews, and documentation. \u0000The preparation of the trainer before doing the learning is to determine the material that is taught to students at each meeting, then the trainer determines the strategies and learning methods that will be used in learning so that learning objectives are achieved. The implementation of mixed ensemble learning at SMP Negeri 15 Palembang includes; 1) The mixed ensemble learning process consists of group division, placement and selection of musical instruments, learning for each instrument, 2) Mixed ensemble learning includes three stages, namely preparation, implementation, and evaluation","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"99 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125182772","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 : 2021-06-30DOI: 10.15294/jsm.v10i1.47019
Ibnu Amar Muchsin
Since its appearance until now, Kenthongan is still exist and its journey has changed its function, from a means of communication to become a folk art. Banyumas is an area that has a lot of bamboo plants as materials for making Kenthongan which has the potential for development. Kenthongan art in Banyumas exists and develops until now. Therefore, the purpose of this study is to identify and explain the existence of Kenthongan as a folk art in the Banyumas. This research is a qualitative descriptive study with an ethnomusicological approach. Kenthongan as a cultural product (living tradition) has been present as a folk art since its inception, having the form of a slit-drum and developing into a non-slit-drum. The development of the non-slit-drum form is an adaptation of Gambang Calung Banyumas’ blade. Kenthongan non-slit-drum developed in three stages, namely 1) in 2002, 2) in 2005 and 3) in 2013. Its development includes the form and the function of which it was originally a rhythmic instrument in 2002-2005 developed into a melodic instrument in 2013.
{"title":"The Existence Of Kenthongan As Folk Art: Study Of Kenthongan Banyumas","authors":"Ibnu Amar Muchsin","doi":"10.15294/jsm.v10i1.47019","DOIUrl":"https://doi.org/10.15294/jsm.v10i1.47019","url":null,"abstract":"Since its appearance until now, Kenthongan is still exist and its journey has changed its function, from a means of communication to become a folk art. Banyumas is an area that has a lot of bamboo plants as materials for making Kenthongan which has the potential for development. Kenthongan art in Banyumas exists and develops until now. Therefore, the purpose of this study is to identify and explain the existence of Kenthongan as a folk art in the Banyumas. This research is a qualitative descriptive study with an ethnomusicological approach. Kenthongan as a cultural product (living tradition) has been present as a folk art since its inception, having the form of a slit-drum and developing into a non-slit-drum. The development of the non-slit-drum form is an adaptation of Gambang Calung Banyumas’ blade. Kenthongan non-slit-drum developed in three stages, namely 1) in 2002, 2) in 2005 and 3) in 2013. Its development includes the form and the function of which it was originally a rhythmic instrument in 2002-2005 developed into a melodic instrument in 2013.","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126248407","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}
The results of study are influenced by some factors. Parenting patterns and learning interests are factors that influence Music learning outcome. The formulation of the problem in this study is (1) whether there is a relationship between parenting patterns on the learning outcomes of Music Arts; (2) whether there is a relationship between interest in the learning outcomes of Music; (3) whether there is a relationship between parenting patterns and interest in the learning outcomes of Music. The purposes of the study were (1)to find out whether there is a relationship between parenting styles and learning outcomes in music; (2) to know whether there is a relationship of interest to the learning outcomes of music; (3) to find out whether there is a relationship between parenting patterns and mutual interest in the results of learning music. The results showed that: (1) there was a positive relationship between parenting style and learning outcomes in Music, with the interpretation of the closeness of the correlation showing a small category, which was 9.48%; (2) there was a positive relationship between interest in the learning outcomes of Music, with the interpretation of the closeness of the correlation indicating the sufficient category, which was 11.42%; (3) there was a positive relationship between parenting and interest in the learning outcomes of Music, with the interpretation of the closeness of the correlation indicating the sufficient category, which was 37.82%. The conclusion of this study was that there was a positive and significant relationship between parenting and interest together on the learning outcomes of Music. The application of parenting with a democratic attitude by paying attention, caring, and respecting children's freedom, as well as guiding with understanding can create conditions for children to study music diligently, both in theory and practice. Thus, children's music learning outcomes can certainly increase.
