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Makna Simbolik Upacara Wulla Poddu dalam Masyarakat Loli Sumba Barat Nusa Tenggara Timur
Full text linkThe Symbolic Meaning of the Wulla Paddu Ceremony. The research on the Wulla Paddu ceremony of the Loli community in West Sumba, East Nusa Tenggara province, intends to find out the symbolic meaning expressed in local traditional music called talla. The ceremony represents ritual activity during the Holy month of Loli New Year observed once a year according to the cultural calendar of the local community who believed in the supreme being of Marapu. The aim of the ceremony is to show respect and to express gratitude and requests to Ama wolu-Ama rawi (The Creator) through the intercession of Marapu. Wulla Paddu ceremonial event is organized in several phases which are always accompanied by talla music. The performance of talla music represents a symbolic meaning in terms of worshipping the supreme being of Marapu. The performance of talla music has been compulsory as an important part of the annually observed Wulla Paddu where the rhythm of the music reflects the symbolic meaning of the ceremony. The outcome of this research has shown that the performance of talla music in Wulla Paddu ceremony has played an important role in revealing the meanings of religious, social, and cultural symbols. The music is worthy to be preserved in accordance with its local cultural values, as well as an intangible heritage of West Sumba people, that hopefully will remain observed by the Loli community for many generations to come. Keywords: Talla, Marapu, Loli communit
Cendayam: Interpretasi Cengkok Ayu Kuning dalam Komposisi Karawitan
Full text linkAbstrakMusik karawitan Jawa mengenal istilah cengkok. Cengkok adalah abstrak yang tidak terdengar maupun terwujud sedangkan cengkok yang terwujud dinamakan wiled. Cengkok yang berasal dari nada vokal salah satunya adalah Ayu Kuning. Cengkok Ayu Kuning memiliki lagu yang menonjol seperti nada lagu tinggi kemudian ke rendah. Cengkok ini memiliki ciri khas tersendiri pada garap sindhen, gender, maupun rebab dibanding cengkok lain. Penelitian ini mengunakan metode Practice as Research through Performance (praktik sebagai penelitian melalui pertunjukan) yang terdiri dari pragarap (observasi, studi pustaka, analisis sumber terkait, wawancara, diskografi, konteks musikal), garap (instrumentasi musikal, tafsir garap, presentasi musikal), dan pascagarap. Karya ini juga menggunakan medium tradisi dan idiom baru. Penelitian ini bertujuan untuk menafsirkan dan memaknai cengkok Ayu Kuning dalam karya komposisi karawitan. Karya komposisi “Cendayam” yang diciptakan merupakan karya komposisi karawitan yang mengambil subtansi dasar karawitan tradisi sebagai ide dasar dan konsep penciptaan karya. Karya ini menginterpretasikan dan mengembangkan cengkok Ayu Kuning sebagai tema penciptaan dan menggunakan pola garap kreasi baru dengan mengolah aspek harmoni dan unsur-unsur dalam musik seperti melodi, ritme, dan dinamika. Cengkok Ayu Kuning juga dilihat dari dua sudut pandang, yaitu dasar cengkok Ayu Kuning yang biasa digunakan dalam karawitan dan pemaknaan dari epistimologi kata Ayu Kuning. Kata kunci : cengkok, Ayu Kuning, wanita, pengembangan, pemaknaan, interpretasi AbstractJavanese karawitan music has cengkok term. Cengkok is an abstract that is neither heard nor manifested while the manifested one is called "wiled." Cengkok comes from a vocal tone, one of which is Ayu Kuning. Cengkok Ayu Kuning has a unique song with a high and then a low tune. This cengkok has its characteristics in working on sindhen, gender, and fiddle compared to other cengkok. This study uses the Practice as Research through Performance method which consists of pragarap (observation, literature study, analysis of related sources, interviews, discography, musical context), garap (musical instrumentation, interpretation of garap, musical presentation), and pascagarap. This work also uses the medium of tradition and new idioms. This study aims to interpret and interpret the cengkok Ayu Kuning in musical composition works. The compositional work "Cendayam" is a musical composition work that takes the basic substance of traditional music as the basic idea and concept of creating the work. This work interprets and develops the Ayu Kuning cengkok as the theme of creation and uses a new creation work pattern by processing aspects of harmony and elements in music such as melody, rhythm, and dynamics. Cengkok Ayu Kuning is also seen from two points of view, namely the basis of the Cengkok Ayu Kuning which is commonly used in karawitan, and the meaning of the epistemology of the word Ayu Kuning. Keywords : cengkok, Ayu Kuning, women, develompment, meaning, interpretatio
