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All Journal Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik IDEA: Jurnal Seni Pertunjukan
legowo, adityo
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Arts Humanities Education Other

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TANTANGAN DAN SOLUSI DALAM MEMPELAJARI TEKNIK TREMOLO: PERSPEKTIF MAHASISWA GITAR KLASIK TINGKAT LANJUT PERGURUAN TINGGI SENI Simbolon, Hadri Saprian; Indrawan, Andre; Legowo, Adityo
IDEA: Jurnal Ilmiah Seni Pertunjukan Vol 19, No 1 (2025)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/idea.v19i1.16180

Abstract

Teknik tremolo merupakan salah satu teknik lanjutan dalam permainan gitar klasik yang melibatkan pola pengulangan nada secara cepat dan berkesinambungan menggunakan kombinasi jari p (ibu jari), a (jari manis), m (jari tengah), dan i (jari telunjuk). Teknik ini tidak hanya menuntut kecepatan dan koordinasi jari, tetapi juga ketelitian dalam menjaga konsistensi ritme, kestabilan dinamika, serta kualitas warna suara yang merata dan musikal. Bagi mahasiswa tingkat lanjut di perguruan tinggi seni, teknik tremolo sering kali menjadi tantangan tersendiri dalam proses pembelajaran. Penelitian ini bertujuan untuk mengidentifikasi berbagai hambatan yang dihadapi mahasiswa dalam menguasai teknik tremolo, serta mengeksplorasi solusi dan pendekatan yang digunakan untuk mengatasinya. Metode penelitian yang digunakan adalah studi kasus dengan pendekatan kualitatif, yang dilakukan melalui observasi langsung dan wawancara mendalam terhadap partisipan. Hasil penelitian menunjukkan bahwa beberapa strategi efektif yang diterapkan oleh mahasiswa meliputi latihan secara perlahan dan bertahap, penggunaan metronom untuk menjaga tempo yang stabil, serta latihan penguatan otot jari untuk meningkatkan kontrol dan ketahanan.Kata kunci: Tremolo, Gitar Klasik, Tantangan, Solusi.AbstractTremolo technique is an advanced method in classical guitar performance that involves the rapid and continuous repetition of notes using a combination of the thumb (p), ring finger (a), middle finger (m), and index finger (i). This technique not only demands speed and finger coordination but also precision in maintaining rhythmic consistency, dynamic stability, and a balanced and musical tone quality. For advanced-level university students in arts programs, mastering the tremolo technique often presents a unique challenge in the learning process. This study aims to identify the various obstacles faced by students in mastering tremolo technique and to explore the solutions and approaches used to overcome them. A qualitative case study method was employed through direct observation and in-depth interviews with participants. The results show that effective strategies implemented by students include practicing slowly and gradually, using a metronome to maintain a steady tempo, and engaging in finger muscle strengthening exercises to enhance control and endurance.Keywords: Tremolo, Classical Guitar, Challenges, Solutions. 
Analisis Schenkerian Pada Komposisi L’Armonia Opus 148.5 Gitar Klasik Karya Mauro Giuliani legowo, adityo
PROMUSIKA Vol 6, No 2 (2018): Oktober 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v6i2.2458