{"title":"Relationship Of Parenting Patterns And Interest Towards Music Learning Outcomes Of Class VIII Students SMP Negeri 2 Brebes","authors":"Astrio Dinarti Aulia Dewi, Siti Aesijah, Nafik Salafiyah","doi":"10.15294/jsm.v10i1.45758","DOIUrl":"https://doi.org/10.15294/jsm.v10i1.45758","url":null,"abstract":"The results of study are influenced by some factors. Parenting patterns and learning interests are factors that influence Music learning outcome. The formulation of the problem in this study is (1) whether there is a relationship between parenting patterns on the learning outcomes of Music Arts; (2) whether there is a relationship between interest in the learning outcomes of Music; (3) whether there is a relationship between parenting patterns and interest in the learning outcomes of Music. The purposes of the study were (1)to find out whether there is a relationship between parenting styles and learning outcomes in music; (2) to know whether there is a relationship of interest to the learning outcomes of music; (3) to find out whether there is a relationship between parenting patterns and mutual interest in the results of learning music. The results showed that: (1) there was a positive relationship between parenting style and learning outcomes in Music, with the interpretation of the closeness of the correlation showing a small category, which was 9.48%; (2) there was a positive relationship between interest in the learning outcomes of Music, with the interpretation of the closeness of the correlation indicating the sufficient category, which was 11.42%; (3) there was a positive relationship between parenting and interest in the learning outcomes of Music, with the interpretation of the closeness of the correlation indicating the sufficient category, which was 37.82%. The conclusion of this study was that there was a positive and significant relationship between parenting and interest together on the learning outcomes of Music. The application of parenting with a democratic attitude by paying attention, caring, and respecting children's freedom, as well as guiding with understanding can create conditions for children to study music diligently, both in theory and practice. Thus, children's music learning outcomes can certainly increase.","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129419974","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 : 2021-06-30DOI: 10.15294/jsm.v10i1.46191
Antonius Edi Nugroho
Teachers play an important and strategic role as the center of learning resources for the students. A teacher needs to develop the form of musical creativity as much as possible so that it will help the learning process go well, and result in students succeed in achieving their learning objectives. Therefore, this study focuses on the teacher’s creativity on (1) the making concept of the ensemble music arrangement in junior high school in Purbalingga Regency, (2) the creation process of the ensemble music arrangement of a medium in junior high school in Purbalingga Regency. The research method used in this study is qualitative with descriptive exposure. The research subjects were music teachers in Purbalingga Regency. Data collection is carried out with observation, interview, and documentation. Data analysis techniques are divided into three stages, namely data reduction, data presentation, and concluding. The results of interviews and observations that have been collected are included in the documentation, images, photographs, field notes, personal records, and other documents after being studied, then reduced into an abstraction.
{"title":"Teacher's Creativity In Arranging Ensemble Music In Junior High School (SMP) In Purbalingga Regency","authors":"Antonius Edi Nugroho","doi":"10.15294/jsm.v10i1.46191","DOIUrl":"https://doi.org/10.15294/jsm.v10i1.46191","url":null,"abstract":"Teachers play an important and strategic role as the center of learning resources for the students. A teacher needs to develop the form of musical creativity as much as possible so that it will help the learning process go well, and result in students succeed in achieving their learning objectives. Therefore, this study focuses on the teacher’s creativity on (1) the making concept of the ensemble music arrangement in junior high school in Purbalingga Regency, (2) the creation process of the ensemble music arrangement of a medium in junior high school in Purbalingga Regency. The research method used in this study is qualitative with descriptive exposure. The research subjects were music teachers in Purbalingga Regency. Data collection is carried out with observation, interview, and documentation. Data analysis techniques are divided into three stages, namely data reduction, data presentation, and concluding. The results of interviews and observations that have been collected are included in the documentation, images, photographs, field notes, personal records, and other documents after being studied, then reduced into an abstraction.","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133534274","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 : 2021-06-30DOI: 10.15294/jsm.v10i1.46879
Kusrina Widjajantie, Agustinus Dwi Nugroho
The community is very enthusiastic about welcoming music education institutions. There are many people's desire to learn music, especially piano, but not all students have the same interest in learning music. In this case the researchers limited the classical piano participants, with ages 4-6 years. Based on observations, the classical piano learning process has a very detailed learning stage, so that students experience boredom in learning. Seeing this fact, the researcher wanted to know the students' interest in learning classical piano in the Music course in Semarang. The benefit of this research is to know the students' interest in learning classical piano. So that these results can be used for the development of methods, materials, strategies, and media in classical piano learning. The development of this learning component has a beneficial impact on the owners of educational institutions, teachers and students. The result of the discussion is that interest has a great influence on students in learning, because if the material and learning methods are not in accordance with their interests, students will not learn as well as possible, because there is no attraction for them. For students aged 4-6 years, students cannot achieve learning goals just because of interest, but other psychological factors such as intelligence, attention, talent, maturity, readiness, especially motivation that can help return the initial interest, namely learning the piano. Motivation from the closest people, usually parents play an important role in the growth of interest.
