1,720,971 research outputs found
Analysis of the Influence of Colonialism on Music in Jambi Province
Get PDFPropinsi Jambi merupakan salah satu bagian dari propinsi yang ada di Indonesia dan pernah diduduki oleh bangsa penjajah. Dampak penjajahan tersebut meninggalkan jejak-jejak yang masih tersisa hingga di Jambi, salah satu di antaranya bertemunya budaya musik yang berbeda. Musik yang berbeda itu menyatu dalam ruang baru, hingga memunculkan identitas yang baru pula akibat bertemunya dua unsur kebudayaan. Tujuan penelitian ini untuk menganalisis kebudayaan musik Jambi yang ada saat ini dipengaruhi kolonial, hingga menemukan identitasnya sendiri. Metode yang digunakan untuk itu data kualitatif. Hasilnya musik jambi "krinok adalah hasil percampuran alat musik, namun musik dari aspek bunyi menjadi identitasnya.Kata Kunci: Musik ; Krinok; Viul, Kolonial.ABSTRACTJambi Province is a part of the province in Indonesia and was once occupied by the colonizers. The impact of this colonization left traces that still remained in Jambi, one of which was the meeting of different musical cultures. These different kinds of music unite in a new space, thus creating a new identity as a result of the meeting of two cultural elements. The purpose of this study is to analyze Jambi's musical culture which is currently influenced by colonialism so that it finds its own identity. The method used for that data is qualitative. The result is Jambi music "krinok" is the result of mixing musical instruments, but music from the sound aspect becomes its identity.Keywords: Music ; Krinok; Viul, Colonial
KOMPOSISI, FUNGSI DAN NILAI DAMPIANG SURANTIAH
Get PDFABSTRACT This study aims at seeing the composition, function, and value of dampiang that exists in Surantiah people, Pesisir Selatan. Surantiah people use dampiang as the accompaniment in the event of maanta marapulai (= escorting bridegroom). The tradition that performs dampang is known as the name ‘badampiang,’ and it has been practiced hereditarily by people. Dampiang composition will be analyzed by using Kusumawati’s view, that the elements of music composition involve rhythm, melody, harmony, form, and color. Dampiang function will be analyzed by using Alan P. Merriam’s view. The analysis of dampiang value will be conducted by using value proposed by Max Scheler. This study concludes that dampiang is the lyric in the form of pantun that contains messages for the bridegroom. Dampiang composition is formed by flat rhythm and melody built by dampiang harmony. Dampiang has the function as emotional expression, cultural preservation, and societal integration. Dampiang in Surantiah people does not have the function of enjoyment. Dampiang has a value that reflects something believed and considered of by Surantiah people. Value contained in dampiang involves This study is expected to be able to widen the studies about dampiang and other traditional arts. It is also expected to become the part of preservation and development forms of traditional art-culture
Limpapeh Pada Baju Kuruang Basiba
Get PDFAbstractLimpapeh or Attacus atlas is a large butterfly with a wingspan wide, which has a reddish brown color and decorated with a bit of white color. Limpapeh usialy found in houses, buildings, on trees, leaves and flowers that blooming. For the people of Minangkabau, limpapeh is the designation for Minangkabau women who have grown up and will be the responsible for maintaining the lineage of the future, based on the maternal lineage will become residents in the house. The form of limpapeh in the creation of this Artwork is such a motif that is found on kuruang basiba clothes, kuruang bsiba clothes is basically a women Minangkabau clothes, that has a characteristic on the side of the shirt called siba and kikik. The presence of limpapeh wings shape on the chest, arms and subordinate makes the clothes more interesting.Keywords : Limpapeh, Clothes Kuruang Basiba Abstrak Limpapeh atau attacus atlas merupakan kupu-kupu besar dengan bentangan sayap yang luas, yang memiliki warna coklat kemerahan dan dihiasi sedikit warna putih. Kebiasaan limpapeh hinggap pada rumah, bangunan, pepohonan, dedaunan dan bunga yang sedang bermekaran. Bagi masyarakat minangkabau limpapeh adalah sebutan untuk perempuan Minangkabau yang sudah beranjak dewasa yang bertanggung jawab menjaga garis keturunan berikutnya, berdasarkan garis keturunan ibu yang akan menjadi penghuni dalam rumah gadang. Bentuk limpapeh dalam penciptaan karya ini adalah sebagai motif dari baju kuruang basiba, baju kuruang basiba merupakan pakaian perempuan Minangkabau yang mempunyai ciri khas yaitu pada bagian samping baju terdapatnyasiba dan kikik. Bentuk sayap limpapeh yang terdapat pada bagian dada, lengan dan bawahan baju serta bentuk limpapeh yang berbentuk utuh yang berterbangan sehingga membuat baju kuruang basiba, ini lebih menarikKata kunci : Limpapeh, Baju Kuruang Basib
Reimagining the "Third Voice": A Study of Optimal Performance Styles for Viola Solos in Shostakovich's Prelude (from the Concerto in G Major, arr. by Akutagawa)
