Pub Date : 2018-07-28DOI: 10.15294/catharsis.v7i2.23810
Astri Marita Manik, S. Sunarto, T. Triyanto
This thesis aims to analyze the creative process of an arranger named Steve Handoyo in Semarang. The researcher used interdisciplinary approach with qualitative method and interpretative case study. The supporting data were collected from observation, interview, and documentation. Triangulation were used to maintain the validity of the data. The analysis of the data was in the sequence of data reductin, presentation, and verification. The findings shows that Steve Handoyo’s creativity are projected in three elements of Barret’s theory of creation, which are; (1) Conceptual Elements (impuls, feelings, ideas). This element is realized from Handoyo’s experience in campursari and orchestra. He also uses his feelings and imagination as the source of creativity.(2) Operational Elements(media, materials, technique). The used media are computer, midi, VSD plug in, violin, drum, cuk, and keyboard. The musical materials came form his experience learning Campursari and Orchestra, while the technicalities developed from the combination of musical instruments, including violing, drum, and keyboard with the sampling of “viona house”. (3) Synthesis Elements (persepsi bentuk visual). From his experiences, Steve Handoyo imagines to apprehend the work he is going to make. Based on findings and discussion, Steve Handoyo does not include all the elements of orchestral instruments into his work, the authors hope for Steve Handoyo's later work with orchestral music can be adjusted to the rules of orchestration that includes all elements of the Orchestral instrument so it does not sound just an orchestra feel.
{"title":"Steve Handoyo’s Creativity in the Arrangement of Orchestral Campursari Music","authors":"Astri Marita Manik, S. Sunarto, T. Triyanto","doi":"10.15294/catharsis.v7i2.23810","DOIUrl":"https://doi.org/10.15294/catharsis.v7i2.23810","url":null,"abstract":"This thesis aims to analyze the creative process of an arranger named Steve Handoyo in Semarang. The researcher used interdisciplinary approach with qualitative method and interpretative case study. The supporting data were collected from observation, interview, and documentation. Triangulation were used to maintain the validity of the data. The analysis of the data was in the sequence of data reductin, presentation, and verification. The findings shows that Steve Handoyo’s creativity are projected in three elements of Barret’s theory of creation, which are; (1) Conceptual Elements (impuls, feelings, ideas). This element is realized from Handoyo’s experience in campursari and orchestra. He also uses his feelings and imagination as the source of creativity.(2) Operational Elements(media, materials, technique). The used media are computer, midi, VSD plug in, violin, drum, cuk, and keyboard. The musical materials came form his experience learning Campursari and Orchestra, while the technicalities developed from the combination of musical instruments, including violing, drum, and keyboard with the sampling of “viona house”. (3) Synthesis Elements (persepsi bentuk visual). From his experiences, Steve Handoyo imagines to apprehend the work he is going to make. Based on findings and discussion, Steve Handoyo does not include all the elements of orchestral instruments into his work, the authors hope for Steve Handoyo's later work with orchestral music can be adjusted to the rules of orchestration that includes all elements of the Orchestral instrument so it does not sound just an orchestra feel.","PeriodicalId":30818,"journal":{"name":"Catharsis","volume":"7 1","pages":"220-225"},"PeriodicalIF":0.0,"publicationDate":"2018-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42226739","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 : 2018-07-27DOI: 10.15294/CATHARSIS.V7I2.23610
F. Fitriani, H. Hartono, T. Triyanto
Tarek pukat dance was created by Yuslizar in 1958. At the beginning, this dance is created to enliven the spirit of Aceh society in the Aceh youth congress that must be proud of Aceh’s land fertility. Tarek pukat dance is inherited through a learning process in Cut Nyak Dhien dance studio. This dance tells about how Aceh society life in the coastal area. Tarek pukat dance is usually performed by 5-9 female dancers, and 4 or 5 male dancers. Based on the information above, the purpose of this research was to observe the expression of Aceh coastal area society as a learning medium of Tarek Pukat dance. The method used in this research was qualitative. The research was located in Cut Nyak Dhien dance studio in Banda Aceh Anjong Mon Mata, in Banda Aceh Regency area. The data collection technique used was observation, interview, and document study. The data validity technique was source triangulation. The data analysis technique used was analysis descriptive. The results that Tarek Pukat dance through movements and properties, such as, peuget pukat, tarek pukat,kayoeh,ikat taloe,pasoe engkot lam raga, puwoe engkot as the expression of Aceh coastal area society. Based on the above matters, it can be said that Tarek Pukat dance builds a cooperative social character, optimistic, consistence, and loyality.
