Pub Date : 2024-07-05DOI: 10.15294/harmonia.v24i1.49148
S. Supriyadi, Abd Rasid Ismail, Esterica Yunianti
As an ancient Indonesian art, Batik has been recognized by the United Educational Scientific and Cultural Organization (UNESCO). Batik is one of the original handicrafts in Indonesia. This research explores three main issues of Bakaran batik legend: community leaders’ viewpoint in Juana, Pati Regency; aspects of context and implicatures; and coherences among themes, visual elements, and images. A qualitative method was conducted in this research. It was conducted in February-April 2022 with a case study at Bakaran Juana Pati district. Data collection techniques were employed through in-depth interviews, non-participatory observation, and document analysis. Data was collected using observations and interviews with eight informants. The data was analyzed using pragmatics. The findings revealed that Bakaran batik has its uniqueness explicitly in its patterns. Numerous designs in Bakaran batik patterns are associated with the legend of Nyai Ageng Danowati, a Majapahit Kingdom’s Batik expert figure who escaped from Majapahit and then lived in Bakaran village Juana district, Pati Regency. It implicitly has legendary aspects when analyzed in terms of possible patterns. Bakaran village’s legendary patterns include the Kembang Druju, the Limaran, the Gandrung, and the Magel Ati. The legend pattern’s context is typically connected with the legend of the Batik figure, Nyai Ageng Danowati, and the implicature of the legendary pattern is related to the moment of Nyai Ageng Danowati for spending her life while she was on the escapement. The visual elements and the image of the legend motif are coherent, and the visual form of the Motif theme is relevant to Nyai Danowati’s life story.
作为一种古老的印尼艺术，蜡染得到了联合国教科文组织（UNESCO）的认可。蜡染是印度尼西亚最原始的手工艺品之一。本研究探讨了巴卡兰蜡染传说的三个主要问题：帕蒂区胡安娜社区领袖的观点；背景和寓意方面；以及主题、视觉元素和图像之间的一致性。本研究采用定性方法。研究于 2022 年 2 月至 4 月间在巴卡兰-胡安娜-帕蒂地区进行。通过深入访谈、非参与性观察和文件分析等方法收集数据。通过观察和与八位信息提供者的访谈收集数据。数据使用语用学进行分析。研究结果表明，巴卡兰蜡染的独特性明显体现在其图案上。巴卡兰蜡染图案中的许多设计都与 Nyai Ageng Danowati 的传说有关，Nyai Ageng Danowati 是马札帕赫特王国的蜡染专家，从马札帕赫特逃出后居住在巴卡兰省帕蒂县胡安娜村。从可能的模式来分析，它隐含着传奇色彩。巴卡兰村的传说模式包括 Kembang Druju、Limaran、Gandrung 和 Magel Ati。传说图案的背景通常与巴蒂克人物 Nyai Ageng Danowati 的传说有关，传说图案的寓意与 Nyai Ageng Danowati 在擒拿过程中耗尽生命的那一刻有关。传说图案的视觉元素和形象是连贯的，图案主题的视觉形式与 Nyai Danowati 的生平故事相关。
{"title":"Pragmatic and Semiotic Studies: A New Perspective on Bakaran Batik Legend Motif, Juana District, Pati Regency, Indonesia","authors":"S. Supriyadi, Abd Rasid Ismail, Esterica Yunianti","doi":"10.15294/harmonia.v24i1.49148","DOIUrl":"https://doi.org/10.15294/harmonia.v24i1.49148","url":null,"abstract":"As an ancient Indonesian art, Batik has been recognized by the United Educational Scientific and Cultural Organization (UNESCO). Batik is one of the original handicrafts in Indonesia. This research explores three main issues of Bakaran batik legend: community leaders’ viewpoint in Juana, Pati Regency; aspects of context and implicatures; and coherences among themes, visual elements, and images. A qualitative method was conducted in this research. It was conducted in February-April 2022 with a case study at Bakaran Juana Pati district. Data collection techniques were employed through in-depth interviews, non-participatory observation, and document analysis. Data was collected using observations and interviews with eight informants. The data was analyzed using pragmatics. The findings revealed that Bakaran batik has its uniqueness explicitly in its patterns. Numerous designs in Bakaran batik patterns are associated with the legend of Nyai Ageng Danowati, a Majapahit Kingdom’s Batik expert figure who escaped from Majapahit and then lived in Bakaran village Juana district, Pati Regency. It implicitly has legendary aspects when analyzed in terms of possible patterns. Bakaran village’s legendary patterns include the Kembang Druju, the Limaran, the Gandrung, and the Magel Ati. The legend pattern’s context is typically connected with the legend of the Batik figure, Nyai Ageng Danowati, and the implicature of the legendary pattern is related to the moment of Nyai Ageng Danowati for spending her life while she was on the escapement. The visual elements and the image of the legend motif are coherent, and the visual form of the Motif theme is relevant to Nyai Danowati’s life story.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":" 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141676653","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 : 2024-07-05DOI: 10.15294/harmonia.v24i1.44034