{"title":"The Interest Of Classic Piano Student In Semarang Music Course","authors":"Kusrina Widjajantie, Agustinus Dwi Nugroho","doi":"10.15294/jsm.v10i1.46879","DOIUrl":"https://doi.org/10.15294/jsm.v10i1.46879","url":null,"abstract":"The community is very enthusiastic about welcoming music education institutions. There are many people's desire to learn music, especially piano, but not all students have the same interest in learning music. In this case the researchers limited the classical piano participants, with ages 4-6 years. Based on observations, the classical piano learning process has a very detailed learning stage, so that students experience boredom in learning. Seeing this fact, the researcher wanted to know the students' interest in learning classical piano in the Music course in Semarang. The benefit of this research is to know the students' interest in learning classical piano. So that these results can be used for the development of methods, materials, strategies, and media in classical piano learning. The development of this learning component has a beneficial impact on the owners of educational institutions, teachers and students. \u0000The result of the discussion is that interest has a great influence on students in learning, because if the material and learning methods are not in accordance with their interests, students will not learn as well as possible, because there is no attraction for them. For students aged 4-6 years, students cannot achieve learning goals just because of interest, but other psychological factors such as intelligence, attention, talent, maturity, readiness, especially motivation that can help return the initial interest, namely learning the piano. Motivation from the closest people, usually parents play an important role in the growth of interest.","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130601739","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 : 2021-06-30DOI: 10.15294/jsm.v10i1.46797
Hery Supiarza
This study discusses the preservation of keroncong music through music learning at Santa Angela Junior High School in Bandung. Keroncong is a type of hybrid music, native to Indonesia, the result of acculturation between Portuguese music and Indonesian local music. Keroncong experiences a setback at the present time, especially among the younger generation. Through teaching and learning activities in schools one way keroncong music can be sustainable and developed. The focus of the problem that was studied included the keroncong music learning material, the learning methods used and the evaluation techniques used from the keroncong music extracurricular activities in Santa Angela Junior High School Bandung. This research uses a descriptive method with a qualitative approach. Based on research findings, learning keroncong music in extracurricular activities in Santa Angela Junior High School Bandung refers to three main materials namely the skill of playing the keroncong instrument, the skill of playing the keroncong rhythm, the keroncong songs. The benefit of this research is that it can provide innovation in learning keroncong music in schools as an effort to preserve and revitalize one of Indonesia's original music.