{"title":"Tarek Pukat Dance Aceh : the Form of Expression of Aceh Coastal Area Society Life","authors":"F. Fitriani, H. Hartono, T. Triyanto","doi":"10.15294/CATHARSIS.V7I2.23610","DOIUrl":"https://doi.org/10.15294/CATHARSIS.V7I2.23610","url":null,"abstract":"Tarek pukat dance was created by Yuslizar in 1958. At the beginning, this dance is created to enliven the spirit of Aceh society in the Aceh youth congress that must be proud of Aceh’s land fertility. Tarek pukat dance is inherited through a learning process in Cut Nyak Dhien dance studio. This dance tells about how Aceh society life in the coastal area. Tarek pukat dance is usually performed by 5-9 female dancers, and 4 or 5 male dancers. Based on the information above, the purpose of this research was to observe the expression of Aceh coastal area society as a learning medium of Tarek Pukat dance. The method used in this research was qualitative. The research was located in Cut Nyak Dhien dance studio in Banda Aceh Anjong Mon Mata, in Banda Aceh Regency area. The data collection technique used was observation, interview, and document study. The data validity technique was source triangulation. The data analysis technique used was analysis descriptive. The results that Tarek Pukat dance through movements and properties, such as, peuget pukat, tarek pukat,kayoeh,ikat taloe,pasoe engkot lam raga, puwoe engkot as the expression of Aceh coastal area society. Based on the above matters, it can be said that Tarek Pukat dance builds a cooperative social character, optimistic, consistence, and loyality.","PeriodicalId":30818,"journal":{"name":"Catharsis","volume":"7 1","pages":"179-188"},"PeriodicalIF":0.0,"publicationDate":"2018-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47092085","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 : 2018-07-27DOI: 10.15294/catharsis.v7i2.23563
Ulya Zakaria Azmi, Udi Utomo, T. Triyanto
As one of the culture element, art is human nature that is bestowed by Allah for an activity that involves creative ability in expressing beauty, truth and goodness. The aesthetic value of Al-Chulafa’s rebana art is not only as an entertainment for the students of Darul Ulum Islamic boarding school and the society, but also as a music accompaniment to the song in praise of Prophet Muhammad to remind and give good advice to the performers as well as the audiences and grow religious values. The goal of this study is to analyze the aesthetic value and religious value of Al-Chulafa’s rebana art. Data analysis technique is taken by reducing, presenting and verifying data. The research is qualitative descriptive approach using design of case study located in Ngembalrejo Village, Bae Kudus. Data source in this study are primary and secondary source and techniques of collecting data are doing observation, interview and document studies. Technique of data validity is triangulation of the source while data analysis technique is taken by reducing data, presenting data, and verifying data. The result shows that the aesthetic value of Al-Chulafa's rebana art shows unity and harmony, which has the principle of organic unity, principle of theme, principle of thematic variation, principle of balance, principle of evolution, and principle of hierarchy. While the religious values in the art of rebana gives a positive impact to the spirituality development of its personnel, which is covered in five dimensions of religious behavior they are the value of belief, the value of religious practice, the value of experience, the value of religious knowledge and the value of religious practice.