Kun Setyaning Astuti, Marlene Belly, Ridwan Maulana, Alice Armini
The ‘affective domain’ supports students’ moral development, shaping their character. The research aims to investigate the music learning process in Indonesia, the Netherlands, and France and determine its contribution to the affective domain. The study adopted a mixed methods approach with sequential designs. In the first phase, qualitative data were collected through observations of learning processes as well as through interviews and document analysis. These qualitative data informed the development and administration of instruments for the second phase that measured aspects of the music learning process expected to contribute to the affective domain. Based on the analysis of 74 music learning processes, this research showed differences between the three countries in song choices and methods for developing the affective domain through music learning. Song choices in the Netherlands and France were based on the song’s potential to touch students’ feelings, while those used in Indonesia were selected to build moral character and foster national pride. In the Indonesian music learning context, persuasion and intervening were predominant methods – as they were (although to a lesser extent) in France. In contrast, the Netherlands made greater use of inculcation and, along with France, habituation.
{"title":"Differences in Affective Domain Development Music Learning between Indonesia, The Netherlands, and France","authors":"Kun Setyaning Astuti, Marlene Belly, Ridwan Maulana, Alice Armini","doi":"10.15294/harmonia.v24i1.44034","DOIUrl":"https://doi.org/10.15294/harmonia.v24i1.44034","url":null,"abstract":"The ‘affective domain’ supports students’ moral development, shaping their character. The research aims to investigate the music learning process in Indonesia, the Netherlands, and France and determine its contribution to the affective domain. The study adopted a mixed methods approach with sequential designs. In the first phase, qualitative data were collected through observations of learning processes as well as through interviews and document analysis. These qualitative data informed the development and administration of instruments for the second phase that measured aspects of the music learning process expected to contribute to the affective domain. Based on the analysis of 74 music learning processes, this research showed differences between the three countries in song choices and methods for developing the affective domain through music learning. Song choices in the Netherlands and France were based on the song’s potential to touch students’ feelings, while those used in Indonesia were selected to build moral character and foster national pride. In the Indonesian music learning context, persuasion and intervening were predominant methods – as they were (although to a lesser extent) in France. In contrast, the Netherlands made greater use of inculcation and, along with France, habituation.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":" 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141675443","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 : 2024-07-05DOI: 10.15294/harmonia.v24i1.44787
I. K. Muka, Wayan Suardana
The pottery craftsmanship of Banyumulek, a cultural heritage of the Lombok community, has undergone a transformation over time. The embodiment of cultural concepts, ideas, and forms has transitioned from functional to aesthetic values, particularly due to the influence of tourism development in Lombok. This research employs a qualitative descriptive method to explore innovations in the form and function of Banyumulek pottery. Data was collected through observation, interviews, and documentation, focusing on various forms and types of pottery in Lombok. Key informants included business owners and pottery craftsmen in the Kediri District, West Lombok. Findings indicate a change in the pottery-making process from traditional to semi-modern. The forms of pottery have evolved from simple to more decorative, and their function has shifted from practical to aesthetic. This innovation is part of a continuous cultural heritage and plays a crucial role in Lombok’s tourism industry. Changes and innovations in Banyumulek pottery reflect economic and tourism growth and affirm the values of the social and cultural identity of the local community. This research highlights the importance of preserving cultural heritage and the adaptive nature of the craft industry in the face of changing times.