Get PDFThis study investigates the spectrum of performance styles considered“optimal” for the viola solo in the Prelude from Dmitri Shostakovich’sConcerto in G Major (as arranged for viola and piano by YasushiAkutagawa). While often overshadowed by the orchestral context of theoriginal concerto for cello, this transcription presents a uniquemicrocosm of Shostakovich’s musical language, characterized by incisivesatire, lyrical despair, and structural ambiguities that require profoundinterpretive decisions by the viola player. Moving beyond prescriptivenotions of a single “best” style, this study employs a hybrid methodologyof performance analysis and practice-based inquiry. Through aComparative analysis of ten commercially available recordings byrenowned viola players (e.g., Bashmet, Imai, Várady), we identify threedominant interpretive paradigms: the “Symphonic-Narrative,”“Chamber-Intimate,” and “Modernist-Deconstructive” approaches.Subsequently, a practice-based component, involving deliberate stylisticExperimentation by the principal researcher-performer examines thetechnical and expressive implications of each paradigm. The findingssuggest that “optimal” style depends on successfully aligning theperformer’s technical execution (e.g., bow distribution, vibrato width,intonation precision in ambiguous harmonies) with a coherent, context-based hermeneutic. This study argues that pedagogical discourse on thiswork should shift from seeking definitive interpretations towarddeveloping the performer’s “hermeneutical flexibility”—the ability toconsciously navigate and justify stylistic choices within Shostakovich’scomplex aesthetic framework. This research contributes to violaperformance pedagogy and music cognitive science by modeling ananalytical and reflective framework for interpreting the 20th-centuryrepertoire
ESTETIKA TARI PIRING DALAM SALUANG DANGDUT DI NAGARI KUNCIR KABUPATEN SOLOK
Get PDFABSTRACT Piring dance in Kuncir village is a dance existed in Kuncir village, X Koto Diatas sub-district, Solok district, West Sumatra. Piring dance in Kuncir village can be danced by man or woman with the number of dancers is two until three dancers. The source of dance movement is related to human, nature and animal. Nowadays, the performance of Piring dance in Kuncir village has been performed together in the performance of Saluang Dangdut in Solok region. Factors that affected the aesthetics of Piring dance in the performance of Saluang Dangdut consisted of two factors namely internal factor including all artists’ creativities, choreography, local identity; and external factor. Reseach results revealed the form, social change and aesthetics found in the performance of Piring dance in Kuncir village and Piring dance in the performance of Saluang Dangdut. The aesthetic value of Piring dance in Kuncir village was reflected in the elements forming Piring dance in Kuncir village from the game played to the performance of Saluang Dangdut. Keywords: Aesthetics, Piring dance, Saluang Dangdut, Kuncir Villag
LIMINALITY DALAM PENCIPTAAN MUSIK PROGRAMA
Get PDFABSTRACT The music entitled “Liminality” is inspired by author’s anxiety toward a phenomenon of liminality between the idealism of classical music (western) and traditional music (eastern) that each of them has the strength on its composition technique and discipline. This musical creation represents the condition of liminality materialized into music composition. This music composition is composed of three parts of orchestra style that consist of traditional idioms conveyed through the conventional method of western music. Pra Liminal describes a self-identity (tradition). Liminal describes ambiguity, and then Post Liminal is the achievement of a new identity that does not eliminate old identity. Keywords: Liminality, Pra Liminal, Liminal, Post Liminal, Traditional, Western Music
The Teaching of The Song Zapin Imam Berempat in The Form of a Mixed Ensemble In High School 1 Pinggir
No full textLearning Zapin Imam Berempat in the form of a mixed ensemble in high school N 1 Pinggir. The song is orchestrated using four kinds of instruments, piano, ballet, guitar, and kajon. This research uses the Action Reseach method. In data collection using the Kemmis and Mc Taggart models of a spiral model in which there are Cycles 1 and Cycles II, when the problem is not solved then proceed to the next cycle until the problem has been solved. This research is done through phases, planning, action, observation, and reflection in each cycle. The results of this study show that the pupils in receiving learning are happy. I'm so excited, because this song of Zapin Imam Berempat is easy to accept by pupils. The students gained musical knowledge in particular in the form of an ensemble, so that the students were able to present Zapin Imam Berempat songs in an ensemble form in front of the audience
Interpretasi Repertoar Danzas Espanolas Op.37, Concerto De Aranjuez, Aek Sekotak, dan Moliendo Café pada Pertunjukan Gitar (Interpretation of the Repertoire of Danzas Espanolas Op.37, Concerto De Aranjuez, Aek Sekotak, and Moliendo Café on Guitar performances)