{"title":"Aesthetic and Religius Value of Rebana Music Art in Darul Ulum Islamic Boarding School Ngembalrejo Bae Kudus","authors":"Ulya Zakaria Azmi, Udi Utomo, T. Triyanto","doi":"10.15294/catharsis.v7i2.23563","DOIUrl":"https://doi.org/10.15294/catharsis.v7i2.23563","url":null,"abstract":"As one of the culture element, art is human nature that is bestowed by Allah for an activity that involves creative ability in expressing beauty, truth and goodness. The aesthetic value of Al-Chulafa’s rebana art is not only as an entertainment for the students of Darul Ulum Islamic boarding school and the society, but also as a music accompaniment to the song in praise of Prophet Muhammad to remind and give good advice to the performers as well as the audiences and grow religious values. The goal of this study is to analyze the aesthetic value and religious value of Al-Chulafa’s rebana art. Data analysis technique is taken by reducing, presenting and verifying data. The research is qualitative descriptive approach using design of case study located in Ngembalrejo Village, Bae Kudus. Data source in this study are primary and secondary source and techniques of collecting data are doing observation, interview and document studies. Technique of data validity is triangulation of the source while data analysis technique is taken by reducing data, presenting data, and verifying data. The result shows that the aesthetic value of Al-Chulafa's rebana art shows unity and harmony, which has the principle of organic unity, principle of theme, principle of thematic variation, principle of balance, principle of evolution, and principle of hierarchy. While the religious values in the art of rebana gives a positive impact to the spirituality development of its personnel, which is covered in five dimensions of religious behavior they are the value of belief, the value of religious practice, the value of experience, the value of religious knowledge and the value of religious practice.","PeriodicalId":30818,"journal":{"name":"Catharsis","volume":"7 1","pages":"160-167"},"PeriodicalIF":0.0,"publicationDate":"2018-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44806073","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 : 2018-07-27DOI: 10.15294/CATHARSIS.V7I2.23613
A. H. Saputri, H. Hartono, T. Florentinus
Kudai dance as a medium of collective expression of Semendesociety is identical with the women strength as the source of life. In the aspect of its performance, It contains social interaction through the symbols that is expressed through the aesthetics of the female body.The purpose of the article is to explain the symbolic meaning of Kuadai dance performance expressed by Semende society in Lampung.This research used qualitative method with interdisciplinary approach. The data collection used the technique of observation, interview, and documentation. The data validity was based on the credibility criteria with triangulation technique. The data analysis used the procedure of dance research by Gertrude Prokosch Kurath that is focused on dance analysis especially on symbol and meaning in Kuadai dance. The results showed that Kuadaidance is a form of tradition reality imitation which exists among Semendesociety as an agrarian society that outs forward the tradition of tunggu tubang (the first daughter as a shelter and a manager of family’s treasure. The personality of tunggu tubang that is full of patience, consistence, and responsibility is manifested through the Kuadai dance movements.The plate as property is a symbol of a respect as well as a representation of a woman that should be treated gently, carefully, lovingly, and with sacred. The dominant floor pattern symbolizes the Semende society that always respects the customs’ regulation. The dance accompaniment with slow tempo symbolizes Semende society that is full of tranquility and togetherness.