{"title":"Innovation of Form and Function of Banyumulek Pottery Craftsmanship in Lombok as Heritage of Traditional Culture","authors":"I. K. Muka, Wayan Suardana","doi":"10.15294/harmonia.v24i1.44787","DOIUrl":"https://doi.org/10.15294/harmonia.v24i1.44787","url":null,"abstract":"The pottery craftsmanship of Banyumulek, a cultural heritage of the Lombok community, has undergone a transformation over time. The embodiment of cultural concepts, ideas, and forms has transitioned from functional to aesthetic values, particularly due to the influence of tourism development in Lombok. This research employs a qualitative descriptive method to explore innovations in the form and function of Banyumulek pottery. Data was collected through observation, interviews, and documentation, focusing on various forms and types of pottery in Lombok. Key informants included business owners and pottery craftsmen in the Kediri District, West Lombok. Findings indicate a change in the pottery-making process from traditional to semi-modern. The forms of pottery have evolved from simple to more decorative, and their function has shifted from practical to aesthetic. This innovation is part of a continuous cultural heritage and plays a crucial role in Lombok’s tourism industry. Changes and innovations in Banyumulek pottery reflect economic and tourism growth and affirm the values of the social and cultural identity of the local community. This research highlights the importance of preserving cultural heritage and the adaptive nature of the craft industry in the face of changing times. ","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":" 22","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141673631","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 : 2024-07-05DOI: 10.15294/harmonia.v24i1.43375
Desirée García-Gil, Laura Cuervo, Carolina Bonastre, Celia Camilli
Service-learning methodology seeks to achieve a balance between academic learning and the application of the acquired knowledge for the benefit of the community. Our study aims to assess the academic and personal development of the students who participated in the educational experience and identify the benefits it brought to the attended children. The total of 73 participants involved: a) university students of a faculty of education, b) hospitalized children and their families, c) a healthcare worker, and d) several volunteers. We conducted a case study featuring qualitative analysis (based on discussion groups, interviews, and daily narratives), analysis of co-occurrence, and data triangulation. The categories we obtained were related to learning achieved by university students, their personal growth, and the impact of hospital service on the different agents who participated in the experience. Findings suggest that service-learning, along with the positive emotional impact of experiential music learning, was associated with student progress in teacher training and personal development.
{"title":"Music for Hospitalized Children in Service-Learning: Academic and Personal Implications for Teachers in Training","authors":"Desirée García-Gil, Laura Cuervo, Carolina Bonastre, Celia Camilli","doi":"10.15294/harmonia.v24i1.43375","DOIUrl":"https://doi.org/10.15294/harmonia.v24i1.43375","url":null,"abstract":"Service-learning methodology seeks to achieve a balance between academic learning and the application of the acquired knowledge for the benefit of the community. Our study aims to assess the academic and personal development of the students who participated in the educational experience and identify the benefits it brought to the attended children. The total of 73 participants involved: a) university students of a faculty of education, b) hospitalized children and their families, c) a healthcare worker, and d) several volunteers. We conducted a case study featuring qualitative analysis (based on discussion groups, interviews, and daily narratives), analysis of co-occurrence, and data triangulation. The categories we obtained were related to learning achieved by university students, their personal growth, and the impact of hospital service on the different agents who participated in the experience. Findings suggest that service-learning, along with the positive emotional impact of experiential music learning, was associated with student progress in teacher training and personal development.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":" 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141675779","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 : 2024-07-05DOI: 10.15294/harmonia.v24i1.39377
L. Akudolu, I. K. Okwuosa, I. Okeke, C. N. Okolie, Francis C. Ofoegbu, Valentine N. Ojiegb, Christopher O. Akpa, K. C. Solomon, H. O. Eze, Chinwe Jane Okolo
The exaggeration of Oscar Wilde’s aestheticism that the work of art is purely for beauty and pleasure and has nothing to do with morality makes it very difficult for his moral philosophy to be conceived. Even his novel, The Picture of Dorian Gray, which is meant to balance his exaggeration of pleasure in his aestheticism, is often misinterpreted as an aesthetic eulogy. At the same time, some see it as a pure contradiction to his former philosophic position. This paper, therefore, attempts to identify his moral philosophy through a dialectic study of his aestheticism and The Picture of Dorian Gray. As it is qualitative research, the authors source their data primarily from literary works by Oscar Wilde, while other library materials serve as secondary sources. Various philosophical tools, especially dialectics and hermeneutics, are applied in data interpretation. The finding is that contrary to the expectation and assumption of many scholars, ethical hedonism rather than aesthetic hedonism is his moral philosophy.
