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Syahrul Syah Sinaga
Universitas Negeri Semarang,Indonesia
Arts

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The Effect of Game Based Learning and Perfect Ear on Learning Concentration In Reading Rhythmic Notation Metha Bertina; Udi Utomo; Syahrul Syah Sinaga; Suharto Suharto; Wandah Wibawanto
Catharsis Vol. 13 No. 2 (2024): November 2024
Publisher : Universitas Negeri Semarang

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Abstract

The learning of Art Music in Junior High School can be conducted in various ways, one of which is the use of innovative media. One of these innovative media is Perfect Ear as an Android application used to train aural skills and musical taste in a person who is eager to learn about music theory, specifically rhythmic training. Perfect Ear has been widely played and uploaded by a large number of people. This study aims to measure the effect of Perfect Ear on students' learning concentration level. The method used in this research is Classroom Action Research with a Quantitative approach and using statistical analysis (SPSS). The results showed that the independent variables X1: Game Based Learning, X2: Perfect Ear, and X3: Reading rhythmic notation have a correlation with each other on the dependent variable Y: Learning Concentration. Here are the research results: 1) Game Based Learning is 95% proven to significantly affect the level of learning concentration, 2) Perfect Ear is also proven by 95% in influencing the level of concentration, 3) Reading rhythmic notation has no influence on the level of learning concentration, but 4) Game Based Learning, Perfect Ear, and reading rhythmic notation have a 95% influence on the level of learning concentration when they are combined. And in the final measurement, the R Squared value is 31.80%, which means that the total percentage of the effectiveness of the independent variables (X1, X2, X3) on the dependent variable (Y) is smaller than the total percentage derived from other independent variables
The Aesthetics of Rock Music in Musical Drama Performances Prima Suci Lestari; Syahrul Syah Sinaga; Suharto S; Udi Utomo; Eko Sugiarto
Catharsis Vol. 13 No. 2 (2024): November 2024
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v13i2.18103

Abstract

Drama is one of the components of theater education that can be integrated with other art forms. Within the various elements of theater or drama, there is a collaboration of visual arts, music, dance, drama, and literature. Popular music has been developing in Indonesia since the colonial era, particularly in the 20th century. During this period, genres such a Krontjong, Jazz, orchestral music, and rock music began to emerge. In the world of popular music, rock music has carved out its own space among enthusiasts, symbolizing freedom, rebellion, and high creativity, marked by its dynamic melodies and rhythms, as well as its profound lyrical content. Rock music has become a medium through which listeners express themselves. This article aims to elaborate on musical drama as a form of performance conducted by secondary school students, who take on the dual roles of actors and production team members, in exploring rock music through musical theatre. Such an approach enriches the students’ acting experiences within a musical context. Integrating rock music into the performing arts provides a fresh atmosphere that can influence the students’ characteristics and experiences. This study employs an exploratory qualitative method, involving various stakeholders, to analyze the implementation and impact not only to enhance students’ experiences in acting, but also to stimulate creativity by encouraging the analysis of rock music characteristics, which are expressed through drama. This process supports the development of diverse ideas in musical theatre, ultimately contributing to the quality and elements of school-based musical performance
Adaptation Strategies of Ubrug Theatre on Wayang Nganjor Group Theatre in Pandeglang Regency Banten Pinta Resty Ayunda; Slamet Haryono; Syahrul Syah Sinaga
Catharsis Vol. 14 No. 2 (2025): November 2025
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v14i2.25594

Abstract

This research aims to identify the strategies of Ubrug theatre adaptation in the theatre performance of Wayang Nganjor Group in Pandeglang Regency, Banten Province. It focuses on the Ubrug’s meaning, identity, and elements that are preserved and adapted in the Wayang Nganjor Group theatre, as well as its founder’s perceptions related to the meanings and functions of the adaptation strategies to preserve the traditional values and create new aesthetics in the Wayang Nganjor Group performances. Based on the observation and in-depth interview results with the founders of Wayang Nganjor, it is found that the Wayang Nganjor Group theatre performances are Ubrug improvisational dialogue, structure and narrative of Wayang Golek show as well as the typical rhythm play of Rampak Beduk which are combined creatively by reflecting the cultural interpenetration and creative reconversion from the hybridization of Néstor Garcia Canclini, also shows the space of symbolic negotiation from third space theory by Homi L. Bhabha, where the elements of Ubrug, Wayang Golek, and Rampak Bedug meet and influence each other as well as create new asthetics. The founders of Wayang Nganjor stated that these adaptation strategies are an effort to introduce the art tradition that is more relevant to society’s taste, especially the young generation. It is also an effort to foster awareness towards the local language of Banten and local values in Banten traditional arts. The impact of the research shows that this model of adaptation strategies effectively strengthens the cultural identity, modernizes the traditional performance without losing local identity, and exemplifies the practice model of cultural hybridization that is sustainable and contextual in the preservation of contemporary art.
Ndarboy Genk Personal Branding Strategy in the Dynamics of Popular Javanese Music Riska Damayanti; Syahrul Syah Sinaga
Catharsis Vol. 14 No. 2 (2025): November 2025
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v14i2.38153

Abstract

This study examines the personal branding strategy implemented by Ndarboy Genk, one of the prominent figures in the development of Javanese popular music. The purpose of this research is to describe how personal branding is constructed and to analyze its contribution to the public acceptance of Javanese music within a broader cultural context. The study employs a descriptive qualitative method, utilizing data collection techniques such as observation, documentation, and literature review. The findings reveal that Ndarboy Genk develops his personal image through the consistent use of the Javanese language, everyday narratives that resonate with audiences, and intensive engagement with fans. The utilization of digital platforms such as YouTube, Instagram, and TikTok further enhances his authenticity and expands his visibility. This personal branding strategy not only supports the sustainability of his career but also strengthens the position of Javanese music in the Indonesian music industry. The study highlights the significance of personal branding as a key factor for local musicians in preserving cultural identity while competing within the national music scene..
The Marching Band's Musical Activities as a Learning Space for Soft Skills among Vocational Engineering Students at PEM Akamigas Cepu Givan Sonya Gani; Syahrul Syah Sinaga
Catharsis Vol. 14 No. 2 (2025): November 2025
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v14i2.41863

Abstract

Marching bands as community musical activities have pedagogical potential in the development of soft skills, but studies on this topic are still relatively limited in the context of engineering vocational education. This study aims to understand and identify musical activities in marching band activities as a learning space for soft skills for engineering vocational students at the Politeknik Energi dan Mineral (PEM) Akamigas. The focus of the study is directed at the forms of musical activities that take place in marching bands and their role in facilitating the development of soft skills through collective, structured, and sustainable musical practices. This study uses a qualitative approach with a case study design that has ethnographic tendencies. Data were collected through participatory observation, in-depth interviews with marching band members, coaches, and advisors, as well as document studies. Data analysis was conducted thematically by linking field findings to Robles' soft skills framework and Temmerman's theory of community musical activities. The results of the study indicate that marching band musical activities, such as routine practice, playing instruments, marching, and group coordination, serve as an effective non-formal learning space for developing students' soft skills, including discipline, teamwork, communication, leadership, and responsibility. These findings confirm that community musical activities have pedagogical relevance as a medium for contextual soft skills learning in engineering vocational education.
Co-Authors Eko Sugiarto Givan Sonya Gani Metha Bertina Pinta Resty Ayunda Prima Suci Lestari Riska Damayanti Slamet Haryono Suharto S Suharto Suharto Udi Utomo Wandah Wibawanto