Proses Pembelajaran Kesenian Hadrah di Taman Kanak-kanak Al Qur’an – Taman Pendidikan Al Qur’an Ar Rahman
Full text linkAbstrakPenelitian ini bertujuan untuk mengetahui proses pembelajaran dan aspek musik dalam kesenian hadrah yang berperan untuk melatih kemampuan musikal anak-anak, serta mengetahui karakteristik musik hadrah melalui hasil transkripsi sampel lagu. Subjek penelitian adalah anak-anak atau para santri di TKA-TPA Ar-Rahman yang bertempat di Desa Bopongan, Kecamatan Banguntapan, Kabupaten Bantul. Metode penelitian yang digunakan adalah metode kualitatif dengan pendekatan studi kasus. Teknik pengumpulan data dilakukan melalui observasi, wawancara, dan dokumentasi. Hasil penelitian menunjukkan proses yang dilakukan dalam pembelajaran musik hadrah yaitu dengan memperkenalkan instrumen, membagi para santri dengan instrumen yang sesuai, melatih pola pukulan, melatih syair, dan menggabungkan kelompok instrumen dengan kelompok penyanyi. Kegiatan kesenian hadrah juga dapat melatih kemampuan musikal anak-anak, ditunjukkan dengan adanya peningkatan pada para santri dalam memahami materi dan memainkan musik hadrah. Musik hadrah memiliki peran untuk melatih kemampuan musikal anak yang mencakup pemahaman mengenai ritmis, tempo, nada, lirik (syair), hingga bentuk penyajian musik ensambel.Kata kunci: Musik, Pembelajaran, Hadrah AbstractThis study aims to determine the learning process and aspects of music in hadrah art that play a role in training children's musical abilities and knowing the characteristics of hadrah music through the transcription of song samples. The research subjects are the children or students at TKA-TPA Ar-Rahman Bopongan Village, Banguntapan District, Bantul Regency. The research method used is qualitative with a case study approach. The data collection techniques are through observation, interviews, and documentation. The results showed that the process carried out in hadrah music learning was by introducing musical instruments, dividing the students with suitable instruments, practising rhythmic patterns, practising lyrics (poems), and combining the instrument group with the singer group. Hadrah art activities can also train children's musical abilities, indicated by increased students' understanding of the material and playing hadrah music. Hadrah music has a role in training children's musical skills, including understanding rhythm, tempo, tone, lyrics (poems), and ensemble music presentation.Keywords: Music, Learning, Hadra
Memaknai Ungkapan Musik Melalui Dimensi Linguistik
Full text linkUngkapan musik kerap diasosiasikan dengan ungkapan yang diekspresikan oleh bahasa. Hal ini membuat musik memiliki koneksi yang kuat dengan dunia linguistik. Ungkapan yang diekspresikan antara musik dan bahasa memang berbeda akan tetapi sama-sama tertuju pada emosi manusia dan dimaknai secara intensional. Artikel ini akan menjabarkan mengenai bagaimana ungkapan musik dimaknai lewat dimensi linguistik. Penelitian dilakukan dengan menggunakan metode kualitatif deskriptif yakni melalui metode studi literatur dan wawancara. Melalui studi literatur disoroti empat hal yakni mood linguistik, semantik, bahasa referensial, dan arousal theory. Keempat poin ini berperan dalam menentukan karakter linguistik dari musik. Wawancara dilakukan dengan menggali impresi yang dirasakan subjek terhadap salah satu karya musik yang ia sukai. Hasil wawancara menunjukkan adanya koneksi yang kuat antara musik dan linguistik yang kunci utamanya dibangun dari bagaimana pengalaman subjek dalam menghayati musiknya. Penghayatan ini menjadi dasar dari terkonstruksinya makna yang spesifik atas