Resital: Jurnal Seni Pertunjukan
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Bibliometric Analysis of 20 years of Traditional Music Research in Asia
Full text linkThis study aims to explore and evaluate research on traditional music in Asia over the past 20 years based on a Scopus database search. This study adopts a qualitative descriptive approach using bibliometric analysis with VOSviewer software to examine and assess patterns, trends, and developments in studies on traditional music through Scopus-indexed publications. From an analysis of 1,872 documents in the Scopus database, the Asian-European Music Research Journal emerged as the most consistent source publishing studies on traditional music. The subject area of Social Sciences appeared most frequently and was the most commonly used category in studies on traditional music in Asia over the past two decades. However, these studies have remained to fully interpret and respond to the aesthetic and ethical transformations of traditional music in the era of globalization, which still has the potential to raise various issues related to culture, musical instruments, performance styles, and social functions. This study is significant for future research on traditional music, serving as a foundation for scholarly discussions in addressing the factors and implications of aesthetic and ethical transformations in traditional music in the globalized era
Bar Sheet: Panduan Sinkronisasi Bunyi Mickey-Mousing Terhadap Visualisasi Animasi Rhapsody Rabbit
Full text linkAnimasi tradisional pada industri film Hollywood dahulu memiliki proses kreatif yang kompleks karena keterbatasan teknologi dan kerap menyelaraskan rangkaian gambar dengan musik. Istilah proses ini mengacu pada ‘mickey-mousing’, yakni menyinkronkan setiap aksi atau gerakan dengan lantunan musik. Teknik mickey-mousing memiliki kasus dimana musik terlebih dahulu ada sehingga visual menyesuaikan dengan bagian-bagian musik yang dipilih. Tata cara ini dilakukan dengan membuat sebuah bar sheet sebagai panduan bagi animator dan komponis untuk menandakan frame dan musik yang sinkronik. Sebagai contoh, hal ini dapat dilihat pada film animasi Rhapsody Rabbit dari serial Merrie Melodies milik Warner Bros. Teknik mickey-mousing selain menyinkronkan dapat menyelaraskan pula irama antara visual dan bunyi. Oleh karena itu, Penelitian ini bertujuan untuk mengkaji perihal teknis penciptaan teknik mickey-mousing untuk menyelaraskan irama film animasi Rhapsody Rabbit. Penelitian ini menggunakan metode kualitatif dengan pendekatan analisis konten. Sumber data primer yakni film animasi Rhapsody Rabbit dan partitur lagu The Hungarian Rhapsody no.2 karya Franz Liszt, sumber data sekunder didapatkan melalui studi literatur berupa tulisan ilmiah yang memiliki topik relevan dengan penelitian ini. Teknik pengumpulan data melalui observasi, wawancara, dan studi dokumentasi dan analisis data dilakukan menggunakan metode analisis konten Klaus Krippendorf yang terbagi menjadi 6 tahapan. Hasil yang ditemukan adalah teknik mickey-mousing menyelaraskan irama denga cara mengatur, mengkoordinasi, dan menggambar pose kunci pada frame tertentu yang sinkronik bersamaan musik. Prinsip-prinsip animasi straight ahead and pose to pose dan timing and spacing berperan penting dalam menepatkan suatu unsur dari komposisi dengan sketsa animasi. Implikasi penelitian ini dapat menjadi panduan bagi animator, filmmaker, dan komponis film
Keroncong Arrangement as an Expression of Freedom Congrock 17
Full text linkThis study aims to analyze the results of the arrangement of keroncong music performed by Congrock 17. Congrock 17 is a well-known progressive keroncong music group from Semarang City, Central Java, Indonesia. This study’s two musical works are the object of analysis: Keroncong Pemuda-Pemudi and Perdamaian. This study uses a musicological approach emphasizing the concepts of arrangement, freedom, expression, and musical form. These concepts determine how far Congrock 17 can create new characters and nuances in existing musical works. Musical considerations were made by Congrock 17 by keeping the fundamental nature of keroncong the same, especially in the use of musical instruments such as cak, cuk, bass, violin, and cello. As a result, the arrangement of old works by Congrong 17 was intended so that keroncong would develop more progressively, be liked by the younger generation, and avoid monotony
Respons Pesindhen dan Qari’ Terhadap Lantunan Al-Qur’an Langgam Jawa