{"title":"The Symbolic Meaning of Kuadai Dance Performance in the Society of Semende Lampung","authors":"A. H. Saputri, H. Hartono, T. Florentinus","doi":"10.15294/CATHARSIS.V7I2.23613","DOIUrl":"https://doi.org/10.15294/CATHARSIS.V7I2.23613","url":null,"abstract":"Kudai dance as a medium of collective expression of Semendesociety is identical with the women strength as the source of life. In the aspect of its performance, It contains social interaction through the symbols that is expressed through the aesthetics of the female body.The purpose of the article is to explain the symbolic meaning of Kuadai dance performance expressed by Semende society in Lampung.This research used qualitative method with interdisciplinary approach. The data collection used the technique of observation, interview, and documentation. The data validity was based on the credibility criteria with triangulation technique. The data analysis used the procedure of dance research by Gertrude Prokosch Kurath that is focused on dance analysis especially on symbol and meaning in Kuadai dance. The results showed that Kuadaidance is a form of tradition reality imitation which exists among Semendesociety as an agrarian society that outs forward the tradition of tunggu tubang (the first daughter as a shelter and a manager of family’s treasure. The personality of tunggu tubang that is full of patience, consistence, and responsibility is manifested through the Kuadai dance movements.The plate as property is a symbol of a respect as well as a representation of a woman that should be treated gently, carefully, lovingly, and with sacred. The dominant floor pattern symbolizes the Semende society that always respects the customs’ regulation. The dance accompaniment with slow tempo symbolizes Semende society that is full of tranquility and togetherness.","PeriodicalId":30818,"journal":{"name":"Catharsis","volume":"7 1","pages":"150-159"},"PeriodicalIF":0.0,"publicationDate":"2018-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43944568","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 : 2018-07-27DOI: 10.15294/CATHARSIS.V7I2.23561
Joko Riyatmoko, T. Rohidi, Udi Utomo
The inaccurate timing of task collection and the low quality of 3D craft products is due to the fact that most of the students have not been able to manage the timely completion of tasks and lack of optimal control over the tasks assigned. This study aims to determine whether the use of passport skills in project-based learning can improve the timeliness and quality of 3D craft products. An action research conducted in class X Animation 2 SMK N 11 Semarang is done in 2 cycles. Each cycle consists of planning, implementation, observation, and reflection on project based learning with applied passport skill. The data were taken in the form of the timeliness of task collection and product quality measured from the aspect of tidiness, proportion, and uniqueness. The data obtained were analyzed in descriptions. The results show that project-based learning through passport skills can improve the timeliness of X-Animation students of SMK Negeri 11 Semarang. It is proven that students who submitted the task on time rose from 75% to 92%. The learning also improves the quality of three-dimensional craft products, proven by the average in cycle I of 74.31 increased to 85.19. Percentage of completeness in the first cycle reached 64% and in the second cycle increased to 92%. The level of tidiness in cycle I reached 83% increased to 88%, while the proportion aspect increased from 78% to 86%, and the uniqueness aspect increased from 62% to 81%. It was concluded that project-based learning using passport skill enhances the timeliness and quality of 3D craft products in students of X-Animation class of SMK N 11 Semarang.
