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All Journal Grenek: Jurnal Seni Musik EDUTEC : Journal of Education And Technology
Herry Rizal Djahwasi
Sultan Idris Education University
Religion Arts Humanities Computer Science & IT Education Mathematics Social Sciences Other

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Beyond Virtuosity: Reconsidering the Compositional Autonomy of Agustín Barrios Mangoré and the Performer-Composer Binary in Classical Guitar Scholarship - A Case Study of La Catedral Lim Chien Hu; Herry Rizal Djahwasi; Zaharul Lailiddin bin Saidon
Grenek: Jurnal Seni Musik Vol. 15 No. 1 (2026): Grenek: Jurnal Seni Musik (June)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v15i1.74079

Abstract

Agustín Barrios Mangoré (1885–1944) is frequently described in classical guitar scholarship as a “performer-composer,” yet this category often remains undertheorized. This article argues that the label carries assumptions shaped by the Romantic work-concept, which privileges composition as authoritative and treats performance as secondary. Such a framework risks reducing Barrios’s compositional thought to virtuoso technique and judging his music through European canonical standards. Drawing on Lydia Goehr’s theory of the historically constructed work-concept and Nicholas Cook’s idea of performance-as-analysis, this study examines La Catedral (1921/1938). The analysis identifies structural decisions that exceed idiomatic guitar writing: the harmonic voice-leading of Preludio Saudade, the three-voice Baroque counterpoint of Andante Religioso, and the chromatically intensified formal design of Allegro Solemne. The article concludes that Barrios’s music demonstrates compositional intelligence grounded in performance but not subordinated to it, offering a broader model for evaluating non-European classical guitar repertories.
Aesthetic Shock as Pedagogical Disruption: A Constructivist Grounded Theory of How Music Students Suspend and Re-ground Taste Judgement Agung Dwi Putra; Herry Rizal Djahwasi; Dasim Budimansyah
EDUTEC : Journal of Education And Technology Vol. 9 No. 2 (2026): March 2026
Publisher : STAI Miftahul Ula Nganjuk

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29062/7qmznq04

Abstract

Music appreciation courses in higher education commonly assume that exposure to unfamiliar repertoire widens students’ taste, yet few studies examine how defensive judgements give way. This article examines “aesthetic shock” (Gegar Estetika), a sequence of deliberately anomalous listening encounters in a music appreciation course at Universitas Pasundan, Indonesia. Using constructivist grounded theory, researchers analysed learning plans, observations, and interviews involving the lecturer and five students. The analysis produced a four-phase process: defensive taste, anomalous encounter, mediated suspension, and re-grounded judgement. Three main findings qualify the intervention. First, students’ initial resistance took four distinct forms, only one of which strictly corresponds to elitism. Second, the shock did not independently change judgement; rather, the lecturer’s mediation—redirecting attention toward structure and source—effected the change. Third, the endpoint was not relativism, but a reflexive form of judgement where preference persisted while losing its authority as a verdict. The article argues that self-oriented appreciation operates as a revisable stance, and that disruptive pedagogy using avant-garde material risks replacing one hierarchy of taste with another
Co-Authors Agung Dwi Putra Dasim Budimansyah, Prayoga Bestari, Redi Yamanto, Dasim Budimansyah, Lim Chien Hu Zaharul Lailiddin bin Saidon