Full text linkJavanese Qur'an chants performed by Yaser Arafat at the State Palace in 2015 during the commemoration of Isra' Mi'raj. The use of Javanese musicals influenced the formation of Javanese cloves in his singing. Javanese cloves as decorations for chanting the Qur'an should be able to make people who listen to it interested. However, in fact it caused controversy. This study aims to determine the Javanese clove formed and the response of a pesindhen and qari'-qari'ah to the chanting of the Javanese Qur'an. The research method used is a qualitative research method with a a musicological approach and case studies. This research has the object to be studied, namely the chanting of QS. Al-Isra' verse 1 and QS. An-Najm verses 1-15. Data collection was carried out by means of desk-based research, interviews, documentation and literature studies which were analyzed musicologically and using the Miles and Huberman model. The results showed that the chanting of the Javanese Qur'an by Yaser Arafat found Javanese cloves in the form of luk. Luk was formed accidentally by adjusting the law of tajweed. Pesindhen's response still appreciates his chants even though only luk was found. However, it does not agree with the use of macapat Pangkur. Similarly, reciters do not approve of using macapat Pangkur in their chants. Meanwhile, the reciter gave a response that did not approve of his chanting because he adhered to the hadith and maqamat of Al-Arabiyyah
"Manguni," A Minahasan Cultural Identity: The Application of Practice-Based Research on A Program Music
Full text linkManguni is a Minahasan term for a carnivorous, nocturnal bird known as an owl. The manguni has the Latin name otus manadensis. Minahasan people believe that the manguni is a bird that brings news from Opo Wailan Wangko or God Almighty. In the modern era, mangunis have become endangered due to hunting and logging of trees that were mangunis' original habitat. The extinction of these birds has impacted the younger generation's understanding of the manguni as the identity of the Minahasan people, as well as the ancestral cultural values found in this bird. This research aims to introduce and preserve the noble values found in manguni to the younger generation through symphonic works that combine Minahasan and Western musical idioms. The use of orchestral instruments in nationalistic works has also been done by Romantic-era composers such as Bedrich Smetana, Antonin Dvorak, Bela Bartok, Zoltan Kodaly, and others. However, Manguni is the first orchestral composition to capture the magical figure of this bird musically. This research applies a qualitative and practice-based approach that positions the researcher as the vital instrument. Several stages of research include conceptualizing the composition, incorporating leitmotifs, adding extramusical ideas, pouring ideas or creations, composing detailed compositions, and evaluating. The research output is a descriptive programmatic musical work that uses manguni as an extramusical idea. Leitmotifs represent the nature and character of the manguni and its meanings to the Minahasan people. The work adopts Minahasan musical idioms, such as the rhythmic patterns of Kabasaran dance and the modes and ornamentation of Maengket singing. The Manguni movement is written in a sonata form consisting of exposition, development, recapitulation, and coda. The techniques used include polytonal, cluster, quartal, artificial harmony, polychord, sequence, augmentation, diminution, and retrograde
Integrasi Platform Media Sosial Instagram dalam Pertunjukan dan Pembelajaran Musik Gamad di Sendratasik FBS UNP
Full text linkPenelitian ini bertujuan untuk mendeskripsikan dan menganalisis integrasi pertunjukan musik Gamad ke dalam platform media sosial dan dampaknya terhadap pembelajaran musik Gamad di Jurusan Pendidikan Drama, Tari, dan Musik (Sendratasik), Fakultas Bahasa dan Seni (FBS), Universitas Negeri Padang (UNP). Penelitian ini berfokus pada bagaimana Instagram, sebuah platform digital populer, dimanfaatkan untuk mengajarkan dan menampilkan musik Gamad, mengeksplorasi perannya dalam mentransformasikan pedagogi musik tradisional. Dengan menggunakan pendekatan studi kasus kualitatif, penelitian ini mengkaji strategi yang digunakan oleh para pendidik untuk memasukkan fitur-fitur Instagram—seperti postingan video, reel, dan siaran langsung—ke dalam proses pembelajaran. Temuan ini menyoroti bahwa Instagram memfasilitasi keterlibatan mahasiswa yang lebih besar, menawarkan ruang yang dinamis dan interaktif untuk latihan dan