{"title":"Oscar Wilde’s Moral Philosophy: A Synthesis between Aestheticism and The Picture of Dorian Gray","authors":"L. Akudolu, I. K. Okwuosa, I. Okeke, C. N. Okolie, Francis C. Ofoegbu, Valentine N. Ojiegb, Christopher O. Akpa, K. C. Solomon, H. O. Eze, Chinwe Jane Okolo","doi":"10.15294/harmonia.v24i1.39377","DOIUrl":"https://doi.org/10.15294/harmonia.v24i1.39377","url":null,"abstract":"The exaggeration of Oscar Wilde’s aestheticism that the work of art is purely for beauty and pleasure and has nothing to do with morality makes it very difficult for his moral philosophy to be conceived. Even his novel, The Picture of Dorian Gray, which is meant to balance his exaggeration of pleasure in his aestheticism, is often misinterpreted as an aesthetic eulogy. At the same time, some see it as a pure contradiction to his former philosophic position. This paper, therefore, attempts to identify his moral philosophy through a dialectic study of his aestheticism and The Picture of Dorian Gray. As it is qualitative research, the authors source their data primarily from literary works by Oscar Wilde, while other library materials serve as secondary sources. Various philosophical tools, especially dialectics and hermeneutics, are applied in data interpretation. The finding is that contrary to the expectation and assumption of many scholars, ethical hedonism rather than aesthetic hedonism is his moral philosophy.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":"99 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141674223","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 : 2024-07-05DOI: 10.15294/harmonia.v24i1.43243
Fajar Ciptandi, A. Arumsari
This article discusses the existence of aesthetics in traditional batik colors in Tuban, East Java, Indonesia, which is reflected in the appreciation of the deep values in the activity of making cloth. Batik colors have been one of the foundations for producing traditional identity values belonging to the Tuban community and have been preserved for generations. However, the existence of this aesthetic is gradually experiencing degradation due to some disruptions, such as modernity, trends, and technology, which has led to transformation. The purpose of the study is to interpret the relationship between the weakening of the existence of aesthetics in traditional Tuban batik colors and the daily behavior patterns of people in current conditions. The research method was conducted using a phenomenological approach, and it is reviewed based on the principle of memetics theory to find out the factors that cause this phenomenon. It is essential to produce a conclusion to enrich fundamental knowledge in understanding the causes of transformation in the aesthetic existence of a tradition so that it becomes the basis for consideration in taking transformative action to preserve the tradition.
{"title":"The Existence of Aesthetic Transformation in Traditional Batik Colors Based on the Review of Memetics Theory (Case Study: Traditional Batik in Tuban, East Java, Indonesia)","authors":"Fajar Ciptandi, A. Arumsari","doi":"10.15294/harmonia.v24i1.43243","DOIUrl":"https://doi.org/10.15294/harmonia.v24i1.43243","url":null,"abstract":"This article discusses the existence of aesthetics in traditional batik colors in Tuban, East Java, Indonesia, which is reflected in the appreciation of the deep values in the activity of making cloth. Batik colors have been one of the foundations for producing traditional identity values belonging to the Tuban community and have been preserved for generations. However, the existence of this aesthetic is gradually experiencing degradation due to some disruptions, such as modernity, trends, and technology, which has led to transformation. The purpose of the study is to interpret the relationship between the weakening of the existence of aesthetics in traditional Tuban batik colors and the daily behavior patterns of people in current conditions. The research method was conducted using a phenomenological approach, and it is reviewed based on the principle of memetics theory to find out the factors that cause this phenomenon. It is essential to produce a conclusion to enrich fundamental knowledge in understanding the causes of transformation in the aesthetic existence of a tradition so that it becomes the basis for consideration in taking transformative action to preserve the tradition.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":" 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141675262","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 : 2024-07-05DOI: 10.15294/harmonia.v24i1.42508
Febby Febriyandi YS, Anastasia Wiwik Swastiwi
This article aims to answer why the tiger dance in Kerinci Regency, Jambi Province, has not developed widely despite being preserved for more than 30 years and becoming a popular dance in Jambi Province. Qualitative research methods were used to carry out this study. In-depth interviews and uninvolved observation of the artists’ activities were used to collect the data. The analysis focused on the development of the tiger dance and the preservation discourse created by the artists and residents of Pulau Tengah Village. This study discovered that the extinct Ngagoah Imo ritual was transformed into the tiger dance. The “tiger man” myth, which the Kerinci people still hold dear, forms the basis of the tiger ritual and dance. Initially, the tiger dance was not sacred but was made sacred due to encouragement from various parties. Because of its uniqueness, the tiger dance soon became popular in Jambi and became a cure for the longing of the Kerinci people for the Ngagoah Imo ritual. Realizing the potential of tiger dance as an economic resource and as Kerinci’s regional identity, the artists then created a discourse of property rights over tiger dance. They prohibited other villagers from learning or imitating it. This discourse is slowly making tiger dance endangered because it is only controlled by a small group of artists. Such a discourse on cultural property rights needs to be straightened out. Apart from being contrary to the dynamic character of Malay culture, it is also contrary to various principles of cultural preservation.