任务收集时间不准确，3D工艺产品质量不高的原因是大部分学生没有能力及时完成任务，对分配的任务缺乏最优控制。本研究旨在确定在基于项目的学习中使用护照技能是否可以提高3D工艺产品的时效性和质量。在X动画2 SMK N 11三宝课上进行的动作研究分两个周期完成。每个周期包括计划、实施、观察和反思基于项目的应用护照技能学习。数据采用任务收集及时性和产品质量的形式，从整洁性、比例性和唯一性方面衡量。在描述中分析了所获得的数据。结果表明，通过护照技能进行项目式学习可以提高SMK Negeri 11三宝朗X-Animation学生的时效性。事实证明，按时提交任务的学生从75%上升到92%。通过学习也提高了立体工艺产品的质量，证明在第一个周期中平均从74.31提高到85.19。第一个周期的完成率达到64%，第二个周期的完成率提高到92%。周期1的整齐度从83%上升到88%，比例度从78%上升到86%，独特性从62%上升到81%。结果表明，基于项目的护照技能学习提高了SMK n11三宝朗x动画班学生3D工艺产品的及时性和质量。
{"title":"Passport Skill Assisted Project Based Learning to Improve the Punctuality of Time and Product Quality of Three Dimensional Craft","authors":"Joko Riyatmoko, T. Rohidi, Udi Utomo","doi":"10.15294/CATHARSIS.V7I2.23561","DOIUrl":"https://doi.org/10.15294/CATHARSIS.V7I2.23561","url":null,"abstract":"The inaccurate timing of task collection and the low quality of 3D craft products is due to the fact that most of the students have not been able to manage the timely completion of tasks and lack of optimal control over the tasks assigned. This study aims to determine whether the use of passport skills in project-based learning can improve the timeliness and quality of 3D craft products. An action research conducted in class X Animation 2 SMK N 11 Semarang is done in 2 cycles. Each cycle consists of planning, implementation, observation, and reflection on project based learning with applied passport skill. The data were taken in the form of the timeliness of task collection and product quality measured from the aspect of tidiness, proportion, and uniqueness. The data obtained were analyzed in descriptions. The results show that project-based learning through passport skills can improve the timeliness of X-Animation students of SMK Negeri 11 Semarang. It is proven that students who submitted the task on time rose from 75% to 92%. The learning also improves the quality of three-dimensional craft products, proven by the average in cycle I of 74.31 increased to 85.19. Percentage of completeness in the first cycle reached 64% and in the second cycle increased to 92%. The level of tidiness in cycle I reached 83% increased to 88%, while the proportion aspect increased from 78% to 86%, and the uniqueness aspect increased from 62% to 81%. It was concluded that project-based learning using passport skill enhances the timeliness and quality of 3D craft products in students of X-Animation class of SMK N 11 Semarang.","PeriodicalId":30818,"journal":{"name":"Catharsis","volume":"7 1","pages":"141-149"},"PeriodicalIF":0.0,"publicationDate":"2018-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42093199","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 : 2018-07-27DOI: 10.15294/CATHARSIS.V7I1.23625
M. Arqam, T. Florentinus, Udi Utomo
This research reveals Pang Bas as a musical activity in the context of social exchange in Rindu Nada bamboo instrumental group in Sumillan village, Alla district, Enrekang regency. The research was made to analyze Pang Bas of Rindu Nada group. It used interdisciplinary approach, involving the disciplines of sociology under the paradigm of social behavior. The researcher employed qualitative research method to conduct the research. The data of this research were collected from observation, interview, and documentation. Then, the data were analyzed in data reduction, data presentation, and verification or conclusion. The findings showed that Pang Bas musical activity of Rindu Nada occurred during the rehearsal and stage performance collaborating with external parties. The activity initiated the social exchange causing aggression, praises, leadership, deprivation, and boredom towards Pang Bas. Meanwhile, during the play, Pang Bas generated social interaction to outsiders as intrinsic rewards, such as friendship, satisfaction, and social status. The extrinsic reward of it was a material thing in return. There was also a stimuli of generalization in the next meeting and discrimination prior to the success of past performance.