pertunjukan. Selain itu, media digital membantu memperluas audiens musik Gamad, menghubungkan karya mahasiswa ke platform global. Studi ini menyimpulkan bahwa mengintegrasikan media sosial ke dalam pendidikan musik tidak hanya meningkatkan pengalaman belajar tetapi juga mendukung pelestarian dan penyebaran tradisi musik lokal dalam konteks modern.Kata Kunci: Musik Gamad, Pembelajaran, Pewarisan, dan Transmisi Musik Tradisional, Media SosialThis study aims to describe and analyze the integration of Gamad music performances into social media platforms and their impact on Gamad music learning at the Department of Drama, Dance, and Music Education (Sendratasik), Faculty of Languages and Arts (FBS), Universitas Negeri Padang (UNP). The research focuses on how Instagram, a popular digital platform, is utilized to teach and showcase Gamad music, exploring its role in transforming traditional music pedagogy. Using a qualitative case study approach, the study examines the strategies employed by educators to incorporate Instagram features—such as video posts, reels, and live broadcasts—into the learning process. The findings highlight that Instagram facilitates greater student engagement, offering a dynamic and interactive space for both practice and performance. Additionally, the digital medium helps to broaden the audience for Gamad music, connecting students' work to a global platform. The study concludes that integrating social media into music education not only enhances the learning experience but also supports the preservation and dissemination of local musical traditions in a modern context.Keywords: Gamad Music, Learning, Inheritance, and Transmission of Traditional Music, Social Media
Campursari as a Hybrid Music: A Case Study on Three Models of Campursari Music
Full text linkSome music researcher state that campursari is a hybrid music. However, this opinion is only based on the combination of diatonic and pentatonic tones. But, Clothier explains, what is meant by hybrid culture is not just a mixture of several types of culture, but there are historical aspects and certain conditions to declare its existence as a hybrid culture. Therefore, this research aims to review the campursari phenomenon to gain clarity its capacity on theoretical. This research is qualitative research using analytical descriptive methods through tracing the history of campursari music. The term campursari appeared around the 1950s when Waljinah performed the “Kembang Kacang” song in keroncong music. This song was adopted from Javanese musical compositions, and then developed until now. in terms of major genres, campursari music consists of three models, there are Waljinah (keroncong), Manthou’s (Javanese musical/pentatonic), and Didi Kempot (Western/diatonic music). Through the case of the “Kembang Kacang” song which was analyzed by the hybrid cultural theory of Bhaba, Livenson, and Clothier and combined with Titon’s theory, it was concluded that the Waljinah model campursari is first derivative (F1), the Manthou’s model campursari is true hybrid music (pure strain), while the other model of campursari called “gedanken” hybrid
Integrating Tradition and Technology: Digital Audio Workstation-Based Learning for Traditional Music Preservation
Full text linkThe use of technology into conventional music education offers novel prospects for both preservation and creativity. This study examines the application of Digital Audio Workstations (DAWs) as an educational instrument for instructing and conserving traditional music, specifically within the setting of Desa Cisaat, Subang, West Java. The study included 25 young participants from the hamlet, with the objective of evaluating how DAW-based learning may enhance their involvement with traditional Sundanese music. The study illustrates how DAWs connect old musical traditions with contemporary digital approaches through workshops and instructional activities, allowing kids to engage with traditional music in more innovative and accessible manners. The research conducted used a type of qualitative research with a descriptive approach. The data collection techniques used are through observation, interviews, and literature studies. The analysis carried out adopted from miles and huberman where the process includes data collection, data reduction, data presentation, and conclusion. The results indicate that DAW-based learning cultivates creativity, increases student engagement, and facilitates a profound comprehension of musical legacy among younger generations. This technique facilitates the recording, adaptation, and widespread dissemination of traditional music, thus assuring its preservation in the digital era. The study indicates that the integration of tradition and technology via Digital Audio Workstations (DAWs) signifies a viable avenue for the future of music instruction and preservation, especially in rural regions