本文旨在回答为什么占碑省凯林西地区的老虎舞保存了 30 多年，并成为占碑省的一种流行舞蹈，但却没有得到广泛的发展。本研究采用了定性研究方法。通过深入访谈和旁观艺术家的活动来收集数据。分析的重点是虎舞的发展以及艺术家和 Pulau Tengah 村居民创造的保护话语。本研究发现，已灭绝的恩加戈阿-伊莫（Ngagoah Imo）仪式被转化为虎舞。柯林奇人至今仍珍视的 "虎人 "神话构成了虎祭和虎舞的基础。最初，虎舞并不神圣，但在各方的鼓励下变得神圣起来。由于其独特性，虎舞很快就在占碑流行起来，并成为克林齐人对 Ngagoah Imo 仪式渴望的一剂良药。艺术家们意识到虎舞作为一种经济资源和凯琳奇地区特征的潜力，于是创造了一种虎舞产权话语。他们禁止其他村民学习或模仿虎舞。这种话语慢慢使虎舞濒临灭绝，因为它只被一小部分艺术家所控制。这种关于文化产权的论调亟待纠正。它不仅有悖于马来文化的活力特征，也有悖于文化保护的各种原则。
{"title":"Tiger Dance: Transformation and Cultural Property Rights Discourse in Kerinci, Indonesia","authors":"Febby Febriyandi YS, Anastasia Wiwik Swastiwi","doi":"10.15294/harmonia.v24i1.42508","DOIUrl":"https://doi.org/10.15294/harmonia.v24i1.42508","url":null,"abstract":"This article aims to answer why the tiger dance in Kerinci Regency, Jambi Province, has not developed widely despite being preserved for more than 30 years and becoming a popular dance in Jambi Province. Qualitative research methods were used to carry out this study. In-depth interviews and uninvolved observation of the artists’ activities were used to collect the data. The analysis focused on the development of the tiger dance and the preservation discourse created by the artists and residents of Pulau Tengah Village. This study discovered that the extinct Ngagoah Imo ritual was transformed into the tiger dance. The “tiger man” myth, which the Kerinci people still hold dear, forms the basis of the tiger ritual and dance. Initially, the tiger dance was not sacred but was made sacred due to encouragement from various parties. Because of its uniqueness, the tiger dance soon became popular in Jambi and became a cure for the longing of the Kerinci people for the Ngagoah Imo ritual. Realizing the potential of tiger dance as an economic resource and as Kerinci’s regional identity, the artists then created a discourse of property rights over tiger dance. They prohibited other villagers from learning or imitating it. This discourse is slowly making tiger dance endangered because it is only controlled by a small group of artists. Such a discourse on cultural property rights needs to be straightened out. Apart from being contrary to the dynamic character of Malay culture, it is also contrary to various principles of cultural preservation.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":" 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141673438","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-31DOI: 10.15294/harmonia.v23i2.37468
Muhamad Hafifi Mokhtar, Clare Suet Ching Chan
This article explores Max as a digital platform for performing noise music through a practice-led research method. The practice-led research method was used to explore the possibilities of building Max patches, while content analysis method was used to analyse the outcome of the patches. Several Max patches were created to explore the potential of Max as an alternative approach for performing noise music. Findings show that Max can replicate the audio processing methods used in conventional performance. Due to Max capabilities, some of these methods could be automated and arranged prior to the performance. In addition, Max patches featured changing sound, random pitches, mixture of pre-recorded audio source and live instrument, and drone sound combined with automatic constant real-time audio self-processing and automatic audio panning, a feature that seldom appears in the local noise music scene. In conclusion, this research argues that Max has much potential for creating a variety of digital sounds that are harsh and dissonant to the ears, therefore contributing to the musical diversity in noise music performance. These sounds are the results of the features of audio self-processing, random pitches, automatic audio panning object and self-changing pitched drone audio signals relying on random MIDI values that appeared in Max.