{"title":"Pang Bas : a Musical Activity of Rindu Nada Bamboo Instrumental Group","authors":"M. Arqam, T. Florentinus, Udi Utomo","doi":"10.15294/CATHARSIS.V7I1.23625","DOIUrl":"https://doi.org/10.15294/CATHARSIS.V7I1.23625","url":null,"abstract":"This research reveals Pang Bas as a musical activity in the context of social exchange in Rindu Nada bamboo instrumental group in Sumillan village, Alla district, Enrekang regency. The research was made to analyze Pang Bas of Rindu Nada group. It used interdisciplinary approach, involving the disciplines of sociology under the paradigm of social behavior. The researcher employed qualitative research method to conduct the research. The data of this research were collected from observation, interview, and documentation. Then, the data were analyzed in data reduction, data presentation, and verification or conclusion. The findings showed that Pang Bas musical activity of Rindu Nada occurred during the rehearsal and stage performance collaborating with external parties. The activity initiated the social exchange causing aggression, praises, leadership, deprivation, and boredom towards Pang Bas. Meanwhile, during the play, Pang Bas generated social interaction to outsiders as intrinsic rewards, such as friendship, satisfaction, and social status. The extrinsic reward of it was a material thing in return. There was also a stimuli of generalization in the next meeting and discrimination prior to the success of past performance.","PeriodicalId":30818,"journal":{"name":"Catharsis","volume":"7 1","pages":"132-140"},"PeriodicalIF":0.0,"publicationDate":"2018-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48733247","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 : 2018-07-27DOI: 10.15294/CATHARSIS.V7I2.22865
Mina Amaliani, W. Wadiyo, T. Rohidi
This research raises the problem about an art group located in Pati Central Java named Orkes Puisi Sampak Gusuran. The group has created the art of musical poetry. The purpose of this study was to obtain a picture of the form of creativity and symbolic meaning of the work of the Orkes Puisi Sampak Gusuran for the society of art consumer. This research used qualitative method and used an interdisciplinary approach to find out the symbolic meaning, using symbolic interaction theory. The data collection techniques used are interviews, observation, and document studies. The results of this study indicate that; 1)there are poetry reading techniques must be maintained in order to maintain the meaning of the deepest meaning of a poetry to be away from melodic readings such as language in a songs, although the music as a companion is still presented as a builder of nuance 2)the syllable of poetry can be widened or narrow to adjust to music without reducing the essence of his poetry. From the mixing of instruments, musical genres and mixed arrangements, a new musical arrangement is created that is sometimes undetectable in its genre. This is where the originality the work of Orkes Puisi Sampak Gusuran, where the arrangement sounded flowing, following the atmosphere of poetry, strengthen it into music that is different from others but still strong as a music or as a poetry. Meanwhile the symbolic meaning that can be concluded is: 1)works of poetry Orkes Puisi Sampak Gusuran symbolize life that occurred in society and also a relation to God 2)the use of traditional instruments is a relationship with the ancestors who remain woven in the present.
{"title":"Orkes Puisi Sampak Gusuran : the Creativity of Processing and Symbolic Meanings in Action of Art for the Art Consumer Community","authors":"Mina Amaliani, W. Wadiyo, T. Rohidi","doi":"10.15294/CATHARSIS.V7I2.22865","DOIUrl":"https://doi.org/10.15294/CATHARSIS.V7I2.22865","url":null,"abstract":"This research raises the problem about an art group located in Pati Central Java named Orkes Puisi Sampak Gusuran. The group has created the art of musical poetry. The purpose of this study was to obtain a picture of the form of creativity and symbolic meaning of the work of the Orkes Puisi Sampak Gusuran for the society of art consumer. This research used qualitative method and used an interdisciplinary approach to find out the symbolic meaning, using symbolic interaction theory. The data collection techniques used are interviews, observation, and document studies. The results of this study indicate that; 1)there are poetry reading techniques must be maintained in order to maintain the meaning of the deepest meaning of a poetry to be away from melodic readings such as language in a songs, although the music as a companion is still presented as a builder of nuance 2)the syllable of poetry can be widened or narrow to adjust to music without reducing the essence of his poetry. From the mixing of instruments, musical genres and mixed arrangements, a new musical arrangement is created that is sometimes undetectable in its genre. This is where the originality the work of Orkes Puisi Sampak Gusuran, where the arrangement sounded flowing, following the atmosphere of poetry, strengthen it into music that is different from others but still strong as a music or as a poetry. Meanwhile the symbolic meaning that can be concluded is: 1)works of poetry Orkes Puisi Sampak Gusuran symbolize life that occurred in society and also a relation to God 2)the use of traditional instruments is a relationship with the ancestors who remain woven in the present.","PeriodicalId":30818,"journal":{"name":"Catharsis","volume":"7 1","pages":"168-178"},"PeriodicalIF":0.0,"publicationDate":"2018-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49417992","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 : 2018-07-27DOI: 10.15294/CATHARSIS.V7I2.23611