karya musik yang subjek deskripsikan selama wawancara.Kata kunci: ungkapan musik, makna, linguistik, impresi, penghayatan The expressions given by music are often associated with expressions conveyed by language. This makes music has a strong connection with the field of linguistics. The expressions that are conveyed between music and language are different, but they are lead to human emotions and are interpreted in an intentional way. This article is intended to describe how musical expressions are interpreted through the linguistic dimension. This research was conducted using a qualitative approach, namely through the method of literature study and interviews. Through the literature study, four things were highlighted, namely linguistic mood, semantic aspects, referential properties, and arousal theory. These four points play a role in determining the linguistic character of music. The interview was conducted by exploring the impressions felt by the subject on one of the musical works that he liked. The results of the interview show that there is a strong connection between music and linguistics whose main key is built on how the subject experiences the enjoyment through the music. This enjoyment is the basis for the construction of specific meanings for the musical works that the subject described during the interview.Keywords: music expressions, meaning, linguistic, impression
Strategi Pembelajaran Ansambel Musik “AMARI Jogja” di Masa Pandemi Covid-19
Full text linkAbstrakAnsambel Musik Anak dan Remaja Indonesia atau biasa disebut AMARI Jogja adalah sebuah wadah bagi anak-anak dan remaja untuk bermain musik bersama-sama dalam sebuah ansambel yang diformat dalam bentuk orkestra maupun semi orkestra. Pada masa awal pandemi, AMARI Jogja sempat vakum yang diakibatkan oleh adanya kebijakan Pembatasan Sosial Berskala Besar (PSBB). Penelitian ini bertujuan untuk mengetahui proses latihan dan strategi pembelajaran yang digunakan oleh AMARI Jogja di saat pandemi. Data penelitian diperoleh melalui metode studi pustaka, observasi, wawancara, dan studi dokumentasi. Hasil penelitian menunjukkan bahwa telah terjadi perubahan pembelajaran selama Pandemi Covid-19. Setelah mulai berproses latihan kembali, AMARI Jogja menerapkan strategi belajar campuran dengan menggunakan pembagian video latihan melalui Aplikasi Whatsapp sehingga saat latihan tatap muka masing-masing anggota sudah mengenal materi. AMARI Jogja mulai bangkit kembali dengan aktif membuat acara dan pembukaan penerimaan anggota baru. Penelitian ini diharapkan dapat berkontribusi pada pengembangan strategi dan metode pembelajaran khususnya dalam bidang ansambel musik.Kata kunci: strategi pembelajaran, ansambel musik, Pandemi Covid-19, AMARI Jogja AbstractAnsambel Musik Anak dan Remaja Indonesia, commonly called AMARI Jogja, is a place for children and youth to play music together in an ensemble formatted in the form of an orchestra or a semi-orchestra. In the early days of the pandemic, AMARI Jogja had a vacuum caused by the Large-Scale Social Restrictions (PSBB) policy. This study aims to determine the training process and learning strategies used by AMARI Jogja during a pandemic. The research data was obtained through the methods of literature study, observation, interviews, and documentation studies. The results of the study show that there has been a change in learning during the Covid-19 Pandemic. After starting the rehearsal process, AMARI Jogja implemented a blended learning strategy by sharing training videos via the Whatsapp Application so that each member was familiar with the material during face-to-face practice. AMARI Jogja is starting to revive by actively organizing events and opening new members. This research is expected to contribute to the development of learning strategies and methods, especially in the field of musical ensembles.Keywords: learning strategies, ensemble music, Covid-19 Pandemic, AMARI Jogj
Postmodernisme: Sebuah Dekonstruksi dan Kritik dalam Seni