Abstract

Ada beragam jenis cara analisis musik namun yang selama ini lebih dikenal dan dipelajari di lingkungan penulis, adalah analisis bentuk musik. Ada cara lain dalam bidang analisis, salah satunya adalah analisis schenkerian. Melalui cara analisis tersebut maka akan didapatkan struktur tonal yang terdalam dari sebuah sistem musik tonal. Cara ini sama sekali belum umum di Indonesia untuk saat ini. Maka dari itu penulis ingin mempelajari lebih dalam mengenahi cara analisis schenkerian. Untuk materi pembahasan akan dibatasi pada karya Mauro Giuliani komposisi L’Armonia opus 148. 5 untuk gitar klasik. Adapun pertimbangan mengenahi objek pembahasan tersebut karena era keemasan musik tonal adalah jaman klasik. Karya tersebut dibuat pada waktu jaman klasik dan diciptakan oleh seorang komposer arus utama untuk musik instrumen gitar. Selain itu karya tersebut dimainkan dalam resital tugas akhir yang dilakukan oleh penulis. Sehingga harapan penulis dengan analisis karya Mauro Giuliani dapat melihat gambaran komponis gitar lainya pada era tersebut. Dgn menggunakan metode kualitatif desriptif dengan pendekatan musikologis, khususnya teori musik dapat disimpulkan bahwa bentuk background komposisi L’Armonia karya Mauro Giuliani adalah bentuk kedalaman yang merupakan hasil reduksi dari bentuk-bentuk sebelumnya. Di dalam bentuk ini terdapat interruption yang berfungsi sebagai penyela dan dikembalikan lagi ke kopfton 3 yang disebabkan oleh adanya struktur yang diulang. Bentuk tersebut dapat dilihat pada pembahasan background.There are various types of music analysis, but what has been better known and studied in the writer's environment, is the analysis of musical forms. There are other ways in the field of analysis, one of which is Schenkerian analysis. Through this method of analysis we will get the deepest tonal structure of a tonal music system. This method is not yet common in Indonesia at this time. Therefore the writer wants to learn more about the schenkerian analysis. For discussion material will be limited to the work of Mauro Giuliani the composition of L 'Armonia opus 148. 5 for classical guitar. The consideration of the object of discussion is because the golden era of tonal music is the classical era. The work was made in classical times and was created by a mainstream composer for guitar instrument music. In addition, the work is played in a final project recital carried out by the author. So the hope of the writer with the analysis of the work of Mauro Giuliani can see the picture of other guitar composers in that era. Using qualitative descriptive methods with a musicological approach, especially music theory, it can be concluded that the form of the background of L'AAmonia's composition by Mauro Giuliani is a form of depth that is the result of reduction from previous forms. In this form there is an interruption that functions as an interrupter and is returned again to Kopfton 3 caused by a repeated structure. This form can be seen in the background discussion.Keywords: schenkerian analysis; L'Oronia opus 148. 5.
The Role of Musical Frequency Differences in Shaping Listeners’ Brainwave Responses Djohan, Djohan; Wardani, Indra Kusuma; Legowo, Adityo; Firmansyah, Ahmad Insanu; Sittiprapaporn, Phakkarawat
Resital: Jurnal Seni Pertunjukan Vol 26, No 3 (2025): Desember 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v26i3.17472

Abstract

Music-based interventions have been widely explored as non-invasive approaches to emotional regulation and anxiety reduction. Within this context, alternative tuning frequencies—particularly 432 Hz and 528 Hz—are frequently used in therapeutic and wellness practices and are often claimed to exert distinct psychophysiological effects. However, empirical evidence supporting differential neural responses to these frequencies remains limited, and existing claims are rarely grounded in direct measurements of brain activity. This study aimed to empirically examine whether music tuned to 432 Hz and 528 Hz produces differential effects on neural oscillatory activity, as measured by brainwave patterns, with particular attention to indicators associated with relaxation and meditative states. A quantitative repeated-measures design was implemented. Ten undergraduate music education students (aged 19–21 years) from the Indonesian Institute of the Arts (ISI) Yogyakarta participated. Each participant listened to the same musical composition presented in two tuning conditions (432 Hz and 528 Hz) in counterbalanced order. Neural activity was recorded using a single-channel EEG device (Neurosky MindWave), which provides spectral estimates of canonical brainwave bands. Delta-band amplitude was selected a priori as the primary outcome measure. Differences between tuning conditions were analyzed using paired-sample t-tests, supplemented by bootstrapping to address the small sample size. Both tuning conditions elicited increased delta-band dominance during music listening. However, no statistically significant difference in delta-band amplitude was observed between the 432 Hz and 528 Hz conditions (t(9) = −1.29, p = 0.229). Bootstrapped confidence intervals corroborated the absence of a reliable frequency-dependent effect. Under controlled within-subject conditions and using single-channel EEG-derived spectral estimates, no evidence was found for differential modulation of delta-band activity between music tuned to 432 Hz and 528 Hz. The results suggest that neural responses are more strongly driven by general musical engagement than by tuning frequency per se. Methodologically, the study highlights both the utility and limitations of low-density EEG for probing music-related neural oscillations and supports the need for future work employing higher spatial resolution EEG, baseline-corrected spectral analyses, and larger samples to test frequency-specific hypotheses with greater sensitivity.
Co-Authors Andre Indrawan Djohan Djohan Firmansyah, Ahmad Insanu Indra Kusuma Wardani Simbolon, Hadri Saprian Sittiprapaporn, Phakkarawat