{"title":"Preservation Of Keroncong Music Through Music Learning At SMP Santa Angela Bandung","authors":"Hery Supiarza","doi":"10.15294/jsm.v10i1.46797","DOIUrl":"https://doi.org/10.15294/jsm.v10i1.46797","url":null,"abstract":"This study discusses the preservation of keroncong music through music learning at Santa Angela Junior High School in Bandung. Keroncong is a type of hybrid music, native to Indonesia, the result of acculturation between Portuguese music and Indonesian local music. Keroncong experiences a setback at the present time, especially among the younger generation. Through teaching and learning activities in schools one way keroncong music can be sustainable and developed. The focus of the problem that was studied included the keroncong music learning material, the learning methods used and the evaluation techniques used from the keroncong music extracurricular activities in Santa Angela Junior High School Bandung. This research uses a descriptive method with a qualitative approach. Based on research findings, learning keroncong music in extracurricular activities in Santa Angela Junior High School Bandung refers to three main materials namely the skill of playing the keroncong instrument, the skill of playing the keroncong rhythm, the keroncong songs. The benefit of this research is that it can provide innovation in learning keroncong music in schools as an effort to preserve and revitalize one of Indonesia's original music.","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128494004","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}
Tegalan music is typical music of Tegal regency which lyrics use Ngapak language. A piece of music group that still exists until now is Joend Pro. Joend Pro's musical group was formed in the year 2009 by Imam Joend. Joend Pro's musical group is on the basis of the consciousness of Imam Joend, about the importance of the existence of the art area of the music as a characteristic of the regional arts of Tegal Regency. This research aims to know, describe, and analyze the existence of the Tegalan Pro music Group in Slawi Tegal Regency. This research uses qualitative descriptive methods with data collection through observations, interviews, documentation and library studies. The result of the study was to demonstrate the existence of the Joend Pro band. Joend Pro often conducts self-performing, provit performances, as well as entertainment invitations at government events. Joend Pro's musical group's existence is still acknowledged to exist until now by society. This is evidenced by the community's performance offerings to fill entertainment at weddings and other events.
{"title":"Eksistensi Grup Musik Tegalan Joend Pro Di Slawi Kabupaten Tegal","authors":"Narendra Yudha Pratama, Mochammad Usman Wafa","doi":"10.15294/JSM.V9I2.33109","DOIUrl":"https://doi.org/10.15294/JSM.V9I2.33109","url":null,"abstract":"Tegalan music is typical music of Tegal regency which lyrics use Ngapak language. A piece of music group that still exists until now is Joend Pro. Joend Pro's musical group was formed in the year 2009 by Imam Joend. Joend Pro's musical group is on the basis of the consciousness of Imam Joend, about the importance of the existence of the art area of the music as a characteristic of the regional arts of Tegal Regency. This research aims to know, describe, and analyze the existence of the Tegalan Pro music Group in Slawi Tegal Regency. This research uses qualitative descriptive methods with data collection through observations, interviews, documentation and library studies. The result of the study was to demonstrate the existence of the Joend Pro band. Joend Pro often conducts self-performing, provit performances, as well as entertainment invitations at government events. Joend Pro's musical group's existence is still acknowledged to exist until now by society. This is evidenced by the community's performance offerings to fill entertainment at weddings and other events.","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128690196","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}
Aransemen instrumen string lagu A Whole New World oleh Steve Deaprof Band dibuat menarik dan modern, sehingga membuat lagu tersebut menjadi lebih variatif terutama pada isian (filler) string yang berbeda dari lagu aslinya. Hal ini melatarbelakangi peneliti untuk melakukan sebuah penelitian ini. Tujuan yang hendak dicapai penelitian ini adalah untuk mengetahui dan mendeskripsikan aransemen instrumen string lagu A Whole New World oleh Steve Deaprof Band. Pendekatan penelitian yang digunakan adalah deskriptif kualitatif. Lokasi Penelitian di kantor Steve Deaprof yakni di Jln. KHM Mansyur no.3, Bendan, Pekalongan. Teknik pengumpulan data antara lain: teknik observasi, wawancara, dan dokumentasi.Teknik keabsahan data. Analisis data dalam penelitian ini deskriptif kualitatif, yaitu analisis dalam bentuk pernyataan dan analisis yang diungkapkan dengan deskripsi Hasil penelitian menunjukkan bahwa aransemen instrumen string lagu A Whole New World memiliki 3 kali perpindahan tangganada (modulasi) dan fill in pada beberapa bagian lagu. ___________________________________________________________________ Abstract The string instrument arrangement of the song A Whole New World by Steve Deaprof Band was made attractive and modern, thus making the song more varied, especially in the different string fillers from the original song. This is the background for researchers to conduct this research. The aim of this research is to know and describe the string instrument arrangement of the song A Whole New World by Steve Deaprof Band. The research approach used is descriptive qualitative. The research location is in Steve Deaprof's office, which is Jln. KHM Mansyur no.3, Bendan, Pekalongan. Data collection techniques include: observation, interview, and documentation techniques. Data validity techniques. The data analysis in this research is descriptive qualitative, namely analysis in the form of statements and analysis expressed with descriptions. The results show that the arrangement of the string instrument A Whole New World has 3 times the scale shift (modulation) and fill in on several parts of the song.