No full textPostmodernism: A Reconstruction and Criticism of Art. There is no truth that is admitted to be absolute truth or forever truth because everything that correlates to a human being is dynamic. ‘Freedom in art creation’ is needed to guarantee the maximum quality of art making process. When art creation is subject to the power of value or its ethical criteria, it is ‘a veiled oppression process’. In such practices, art is not created for the art itself. What happens there is humanizing the art, moralizing the art, and controlling the art. The characteristic of art is its capacity to free itself from substantive matters. In contemplation, the soul leaves the physical materials and becomes one in the idea of form so that the contemplator experiences exquisiteness or unexquisiteness. This experience is then expressed as a work of art. It is important to be comprehended that each element and each entity may function as an active component in completing human existence in the realm of artistic activities. Keywords: Art critics, human existence, art deconstruction
Bentuk, Gaya, dan Makna Akting dalam Film Opera Jawa Sutradara Garin Nugroho
Full text linkThe Forms, Style, and Meanings of Acting in Opera Jawa. This research is qualitative research that intends to understand the structure and form. And action style, and also the meaning of action as a system of sign in a motion picture entitled ‘Opera Jawa’. The answers to the three issues above are found by employing the approach of form and acting style and also theatre semiotics. Theatre semiotics is used to examine the meaning of the acting sign system which is held by the protagonist and antagonist figure. The theatre semiotics approach used is the version of Tedeuksz Kowzan. Kowzan divides the segmentation of the theatre sign system into 13, but this research only focuses on 8 of it. The results of this study are first, the theme of Opera Jawa is violence; second, the protagonist and antagonist characters are always in a paradoxical relationship; third, the plot consists of three round structures. The acting in Opera Jawa is in form of opera acting. It is a transformation form from the realist acting to the symbolic one. Opera Jawa functions as the life guidance to appreciate, respect, and tolerate others. Keywords: Acting, semiotics, form, style, Javanese oper
Kajian Semiotika pada Road Sing Restoran Taman Pringsewu Yogyakarta
Full text linkThe Semiotics of Road Sign in Taman Pringsewu Restaurant. This study aims at revealing the meaning of road signs as the elements of the sign system of the Pringsewu restaurant in Yogyakarta. The samples that are taken based on the message (its competitive advantage) include the ‘free formalin’ sign, the ‘alert chicken carcass’ sign, the ‘free hotspots’ sign, and the ‘playback’ sign. The four signs are important because they involve public interest issues and trends that represent the whole road signs. This study operates a qualitative method with a semiotic theory-based explanation. The data gathered are analyzed in a qualitative-interpretative way. It relates to the principles of visual communication design. The result of this study confirms that road signs carry the public needs issues and modern lifestyles. Keywords: Pringsewu, road signs, meaning sign
Pengelolaan Organisasi Saraswati Drum Corps Institut Seni Indonesia Yogyakarta Ditinjau dari Fungsi Manajemen
Full text linkAbstrakManajemen sumber daya manusia (SDM) merupakan hal yang sangat penting dalam mempertahankan keutuhan dan jalannya sebuah organisasi. Organisasi voluntir seperti unit kegiatan mahasiswa marching band yang membutuhkan banyak anggota tentunya memerlukan pengelolaan SDM yang khusus pula. Penelitian ini hendak mendeskripsikan fungsi manajemen organisasi pada organisasi unit kegiatan mahasiswa (UKM) Saraswati Drum Corps Institut Seni Indonesia Yogyakarta. Fungsi manajemen yang digunakan untuk menjelaskan pengelolaan organisasi ini menggunakan teori manajemen Hill dan McShane (2008). Penelitian ini menggunakan pendekatan kualitatif deskriptif. Data diperoleh melalui wawancara serta dokumen UKM Saraswati Drum Corps. Penelitian ini menunjukkan bahwa UKM Saraswati Drum Corps berusaha menerapkan fungsi manajemen organisasi dengan baik yang utamanya adalah untuk mempertahankan jumlah anggota dan tetap berjalannya kegiatan organisasi. Setiap unit atau divisi dalam organisasi