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All Journal Harmonia: Journal of Research and Education Laga-Laga: Jurnal Seni Pertunjukan Musica: Journal of Music Scoring: Journal of Film Music
Hendri, Yon
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Religion Arts Humanities Education Languange, Linguistic, Communication & Media

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Contrabass Solo Performance in Cross-Genre Repertoire: Technical and Interpretative Study Fathar, Mauladi; Munafri, Sastra; Martarosa, Martarosa; Hendri, Yon; Kustilo, Anton
Musica: Journal of Music Vol 5, No 2 (2025): MUSICA : JOURNAL OF MUSIC
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/musica.v5i2.5308

Abstract

Artikel ini membahas pertunjukan solis contrabass melalui tiga repertoar lintas genre, yaitu Sonata in G Minor karya Henry Eccles, Zapin Muara karya Dzul Rabbul, dan The Godfather karya Nino Rota. Pertunjukan ini bertujuan mengeksplorasi tantangan teknis dan interpretatif permainan contrabass sebagai instrumen solis dalam konteks musik Barok, tradisi Melayu, dan musik film modern. Pendekatan yang digunakan adalah praktik artistik berbasis penelitian (practice-based research), meliputi pemilihan repertoar, analisis teknis musikal, serta proses latihan individu dan ansambel. Hasil pertunjukan menunjukkan bahwa contrabass memiliki fleksibilitas teknis dan ekspresif yang memungkinkan adaptasi karakter musikal dari berbagai gaya. Repertoar Barok menuntut penguasaan ornamentasi dan artikulasi, Zapin Muara menekankan adaptasi idiom musikal Melayu pada register tinggi, sementara The Godfather menguji kemampuan interpretasi lintas gaya antara musik klasik dan populer. Selain itu, pertunjukan ini memperlihatkan peran penting aransemen dan pemilihan pendekatan interpretatif dalam memperluas fungsi contrabass sebagai instrumen solis. Pertunjukan ini berkontribusi pada pengayaan wacana akademik mengenai pertunjukan solis contrabass di lingkungan pendidikan seni musik Indonesia
Pertunjukan Solis Gitar Lintas Genre: Kajian Interpretatif Geovani, Geovani; Awerman, Awerman; Yusnelli, Yusnelli; Hendri, Yon; Nofridayati, Nofridayati
Musica: Journal of Music Vol 5, No 2 (2025): MUSICA : JOURNAL OF MUSIC
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/musica.v5i2.6013

Abstract

Penelitian ini mengkaji pertunjukan solis gitar lintas genre sebagai sebuah kajian interpretatif dalam konteks pertunjukan musik akademik. Penelitian menggunakan pendekatan kualitatif berbasis praktik pertunjukan, dengan objek kajian berupa tiga repertoar yang merepresentasikan gaya musik berbeda, yaitu karya gitar klasik, jazz Melayu, dan musik populer progresif. Data diperoleh melalui observasi proses latihan, dokumentasi pertunjukan, serta refleksi interpretatif terhadap strategi musikal yang diterapkan oleh solis. Hasil penelitian menunjukkan bahwa pertunjukan lintas genre menuntut fleksibilitas interpretasi yang tinggi, baik dari aspek teknis maupun ekspresif. Setiap repertoar memerlukan pendekatan interpretatif yang berbeda, yang dipengaruhi oleh konteks gaya, struktur musikal, dan karakter ekspresi masing-masing karya. Penguasaan teknik gitar serta pemahaman idiom musikal terbukti berperan penting dalam membangun interpretasi yang koheren dan komunikatif. Kajian ini menegaskan bahwa pertunjukan solis gitar lintas genre dapat menjadi model praktik interpretatif yang relevan dalam pendidikan tinggi seni musik serta memperkaya wacana kajian pertunjukan musik
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) Nasution, Nabila; Wijaksana, Bambang; Awerman, Awerman; Hendri, Yon
Scoring: Journal of Film Music Vol 3, No 2 (2025): Scoring
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/scoring.v3i2.5550

Abstract

This 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.
Breaking the Path to Contextual Music Education: A Pedagogical Biography of Dirwan Wakidi and His Contribution to the Development of the Discipline in West Sumatra rahma, azzahra ashila; Hendri, Yon; Awerman, Awerman; Yusnelli, Yusnelli; Wijaksana, Bambang
Scoring: Journal of Film Music Vol 3, No 2 (2025): Scoring
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/scoring.v3i2.6147

Abstract

Individual biographies in the context of arts education play a crucial role in uncovering pedagogical practices, teaching philosophies, and contributions to the development of the discipline. This journal article presents an in-depth biographical study of Dirwan Wakidi, an influential music teacher in Indonesia, focusing on his unique contributions to music pedagogy and curriculum development. This study employs qualitative methods through an oral history approach, in-depth interviews with students, colleagues, and family, analysis of personal archives (teaching notes, musical compositions, learning programs), and participant observation within his teaching environment. The research findings reveal three key contributions of Dirwan Wakidi: (1) The development of a “Music for All” pedagogical model that integrates local wisdom values with contemporary music techniques, thereby enhancing the relevance and accessibility of music education; (2) His role as a catalyst in building a collaborative music education ecosystem at the regional level, which has impacted on enhancing the capacity of other music teachers; and (3) The formulation of a context-based music curriculum framework that emphasizes creativity, self-expression, and cultural appreciation, in addition to mastery of techniques. This study concludes that Dirwan Wakidi's biography not only captures a personal narrative but also reflects the broader dynamics of the history of music arts education in Indonesia, offering a model for contextual and sustainable teaching practices. The implications of this research provide a theoretical foundation for the development of inclusive music arts pedagogy and policy recommendations for arts teacher training oriented toward local strengths. This research fills a gap in the literature by documenting and analyzing the practice of an arts education practitioner whose work is significant but has not been academically documented in leading journals.
Co-Authors Adha, Yasril Agusman, Repi Akmal, Muhammad Fauzan Alpan, Deny Awerman Awerman Bambang Wijaksana, Bambang Delfi Enida Emridawati Emridawati Erizal Erizal Fajri, Ihsan Fathar, Mauladi Geovani, Geovani Gulo, Yogi gusti randa, Agid HERDIANTO, FERRY Hidayatmi, Hidayatmi HR, Hafif Ibnu Sina Irwan Irwan KUSTILO, ANTON M. Nasrullah Machfudz, Shoiful Mahendra, Yogi Martarosa Martarosa Minanda, Arsyilla Mulia, Noki Pratama Murniati . Nasution, Nabila NOFRIDAYATI, NOFRIDAYATI Noverman, Fajar Nurmalena, Nurmalena Pratama, Rifqi Purba, Leo Wardi Tua rahma, azzahra ashila Rahmadinata, Melisa Fitri Riyadi, Risky Rosianda, Farid Ragel Sastra Munafri, Sastra Selvi Kasman Sidik, Hadaci Sukria, Eki Supriando, Supriando Surayya, Yade Syamsiar, Syamsiar Syaputra, Weldi Wilma Sriwulan Yanda, Martha Febri yuda pratama Yusnelli, Yusnelli