由Steve Deaprof乐队编写的《整个新世界》字符串工具的特点，使其具有吸引力和现代，使其在与原始歌曲不同的字符串中变得更加多样化。这就使得研究人员进行了这项研究。这项研究的目的是了解和描述史蒂夫·德普罗夫乐队(Steve Deaprof波段)为《整个新世界》(the World of New World)演唱的弦乐曲目。所使用的研究方法是描述性质的。研究地点在Steve Deaprof的办公室，就在这条街上。没有KHM man舒尔。3、便但、环礁。数据收集技术包括观察、采访和记录。数据有效性。本研究中的数据描述定性性分析，即陈述形式的分析和研究结果的分析，表明【句意】【句意】这是对这项研究的研究的背景调查。这项研究的目标是了解并描述史蒂夫·德阿普罗夫乐队(Steve Deaprof Band)对《整个新世界》(The entire World)的歌曲集。这项研究的目的是确定可行性。研究地点在Steve Deaprof办公室，也就是这里。没有KHM man舒尔。3、便但、环礁。数据收集技术包括:观察、采访和文档技术。验证技术数据。本研究的数据分析是对潜在候选人的描述，结果显示，在歌曲的几个部分中，弦的安排给整个世界带来了三次转变和填补。
{"title":"Analisis Aransemen Lagu A Whole New World Ciptaan Tim Rice dan Alan Menken pada Instrumen String oleh Steve Deaprof Band di Pekalongan","authors":"Agnes Firda Kristerika, Bagus Susetyo","doi":"10.15294/JSM.V9I2.42266","DOIUrl":"https://doi.org/10.15294/JSM.V9I2.42266","url":null,"abstract":"\u0000Aransemen instrumen string lagu A Whole New World oleh Steve Deaprof Band dibuat menarik dan modern, sehingga membuat lagu tersebut menjadi lebih variatif terutama pada isian (filler) string yang berbeda dari lagu aslinya. Hal ini melatarbelakangi peneliti untuk melakukan sebuah penelitian ini. Tujuan yang hendak dicapai penelitian ini adalah untuk mengetahui dan mendeskripsikan aransemen instrumen string lagu A Whole New World oleh Steve Deaprof Band. Pendekatan penelitian yang digunakan adalah deskriptif kualitatif. Lokasi Penelitian di kantor Steve Deaprof yakni di Jln. KHM Mansyur no.3, Bendan, Pekalongan. Teknik pengumpulan data antara lain: teknik observasi, wawancara, dan dokumentasi.Teknik keabsahan data. Analisis data dalam penelitian ini deskriptif kualitatif, yaitu analisis dalam bentuk pernyataan dan analisis yang diungkapkan dengan deskripsi Hasil penelitian menunjukkan bahwa aransemen instrumen string lagu A Whole New World memiliki 3 kali perpindahan tangganada (modulasi) dan fill in pada beberapa bagian lagu. \u0000___________________________________________________________________ \u0000Abstract \u0000The string instrument arrangement of the song A Whole New World by Steve Deaprof Band was made attractive and modern, thus making the song more varied, especially in the different string fillers from the original song. This is the background for researchers to conduct this research. The aim of this research is to know and describe the string instrument arrangement of the song A Whole New World by Steve Deaprof Band. The research approach used is descriptive qualitative. The research location is in Steve Deaprof's office, which is Jln. KHM Mansyur no.3, Bendan, Pekalongan. Data collection techniques include: observation, interview, and documentation techniques. Data validity techniques. The data analysis in this research is descriptive qualitative, namely analysis in the form of statements and analysis expressed with descriptions. The results show that the arrangement of the string instrument A Whole New World has 3 times the scale shift (modulation) and fill in on several parts of the song.","PeriodicalId":142606,"journal":{"name":"Jurnal Seni Musik","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126495225","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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