Musik Iringan Tari Pencak Silat Rancak Takasima dalam Koreografi Idiom Baru
Full text linkThe objective of this article is to elucidate the significance of music in complementing the choreography of the innovative Pencak Silat dance form known as Rancak Takasima. In the realm of dance performance, music plays a pivotal role as an accompaniment. While dance accompaniment music can exist independently, the reciprocal is not true – dance cannot be fully actualized without the support of accompanying music. Essentially, dance and music are inseparable counterparts, mutually enhancing and interdependent, akin to the interconnected sides of a coin. In the crafting of a dance performance, the presence of dance accompaniment, specifically in the form of musical compositions, serves as a crucial catalyst. This concept is referred to as external music, encompassing instruments like percussion, strings, and wind instruments employed as accompaniment in dance. In contrast, internal music entails sounds not generated by instrumental music but rather emanating from the dancer or performer, such as vocals, rhythmic footwork, finger snaps, chest and thigh percussion, hand claps, elbow taps, and the use of galembong (a patting technique on wide-legged pants). This research used a qualitative method with a dance ethnographic approach model. This technique research collected data through diverse methods such as observation, demonstration, interviews, and documentation during creating the creative process of choreographing the new idiom of Rancak Takasima. The development of dance accompaniment music and choreography unfolds gradually, originating from initially abstract ideas and taking visual form through Seni Pencak movements and the musicality crafted by the internal body's dancers themselves and using sound of 'serut bambu' props. The research outcomes showcase the Seni Pencak dance accompaniment music model as a valuable contribution to the evolution of Pencak Silat Nusantara dance. This particular dance accompaniment music model integrates seamlessly into the new idiom's choreography, featuring the distinctive ‘serut bambu’ property that generates the accompanying dance music. This research result conducted under Penelitian Terapan Jalur Hilirisasi (PTJH) scheme. For those interested in learning more, the dance accompaniment music and Seni Pencak choreography of Rancak Takasima can be easily accessed through the website https://www.dayaversapasua.tech
The Phenomenon of Bamboo Music Buskers in Semarang: An Urban Music Perspective
Full text linkThis study aims to explore the phenomenon of bamboo music buskers in Semarang from an urban music perspective, focusing on their role in the city's cultural landscape and the dynamics of social interactions in public spaces. The methodology used in this study is a qualitative approach with participatory observation techniques, in-depth interviews with buskers, and documentation analysis. Data collection was conducted in several strategic locations in Semarang, such as the town square, markets, and other crowded centers. The results of the study indicate that bamboo music buskers play a significant role in enriching the color of urban music in Semarang. They not only function as street entertainers, but also as cultural agents who introduce and preserve traditional music in a modern context. Bamboo music, with its unique and organic characteristics, attracts the attention of people from various circles and often creates warmer social interactions between buskers and their listeners. In addition, this study found that bamboo music buskers face challenges in the form of social stigma and government regulations that are less supportive of their activities in public spaces. The implications of this study indicate that bamboo music buskers have the potential to be developed as a city cultural asset that can support local tourism and strengthen Semarang's cultural identity. In addition, this study recommends the need for more inclusive policies and support for the sustainability of urban music rooted in local traditions, so that it can create more dynamic and culturally diverse public spaces