memiliki fungsi dan peran yang sangat penting demi berjalannya organisasi. Setiap anggota dapat memberikan ide dan saran sesuai fungsi dan posisinya untuk mengembangkan program kegiatan maupun keorganisasian. Kata kunci: Fungsi Manajemen, Organisasi Seni Pertunjukan, Saraswati Drum Corps AbstractHuman resource management (HRM) is essential in maintaining the integrity and running of an organization. Volunteer organizations such as the student marching band require many members require human resource management as well. This study aims to describe the function of organizational management in the Saraswati Drum Corps student organization, in the Indonesian Institute of the Arts, Yogyakarta. The management function used to explain this organization uses the management theory of Hill and McShane (2008). This study uses a descriptive qualitative approach. The data were obtained through interviews and documents from the Saraswati Drum Corps. This study shows that the Saraswati Drum Corps UKM is trying to implement the organizational management function properly, which is primarily to maintain the members and keep the organization's activities running. Each unit or division within the organization has a critical function and role in the organization. Each member can provide ideas and suggestions according to their function and position to develop program activities and for the organizations as a whole. Keywords: Management Function, Performing Arts Organization, Saraswati Drum Corp
Analisis Fungsi Karakter dalam Film Eternals dengan Teori Fungsi Narasi Vladimir Propp
Full text linkAbstrakFilm Eternals mengisahkan tokoh-tokoh Eternals sebagai ras kosmik hampir abadi yang ditugaskan Celestial bernama Arishem untuk melindungi bumi dari serangan Deviants. Sejak pertama kali diutus ke Bumi, Eternals dilarang oleh Arishem untuk terikat dengan manusia, namun akhirnya larangan tersebut dilanggar dan menyisakan konflik-konflik yang membawa Eternals dalam keadaan yang pelik. Kesepuluh anggota Eternals sebagai tokoh-tokoh utama mengalami perubahan fungsi karakter dalam narasi film Eternals. Eternals yang semula bersatu menjalankan prinsip persamaan visi dan misi, akhirnya menjadi saling beroposisi karena perbedaan pandangan terhadap kemanusiaan dan tujuan penciptaan mereka. Penelitian ini menganalisis fungsi karakter dalam film Eternals menggunakan teori fungsi narasi Vladimir Propp dengan menemukan 31 fungsi karakter dan 7 karakter dalam film Eternals. Hasil menunjukkan bahwa dalam film Eternals ditemukan tiga puluh dari tiga puluh satu fungsi narasi menurut teori Vladimir Propp. Berdasarkan ketiga puluh puluh fungsi narasi pada film Eternals, terdapat lima karakter, yaitu Penjahat, Penderma, Pahlawan, Pengirim, dan Pahlawan Palsu. Perubahan utama dalam fungsi karakter terjadi pada tokoh Ikaris dan Sprite. Kata kunci: Film, Eternals, Fungsi Narasi, Vladimir Propp AbstractThe film Eternals tells the story of the Eternals as a near-eternal cosmic race assigned by a Celestial named Arishem to protect Earth from Deviants' attacks. Since they were sent to Earth, Arishem has forbidden the Eternals to bond with humans. However, in the end, the prohibition was violated and left conflicts that brought the Eternals into a complicated situation. The ten members of Eternals as the main characters experience changes in the function of characters in the Eternals film narrative. The Eternals, who initially held the same vision and mission, eventually became opposed to each other because of their different views on humanity and the purpose of their creation. This study analyzes the function of characters in the film Eternals using the narrative function theory of Vladimir Propp by finding 31 character functions and seven characters in the film Eternals. The results show that in the film Eternals, thirty out of thirty-one narrative functions according to Vladimir Propp's theory. Based on the thirty narrative functions in the film Eternals, there are five characters: the Villain, the Donor, the Hero, the Dispatcher, and the False Hero. The main changes in character function occur in Ikaris and Sprite. Keywords: Film, Eternals, Narrative Functions, Vladimir Prop