Tria Ayu Dini, Udi Utomo, T. Triyanto
Tawar Sedenge is a song from Gayo, Aceh province. For Gayo society, this song has an important existence till present. It is marked by the sung of Tawar Sedenge song in Takengon’s formal events and every national ceremony as a distraction of Indonesia Raya song. Tawar Sedenge song has an important role in Gayo society because this song’s lyrics contains a spirit of nationalism that awaken the spirit of Gayo society to achieve the progress and weathliness. This research aims at analyzing and understanding the reflection of Gayo’s cultural identity in Tawar Sedenge song. The research method was qualitative. The research location was Takengon, Central Aceh Regency. The techniques of data collection were observation, interview, and document study. The technique of data validity used source triangulation. Analysis data technique used analysis desciptive. The research result shows that lyrics and music elements contained in this song prove that this song is reflected Gayo’s cultural identity that is from the cultural identity elements based on belief, language, and behavior. First, the element of belief exists in the third stanza lyrics. Secondly, the language element used is Gayo’s language, the behavior is seen from the costume worn by the conductor,i.e., Kerawang Gayo, Gayo’s raditional costume.. The behavior can also be seen from the solemn posture in singing the song. Therefore, it is believed that the elements of Tawar Sedenge song is the reflection of Gayo culture.
{"title":"The Reflection of Cultural Identity of Gayo Society, Central Aceh Regency in Tawar Sedenge Song","authors":"Tria Ayu Dini, Udi Utomo, T. Triyanto","doi":"10.15294/CATHARSIS.V7I2.23611","DOIUrl":"https://doi.org/10.15294/CATHARSIS.V7I2.23611","url":null,"abstract":"Tawar Sedenge is a song from Gayo, Aceh province. For Gayo society, this song has an important existence till present. It is marked by the sung of Tawar Sedenge song in Takengon’s formal events and every national ceremony as a distraction of Indonesia Raya song. Tawar Sedenge song has an important role in Gayo society because this song’s lyrics contains a spirit of nationalism that awaken the spirit of Gayo society to achieve the progress and weathliness. This research aims at analyzing and understanding the reflection of Gayo’s cultural identity in Tawar Sedenge song. The research method was qualitative. The research location was Takengon, Central Aceh Regency. The techniques of data collection were observation, interview, and document study. The technique of data validity used source triangulation. Analysis data technique used analysis desciptive. The research result shows that lyrics and music elements contained in this song prove that this song is reflected Gayo’s cultural identity that is from the cultural identity elements based on belief, language, and behavior. First, the element of belief exists in the third stanza lyrics. Secondly, the language element used is Gayo’s language, the behavior is seen from the costume worn by the conductor,i.e., Kerawang Gayo, Gayo’s raditional costume.. The behavior can also be seen from the solemn posture in singing the song. Therefore, it is believed that the elements of Tawar Sedenge song is the reflection of Gayo culture.","PeriodicalId":30818,"journal":{"name":"Catharsis","volume":"7 1","pages":"189-198"},"PeriodicalIF":0.0,"publicationDate":"2018-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47414246","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 : 2018-05-31DOI: 10.15294/CATHARSIS.V7I1.23082
Dhimayu Ichtiara Wijaya, H. Hartono, T. Triyanto
The art of Dabus Indragiri is an art which shows the body’s resistance to sharp objects by performing dance and Berzanji music accompaniment. Rarely is the art of Dabus Indragiri performed in Rantau Mapesai nowadays. However, there is an awareness from artists to preserve this art because it has values to build character. Based on the above information, this research was to study the values of character which were contained in the art of Dabus Indragiri. The Method used was qualitative. The research was located in Rantau Mapesai, Indragiri Hulu Regency. The data were gathered by doing observation, interview, document study. The technique of data validity used sources trangulation. The technique of data analysis used descriptive analysis. The results stated that the character values in Dabus Indragiri are; (1) religious, (2) like to read, (3) responsible, (4) social care (5) creative, (6) having spirit of nationality, (7) love the homeland, (8) hard work, (9) independent (10) care of environment, (11) friendly or communicative. According to the results, we can conclude that the art of Dabus Indragiri can build character.
