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Nyemendo's Music Composition: Technical and Empirical Verification of the Transformation of the Three Philosophical Values of the Premarital Tradition of the Orang Rimba Hadaci Sidik; Aluna; Ferry Herdianto; Ahmad Zaidi; Weldi Syaputra
JPPI (Jurnal Penelitian Pendidikan Indonesia) Vol. 12 No. 1 (2026): JPPI (Jurnal Penelitian Pendidikan Indonesia)
Publisher : Indonesian Institute for Counseling, Education and Theraphy (IICET)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29210/020266887

Abstract

The premarital tradition of Nyemendo indigenous Orang Rimba in Jambi contains three philosophical values: active patience, practical competence, and communal decisions. These three values have been ethnographically documented by researchers before, but they have never been transformed into musical works and their success has been verified. This article discusses the creation of a three-part musical composition program (exposition, development, recapitulation) with the aim of answering musical questions, namely: what kind of sound represents active patience, what kind of sound represents practical competence, what musical parameters translate active patience into habitus, and what kind of instrumentation represents communal decision. This study uses three theoretical frameworks: Bourdieu's habitus for the social dimension, Tarasti's musical semiotics for the musical sign dimension, and Feld's acoustemology for the dimension of sound as knowledge. Based on this framework, three compositional concepts were formulated: static minimalism for active patience, gestural virtuosity for practical competence, and discontinuous alternation without soloist initiative for communal decisions. The musical material comes from the main notes of the Orang Rimba ritual mantras as well as the sounds of the forest which are treated as materials equivalent to the tone. The results of technical verification through score analysis proved the existence of the three concepts in 139 beats with a duration of 18 minutes. The results of empirical verification through a hearing test with three respondents (composers, art practitioners, and Tumenggung Urip as traditional elders) showed an average score of 4.33 for active patience, 4.67 for practical competence, and 4.33 for communal decisions (scale 1–5). This composition succeeded in filling the research gap by presenting Nyemendo's philosophical values into a verified sound medium.
Pertunjukan Solis Klarinet Repertoar Concerto In B♭ Major, sTari Tualang Tiga, Dan Nuovo Cinema Paradiso Aspaula Rida; Nursyirwan; Bambang Wijaksana; Aluna
Menulis: Jurnal Penelitian Nusantara Vol. 2 No. 7 (2026): Menulis - Juli
Publisher : PT. Padang Tekno Corp

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59435/menulis.v2i7.1296

Abstract

Pertunjukan ini disusun dengan tujuan menghadirkan nuansa berbeda mulai dari perpaduan repertoar klasik, melayu dan popular dengan instrumen utama Klarinet. Repertoar pertama Concerto In B♭ Major karya Franz Anton Dimmler (1753-1827), menampilkan gaya klasik dengan penekanan struktur, melodi, dan dialog antara penyaji dengan pengiring. Repertoar kedua, Tari Tualang Tiga merupakan lagu melayu ciptaan Yusoff B dengan lirik yang di tulis oleh S. Sudarmaji, yang dipopulerkan oleh Dayang Nurfaizah dalam album Belagu (2021). Karya ini diarransemen ulang ke format klarinet dengan mempertahankan nuansa lincah dan melodi khas melayu. Repertoar ketiga Nuovo cinema Paradiso karya Ennio Marricone (1988), menghadirkan ekspresi dan sinematik yang kuat , dengan nuansa romantis dan nostalgia. Metode pertunjukan meliputi tahapan persiapan, rencana kegiatan, proses latihan individu maupun gabungan, serta cakupan pra-pertunjukan, pertunjukan, dan pasca-pertunjukan. Hasil penyajian menunjukkan bahwa setiap repertoar menuntut penguasaan teknik, implementasi dan kemampuan adaptasi solis ke dalam format orkestra.
Co-Authors Ahmad Zaidi Aspaula Rida Bambang Wijaksana Ferry Herdianto Hadaci Sidik Nursyirwan Weldi Syaputra