Get PDFArtikel ini memuat tentang pertunjukan musik dan interpreatsi penyaji terhadap musik yang dipertunjukkan. Pertunjukan yang disajikan berasal dari berbagai era seperti romantik, modern, melayu dan popular yang dikemas kedalam sebuah pertunjukan solis gitar dengan menggunakan kaidah pertunjukan konvensional. Repertoar pertama dalam pertunjukan adalah repertoar era romantik yang berjudul Danzas Espanolas Op.37 dengan komposer Pantaleon Enrique Joaquen Granados atau yang lebih dikenal sebagai Enrique Granados. Repertor kedua adalah Concerto De Aranjuez dengan komposer Joaquin Radrigo Radrigo yang ditampilkan dalam format orkestra. Repertoar ketiga adalah Aek Sekotak merupakan lagu melayu daerah Provinsi Jambi yang diciptakan oleh NN (No Name). Moliendo Café disajikan sebagai repertoar terakhir yang merupakan komposisi musik ciptaan komposer Venezuela Jose Manzo Perroni pada tahun 1961. Masalah dalam artikel ini adalah terkait bagaimana penyaji gitar melakukan interpretasi terhadap karya yang dimainkan. Tujuan penulisan artkel ini adalah untuk menjabarkan interpretasi penyaji untuk mewujudkan sebuah pertunjukan yang baik. Hasil dalam artikel ini berupa interpretasi penyaji terhadap seluruh komposisi musik yang dimainkan dalam pertunjukan.Kata kunci: Pertunjukan; Gitar Klasik; Solis; Teknik; InterpretasiABSTRACTThis article contains about musical performances and the interpretation of the music presenters who are performed. The shows presented are from various eras such as romantic, modern, Malay and popular which are packaged in a solo guitar performance using conventional performances. The first repertoire in the show is a repertoire-era romance entitled Danzas Espanolas Op.37 with Pantaleon composer Enrique Joaquen Granados or better known as Enrique Granados. The second repertoire is the Concerto De Aranjuez with composer Joaquin Radrigo Radrigo performed in an orchestral format. The third repertoire is Aek Sekota, a Malay song from the Jambi Province, which was created by NN (No Name). Moliendo Café is presented as the last repertoire which is a musical composition created by Venezuelan composer Jose Manzo Perroni in 1961. The problem in this article is related to how guitar presenters interpret the works played. The purpose of writing this article is to describe the interpretation of the presenter to create a good show. The results in this article are in the form of the presenter's interpretation of all musical compositions played in the show.Keywords: Performance; Classical Guitar; Solis; Technique; Interpretatio
Application of Father's Song Arrangement "Rinto Harahap" in School Music at SMKN 1 Padangpanjang
No full textThe song Ayah was created by Rinto Harahap. This song originates from the motivation of a child who is far from his father figure to seek knowledge and a future. This song was re-arranged by Albiner Purba, S.Sn for final work research in the form of a mixed ensemble which will be applied to students at SMKN 1 Padang Panjang. This ensemble uses musical instruments including Keyboard, Cajon, Acoustic Guitar, Bass Guitar, Pianica, Flute, and Vocals. There are 8 players in this musical ensemble, consisting of 5 men and 3 women. This research is qualitative and descriptive in nature, with an action research design approach and applying supporting methods: lectures, demonstrations, exercises, experiments, and evaluations. This research also uses data analysis techniques: searching and compiling data, organizing data, selecting data, and analyzing data. The results of this research show students' progress and knowledge in ensemble playing: they can regulate dynamics, tempo, discipline in playing, and play song material using instruments well and correctly. Apart from that, this research succeeded in realizing the achievements of the SMKN 1 Padangpanjang school curriculum, namely implementing sustainable practice habits and producing main ideas which were then directed to the presentation of musical works
Pertunjukan solis gitar dengan repertoar Elogio de la Danza, Nurlela, dan It's A Beautiful Day
No full textPertunjukan musik dari berbagai zaman seperti klasik, modern, melayu dan popular dibalut kedalam sebuah pertunjukan solis gitar dengan menggunakan teknik pertunjukan musik yang mengandung kaidah konvensional. Pertunjukan ini terdiri dari beberapa repertoar dari zaman yang bebeda. Repertoar pertama berasal dari zaman modern yang berjudul Elogio de la danza dengan komposer Leo Brower yang diciptakan pada tahun 1964. Repertoar kedua yaitu Nurlela yang dipopulerkan oleh Bing Slamet. Repertoar ketiga berjudul It’s a beautiful day dengan komposer Tohpati yang diciptakan pada tahun 2013. Penyaji mengaplikasikan berbagai teknik seperti tirando, arpegio, harmonic, apoyando, slur, golpe, dan rasgueado untuk mewujudkan pertunjukan yang sempurna.Kata Kunci: Pertunjukan; Gitar Klasik; Soli
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