{"title":"The Art of Dabus Indragiri in Rantau Mapesai as a Medium to Build Character","authors":"Dhimayu Ichtiara Wijaya, H. Hartono, T. Triyanto","doi":"10.15294/CATHARSIS.V7I1.23082","DOIUrl":"https://doi.org/10.15294/CATHARSIS.V7I1.23082","url":null,"abstract":"The art of Dabus Indragiri is an art which shows the body’s resistance to sharp objects by performing dance and Berzanji music accompaniment. Rarely is the art of Dabus Indragiri performed in Rantau Mapesai nowadays. However, there is an awareness from artists to preserve this art because it has values to build character. Based on the above information, this research was to study the values of character which were contained in the art of Dabus Indragiri. The Method used was qualitative. The research was located in Rantau Mapesai, Indragiri Hulu Regency. The data were gathered by doing observation, interview, document study. The technique of data validity used sources trangulation. The technique of data analysis used descriptive analysis. The results stated that the character values in Dabus Indragiri are; (1) religious, (2) like to read, (3) responsible, (4) social care (5) creative, (6) having spirit of nationality, (7) love the homeland, (8) hard work, (9) independent (10) care of environment, (11) friendly or communicative. According to the results, we can conclude that the art of Dabus Indragiri can build character.","PeriodicalId":30818,"journal":{"name":"Catharsis","volume":"7 1","pages":"69-76"},"PeriodicalIF":0.0,"publicationDate":"2018-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42450811","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 : 2018-05-11DOI: 10.15294/CATHARSIS.V7I1.22997
Sugeng Apriadi, W. Wadiyo
Senggol Tromol is a parody music group from Semarang, most of their songs are representation of phenomenon which is trending in society for a certain period of time. The phenomenon would only last for a certain period of time because of social change happens in the society. The purpose of this study is to analyze the creative process and the social change which happen to Senggol Tromol. This study used qualitative method with observation, interview, and documentation as the method of collecting data. The methods of data analysis were data collection, data presentation, data reduction, and data verification. The results of the study show that in the creative process, Senggol Tromol did not always create new works, but they also modified existing ones. The steps were searching for inspiration, gathering ideas, determining the target listener, determining the themes, creating song structure and arrangement. The social change happens in Senggol Tromol went along with the presence of digital music platform which replaced physical release era, used by them as the promotion media to sell their works digitally.
{"title":"The Musical Creativity of Senggol Tromol Semarang in The Context of Social Change","authors":"Sugeng Apriadi, W. Wadiyo","doi":"10.15294/CATHARSIS.V7I1.22997","DOIUrl":"https://doi.org/10.15294/CATHARSIS.V7I1.22997","url":null,"abstract":"Senggol Tromol is a parody music group from Semarang, most of their songs are representation of phenomenon which is trending in society for a certain period of time. The phenomenon would only last for a certain period of time because of social change happens in the society. The purpose of this study is to analyze the creative process and the social change which happen to Senggol Tromol. This study used qualitative method with observation, interview, and documentation as the method of collecting data. The methods of data analysis were data collection, data presentation, data reduction, and data verification. The results of the study show that in the creative process, Senggol Tromol did not always create new works, but they also modified existing ones. The steps were searching for inspiration, gathering ideas, determining the target listener, determining the themes, creating song structure and arrangement. The social change happens in Senggol Tromol went along with the presence of digital music platform which replaced physical release era, used by them as the promotion media to sell their works digitally.","PeriodicalId":30818,"journal":{"name":"Catharsis","volume":"7 1","pages":"62-69"},"PeriodicalIF":0.0,"publicationDate":"2018-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41414800","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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