本文通过以实践为主导的研究方法，探讨 Max 作为表演噪音音乐的数字平台。实践主导研究法用于探索制作 Max 补丁的可能性，而内容分析法则用于分析这些补丁的结果。我们制作了几个 Max 补丁，以探索 Max 作为表演噪音音乐的另一种方法的潜力。研究结果表明，Max 可以复制传统表演中使用的音频处理方法。由于 Max 的功能，其中一些方法可以在表演前自动安排。此外，Max 片段还具有声音变化、随机音高、预录音源与现场乐器混合、无人机声音与自动恒定实时音频自我处理和自动音频平移相结合等特点，这在本地噪音音乐场景中很少出现。总之，本研究认为，Max 在创造各种刺耳、不和谐的数字声音方面具有很大潜力，因此有助于噪声音乐表演中的音乐多样性。这些声音是 Max 中出现的音频自处理、随机音高、自动音频平移对象和依靠随机 MIDI 值的自变音高无人机音频信号等特性的结果。
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Pub Date : 2023-12-31DOI: 10.15294/harmonia.v23i2.43958
Paloma Bravo-Fuentes
Shadow theatre is an educational resource based on the use of silhouettes and the body as a means of communication. It allows the incorporation of music and sound effects that help students discover movement possibilities in the stage space. It also encourages collaborative work through the creation of groups. Therefore, the aim of this research is the incorporation of shadow theatre as a performance art for the promotion of uninhibited corporal expression and group cohesion. An action-research methodology is used to define a didactic proposal that incorporates shadow theatre in the field of music education at primary school. The learning situation is carried out in two public schools in the province of Malaga, with a sample of 213 students. The results indicate that shadow theatre effectively improved pupils’ body expression and group cohesion. Some students had initial difficulties, but thanks to the anonymity provided by this resource, fear of ridicule was reduced. It is proposed to compare this resource with theatre in order to define whether the method of incorporating the shadow is really effective.
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Pub Date : 2023-12-31DOI: 10.15294/harmonia.v23i2.43483
Liu Xiao Chen, Wang I Ta, Wong Kwan Yie
Although the Flow experience has been researched extensively in music education, there is limited investigation into exploring the link between the Suzuki piano method and Csikszentmihalyi’s flow theory. To address this gap, a quasi-experimental study was conducted to examine how the Suzuki piano method can promote the flow state of adult piano beginners. The study involved 36 participants assigned to either a treatment group or a control group. Both groups underwent an eight-week training program in Suzuki Piano Method and Conventional Group Piano Class respectively. After the program, participants from both groups underwent a post-training performance test and completed a survey, namely Learning and Performing Experience Scale (LPES), modified based on the Short Flow State Scale (S-FFS) by Martin and Jackson to examine their flow experience. The treatment group showed significantly higher flow experience levels than the control group, particularly in dimensions of Concentration, Unambiguous feedback, Timelessness, Loss of self-consciousness, Sense of control, Autotelic experience, and Challenge-skill balance. The findings suggested that the Suzuki piano method may promote flow experiences among adult beginners in piano learning. The implication of the study signified that the collaborative and interactive learning inherent in the method might be beneficial in achieving flow state and could be a consideration in conducting group piano classes.
{"title":"Suzuki Piano Method and Flow Experience among Adult Piano Beginners: A Quasi-Experimental Study","authors":"Liu Xiao Chen, Wang I Ta, Wong Kwan Yie","doi":"10.15294/harmonia.v23i2.43483","DOIUrl":"https://doi.org/10.15294/harmonia.v23i2.43483","url":null,"abstract":"Although the Flow experience has been researched extensively in music education, there is limited investigation into exploring the link between the Suzuki piano method and Csikszentmihalyi’s flow theory. To address this gap, a quasi-experimental study was conducted to examine how the Suzuki piano method can promote the flow state of adult piano beginners. The study involved 36 participants assigned to either a treatment group or a control group. Both groups underwent an eight-week training program in Suzuki Piano Method and Conventional Group Piano Class respectively. After the program, participants from both groups underwent a post-training performance test and completed a survey, namely Learning and Performing Experience Scale (LPES), modified based on the Short Flow State Scale (S-FFS) by Martin and Jackson to examine their flow experience. The treatment group showed significantly higher flow experience levels than the control group, particularly in dimensions of Concentration, Unambiguous feedback, Timelessness, Loss of self-consciousness, Sense of control, Autotelic experience, and Challenge-skill balance. The findings suggested that the Suzuki piano method may promote flow experiences among adult beginners in piano learning. The implication of the study signified that the collaborative and interactive learning inherent in the method might be beneficial in achieving flow state and could be a consideration in conducting group piano classes.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":"73 14","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139130369","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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